JODY FISHER

Soloing over Changes. The Ultimate Guide to Improvising with Scales over Chords on the Guitar. 
SHEET MUSIC BOOK WITH CD.

LIBRO METODO PER CHITARRA SOLISTA, IMPROVVISAZIONE.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA, TABLATURE.

By Jody Fisher

Item: 00-44739
UPC: 038081508511
ISBN 10: 1470627647
ISBN 13: 9781470627645

Category: Guitar Method or Supplement
Format: Book & Online Audio
Instrument: Guitar

If you want to be able to play a great guitar solo over any chord progression, you have come to the right place. Master guitarist, teacher, and best-selling author Jody Fisher unlocks the secrets to how scales work with chords in this comprehensive book.

Conveniently organized into two sections, the first part of the book breaks down scale and chord theory in a simple, step-by-step manner that is easy to understand. The second part is a handy, comprehensive chord and scale finder that allows you to cross-reference scales with chords and vice versa. Access to accompanying online demonstration and play-along tracks is also included. A must-have for any guitarist, Soloing over Changes is the ultimate scale and chord resource.

"A great resource for every aspiring guitar improvisor"---George Benson

"Jodi Fisher has somehow covered it all . . . for any guitarist desiring to take their improvising to the next level."---Carl Verheyen

CONTENTS
About the Author................................................................................................................... 3
Introduction .............................................................................................................................. 3
Book Organization ................................................................................................................. 3
How to Use This Book.......................................................................................................... 4
PART 1: Learning and Using Scales ..................................................................... 5
Chapter 1 .................................................................................................................................... 5
What Is a Scale? ................................................................................................................... 5
The Chromatic Scale............................................................................................................. 8
Major-Scale Fundamentals................................................................................................... 9
Major-Scale Fingerings.......................................................................................................11
Chapter 2 ..................................................................................................................................15
How to Learn Scales...........................................................................................................15
Practicing Scales ................................................................................................................17
Chapter 3 ..................................................................................................................................22
How to Use Scales for Improvisation...............................................................................22
Chapter 4 ..................................................................................................................................25
Targeting Chord Tones in Scales.....................................................................................25
Chapter 5 ..................................................................................................................................34
Developing Melodic Ideas from Scales ...........................................................................34
Chromaticism........................................................................................................................37
Chapter 6 ..................................................................................................................................41
Now What?...........................................................................................................................41
The Natural Minor Scale.....................................................................................................41
The Harmonic Minor Scale ................................................................................................43
The Melodic Minor Scale....................................................................................................44
Other Important Scales for Altered Chords ...................................................................46
Very Important Information .................................................................................................48
Content Details for Part 2...............................................................................................49
PART 2: Scales Over Chords......................................................................................50
Major Chords (Unaltered)......................................................................................................50
Major Chords (Altered)............................................................................................................53
Dominant Chords (Unaltered).............................................................................................55
Dominant Chords (Altered)...................................................................................................59
Augmented Triads......................................................................................................................73
Minor Chords ................................................................................................................................74
Diminished Chords ....................................................................................................................91
Quartal-3 Chords ...

Targeting Chord Tones in Scales
If you have been working with the previous chord progressions and improvising using
the correct major scale, you are probably starting to notice that your solos are sounding
pretty good most of the time. But, you might also notice that it is possible to play a note
from the scale that doesn’t sound so great over a particular chord. This is because the
best-sounding notes to use over a chord are the notes in the chord itself. This does not
mean you should avoid using other notes in the scale.
Generally, you want to start your melodic line on a chord tone and use the non-chord
notes to travel from chord tone to chord tone. This is known as spelling out the chord
changes. While this can take a bit of time to perfect, the following method should help
you accelerate the process.
Arpeggios are the notes in a chord played consecutively rather than simultaneously. In
the approach shown here, you will learn all the arpeggios for the seven diatonic chords
within a particular major-scale fingering.
Here is the major-scale fingering that the arpeggio fingerings will be based on (2-E in C):....

Here are the diatonic arpeggios and their corresponding chord shapes within this scale. Once you have learned the arpeggio shapes, practice them by playing the chord, followed by the arpeggio, and then the chord again. In time, you will learn to associate the arpeggio with the chord itself. .....

