Product Description:
The Martin Taylor Guitar Method offers you the chance to study with one of the giants of jazz guitar. Hailed by guitar legend Chet Atkins as "One of the greatest and most impressive guitarists in the world today..." and celebrated by New York's Jazz Times as "Europe's finest guitarist," Martin shares the secrets of his style for the first time in this amazing tutor.

Learn how Martin creates solo guitar arrangements of jazz standards via a series of progressive studies aimed at introducing guitarists of intermediate level and beyond to the world of arranging and solo performance.

All music examples are transcribed in standard notation with tablature and played by Martin himself on the accompanying CD. You won't get a better chance to study with one of the instrument's true masters!


Quick Start Jazzy
Fretboard Geography
Don't Call Them Chords
Right Hand Technique
Left Hand Technique
Special Effects
The 'Danny Boy' Variations
Bhai Bhai Blues

i) Guitar Design
A look at Martin Taylor's gear and signature guitar.

ii) Jive Talking
An interview with Martin Taylor about improvisation and how he built up his legendary chord melody chops.

Martin Taylor

"There is a touch of genius in Martin Taylor's playing." - CLASSICAL GUITAR MAGAZINE

The virtuoso guitarist Martin Taylor first came to prominence in the late 1970's through his collaborations with the jazz violin legend Stephane Grappelli, and now tours the world's concert halls with his dazzling live performances.

He began playing at the age of four when his father, jazz bassist Buck Taylor, gave him a small acoustic guitar as a present. A totally self taught guitarist, he learned to play by listening to his father's records and trying to imitate what he heard. Seven years later he was playing in local bands and gained the respect and admiration of professional musicians who were amazed by the young boy they called "The Guitar Wizard." Although inspired initially by the Gypsy guitarist Django Reinhardt, it was to be piano players, most notably Art Tatum, that caught his imagination and set him on the path of developing his own individual style of solo playing.

In 1978 he made his debut album Taylor Made for Wave Records and the following year received a call from Stephane Grappelli inviting him to play on a series of concerts in France. Shortly after those concerts he joined Stephane on a coast-to-coast tour of the U. S., including New York's Carnegie Hall and the Hollywood Bowl. It was the beginning of an eleven year collaboration which took in numerous world tours, and over 20 albums including recordings with Michel Legrand, Peggy Lee, Yehudi Menuhin, Nelson Riddle and several film soundtracks including the Louis Matle movie Milou en Mai and Dirty Rotten Scoundrels starring Steve Martin and Michael Caine.

Alongside his work with Grappelli, Martin was also pursuing his own solo career and in 1987 had great commercial success in America with his Los Angeles recorded album Sarabanda. In 1993 he made his first solo album for Linn Records Artistry, which topped the UK jazz charts for six weeks and made him the biggest selling British jazz artist in the UK. The following year he formed his group "Spirit of Django," and their first recording for Linn Records also proved to be a best selling jazz album and was nominated best album in the British Jazz Awards and Martin was voted best guitarist for the seventh time in a row. Even people who are not familiar with Martin's work will have heard him many times with his version of Robert Palmer's Johnny and Mary, which was used on the famous cult TV ads with "Nicole-Papa" for the Renault Clio. In 1999 he signed a recording contract with Sony Jazz, making two critically acclaimed albums Kiss and Tell and Nitelife. He has also collaborated with many musicians outside of jazz including Yes guitarist Steve Howe and country guitar legend Chet Atkins. He was also featured on the Prefab Sprout album Andromeda Heights, and has recorded with George Harrison, Eric Clapton, Chris Rea, and ex-Rolling Stone Bill Wyman.

In 1998 Martin founded the Kirkmichael International Guitar Festival in his home village in Scotland, which has now become one of the biggest guitar festivals in the world. He also founded Guitars For Schools, which promotes the teaching of guitars in primary schools. Through his work he has raised money to pay for guitars and tuition for hundreds of school children throughout South West Scotland. Over the years he has received many awards and honours including The Freedom of the City of London, the Gold Badge Of Merit from the British Academy of Composers and Songwriters, and was made an Honorary Doctor of the University of Paisley, Scotland in celebration of 25 years in music. In 2002, on the recommendation of the British Prime Minister Tony Blair, Martin was made a Member of the Order of the British Empire (MBE) for Services to Jazz Music, in the Queen's Jubilee Birthday Honours List, making him the first jazz guitarist ever to receive an honour from the Queen. His autobiography for Sanctuary Publishing "Kiss and Tell" is available worldwide.

