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

Price: €31,99

JAZZ PENTATONICS-advanced improvising concepts for guitar BRUCE Saunders CD LIBRO TABLATURE

JAZZ PENTATONICS, advanced improvising concepts for guitar. Saunders. CD TAB.

Jazz Pentatonics is for intermediate to advanced players wishing to expand their melodic and harmonic vocabulary. The music is in standard notation as well as tablature and a CD is included in which the more difficult exercises are played at a slower as well as faster tempo. The CD was recorded with live drums, acoustic bass and guitar. All the exercises are included on the CD as well as play-along tracks that enable the student to play with a rhythm section. The book covers the minor 7, dominant 7, minor 7(b5) and major (b6) pentatonics and gives the student many etudes and exercises from which to draw improvisational ideas.


Chapter one: minor seventh pentatonic scale
Five perpendicular fingering exercises
Lateral fingerings
Harmonic uses of minor seventh pentatonic
Exercises, Study No. 1
Melodic voice leading introduction
Study No. 2
Practice starting notes

Chapter two: minor seventh flat five pentatonic scale
Harmonic uses of minor seventh flat five pentatonic
Five perpendicular fingerings
Minor ii-V-I patterns
Study No. 3
Ex. 15, delayed application of pentatonic
Ex. 16 Phyrgian chord use

Chapter three: dominant seventh pentatonic scale
Harmonic uses of dominant seventh pentatonic
Combination lateral/perpendicular fingerings
Ex. 18 & 19/major ii-V-I sequences
Study No. 4/F major blues
Study No. 5/C minor blues
Study No. 6/Solarize changes study

Chapter four: major flat sixth pentatonic scale scale
Harmonic uses of major flat sixth pentatonic
Ex. 20 & 21/ii-V-I sequence using skips
Study No. 7/Love changes with skips

Appendix: practice tracks & answer key
Practice track No. 1 Leaves key of G, minor seventh suggestions
Practice track No. 2 Leaves key of Bb, minor seventh suggestions
Practice track No. 3 Love changes, mixed pentatonic suggestions
Practice track No. 4 Solarize changes, mixed pentatonic suggestions
Practice track No. 5 F blues key of Bb, mixed pentatonic suggestions
Pracitce track No. 6 Yesterdaze, mixed pentatonic suggestions
Answer key for page 18
Answer key for page 19

Price: €27,99


MOCK DON, MASTERCLASS: TURNAROUNDS. Standard I-VI-II-V turnaround -turnaround master melodies -scales for turnarounds -secondary dominant II7 -rhythmic variations -turnaround play-along tracks -jazz-blues play-along tracks. CD TAB.

Price: €19,99



REH Pro Licks Book/CD Pack
Series: REH Publications
Softcover with CD - TAB
Artist: Barney Kessel
Artist: Joe Pass
Artist: Johnny Smith
Author: Les Wise
Artist: Tal Farlow
Artist: Wes Montgomery

Examine the solo concepts of top jazz guitarists in this info-packed book/CD pack. The CD includes full demonstration and rhythm-only tracks to assist with learning the styles of Kenny Burrell, Jim Hall, Barney Kessel, Pat Martino, Wes Montgomery, Joe Pass, Johnny Smith and many others. The book includes phrase-by-phrase performance notes; tips on arpeggio substitution, scale substitution, tension and resolution, jazz-blues, chord soloing and more; and standard notation and TABLATURE.

Table of Contents:

Introduction .
How to Use This Book .
Before You Begin .
Get in Tune .
Arpeggio Substitutions
(In the style of Wes Montgomery, Johnny Smith, and Jimmy Raney) .

Scale Substitutions
(In the style of Tal Farlow, Joe Pass, Herb Ellis, and Jim Hall) .