With the same chord progressions you’ve been using for the previous exercises, you’re
going to apply both upper and lower neighbor tones in Exercise 5. Once again, you want
the chord tone to land on beat 1 of the measure. This means one of the neighbor tones
must be played on beat 4 while the other neighbor tone must be on the & of beat 4 of
the previous measure. You’ll do this every time the chord changes in the progression.
Again, be sure to record at slow tempos to start. Both neighbor tones are circled ....

CONTENT DETAILS FOR PART 2

SCALES
Aeolian (Natural Minor).........................74, 82, 84, 87
Blues Scale .....................................57, 61, 67, 70, 72
Diminished, Whole-Half ....... 60, 64, 65, 68, 69, 92
Dorian ..................58, 67, 76, 79, 81, 84, 86, 89, 96
Dorian b2...........................................76, 79, 80, 86, 89
Harmonic Minor ...................................................75, 90
Harmonic Minor, 7th Mode.......................................93
Ionian #5........................................................................53
Locrian..........................................................................93
Locrian #2.....................................................................94
Locrian #6.....................................................................93
Lydian.....................................................................52, 54
Lydian #2.......................................................................52
Lydian Augmented ..............................................53, 54
Lydian b3b7............................... 77, 79, 82, 84, 87, 89
Lydian b7.........................................................57, 61, 72
Major.............................................................................51
Major Pentatonic....................................51, 52, 56, 70
Major Pentatonic (from the 9th)...............................54
Melodic Minor ...............................................75, 78, 90
Minor Pentatonic ............ 56, 66, 75, 78, 80, 83, 85,
88, 95, 96
Mixolydian ....................................................................57
Mixolydian b6.........................................................57, 63
Natural Minor (Aeolian).........................74, 82, 84, 87
Phrygian..........................................................76, 81, 86
Phrygian Dominant................................58, 63, 66, 71
Super Locrian.......................... 61, 63, 66, 69, 71, 94
Whole Tone ...................................................59, 62, 73

CHORDS
Major Chords (Unaltered)......................................50
Major, 6, Maj7, Maj9, and Maj13 Chords...............50
Major Chords (Altered)............................................53
Maj7#5 Chords ............................................................53
Maj7b5, Maj7#11, and Maj9#11 Chords..................53
Maj7#5#11 Chords ......................................................54
Dominant Chords (Unaltered).............................55
7, 9, 11, 13, and 7sus4 Chords ..............................55
Dominant Chords (Altered)...................................59
7b5 Chords ...................................................................59
7#5 and 9#5 Chords....................................................62
7b9, 13b9, and 7#9 Chords........................................64
7b5b9, 7b5#9, 13#9#11, and 7#5#9 Chords..............68
7#5b9 Chords ...............................................................71
9#11 and 13#11 Chords ............................................72
Augmented Triads......................................................73
Minor Chords ................................................................74
Minor Triads .................................................................74
min6 Chords ................................................................78
min7 Chords ................................................................80
min9 Chords ................................................................83
min11 Chords..............................................................85
min13 Chords..............................................................88
min(Maj7) Chords .......................................................90
Diminished Chords ....................................................91
dim, dim7, and min7b5 (half-diminished) Chords....91
Quartal-3 Chords.........................................................95
1. In the left column, look up the chord type you would like to solo over and
learn which scales it works with. On those pages, you’ll also find two to four
voicings for the chord, and two fingerings for the scale.
2. In the right column, look up the scale you’re interested in learning and
discover which chord types it works with in a solo. Again, on those pages, you’ll
also find two fingerings for the scale, and two to four voicings for the chord.
Part 2: Scales over Chords.......................

Chord and Scale Chart
Function Major or Minor Key Scale or Mode Starting on…
ii, iii, or vi......Major ...........................Minor Pentatonic..................The root of the chord
ii......................Minor
ii......................Minor..............................Dorian b2................................The root of the chord
ii......................Major..............................Dorian .....................................The root of the chord
iii.....................Major..............................Phrygian .................................The root of the chord
iv .....................Minor..............................Lydian b3b7 ............................The root of the chord
vi.....................Minor..............................Natural Minor (Aeolian).......The root of the chord

Minor Pentatonic
Use a minor pentatonic scale starting on the root of a min7 chord when it functions as ii in a minor key, or when it functions as ii, iii, or vi in major key.