Price: €29,99



Product Description:
This book and CD teaches excellent techniques to use for walking bass lines on guitar when playing in a duet format, either with another guitar player or with a singer or other instrumentalists. The idea of this book is to give a few answers to the question, "How do I harmonize walking bass lines when I've never done it before?". We will take the principal chords, major 7, 6, dominant 7, minor, diminished, and minor 7 flat 5 and walk bass lines on the sixth or fifth string. Written in notation and tablature.

Harmonization of the Walking Bass
How to Harmonize the Chords
Major 7th Chords
Dominant 7th Chords
Dominant 7b9 Chord
Diminished 7th Chords
Minor 7th Chords
Minor 7b5 Chords
Alternative Positions on String 5
Different Rhythms
Examples with Syncopated Rhythms
Example of Walking on G7
Major II-V-I Cadence (String 6)
Major II-V-I Cadence (String 5)
Minor II-V-I Cadence (String 6)
Minor II-V-I Cadence (String 5)
Example on II-V-I Cadence
Autumn Trees
Days of Water and Tulips
Walking by Moonlight

Price: €26,99


A MODERN METHOD FOR GUITAR VOLUME 1. William Leavitt. In italiano. CD

Questo libro è nato per rispondere a due scopi precisi: 1° Per insegnare allo studente la lettura musicale; I "trucchi" per imparare a leggere e 2° Per il graduale sviluppo dell'abilità di entrambe le mani. È questa la parte fisica dello studio della chitarra. L'acquisizione di una tecnica strumentale è frutto di un processo di accomulazione per cui ad ogni ripasso del materiale già studiato si avrà chiara la sensazione di una maggiore facilità.

Price: €27,99


A MODERN METHOD FOR GUITAR VOLUME 2. William Leavitt. senza Tablature. In italiano con Cassetta

Questo libro è la continuazione del I volume. La maggior parte della terminologia e delle tecniche rappresenta una diretta evoluzione del materiale presentato nel primo. Anche qui tutta la musica è originale ed è stata creata specificatamente per presentare e perfezionare ogni lezione.

Price: €22,99



Written for the intermediate to advanced jazz guitarist, this book assumes an adequate knowledge of chord scales and jazz theory. The topics include playing modally, chord substitutions, Coltrane substitutions, diminished and melodic minor scales as well as dealing with pentatonics. Companion CD included.

Price: €23,99



Product Description:
This book is complete in the sense that there is something for everyone: beginners, intermediate players and professionals. Along with learning the basics, this book teaches fingerstyle guitar players to play two-string harmonies, accompaniment styles and much more. Alan De Mause has filled the companion CD to capacity with 90 examples of music from his landmark text. The recording features nylon-string guitar throughout in both solo and midi-accompanied settings. A full range of jazz guitar stylings is offered, starting from square one and proceeding through advanced fingerstyle solo material. 184 PAGES

Format: Book/CD Set
Series: Complete


SECTION ONE: Getting Started with Fingerstyle Jazz Guitar

Being your own band
About the author

SECTION ONE/PART 1: Guitars, hand positions, fingerstyle strokes
Your guitar
Centering the guitar
Naming fingers
Right arm and hand position
Melody playing with the rest stroke
When hammering your nails
Let two fingers do the walking
On the other hand, the left--
Restrain the wayward thumb
May I presume--?
Open strings: E, B, and G
Three notes on open strings
Music, meter, and measures
Three beats per measure
Time signatures: 3/4
Time signatures: 4/4
Four beats per measure
Picking pairs of alternating fingers: m-a
Quarter notes, half notes, and whole notes
Matching right hand fingers with strings
Open choice on open strings
Thumbing along freely
E, A, and D
Digging deep
Fingers and thumb
Uppers and lowers
Reader's choice

SECTION ONE/ Part 2: Learning the blues: fretted notes, rests
The old open six
The new fretted two
Left-hand technique
B, E, and some friends
The oldies and the newies
Make a blues sound
Blues background
Go form a blues
A and D complete the blues scale
Picking up notes
E blues scale
Time for a rest
Go and Stop
Stopping an open string from ringing
Thumb work
Strings 'n things
Accuracy in notation
Something simple
Too simple?
Music in two parts
Rests in two part music
Ties that bind
Not so hard
Try it, you'll like it
One more note
Lower ledger lines workout with G
Complete two octave blues scale
Try it two ways
Let it rip blues trip
Sun rhythmics
House of the Rising Sun

SECTION ONE/ Part 3: Rhythming around
Can we talk?
Swimming in rhythm
Find a rhythmic reference
Basic and specific rhythms
Review of whole note, half note, quarter note, and rest equivalents
Take a rest (notes and rests)
Ties that bind
Dots incredible
Equivalent tied and dotted notes
Rhythm in 3/4 time
Two part rhythm
Blues with the whole thing