Tension and Resolution
(In the style of Pat Martino, George Benson, and Wes Montgomery)

Jazz Blues
(In the style of George Benson, Wes Montgomery, Tal Farlow, and Joe Pass)

Chord Soloing
(In the style of Barney Kessel, Kenny Burrell, Wes Montgomery, and Ed Bickert)

Virtuoso Guitar
(In the style of Joe Pass, Barney Kessel, and Johnny Smith)

Guitar Notation Legend

Hello, and welcome to ProLicks Jazz Solos for Guitar. In this book, I'm going to walk you through six original guitar solos. Each one is based on classic lead (and rhythm) patterns used in jazz and is full of licks and ideas that you'll be able to use in your own playing. We'll cover a variety of styles and techniques-including arpeggios, scales, tension and resolution, blues forms, chord soloing, virtuoso-style fills, and more-giving you a solid foundation in playing and improvising jazz guitar. Many of the styles and techniques in this book are based on the masterful soloing of players like Wes Montgomery, Joe Pass, Herb Ellis, Tal Farlow, George Benson, and more. You'll be able to listen to me solo using many of their favorite techniques on the accompanying CD, then I'll dissect each and every solo, note for note, so that you can master these styles as well.

How to Use This Book
As you work your way through the solos in this book, you'll discover that there are a lot of short phrases that you can learn, lift out. and use in your own style of playing. In other words, you don't have to learn each solo exactly the way it was played on the CD. You can listen through the entire CD, hear everything that I'm going to play for you, then go back and pick out the phrases you like best. Then you can learn those phrases and incorporate them into your own style of playing. It's good practice to take all of these ideas and then mix them in with what you already know how to play. Of course, there are things to be learned by playing an entire solo: how the solo builds, how to make a transition from one chorus to the next, how to begin and end the whole thing. Those are elements of style that make the phrases fit together so that they actually sound good. But the individual phrases themselves can be picked out and used in practically any jazz solo. With a little tweaking, these phrases can also be used in songs with different tempos and in different keys. In addition to performing the six complete solos on the CD, I'm going to explain each one in depth, phrase by phrase. Each phrase will include Practice Points-detailed directions that will help you understand my note choices and give you ideas for coming up with your own solo phrases over the given chord progressions, using various tricks and techniques. Once you've listened to a solo on the CD, start learning it phrase by phrase using the Practice Points to help you. When you get through, you'll know all the phrases and be able play them along with the solo track or with the rhythm-only track at the end of the chapter-a full-band, minus-guitar track that's also included on the ProLicks CD. Playing along with the rhythm-only tracks will give you an opportunity to get a feel for how your phrasing sounds against a rhythm section and whether or not you're playing correctly. Plus, you can use these tracks to improvise your own jazz solos. Some of the phrases are easier than others. Some are slower; some are faster. Take your time. Practice each phrase as many times as you need to get it right. And most of all, have fun! Tuning notes for reference can be found on track 16 of the CD.

Before You Begin
The guitar sound in jazz is typically clean and warm, with a full-bodied tone and perhaps a touch of reverb. Set your amp clean, roll off the highs, and aim for a smooth, rich tone. The major jazz players almost all use hollowbody electric guitars, such as a Gibson ES-175, Guild Manhattan, or Gretsch White Falcon. But don't worry: If you don't have a hollowbody, you can still play jazz. Many modern jazz guitarists use solidbody guitars and sound just fine.
Also, traditional jazz players don't rely on bends as much as blues, country, or rock players, so they often use heavier gauge strings, which provide a meatier tone. Wound third strings are not uncommon in the jazz world, and while these strings are definitely bend-resistant, they help define the classic jazz guitar tone. Get in Tune First things first: Play Track 16 and tune your guitar to mine. That way, you can play along with the CD and sound great.

Recording Credits
John Shank, engineer
Les Wise, guitar
Craig Fisher, piano
Luther Yuze, bass
Joe Brencatto, drums

Examine the solo concepts of the Masters in this unique Book / CD package !

CD Includes full-demostration and Rhythm-only tracks

Styles of Kenny Burrell, Jim Hall, Barney Kessel, Pat Martino, Wes Montgomery, Joe Pass, Johnny Smith and many others.

phrase-by-phrase performance notes;

tips on arpeggio substitution, scale substitution, tension and resolution, jazz-blues, chord soloing and more;

standard notation and tablature. 