Dorian b 2 Use the Dorian b2 mode starting on the root of a minor triad when it functions as ii in a minor key ....

MODAL SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA CON CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, DISEGNO DELLA TASTIERA, PENTAGRAMMA, TABLATURE

SOLISTA, ARMONIA, STUDIO, MANUALE, 

By Jody Fisher
Item: 00-35461
UPC: 038081396576
ISBN 10: 0739071629
ISBN 13: 9780739071625

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Modal Soloing Strategies for Guitar is a comprehensive, multi-faceted study of the seven major-scale modes. Start applying and understanding the modes through sample licks, extended solos, and play-along tracks. In addition, you'll play each mode in all 12 keys, learn different types of fingerings, and even learn the formula for each mode and its relationship to the diatonic chord. Soon, you'll be harmonizing the modes and deriving them by altering other scales. A CD with play-along tracks and demonstrations of all the examples in the book is included. 

FEATURES
• Each mode of the major scale in all 12 keys, examined from five different perspectives
• Harmonized modes with suggested voicings
• Open, closed, and single-string fingerings
• Licks and play-along tracks for every mode
• Extended solos showcasing the modes in various combinations
• Examples in TAB and standard music notation

ALSO AVAILABLE
Pentatonic Soloing Strategies for Guitar (35302)

The Improv Series
MODAL SOLOING STRATEGIES FOR GUITAR
Modern Ideas for All Styles
JODY FISHER

ISBN-10: 0-7390-7162-9 (Book & CD)
ISBN-13: 978-0-7390-7162-5 (Book & CD)
Alfred Music Publishing Co., Inc.

This book was acquired, edited, and produced by Workshop Arts, Inc., the publishing arm of the National Guitar Workshop.
Nathaniel Gunod, acquisitions, managing editor Burgess Speed, acquisitions, senior editor
Timothy Phelps, interior design Ante Gelo, .music typesetter

CD tracks 1, 4, 7, 10, 13, 16, 19, and 22 recorded by Robert Brown at Workshop
Sounds Studio, Cranford, NJ; tracks 2,3,5,6,11, 12, 14, 15, 17, and 18 recorded at
Studio Blue, Derry Hill, TX; tracks 8 and 9 recorded by Glenn Riley; tracks 20 and 21
recorded by Steve Robertson at Standing Room Only Studios, Fontana, CA

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 toolspossible. We hope you will enjoy
this book and encourageyou to lookfor
other fine products from Alfred and the
National Guitar Workshop.

Cares. Contents printed on recycled paper.

INTRODUCTION

Welcome to Modal Soloing Strategies for Guitar, the only book about the modes
you may ever need. This book is for intermediate to advanced guitarists desiring
a thorough understanding of modes and their applications for improvising. For
those unfamiliar with the basics of notation and music theory, there is a review
starting on the next page. If you are already familiar with these basics, you can
skip the review and jump ahead to page 20.
The modes have been in existence for centuries as compositional tools for classical,
folk, and ethnic musicians, as improvisational devices for jazz musicians, and a
source of "new" sounds for rock, pop, and country artists. But, unfortunately,
the subject has been shrouded in mystery, causing many guitar students a lot of
confusion. The confusion may be due to an incomplete overview of the subject.
There are many ways of looking at modes and each one has an important place
in understanding and applying the modes to improvising, composition, or both.
Although modes can be derived from both major and minor scales, this book deals
only with the modes of the major scale. Each chapter is devoted to a particular
mode and will include:
• A notated list of the mode in twelve keys
• Perspective #1: The modal formula, a look at where the half steps occur in
the scale and how it relates horizontally to the fretboard
• Perspective #2: The mode's relationship to the diatonic harmony
• Perspective #3: The mode created by altering another scale
• Perspective #4: The mode's intervallic distance from the "parent" key,
measuring from the root of a chord
• Perspective #5: Deducing a mode's key signature
• Six closed-position fingerings
• Open-position fingerings in every key
• The harmonized mode, with sample chord voicings
• Mode usage
• Practice suggestions
• Licks
• Melodic patterns
• Backing track to practice soloing
Also, sample solos utilizing most of the modes in various combinations have been
included at the end of the book.
One way this book is different from many others is that three fingering options are
covered. The first is the horizontal approach along the single string. The second
is the use of "locked" fingerings or scales that are played in a fixed position. The
third fingering option is the "open" position. When any musical concept is explored
on the guitar, a more complete understanding is accomplished by examining all
three fingering options.
It should be noted here that, while a clear understanding of the modes is important,
it represents only a part of what is needed to become an accomplished improviser.
Modes, in conjunction with other scales, arpeggios, and licks, are only part of the
picture. Improvisation is a lifetime study. Try to keep this in mind.
Each chapter of this book is complete so it's all right to skip around. You can also
move straight through from beginning to end for a very comprehensive study. To
get the most out of this book, you need to transpose all exercises and fingerings in
all twelve keys. At first this may seem like a hassle, but in time it will get easier
and payoff in the form of greater fluency.
 