SECTION ONE/ Part 4: The flow of jazz: Eighth notes
Simple eighths
Counting eighths
Eighth notes and others
Talking to yourself
Mixes bag of note values
Take a rest
Simple ties that bind
Swinging the blues
Doo-ba Doo-ba blues
Eighth notes with mixed rests
Ties in disguise?
Same guise with ties: Eighth-Quarter-Eighth and Tie
Same guys with rests: Half rest-Quarter rest-Eighth rest
The readability factor
Dots and ties incredible
Ties with dotted note equivalents
Dotted quarter notes with eighth notes and eighth note rests
Dot's all in 3/4, folks
Pause to catch your wind and finish up
Rhythmic review
Bop Stop

SECTION ONE/ Part 5: All together, now
Playing to or more strings simultaneously
Two strings and parts, one rhythm, same bass notes
As above, with a variety of bass notes
More note movement
pattern playing
Rhythmic independence in both parts
Independence in 3/4
Blues with a beat
Whompin' the blues
Back to the future
Half note bass
Quarter note bass
Quarter note bass in 3/4 time
Half note plus quarter note in 3/4 time
Refurbishing Twofers
Deja vu: Part 4 review
Slower melody, faster bass
Shuffling Home
It's a wrap!
Further study

SECTION TWO: Creating Fingerstyle Jazz Guitar Solos
SECTION TWO/Part 1: Preparing to create a fingerstyle jazz solo
May I presume--?
Special Note: No TAB or audio here
Selecting a tune
Both melody and chord symbols are on the original sheet music
Lead sheet fragment
It can be played easily as is
It is basically in one key
It is in a good guitar key
It is in a range convenient for adding harmony below the melody
Trial run for tunes
Tune 1
Tune 2
Raising the melody one octave higher
Changing keys by counting steps
TALE OF KEYS (arranged by half step intervals)
You could trace them down
Chord symbols
Tune 2 transposed to D
How high is high enough?
Setting up the tune for arranging
Conventions of notation for fingerstyle guitar
Tune 2 in G, stems up
It's a singer's world
Tune 3 with original piano lead sheet and vocal part
Tune 3 with stems up, eighth notes beamed

SECTION TWO/Part 2: Accompanying yourself
What's next
Adding to this band of one
Rooting for the root
When to change the bass note
Rhythm changes
Two more
Bass notes in 3/4 time
Making the bass more independent
Rhythm Changes with quarter notes in the bass
Making repetition less repetitious
Variation on four quarter notes
Rhythm Changes with syncopated bass
Alternating octaves
Alternating Octave Blues
When to use which bass rhythm
Getting it down on paper

SECTION TWO/Part 3: Oom-pah power
Great Scott!
Finding the root/fifth of a scale
Root/fifth of the C major chord
Oom-pah Rhythm Changes
Putting some oomph into the oom-pah
Lowering the oom-pah
The not-so-perfect fifth
Let's all root for the fifth
View of Blues
Your turn

SECTION TWO/Part 4: Marking major and minor
Distinguished notes
Locating thirds using scales
Using the C major scale to locate major thirds
finding minor thirds
Using the C melodic minor scale to locate minor thirds
Absolute measuring: the chromatic scale
The chromatic scale spelled in sharps
The chromatic scale spelled in flats
Juggling thirds
Exercise A
Exercise B
Building chords by stacking thirds
Two plus two
Using major and minor thirds in arranging
Mandatory thirds
Rhythm Changes with thirds
An OK Place to Be
Answers to Exercises A and B

SECTION TWO/ Part 5: Accompanying with arpeggios
The Natural
Rhythm Changes with arpeggios
Right-hand fingering
Left-hand fingering
Alternate arpeggiation style
Arpeggio samples
Reality enters
Rhythm Changes with reality
Your turn

SECTION TWO/ Part 6: Harmonizing a melody with a third below
Quick and EZ thirds
Making the top note ring out
Rhythm Changes in thirds
Interval makeup of chord symbols
Perfect matches-- or not
Adjusting the fit
Bringing back the bass
Rhythm Changes in thirds plus bass
Third this blues
Third this blues (completed)

SECTION TWO/ Part 7: Harmonizing with tenths
Tenths: the dropped third
Rhythm Changes with parallel tenths in the bass
Rhythm Changes with mixed intervals
Improvisation on Rhythm Changes
Trippingly, with tenths
Walking tenths
Accompaniment using walking tenths
There's tenthing tonight on the old camp ground