Price: €24,99



A Dictionary of Melodic Ideas for Improvisation
Series: REH Publications
Softcover with CD - TAB
Author: Les Wise

Written for the musician who is interested in acquiring a firm foundation for playing jazz, this unique book/CD pack examines the phrases of the masters! Over 800 licks are provided in the styles of Tal Farlow, Pat Martino, Wes Montgomery, Joe Pass, Johnny Smith, and other jazz guitar greats! The book includes standard notation and tablature, and the CD contains note-for-note demonstrations of every lick. 104 pages.

Price: €26,99

REH-JAZZ IMPROVISATION FOR GUITAR-Creative Substitution Melodic Soloing Les Wise-CD TABLATURE


Series: REH Publications
Softcover with CD - TAB
Author: Les Wise

This terrific book/CD by Les Wise will allow you to make the transition from playing disjointed scales and arpeggios to playing melodic jazz solos that maintain continuity and interest for the listener. Topics covered include: tension and resolution - major scale, melodic minor scale, and harmonic minor scale patterns - common licks and substitution techniques - creating altered tension, and more! Features standard notation and tab, and a CD with 35 demo tracks. 32 pages.

Price: €23,99



A Systematic Approach to Understanding Guitar Fingerboard Harmony
Series: REH Publications
Softcover with CD - TAB
Author: Dave Eastlee

This terrific book/CD pack by Dave Eastlee will give you the jazz guitar voicings you need to know, plus the theory behind how they are used in common chord progressions. The CD includes 56 demo tracks of the exercises, which cover: common fingerings and voice leading; common jazz chord progressions; tritone substitution, turnarounds, diminished principles and other important jazz comping tips. In standard notation and TAB. 40 pages

Price: €23,99



Lead Guitar in the Styles of Carlton, Ford, Metheny, Scofield, Stern and more!
Series: REH Publications
Softcover with CD - TAB

Author: Doug Perkins
Artist: John Scofield
Artist: Larry Carlton
Artist: Mike Stern
Author: Norman Brown
Artist: Pat Metheny
Artist: Robben Ford
Author: Steve Freeman

Examine the solo concepts of the jazz-rock masters in this comprehensive book/CD package! You'll get phrase-by-phrase performance notes, plus tips on: improvising with triads; blues fusion; lines for static chords and vamps; atmospheric jazz; double stop improvising; and much more. The book includes standard notation and tab, and the CD features both full-demonstration and rhythm-only tracks.

Price: €24,99



Your guitar becomes the ultimate jazz solo instrument when you master the techniques and concepts in this book. Picking up where the harmony lessons in Intermediate Jazz Guitar leave off, topics include melody and harmony integration, bass line development, chord enhancement, quartal harmonies, and how to arrange a guitar solo. Learn to simultaneously play the harmony, melody, rhythm, and bass parts of any song! Concepts are illustrated with lots of examples to practice, including arrangements of some traditional melodies. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 64 pages.


Complete Jazz Guitar Method: Mastering Jazz Guitar, Chord/Melody
By Jody Fisher
Item: 00-14126
UPC: 038081128320
ISBN 10: 0739009575
ISBN 13: 9780739009574
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Your guitar becomes the ultimate jazz solo instrument when you master the techniques and concepts in this book. Picking up where the harmony lessons in Intermediate Jazz Guitar leave off, topics include melody and harmony integration, bass line development, chord enhancement, quartal harmonies, and how to arrange a guitar solo. Learn to simultaneously play the harmony, melody, rhythm, and bass parts of any song! Concepts are illustrated with lots of examples to practice, including arrangements of some traditional melodies. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 64 pages.

The Complete Jazz Guitar Method
Beginning • Intermediate • Mastering Chord/Melody • Mastering Improvisation

Alfred, the leader in educational publishing, and the National Guitar Workshop, one of America's finest guitar schools, have joined forces to bring you the best, most progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop.
Alfred Publishing Co., Inc.