ABOUT THE AUTHOR
Jody Fisher has worked professionally in virtually all
styles of music during his career, from straight-ahead
and contemporary jazz to rock 'n' roll, country, and
pop. For several years, he was a director of the National
Guitar Workshop. He also taught guitar and jazz studies
at both the University of Redlands and Idyllwild School
of Music and the Arts (ISOMA TA). He is an active
performer in the Southern California area, where he
maintains a busy private teaching practice as well.

Acknowledgements
One does not survive in the music business without
help and support from a large network of family and
friends. I would like to thank my wife, Julie; my son,
Josh; Shauna Perry; and my parents, Howard and Edith
Fisher. Also, thanks to my brother, Rich; my uncle, Sid;
David Smolover, Nat Gunod, Ted Greene, Joe Diorio,
George Stanley, Bob Scarano; and the entire gang at
Caleb's Guitar.

Other Instructional Materials by Jody Fisher
3D-Day Guitar Workout (AlfredlNational Guitar Workshop-Book #17867)
Ear Trainingfor the Contemporary Guitarist (AlfredlNational Guitar Workshop-Book & CD #19370)
Jazz Skills (National Guitar Workshop-Book & CD #07-1012)
Rhythm Guitar Encyclopedia (AlfredlNational Guitar Workshop-Book & 2 CDs #14838)
Stand Alone Tracks: Smooth Jazz (AlfredlNational Guitar Workshop-Book & CD #17808)
The Complete Jazz Method:
Beginning Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14120)
Intermediate Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14123)
Mastering Jazz Guitar: Chord/Melody (AlfredlNational Guitar Workshop-Book & CD #14126)
Mastering Jazz Guitar: Improvisation (AlfredlNational Guitar Workshop-Book & CD #14129)
Jazz Guitar Harmony (AlfredlNational Guitar Workshop-Book & CD #20440)
Teaching Guitar (AlfredlNational Guitar Workshop-Book & CD #22916)
Jazz Licks Encyclopedia (AlfredlNational Guitar Workshop-Book & CD #19420)

A compact disc is included with this book. Use the CD to help ensure you're capturing the feel
of the examples and interpreting the rhythms correctly. The symbol shown at the left appears
next to every example that is on the CD. The track number below the symbol corresponds
directly to the example you want to hear. Track 1 provides tuning notes for your guitar.
0001 Soloing Strategies for Guitar

CONTENTS
About the Author
Introduction
otation and Theory Review 5
Tablature (TAB)
Scale Diagrams
Chord Diagrams
Reading Roman Numerals
Left-Hand Techniques
The Chromatic Scale
The Major Scale
Key Signatures
Intervals
Minor Scales

The Ionian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
C Ionian Backing Track

The Dorian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
D Dorian Backing Track

The Phrygian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings ; .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
E Phrygian Backing Track .

The Lydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
F Lydian Backing Track .

The Mixolydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale ,
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
G Mixolydian Backing Track .

The Aeolian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position fingerings: in every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
A Aeolian Backing Track .

The Locrian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
B Locrian Backing Track .