SECTION TWO/ Part 8: Harmonizing with sixths
Another natural
Rhythm Changes déjà vu
Multipurpose sixths
Parallel Me, Baby
Crackers and Muscles
Show Me the Way to Go Sixths
Crackers and Muscles (completed)
More is less
Training in A

SECTION THREE: Professional Fingerstyle Jazz Guitar

SECTION THREE/Part 1: Harmonic background
Complete fingerstyle jazz guitar
May I presume--?
Something to play upon
Jazz harmony
Chord qualities
Standard chord voicings
Root position, thirds an octave higher
Root position, thirds and fifths an octave higher
Harmonic movement based on scale steps
Diatonic walking tenths
Diatonic walking sixths
Harmonic movement based on the cycle of fifths
Root movement using the cycle
Focusing on fifths
Chromatic harmonic movement
Ascending by half step

SECTION THREE/Part 2: Self accompanying
One is company
Root movement
Double bass notes, root movement
Mixes bass rhythms
Repeated figure bass
Root/fifth alternation (simple)
Other alternating bass notes
Non-root movement
Walking bass (diatonic)
Walking bass (chromatic)
Folk jazz
An abundance of riches
Stomp romp
Alternating bass on hormones
When melody and bass overlap
Oom-pah meets arps
Melody accompanied by tenths in the bass
Autumn Sneeze
Piano movements
Closer voicing
Leading with a two-note comp
Sneezing and comping
More non-root movement
Music in three parts

SECTION THREE/Part 3: Capable accompanist accoutrements
Fingerstyle accompanying
Those other playmates in your sandbox
Accompanying singers
Guitar and bass comping behind a soloist
Some Day My Prints Will Arrive
Guitar duets
Imagine Nation
Accompanying with one note at a time
My Gummy Valentine
Bird Adobe Song
Guitar and flute duet
Body and Sole
Guitar and --

SECTION THREE/Part 4: Expressive devices of jazz
Making jazz jazzy
The underlying rhythmic pulse: Quarter note
The feeling of swing
Accented notes on off-beats
Oo-bah oo-bah
Ghosting notes by plucking lightly
Ghosting notes by using slurs
Slides and fall-offs
Rhythmic displacement
The whole thing
In a Yellow Phone

SECTION THREE/Part 5: Pedaling the cycle of fifths
Why the cycle of fifths is important
Notation conventions
Root movement
V7-I with opposing movement
V7-V7 with mixed movement
V7-I tritone pull
Chords, pieces, and lines
The spread
More tenths
Bassman--the bass, man!
Harmony today
Less relentless
Cycled out

SECTION THREE/Part 6: Intros, endings, turnarounds, tags & modulations
An introduction by any other name
The ins and outs of I-V7, V7-I, and IV-I
A moving experience
Classic drama
II-V7 within one measure
II-V7 over two measures
Purposeful ambiguity
Peaceful, easy feeling
2-in-1 EZ cheap trick
Cycling to the end
Minor matter
Turnarounds (turnbacks)
Turnaround with modulation
TAGS (Codas)
Tag me if you can
Tag, you're it
Nothing special
Instant modulation: V7-I
Taking time
Back cycling
Smoother moves: II-V7-I
Descending chromatically
Approaching by half step
Mozart's fakeroo

SECTION THREE/Part 7: Fun Jazz
Are we having fun yet?
Blew Moo
Good Evening, Friends
Ain't Miss Bee Haven
Stringing the World Along
Roots in A
Bird Abode Song
3 on 4
Further study

Price: €49,99



So you want to play jazz and improvise like a real pro? This book will show you how, fast! First learn a few basics: the all-important scales, fingering and chord sequences, starting with a simple Bossa nova solo. then move on to arpeggios and more complex patterns such as the be-bop scale. Experiment with melodic shapes and discover the jazz-based blues progression used at most standard jazz gigs. The music examples then demonstrate rhythmic and free flowing ideas with lots of tips on the advanced techniques used by professional jazzers. In no time at all you will be creating your own solos in the style of such great jazz legends as Wes Montgomery, Charlie Christian, Sonny Rollins and Jim Hall.
Five complete solos are included in the book in easy-to-follow tab.
On the CD you'll find a matching audio track to every music example in the book. Each track is recorded twice: first with the guitar, the with backing track only so you can play the guitar part.

Price: €18,99



Series: Jazz Book
Publisher: Houston Publishing, Inc.
Medium: Softcover with CD
Composer: Stan Smith

This approach to studying jazz harmony provides an appropriate sound in a jazz setting early in guitarists' development and gives them a foundation in both linear and structural harmonic concepts, preparing them for more advanced theoretical concepts. Other applications for this book/CD pack include voicings for percussionists developing four mallet technique on vibes, and material for band directors who want to use the guitar to its fullest potential, and for arrangers writing for the guitar. 56 pages.

