Includes 675 transcribed licks and phrases from five of the greatest jazz guitarists of all time: Tal Farlow, Pat Martino, Wes Montgomery, Joe Pass, and Jimmy Raney. The phrases are separated into five sections; major lines, minor lines, major ii/V7/I lines, minor ii/V7/I lines, and dominant 7 lines. These "textbook" jazz phrases are perfect for all instruments---not just guitar. Spiral bound for easy opening and page-turning. Over 100 pages.

The Hip Guitar Lines book is a window and a gateway into learning and applying advanced jazz vocabulary on the guitar. It is intended to be a resource that a jazz guitarist of any level can use to take another step. Each line is laid out clearly with its application and TAB fingering. If you have wanted to know the secret lines that the Master musicians know...if you have been looking for a way to grow your ears and musical vocabulary.... if you have wondered how to take a musical leap....this is your moment. The key to rapid and amazing musical growth is in your hands. Now, go to work and have fun. I wrote this book for you. I am here to help.

The exercises and etudes in this book will help students gain the technique needed to execute great jazz lines. A mixture of technique builders and etudes are all designed to give jazz guitarists a daily workout. All of the exercises in this book are written with the plectrum guitarists in mind, but this doesn't mean that fingerstyle guitarists can't benefit from the exercises as well.

This book provides discussion and exercises for the use of three-note voicings in jazz guitar. The book also includes some four and five-note voicings. Includes chapters on shell voicings, walking guitar, triad pairs, quartal and secundal harmony, and more. With an introduction.

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.

Guitarskole for jazzguitar baseret på Charlie Parkers soli

An interval is the distance between two notes measured in whole and half steps. When we stack intervals one on top of another, we produce chords. If we play the intervals in the chord one after another, we produce an arpeggio. But since all intervals, chords, and arpeggios are generated by scales, it follows that scales are the basis of all music from these scales we will find our JAZZ LINES, which is what this book is about. The following is a list of most of the jazz scales the student will encounter as he becomes involved in the study of improvising. When we improvise, we use as our weapons the scale, harmony and melody. The two dimensions in music are the harmony (vertical) and melody (horizontal). It is highly recommended that every student of improvising, know his scales in all positions and a variety of chords that the scales generate. All scales should be played in at least four positions especially the 1st position forces one to learn the theory. All other position pattern scales must be transposed throughout the guitar. The author has written a few pages in the beginning of the book serving as a prerequisite for the jazz lines to follow. It is essential that the student know the scales, key signatures, intervals, and chord constructions that will be used throughout the book. In order to benefit fully from this approach to jazz, the student must understand the full meaning of the words practice and analysis. Most students confuse practice with playing or reading through the exercise. To really improve and absorb the material, every phase must be practiced. This means the fingering must be committed to memory, slowly at first and then as fast as technique allows. The idea must be so ingrained in the mind that it flows from any part of the fingerboard that the performer desires. This is the way great players approach an idea – from any fret, string or position! If there is no harmonic or melodic analysis of the material being studied, then the learning skill becomes superfluous and there is no comprehension and absorption, and without this proper digestion the performer cannot use it as his taste dictates. All of the great players, have had a great technique and this is the first goal of the young student – “great chops.” As the student matures, musicianship will grow but technique is at the grasp of all who seek it. Start today to acquire it!