This book is about learning to play in a style we call Chord/Melody. In this style songs are
arranged so the harmony, melody, rhythm and sometimes the bass parts are played simultaneously.
These arrangements can be played alone or, if desired, make it possible for the
guitarist to lead his or her own group. Players who study this style know that it can be one
of the deepest forms of musical self-expression. Also, there are enough concepts to learn
and apply to keep one intrigued for a lifetime.
It has always amazed me that many guitarists just stand there not knowing what to do
when asked to playa song alone. The whole idea behind playing a musical instrument is to
play music -play songs. It seems that most guitarists know the parts of songs they would
play in a band, but if they had to play something as a solo, well, most players would be
This book is not for complete beginners. Th: material found here is for the student who
has been studying the information in the first two books of this series, Beginningjazz Guitar
and Intermediate jazz Guitar, or the equivalent. To get the most out of this book you should
be familiar with major scales, chord construction, major chord scales and altered chords.
In the first two books each lesson has two separate sections. The "A" section deals with
chords and harmony while the "B" section covers the topic of single-line improvisation.
This book focuses completely on chord/melody and harmonic concepts. It starts right
where the "A" sections of the Intermediate book left off. (Mastering jazz Guitar Improvisation
starts where the "B" sections in the intermediate book left off.)
While I personally prefer reading musical notation, it is not necessary in order to obtain
maximum results from this book. Examples are written in both standard notation and
tablature. While TAB is effective, it is not nearly as expressive as musical notation. Nonreaders
are missing out on an overwhelming amount of musical and instructional material.
You don't have to be a super sight reader, but the ability to decipher musical notation is
very important. Of course, the better you read music, the better your comprehension
and musicality will be. This will increase your enjoyment.
You may be surprised by the added benefits of becoming proficient in chord/melody playing.
Some of these are: a much greater awareness of harmony, better visualization of
arpeggio shapes, a more sophisticated sense of melody while improvising, and a dramatic
improvement in technique and strength. Also, keep in mind that you may be able to find
employment as a solo guitarist if band gigs aren't available.
After completing this book, you will be able to arrange your own chord/melody tunes and
you will have a deep understanding of chord progressions and harmony. This will allow you
to communicate with other musicians more effectively.
Take your time, practice slowly and have fun!



Chapter I

Right-Hand Options .
Pick Style .
Fingerstyle Chords .
Pick and Fingers Technique .

Chapter 2
Lesson I: Recognizing Chord Tones .
Combining Melody and Harmony .
Lesson 2: Guidelines for Arranging .
Lesson 3: Chord Enhancement .
Home on the Range .

Chapter 3
Lesson I: Diads .
Non-Chord Tones .
Blue Bell of Scotland .
Lesson 2: Adding the Non-Chord Tone .
Beautiful Dreamer .
Lesson 3: Voice Leading .
Lesson 4: Passing Chords .
Virginny .
Blues in G ,
Diminished Chords .
Min7b5 (Half-Diminished) Chords .
Blues in F .
Lesson 5: Quartal Harmony .
Single Notes .
Octaves .

Chapter 4
Lesson I: Passing-Chord Approaches .
Enhancing Chord Progressions .
Lesson 2: The 1V-1Approach .
Lesson 3: The V7-1Approach .
Lesson 4: The ii- V7-1 Approach .
Rum and Coke .
Lesson 5: BackcyclingApproaches .
The Alternate Cycle .
Lesson 6: Tritone Substitution Approach .
Lesson 7: The bV7-I Approach .
Lesson 8: The ii-V7 -I and Alternate Cycles .
Lesson 9: Surprise Chords .

Table of Contents

Chapter 5
Lesson I: The Basic Voicings
Simultaneous Chords and Walking Bass Lines
Lesson 2: Bass Lines-ScalewiseApproach
Lesson 3: Bass Lines-Half-StepApproaches
Lesson 4: Bass Lines-Rhyth m
Lesson 5: Bass Lines-ii- V7 -I Patterns
Everything You're Not
Lesson 6: Bass lines-Com biningTech niques
Accompaniment for Everything You're Not.

Chapter 6
Lesson I:
Lesson 2:
Moving Voices
Search ing Out New Yoicings
Symmetrical Chord Movement

Creating Arrangements
Listen ing to the Greats
Reality Check

A compact disc is available for each book in this series. These discs can make learning with these books easier and more enjoyable. This symbol will appear next to every example that is played on the CD. Use the CD to help insure that you are capturing the feel of the examples, interpreting the rhythms correctly, and so on. The Track numbers and Index numbers below the symbols correspond directly to the example you want to hear. Track I will help you tune to the CD. Have fun!

Price: €20,99
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