Price: €39,99



The Complete Guide
Series: Guitar Educational
Medium: Softcover with CD
Author: Jack Grassel

This book/CD pack by award-winning guitarist and distinguished teacher Jack Grassel will help rhythm guitarists better understand: chord symbols and voicings; comping styles and patterns; equipment, accessories and set-up; the fingerboard; chord theory; and much more. The accompanying CD includes 74 full-band tracks. 80 pages

Price: €21,99



JAZZ IMPROVISATION FOR GUITAR, A Melodic Approach. Garrison Fewell, Berklee. CD TABLATURE

Series: Berklee Labs
Publisher: Berklee Press
Medium: Softcover with CD

Melodies based on triads and melodic extensions sound more natural and musical than ones developed exclusively from scales. Triads - the fundamental building blocks of harmony - are a simple and effective remedy for scale dependency in improvisation. In Jazz Improvisation for Guitar: A Melodic Apprach, explore the potential of triads and their melodic extensions and learn to connect them using guide tones. You'll learn to create solo phrases in the style of some of the world's finest jazz guitarists like Wes Montgomery, George Benson, Grant Green, Kenny Burrell, and Pat Martino. 143 pages.



Improvise better solos by using triads and melodic extensions. Melodies based on triads and melodic extensions sound more natural and musical than ones developed exclusively from scales. Triads—the fundamental building blocks of harmony—are a simple and effective remedy for scale dependency in improvisation. Explore the potential of triads and their melodic extensions, and learn to connect them using guide tones. You'll learn to create solo phrases in the styles of some of the world's finest jazz guitarists—Wes Montgomery, George Benson, Grant Green, Kenny Burrell, and Pat Martino.

In Jazz Improvisation for Guitar: A Melodic Approach, world-renowned jazz guitarist Garrison Fewell offers an organized approach to creating expressive and melodic jazz solos and accompaniments. This book includes numerous triad and melodic extension examples and exercises to help you achieve the most expressive jazz feel and rhythm.


    • Broaden your melodic palette using triads, melodic extensions, guide tones, and altered notes.
    • Expand your agility on the fretboard, throughout the range of the guitar
    • Learn the intervals that make up melodies
    • Add articulation to your phrases by playing excerpts in the styles of the masters of jazz guitar
    • Use guide tones to connect your melodic lines and play the changes
    • Get the rhythmic skills essential to jazz phrasing
    • Use guide tones to build voicings for comping
    • Tablature included

Develop a more melodic way of thinking about harmony, and learn the improvisational tools that will help you create your own approach to soloing over chord changes.

The included play-along CD features outstanding musical examples and rhythm-section tracks performed by a top-flight triio: Garrison Fewell on guitar, Steve LaSpina on bass, and John Riley on drums. A special bonus track explores the techniques you've learned throughout the book


"Garrison Fewell has long been a hero to the jazz community. Read this book and you will find out why."

Jim Hall, Acclaimed Jazz Guitarist, Composer, Arranger

"Garrison Fewell presents and demystifies many of the essential elements and techniques of jazz guitar, with useful and easily applied examples. He gets the player's hands, ears, and mind all involved. I wish this book had been around thirty years ago!"

Howard Alden, Jazz Guitarist

"This book is a really well-thought-out guide to improvisation. I wish I'd had a book like this when I was a student."

George Cables, Pianist/Composer

"G.F.'s book is a profound learning tool! I refer to Garrison as 'G.F.' here because of this very clear, but so simple approach to using a 'G' minor triad with its natural connection to 'F' major in an earlier chapter. From this point in the book, you can build on this same approach by following this rule in all other keys and end up with 'great ears' and a wealth of knowledge."

Billy Harper, Jazz Saxophonist/Composer

"Garrison Fewell's concept of using guide tones and intervals in improvisation instead of 'running scales' is very important. Recommended for all who want to master 'inside' as well as 'outside' playing."