Concluding Solos .
Ionian/Dorian .
Ionian/Dorian/Phrygian .
Lydian/Dorian .
Mixolydian .
Aeolian/Mixolydian .
Locrian/Mixolydian/ Aeolian .

Modal Soloing Strategies for Guitar 

NOTATION AND THEORY REVIEW

Tablature (TAB)
Tablature (TAB) is a system of notation that graphically represents the strings and frets of the guitar fingerboard. Each note is indicated by placing a number, which indicates the fret to play, on the appropriate string.

Scale Diagrams
This book is loaded with scale diagrams. The top line represents the first string of the guitar, and the bottom line the sixth. The vertical lines represent frets, which are numbered with Roman numerals.

The root Scale tones First string
Frets Fret numbers

Chord Diagrams
Chord diagrams are similar to scale diagrams, except they are oriented vertically instead of horizontally. Vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets.

Chord Name First String -C7
Barre + Fret number
Frets Sixth String

Reading Roman Numerals
Roman Numeral Review
Here is a review of Roman numerals and their Arabic equivalents.
I or 1
II or 2
III or 3
IV or 4
V or 5
VI or 6
VII or 7

Left-Hand Techniques
SL= Slide
H = Hammer-on
P= Pull-off
Bend and Release
Whole-Step Bend
Half-Step Bend
Left-hand fingering
 

BASIC BLUES GUITAR METHOD 1. Jody Fisher. DVD TABLATURE

LIBRO DI MUSICA BLUES PER CHITARRA CON DVD E TABLATURE.

Basic Blues Guitar Method, Book 1
A Step-by-Step Approach for Learning How to Play
By Drew Giorgi & Jody Fisher,
CATEGORY: Guitar Method or Supplement
FORMAT: Book & DVD

Instrument: Guitar

A thorough course, paced for beginners. Become a great blues guitarist by starting with the fundamentals, like holding the guitar, tuning up, and playing simple chords and notes, and continue to grow with more advanced topics explored later, like slides, tritone patterns and double stops. All the music in each 48-page book is shown in TAB as well as standard music notation and demonstrated on the accompanying CD and/or DVD. 

THE ART OF SOLO GUITAR 2, Jody Fisher. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO DI MUSICA, METODO, SPARTITI PER CHITARRA CON CD E TABLATURE.

THE JAZZ GUITARIST'S GUIDE TO SOLO GUITAR ARRANGING

INCLUDES LESSONS ON:

IMPROVISATION

SCALES

WALKING BASS LINES

CHORD PHRASES

PLAYING AROUND CHORD SHAPES

By Jody Fisher

In this two-book series, popular clinician and author Jody Fisher clarifies and simplifies the art of creating an arrangement and improvising as a solo guitarist. In his easy-to-understand and enjoyable style, this master of solo guitar teaches all of the theory, technique and arranging skills students need to start a lifelong journey as a solo guitarist. Book 2 focuses on more advanced arranging techniques and adding the element of improvisation to your solo work. There is also lots of information about ornamentation, various musical and stylistic feels, and many aesthetic considerations.

RHYTHM GUITAR ENCYCLOPEDIA, Jody Fisher. SHEET MUSIC BOOK WITH FOR GUITAR WITH TABLATURE AND 2 CD .

LIBRO DI MUSICA, CON 2 CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

Ritmi intorno al mondo. Africa: Sikyi-Ashanti, adowa-Ashanti, akom-Ashanti, gahu-Ewe. Blues: shuffles, pinky patterns, slow (down home), dodici ottavi, feels. Country, Disco, folk: fingerstyle. Funk, Jazz: swing, four-bar phrases, jazzwaltz. Ballads, Dixie, Latin: afoxe-brazil, afro-cuban, baion-brazil, beguine, bolero, bossa-nova a 4, 5, 6, 7 quarti, calypso-Trinidad, Cataret-Brazil, cha cha-Cuba, charanga-Pachanga, choro-Rio, comparsa-Cuba, Conga-Cuba, Frevo-Brazil, guaguanco-Cuba, guajira-Cuba, Guaracha, joropa, Mabo-cuba, maracatu-Brazil, marcha-brazil, merengue-Haiti, montuno, mozanbique-Cuba, pasa doble, reggae-Jamaica, rhumba-Cuba, samba-Brazil, samba cruzado, samba marcha, samba de partido alta, samba in tre, sette quarti, songo-Cuba, spanish tango, tango. Rock. Bunny hop, charleston, greek, hora, Irish jig, Polka, can-can, reel, sher, turkish, two step, straightwaltz, viennese waltz, 5, 7, 15, 11, quarti. Più di 450 ritmi, il tempo, gli accenti, i cambi imprevedibili. Con questo libro migliorerete la vostra precisione ritmica. CD 2 TABLATURE

