- Taschenbuch: 136 Seiten
- Verlag: Alfred Publishing Company (März 1985)
- Sprache: Englisch
- ISBN-10: 0769212824
- ISBN-13: 978-0769212821
- Größe und/oder Gewicht: 30,3 x 22,8 x 0,9 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
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- Nr. 4211 in Fremdsprachige Bücher > Unterhaltung & Kultur > Musik > Musikgenres > Jazz
- Nr. 7994 in Fremdsprachige Bücher > Unterhaltung & Kultur > Musik > Instrumente & Künstler > Gitarre
- Nr. 12744 in Fremdsprachige Bücher > Unterhaltung & Kultur > Musik > Theorie, Komposition & Darbietung > Einführung & Studium
Jazz Guitar Single Note Soloing: Volume II (Englisch) Taschenbuch – März 1985
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In diesem Buch(Mehr dazu)
Nach einer anderen Ausgabe dieses Buches suchen.
Optisch etwas altmodisch, aber inhaltlich sehr umfangreich, ohne CD.
Für Musiker, die sich schon etwas auskennen.
Interessant z.B. Bebopmotive aus Teilen von Skalen und ausgewählten Tensions zu entwickeln und nicht immer gleich von kompletten Skalen über 2 oder mehr Oktaven
Ich kenne und benutze viele Noten, Schulen, Playalongs, Konzepte, und diese stellen in jedem Fall eine Bereicherung da. Andere m.E. herausragende Publikationen sind z.B. die (mit CD)von Bruce Saunders.
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Greene himself says that the topic was basically only "touched" in Part II, while in this episode, he provides even more examples and material. Or to quote Greene "so we're going to really 'hit it' now"
He jumps right in, talking about condensed arpeggios, preparing to demonstrate how to solo while staying in one position. Chapters deal with "Playing through changes", "Chromatic tones", "Soloing over fast changes", "Slurring and decoration", "Rhythm and Phrasing", different scales and chords, up to sophisticated scales, chromatic progression.
Greene does something here that I personally consider extremely important: Not only does he provide much useful information and explains many many important techniques and approaches, he also explains how to use them and incorporate into real playing, by talking about Rhythm and Phrasing, slurring and decoration. (Which I think is even more important than just the scales by themselves). Each chapter features easy-to understand explanations and diagrams, but the major part of this book is MUSIC. A lot of notation, with chord diagrams, all based on the topic of the chapter. I think that he not only addresses all the important topics, but also explains how to apply them to the "real world", and all that with lots of musical examples, therefore providing the reader with an actual demonstration of the discussed techniques and topics.
One of the best jazz players writes an extremely complete guide to a huge topic. And pretty much covers EVERYTHING important! Not only straight theory, but also important topics like phrasing (which often is ignored and dismissed, although it is as important as the actual notes one plays). A great guide to the topic, very complete, with theory ranging from basic to very sophisticated, requiring quite some time and experimentation by the reader. Very very good, I absolutely recommend it
Prerequisite: Sight-reading, good knowledge of chords and basic theory, a bit of playing experience in any case.
This book is as good as it gets. The guitar itself is just some wood with strings on it. Music comes from the player. If a person wants to express themselves in English, it REALLY helps to read, write and know the rules of grammar and syntax. The same applies to ANY other language. Music is no different. Too many guitar players are well versed on equipment (i.e. guitars, amplifiers et cetera) but do not know the fretboard ! If you don't know where and what the notes are, you can't use them. An analogy is a tradesman who has very good tools but is only aware of maybe 5% of their uses. Playing by ear alone is ok but limiting. Imagine if you learnt French by ear alone ? You wouldn't be able to read street signs, menus, books or anything else in France. How would you find your way around ? Why spend months trying to learn something by ear when you can just read it instantly ? Why spend ages learning someone else's licks when you can make up your own that are just as good or better ? This is a very satisfying and rewarding experience. In my experience of performing, the best compliments I have received were from people who liked the way I express myself in Music language, not from people who liked the way I copied someone else. Novelists, sculptors, artists and many other creative people work hard at developing their own style but guitar players (who haven't learnt the language) don't seem to care about this. This is just plain arrogance. Other instrument players learn this stuff.
If YOU don't really care about the way you phrase and express music, then NO ONE ELSE will care about the way you phrase and express music. It's just simple mathematics really. I don't care if there are famous players who can't read or improvise. To my ears, they reach a certain level and don't get any better. Famous or not. It's just a con ! It's like the movie 'Groundhog Day.
Ted Greene's book: 'Jazz Guitar Single Note Soloing, Volume 2,' is the Holy Grail. You can use it to develop Rock, Blues, Country or just about any style of music played on the guitar as well as Jazz.
Believe in yourself. Take the bull by the horns and discover how 12 notes can create color !
Thanks again Ted !
Kevin Donnelly. BA(Mus)., DipEd., Melbourne, Australia.
Ted also covers Chromatics, Fast Changes, Slurring and Decoration, Rhythm and Phrasing, Melodic Patterns, Shifting and Connecting Positions, Mi7b5 sounds, Melodic and Harmonic Minor Scales, Diminished Scales and Arpeggios, Soloing off the Melody, Tonal Centers and Altered Dominant Sounds.
This is not a quick, easy read by any stretch. I have had this book for nearly 40 years (ouch), and once in a while spend a month or so on a section. Like Ted's other books, it is pretty dense, and best covered in small doses; a few examples a week over time. In looking back on my own development as a player, Ted's books have influenced not so much what I play, as far as actual riffs and chords, but how I "think" on the guitar. A top shelf book for any serious player, at any level. No tab, so you'll need reading chops, and some good theory background to make it all work. Ted was one of the most dedicated guitar educators ever, and spared no effort in his books. One of the best.
The ideas contained are not unique to jazz guitar, or to the study of jazz on any instrument for that matter, but Ted presents them in a package that is easy to digest, enjoyable and entertaining.
There is no TAB in this book which means more for your money as there are no wasted pages. Most serious jazz students can read music anyway.
I must confess that I have not practised all the examples in every key as should be done, but I have no doubt that if a student were to do this, this book would set them ahead of the pack. It is all very real.
Level, intermediate. The student should have control of all four fingers on the fretting hand and be comfortable playing major scales over the entire fingerboard.