John Tchicai, Author of Advice to Improvisers, Ed. Wilhelm Hansen


The Author


Guitarist Garrison Fewell has been a Professor of Guitar and Ear Training at Berklee College of Music for more than twenty-five years. He has taught at most major European Conservatories including Rotterdam, Graz, Cologne, Leipzig, Warsaw, and the American School of Modern Music in Paris, and has conducted workshops throughout the United States and South America. With a mature, melodic sound and an elegant, lyrical style of writing and playing, Garrison has established himself as a distinctive voice throughout his thirty-year career. Critics have called him "one of today's most personal guitar players" (Boston Phoenix), "an assured stylist with a strong sense of tradition"(The New Yorker), "a player of virtuosity and swinging intensity" (UPI), and "refined, passionate, and inspiring" (Guitar Player). His diverse discography, beginning with 1993's Boston Music Award-winning A Blue Deeper than the Blue (Accurate), counts multiple titles ranked on best-of-the-year lists in publications such as Coda, Guitar Player, Musica Jazz, and his hometownPhiladelphia Inquirer. Photo by: Elio Buonocore

Garrison has performed with his quartet at NYC's Blue Note and Birdland jazz clubs, andinternational festivals such as Montreux, North Sea, Umbria, Clusone, Veneto Jazz, Copenhagen, Krakow, Budapest, Cape Verde, Africa, and Asuncion, Paraguay. His performing experience includes appearances with Tal Farlow, Benny Golson, Fred Hersch, Herbie Hancock, Larry Coryell, Buster Williams, George Cables, Kenny Wheeler, Dusko Goykovich, Cecil Bridgewater, Billy Harper, John Tchicai, Norma Winstone, and Slide Hampton. Garrison is the author of Jazz Improvisation (1984) and a frequent contributor to Guitar Player, Guitar Club, and Axemagazines. He is the recipient of several major music grants: National Endowment for the Arts, Artslink, Arts International.


Growing up in Philadelphia, I listened to all types of music, from classical and folk to blues and jazz.My father had all of Benny Goodman's records, and that's how I first heard Charlie Christian. From the beginning, I was always attracted to players with a strong sense of melody, and although I studied jazz in school, it was only after years of record collecting and listening that I developed my own sound. My intention in writing this book is not to teach you everything about jazz guitar, but simply to share some insights and encourage you to express your own artistic personality. Among the many approaches to jazz improvisation, one of the most common methods is to practice scales and modes as the basis for improvising over standard chord progressions. This can sometimes lead to an ailment called "scale-itis." Symptoms of this affliction are heard from guitarists who overplay in an attempt to impress fellow fretmates with their rapid-fire agility, running scales up and down the neck faster than the speed of sound. (What was that loud boom I just heard?) Students often spend long hours mastering scale vocabulary and neglect to develop their melodic and rhythmicvocabulary. They miss the opportunity to hear the intervals from which melodies are composed, and lack the rhythmic skills that are essential to jazz phrasing. Triads-the fundamental building blocks of harmony-are a simple but effective remedy for scale dependency. Using them can contribute to a more melodic way of playing. In this book, you will explore the potential of major and minor triads and their melodic extensions, and learn to develop phrases as an approach to improvising. The triad and melodic extension exercises include fingering studies, which will expand your knowledge of the fretboard and increase your facility throughout the range of the guitar. You will also learn how to add articulation to your phrases by playing excerpts from the styles of the great masters of jazz guitar. The ability to hear chord changes and play melodic lines that outline the harmony of a song is important to an improviser. This book will teach you to use guide tones to connect melodic ideas and "play the changes." You will also learn to use guide tones to build voicings for accompaniment, or "comping." Knowledge of harmony and its application to the guitar is another part of creative improvising. The exercises in this book will help you develop a more melodic way of thinking about harmony and will teach you improvisational tools to create alternate approaches to playing over chord changes.

What You Need to Know

The principles of melodic development demonstrated in this book are suited to all levels of guitarists who are seeking to improve their improvisational skills and instincts. To get the most from this book, you should have a solid understanding of key signatures, the cycle of fifths, major and minor scales, intervals, triads, seventh chords, tensions, and chord progressions. A familiarity with basic jazz rhythms and phrasing will help you derive maximum benefit from the exercises in this book.

How this Book is Organizated. This book is divided into three parts.

