COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES Sid Jacobs CD TABLATURE LIBRO SPARTITI

COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES. Sid Jacobs. CD TABLATURE

LIBRO METODO DI MUSICA JAZZ, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE, 

Product Description:
An important addition to the improvising jazz guitarist's library, this thoughtful blend of text and musical examples focuses on the vocabulary of modern jazz and some of the applications of modern harmony. With examples written in standard notation and tablature, Jacobs offers instruction on bebop style phrases, playing fourths, inside-outside playing, pentatonic, whole-tone and symmetrical scales, slash chords, polychords, hip lines, fingerings and much more. The companion CD presents the material in the text played with chord accompaniment.

Product Number: 95737BCD
Format: Book/CD Set
Series: Complete
160 PAGES

Introduction

It has been said that a great composer doesn't borrow, he steals. If this book dealt with memorizing rules, I would certainly place "steal from the best" as rule number one. Some might feel uncomfortable about imitation but there is little to fear if you are judicious in what you steal and don't just "loot one store:' We learn to speak by imitation. We use an existing language to express our thoughts. It is no different for the improviser, using and connecting phrases from an existing idiom. If we substitute the term "line" with sentence and "improvisation" with conversation, we de-mystify the process. The way a person puts his words and phrases together gives him his conversational style and consequently, the more vocabulary he has, the better equipped he is to express himself. Similarly,the way a player connects his musical phrases gives him his improvising style, and the more vocabulary he has, the better equipped he is. The idiomatic phrases of the Jazz language distinguish it from other music. Through use of examples, we hope to illustrate some ideas that are used to create jazz lines and phrases. Improvising is an art. The ability to articulate your ideas clearly is a craft. When you connect your ideas creatively and extemporaneously, the craft is elevated to art. Improvisation is the art of jazz. Observe your own speech patterns and phrasing. You will notice that no two or three words have exactly the same volume. What I'm pointing out is that in conversation, we naturally use one of the first learned and first forgotten lessons in music: dynamics. In good conversation, one idea naturally flows to another. With fluency we make connections. In jazz improvisation, where the subject of our conversation is the chord changes or modulations, we need the ability to melodically imply the chord we are playing over and at any given point in time, smoothly connect to a close available chord tone or note in the key center. (See Example 1.)In this example the modulations and chord changes are made by moving to the closest available note.

About the Author Sid Jacobs

Sid Jacobs grew up in Miami, Fla. and began guitar lessons at the age of seven. As a teenager he became serious about jazz playing and would study and practice by day and sneak into the jazz clubs at night. When the Jacobs family moved to Nevada, he obtained a position as guitar instructor at the University of Nevada, Las Vegas. This made him, at eighteen, the youngest faculty member in the school's music department. While living in Nevada, Sid found work in the hotel pit orchestras, and as touring accompanist to a number of celebrity singers and jazz artists. After moving to Los Angeles, he developed the curriculum for the Jazz Guitar elective at the Musicians Institute (GIT)and the Advanced Bebop and Jazz Guitar course at the Dick Grove SchooL In 1991the CD It's Not Goodnight was released featuring his original compositions and improvisations. Among the many jazz artists Sid has performed with are Eddie Harris, Harold Land, Buddy Montgomery, Red Holloway, Conte Candoli, and in duo concert settings with guitarist Joe Diorio. Through his involvement in education, his personal associations with jazz notables, and his discipline, Sid continues to gain recognition as an influential educator, composer, and performing artist. In reviewing a live performance, Los Angeles Times jazz critic Don Heckman characterized him in this way, "... a highly articulate improviser... Never at a loss for a new phrase his improvisations seemed to unfold with the ever-changing fascination of a set of Bach variations:' Sid currently divides his time among his pursuits as GIT instructor, musical equipment manufacturer's consultant, performance and recording artist, and jazz clinician. Sid jacobs plays a Borys guitar and usesThomastik-Infeld strings.

Table of Contents:

About the Author Sid Jacobs .

Preface 

Introduction .

The Craft .

More Diatonic Sequences .

Smokin' A Half Note (Etude) .

Idioms .

Idiomatic ii or ii - V Shapes .

Idiomatic V - I Resolution Shapes .