Rhythm Guitar Encyclopedia Music by Jody Fisher
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs

Includes over 450 rhythms in every musical style including rock, blues, jazz, folk, alternative, country and more. Examples are shown in an easy-to-read rhythmic notation, standard music notation and TAB. Fingerstyle accompaniment patterns are included. The CDs offer performances of examples.

introduction

Most guitarists want to become great improvisers. The image of the wailing guitar player, lost in the
moment, searching for the means te express him or herself is weil known - almost stereotypical. The
truth of the matter is that without great rhythmic backup the soloist has nothing to work with. To
a large extent, the success of a solo has a lot to do with how the rhythm section and the lead player interact.
Originally, the guitar (in non-c1assical circles) was strictly a rhythm instrument. The pulse provided
by the guitarist was the glue that held the rhythm section together. It was, and is, used to provide a
harmonie and rhythmic background for vocals as weil. With the advent of pickups and amplifiers,guitar
players were able te step out front and solo just like the other members of the band. This provided a
more balanced role for guitarists. Somehow, through the years, "rhythm playing" has taken a backseat
te soloing. As a result, many guitarists today are not hip to the benefits of becoming a great rhythm
player. This book is designed help remedy this.
This is a multipurpose book. There are several ways it can be helpful:
• First, it can be used as a reference source. You come home from the gig, embarrassed because
you didn 't know how to play an authemic Bossa Nova pattern, and look it up. Maybe
you had to play some Reggae or a Viennese Waltz. Perhaps you are a jazz player who has
limited rock rhythm chops, or a rocker who needs more funk ideas. Do you freelance, play
in a wide variety of styles? Inside you will find everything from Afro-Cuban rhythms to the
Bunny Hop!
• Second, if you are a songwriter, you should find plemy of material here to inspire new ideas
and help you break out of your old rhythmic habits.
• Third, working your way through each page is a great way to practice reading rhythmic notation.
If you are comfortable reading most of the rhythms here, you are probably ready to
handle anything you find in the professional world.
• Fourth, arrangers will find these ideas helpful for coming up with new ways te treat old,
worn-out material.
Becoming a knowledgeable rhythm guitarist will help you become a better improviser as weil. You will
become more musical in your approach and more in control of your ideas from a rhythmic perspective.
No book can say it ail or Iist every example of every style. This book surveys many styles, but be assured
that you could spend your life studying any one in depth. However you use this book, it is my
hope that you will create good music and find self-expression.
Thanks to my family,julie,josh, Shauna andTom,jennifer, Mom, Dad,jack and Yvonne Abels, Noah,
Maggie,jasper and ail of my teachers and friends for having supported my musical endeavors through
the years. Thanks to David Smolover and Nat Gunod for their friendship and for providing so many
opportunities te further my career - l've learned a lot.

The Author
Jody Fisher has worked professionally in virtually all styles of music during his career, from straight ahead and contemporary jazz to rock and roll, country, pop and show tunes. In the field of education, he taught Guitar and Jazz Studies at the University of Redlands in Southern California for eight years and at the Idyllwild School of Music and the Arts (ISOMATA) for two years. An active performer in the Southern California area, he still maintains a private teaching practice, and is an associate director of the National Guitar Summer Workshop's California, Nashville and Connecticut campuses. Jody Fisher is also the author of The Guitar Mode Encyclopedia, The Guitar Chord and Scale Finder. Jazz Guitar Christmas and The Complete Jazz Guitar Method. all published by the National Guitar Workshop and Alfred.

Content

ABOUT THE AUTHOR 
INTRODUCTION 

ROCK/POP
Rock