In part I (chapters 1-4), you'll begin to approach improvisation by playing triads and melodic extensions. It will also introduce you to rhythmic phrasing and articulation, so that you will have the tools to build great solos. Chapter 1 reviews the basics of jazz theory, including scales, the cycle of fifths, triad construction, diatonic harmony, tensions, and chord progressions. Chapter 2 introduces the concept of triads and melodic extensions. Then, in chapter 3, you will learn how to expand them into well-articulated phrases as a basis for improvising over chord changes. In chapter 4, you apply your knowledge of melodic extensions to dominant 7 chords. In part II (chapters 5-10), you'll learn to use triads and melodic extensions to build musical solos. First, we look closely at the styles of some of the great masters of jazz guitar to hear how they use triads and melodic extensions in improvisation (chapter 5). Listening to these great players will reveal new melodic, harmonic, and rhythmic possibilities that you can use as you begin to build solos in chapter 6. To further develop your melodic instincts, you will learn about guide tones in chapter 7. Then, you will build voicings by adding tensions to guide tones, and play them over different chord progressions to improve your understanding of jazz harmony. In chapters 8 and 9, you will learn more about how to connect your melodic lines from chord to chord using guide tones. This will help you hear the chord changes and build creative phrases using guide-tone resolutions to outline the harmony. Chapter 10 demonstrates how to apply these concepts to soloing on standard tunes and gives you an opportunity to improvise with a rhythm section. By the end of part II, you will have played triads and melodic extensions on major and minor chords and diatonic II/V progressions. However, as a creative improviser, you will need to be able to add more color to your solos by using a nondiatonic approach to triads and melodic extensions. In part III (chapters 11-12), you will learn to play triads that accent the subtle variations of altered "color tones" on dominant chords. Because of its important harmonic role in chord progressions, a good improviser needs a number of skillful approaches to playing over the V7 chord. Chapter 11 introduces the V7 altered chord, and shows you how to use triad substitution to build melodic lines with tensions b9, #9, and b13. In chapter 12, you will learn how to play augmented triads on the V7 (#5) chord. Then, you'll get a chance to put everything you've learned into practice with one final tune.

The use of triads and melodic extensions as building blocks for jazz solos represents a common thread that runs through many players' styles. This book offers an organized approach to learning them so that you can become a more creative improviser.



CD Track List






Chapter I Harmony Review

Scale Construction

Key Signatures and the Cycle of Fifths

Triad Construction

Diatonic Triads

Diatonic Seventh Chords

Chord Function

Diatonic Chord Progressions



Chapter 2 Major and MinorTriads and Melodic Extensions

Dividing the Fretboard into Four Areas Using Alternating Minor and Major Triads

Melodic Extensions and Related Fingerings through Four Areas of the Fretboard


Chapter 3 PhrasingandArticulation

Articulation: The Rest Stroke

Melodic Extensions of G Minor: Eighth-Note Triplets and Rest Strokes


Chapter 4


Melodic Extensionsof Dominant Chords




Chapter 5 Stylistic Interpretation

Minor Lines over Dominant 7 Chords


Chapter 6 Buildinga Solo with Triads and Melodic Line Extensions


Chapter 7 Fretboard Harmony: GuideTones and 2- and

3-Note Voicings

Voice Leading

How to Play Guide Tones on the Guitar

3-Note Voicings: Adding a Chord Tone or Tension

Minor Key Guide-Tone Voice Leading for II/V7/I Progressions: 2- and

3-Note Voicings

Chord Substitutions


Chapter 8 Using Guide-Tone Lines in Soloing

Direct Approach

Indirect Approach

Chromatic Approach

Double-Indirect Approach

Solo Structure: The Shape of Things to Come


Chapter 9 Guide-Tone Lines for II-7 (b5) V7 (b9) I in Minor

More Guide-Tone Lines: b9 to 5


Chapter 10 Soloing Over Standard Tunes: II / V / I in Major and Minor Keys




Chapter 11 Altered Tensions

V7 Tensions b9 and #9

V7 Tensions b9 and b13

Tensions b9, #9, and b13


Chapter 12 V7 (+S)

The Augmented Triad



"Hearing Things" (Garrison Fewell, Steve LaSpina, and John Riley)


About the Author

Discography as Leader




CD Track List:

1. Fig. 2.1. Extensions of G minor

2. Fig. 2.2. Melody based on G minor triad and melodic extensions

3. Exercise 2.3. "Elle," rhythm track

4. Fig. 3.1. Practice phrase using Bb major triad

5. Fig. 3.2. Practice phrase, with triplet added

6. Fig. 3.5. Sample solo, "Hot Saw"

7. Exercise 3.3. "Hot Saw," rhythm track

8. Fig. 3.6. Rest-stroke articulation in the style of Wes Montgomery

9. Fig. 3.7. Four triads with eighth-note triplets and rest-stroke articulation

10. Fig. 3.9. Combination, ascending and descending rest strokes

11. Fig. 3.10. Descending and ascending rest strokes in a II/V/I progression

12. Fig. 3.11. Triad over strings 1, 2, and 3, with rest-stroke articulation

13. Exercise 3.4.1.

14. Exercise 3.4.2.

15. Exercise 3.4.3.

16. Exercise 3.5. "Three Bee's," rhythm track

17. Fig. 4.3. Phrase in the style of Charlie Christian

18. Fig. 4.6. Christian-style phrase, using chromatic passing tones

19. Exercise 4.2. "Blues for Charlie," rhythm track

20. Fig. 5.1. G minor line over C7

21. Fig. 5.2. Phrase in the style ofWes Montgomery

22. Fig. 5.3. Minor lines played over descending chromatic progressions

23. Fig. 5.4. Phrase in the style of George Benson

24. Fig. 5.5. Phrase in the style of Pat Martino

25. Fig. 5.6. Martino-style minor line extension over dominant chord

26. Fig. 5.7. Phrase in the style of Grant Green

27. Fig. 5.8. Green-style phrase

28. Fig. 5.9. Phrase in the style of Kenny Burrell

29. Fig. 5.10. Phrase in the style of Jimmy Raney

30. Fig. 5.11. Phrase in the style ofJohnny Smith

31. Fig. 5.12. Phrase in the style of Tal Farlow

32. Fig. 5.13. Phrase in the style of Jim Hall

33. Fig. 5.14. Melodic grace and rhythmic precision, Montgomery style

34. Fig. 5.15. Montgomery-style phrase, moving from second to fourteenth fret

35. Exercise 5.2. "East Ghost Blues," rhythm track

36. Exercise 6.1. "Lovers No More," solo

37. Exercise 6.2. "Lovers No More," rhythm track

38. Fig. 7.1. Guide-tone voice leading using 3rds and 7ths

39. Fig. 7.2. 3-note guide-tone voice leading

40. Exercise 7.3. "Rhythm Changes," comping

41. Exercise 7.4. "Rhythm Changes," rhythm track

42. Exercise 7.6. 3-note voice leading with tensions for II-7 (%5) /V7/I- in D minor

43. Fig. 7.7. Chord substitutions

44. Fig. 7.8. Chord substitutions can add color and brightness

45. Exercise 7.7. "Love Is Beautiful," comping

46. Exercise 8.1. Guide-Tone lines/direct approach on II/V/I/V7 progression

47. Fig. 8.3. Guide-tone line with indirect approach

48. Fig. 8.4. Guide-tone line with indirect approach and melodic extensions

49. Fig. 8.5. Guide-tone line with chromatic approach

50. Fig. 8.7. Guide-tone lines with double-indirect approach over II/V/I

51. Exercise 8.5. Melodic contour with chord extensions and varied resolutions

52. Fig. 8.9. 3-note voice leading with guide tones over "Tune It Up!"

53. Exercise 8.7. "Tune It Up!," solo

54. Exercise 8.8. "Tune It Up!," rhythm track

55. Exercise 9.1. Guide-tone lines

56. Fig. 9.3. Example with b9 to 5 resolution

57. Fig. 9.4. Direct resolution, b9 to 5

58. Fig. 9.5. Indirect resolution, b9 to 5, with chromatic approach

59. Fig. 9.6. b9 to 5 with double-chromatic resolution

60. Fig. 9.8. Guide-tone resolutions with octave displacement

61. Exercise 9.5. Melodic lines over II/V7/I in minor

62. Exercise 9.6. "Love Is Beautiful," rhythm track

63. Fig. 10.2. "Bossa Azure," 3-note voice leading

64. Fig. 10A. Guide-tone line, embellished with Parker-esque melodic approaches

65. Fig. 10.5. Parker-esque approach using direct, indirect, and double-chromatic approaches

66. Exercise 10.1. "Bossa Azure," rhythm track

67. Exercise 10.3. "Falling Leaves," guide tones and melody

68. Exercise lOA. "Falling Leaves," solo

69. Exercise 10.5. "Falling Leaves," rhythm track

70. Fig. 11.1. Dominant 7 line with tensions b9 and #9

71. Fig. 11.2. Phrase in the style of Lee Morgan

72. Fig. 11.3. Phrase in the style of Charlie Parker

73. Exercise 11.1. Guide-tone line over V7 in major key

74. Exercise 11.2. Melodic lines using altered tensions

75. Fig. 11.6. G-(9) arpeggio over E-7(b5); Bb-(9) over A7

76. Fig. 11.7. V7alt with changed melody on II-7 chord

77. Fig. 11.8. Melodic motif, transposed in three keys

78. Fig. 12.2. Augmented triad over II/V/I in C major

79. Fig. 12.3. Augmented triads used in descending chromatic line over II/V/I

80. Fig. 12.4. Augmented triad played over F7 as approach to Bb-7

81. Fig. 12.5. Augmented triad over minor II/V/I in Ab

82. Exercise 12.2. "Bossa Lee," rhythm track

83. Bonus track, "Hearing Things" by Garrison Fewell

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