Idiomatic I Major Shapes .

Sample II or II - V Lines .

Sample Major Lines .

Sample II - V - I Lines .

Some Additional Notes On the Idioms .

Some Miscellaneous Bebop Style Phrases .

Major 7th Lines .

Miscellaneous Phrases Over Common Progressions .

Another Blues in F (Etude) .

May The Fourths Be With You .

Triads (Fourth Triads) .

The Pentatonic Scale & Fourths .

Some Pentatonic Fourth Shapes .

Fourths Contours and Permutations .

Pentatonic Scales .

Pentatonics Inside Out .

The Madness - The Method

Ideas & Examples Combining Pentatonic Sounds .

Diatonic Fourths & Fifths

Fourths & Intervallic Sequences .

Piccardy Fourths (Etude)

Quartal Harmony .

Symmetrical Scales .

The "Magic Scale" (Augmented) .

Major Triads from the Augmented Scale

Minor Triads from the Augmented ("Magic") Scale

Some Augmented Scale Harmonies .

The Diminished Scale .

Some Diminished Scale Melodic Patterns .

Diminished Scale Harmony .

Whole Tone Scale

Whole Tone Scale Fingerings .

Some Whole Tone Lines

The Chromatic Scale .

Octave Displacement .

Polychords & Slash Chords .

Blues 4 Poly (Etude)

Kernels of Tomorrow (Etude) .

Final Notes .

Acknowledgments .

MEL BAY'S COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES

By Sid Jacobs

I wholeheartedly recommend this book to anyone who is serious about playing jazz guitar. It is a thorough, comprehensive and organized approach that can only come from someone who is a great musician and teacher.

-Bruce Forman

The plethora of disorganized, trendy guitar "methods" is ultimately confusing and overwhelming even to the most dedicated and devoted of students. Jacobs has brought us back to the simple musical truths that must inform all of our studies and music making. Jacobs' text is simple, clear, concise, and complete-It's the only jazz guitar "method" you'll ever need! -Fa reed Haque, Blue Note Recording Artist, Professor NIU (Northern Illinois University)

The Complete Book of Jazz Guitar Lines & Phrases is a concise, thorough exploration of the modern jazz vocabulary. It takes the mystery out of jazz harmony while stressing its creative applications. The explanations are clear and easy to follow, and the notated examples are fun, challenging, and musically relevant. I highly recommend this book to anyone interested in the study and advancement of jazz guitar. -John Hart

CD CONTENTS

Idiomatic II or II-V Shapes /p. 21 (5:58)

Idiomatic V-I Resolution Shapes /p.24 (2:14)

Idiomatic I Major Shapes /p. 27 (2:07)

Sample Major Lines /p.35 (3:03)

Sample II-V-I Lines /p.39 (1:46)

Some Miscellaneous Bebop Styles /p.43 (2:54)

Major 7th Lines /p.48 (1: 11)

Miscellaneous Phrases Common Program /p.51 (1:23)

Another Blues in F (Etude) /p.54 (1 :06)

May the Fourths Be with You /p.56 (:26)

Triads (Fourth Triads) /p.60 (1:10)

The Pentatonic Scale & Fourths /p.62 (1:25)

Some Pentatonic Fourth Shapes /p.64 (1 :45)

The Madness-The Method /p.78 (:55)

Ideas & Examples Pentatonic Sounds /p.81 (4:32)

Symmetrical Scales /p.95 (3:31)

The Magic Scale /p.100 (1 :50)

Major Triads from Augmented Scale /p.104 (1 :41)

Major Triads from Augmented (Magic) scale /p.105 (3:29)

Augmented Scale Harmonies /p.109 (1 :48)

The Diminished Scale /p.110 (4:04)

Diminished Scale Melodic Patterns /p.114 (5: 12)

Diminished Scale Harmony /p.119 (3:48)

Whole Tone Scale /p.123 (:23)

Some Whole Tone Lines /p.127 (1 :55)

The Chromatic Scale /p.131 (2:26)

Octave Displacement / p.137 (:59)

Polychords & Slash Chords /p.139 (7:52)

Blues 4 Poly (Etude) /p.148 (1:04)