Holdings: The Jazz guitar handbook

The Jazz guitar handbook: a complete course in all styles of jazz

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Bibliographic Details
Main Author:	Fogg, Rod 1958- (Author)
Format:	Book
Language:	English
Published:	San Francisco, Calif Backbeat Books 2013
Subjects:	Guitar music (Jazz) Jazz / History and criticism Gitarrenspiel Jazz Gitarre Einführung
Online Access:	Inhaltsverzeichnis
Item Description:	This book offers discussion and exercises in jazz concepts and forms such as blues, pentatonic scales, chords and arpeggios, voicings, major and minor scales, and more. Also includes information on jazz guitar history. With an introduction and appendix. Color and black & white photos. The CD contains recordings of the exercises in the book
Physical Description:	266 p. 28 cm CD (12 cm)

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MARC


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Record in the Search Index

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adam_text	contents Part One: Making a start 35 SECTION 1: A GUITAR FOR JAZZ 36 ■ Anatomy of a jazz guitar 36 ■ Guitar design and construction 37 Introduction 8 History 9 JAZZ AND JAZZ GUITARISTS ■ Out of the blues 10 ■ The guitars 11 ■ The players 14 ■ The electric guitar 17 ■ Hot Club 20 ■ Bebop and beyond 23 ■ Guitar developments 24 ■ The 1950s and 1960s 27 ■ Fusion 29 ■ 21 st-century jazz guitar 34 SECTION 2: GUITAR BASICS 39 ■ The hands 39 ■ Standing and sitting 40 ■ Using the pick 40 ■ Reading the music 40 ■ Getting in tune 44 SECTION 3: BEGINNING WITH THE BLUES 45 ■ Exercise 1.01 CD1 Kenny s Blues , a Kenny Burrell inspired blues in G; alternate picking or economy picking; metronome markings; guitar sounds on the CD 45 ■ Exercise 1.02 CD2 The minor pentatonic scale in G, shape one, third position; alternate picking 47 ■ Exercise 1.03 CD3 The blues scale in G, shape one; more alternate picking; clean sound or distortion; the meaning of low and high 48 ■ Exercise 1.04 CD4 Blue Note Blues , a blues in G using the blues scale; the 12-bar structure; call and response phrasing; listening to jazz 50 ■ Exercise 1.05 CD5 Kenny s Blues , one octave up; position changes; octaves; playing with your thumb 52 ■ Exercise 1.06 CD6 G minor pentatonic scale, shapes two and three 53 ■ Exercise 1.07 CD7 Blue Note Blues , one octave up 55 ■ Exercise 1.08 CD8 G blues scale, shapes two and three; the meaning of key 56 Contents SECTION 4: SOME THEORY - AND ALL FIVE BLUES SCALE SHAPES 58 ■ Exercise 1.09 CD9 Theory; major scales; С major scale 58 ■ Exercise 1.10 CD10 G major scale; chords numbered using Roman numerals 58 ■ Exercise 1.11 CD11 and CD12 (backing track) Blues solo, two choruses using all five scale shapes; using bends in jazz; riffs and musical ideas 62 ■ Exercise 1.12 CD13 G minor pentatonic scale, shapes four and five 65 m Exercise 1.13 CD14 G blues scale, shapes four and five 66 SECTION 5: INTERVALS AND MINOR BLUES 68 m Exercise 1.14 CD15 Theory: intervals in С major, two octaves, numbers only 68 ■ Exercise 1.15 Intervals in the major scale: numbers and names 69 ■ Exercise 1.16 CD16 Intervals outside the major scale; naming intervals; major scale versus blues scale 69 ■ Exercise 1.17 CD17 and CD18 (backing track) The minor blues; a blues in F minor; adding chords in the gaps ; repeat signs with first and second time bars 71 ■ Exercise 1.18 Compromise blues scale shapes 73 SECTION 6: MAJOR PENTATONIC SCALES 74 m Exercise 1.19 CD19 and CO20 (backing track) B-flat blues using major pentatonics 74 ■ Exercise 1.20 Major pentatonic scales; comparison of E minor pentatonic with G major pentatonic 76 ■ Exercise 1.21 CD21 and CD12 (backing track) G blues using major and minor pentatonic; how to practise like a pro 76 ■ Exercise 1.22 CD22 and CD23 Blues in B-flat; using chord IV in bar two; introducing jazz or swing feel; eighth-note triplets; the jazz metronome; backing tracks on the CD 78 Part 2: Chords 83 SECTION 1: CHORDS AND ARPEGGIOS - BUILDING TRIADS AND SEVENTHS 84 ■ Exercise 2.01 Eight open-string chords and chord basics 84 ■ Exercise 2.02 CO24 Introducing arpeggios; how we name and abbreviate major and minor chords; building triads and sevenths; notes for common chords 85 ■ Exercise 2.03 CD25 Amľ/07 two-chord groove; adding a bassline 88 ■ Exercise 2.04 Introducing barre chords and movable chords; learning the note names 90 ■ Exercise 2.05 Deriving seventh chord shapes from major barre chords; avoiding doubled notes; muting in chord shapes 91 ■ Exercise 2.06 Deriving seventh chord shapes from minor barre chords; chord structure 92 ■ Exercise 2.07 CD26 Jazz turnaround in G; Gmajľ, Gtfdimľ, Am7, Аь7 chords; alternate legato and staccato strum 94 ■ Exercise 2.08 CD26 Jazz turnaround melody; AABA 32-bar form 96 ■ Exercise 2.09 Deriving seventh chords with fifth-string roots from A major shape 98 ■ Exercise 2.10 Deriving seventh chords from A minor shape 98 ■ Exercise 2.11 CD27 D minor chord piece; descending inner voicing; using fingerstyle 99 ■ Exercise 2.12 Chords built on С major shape; chord voicing and omitting unnecessary notes 101 contents SECTION 2: EXTENDING BEYOND THE SEVENTH; CHORDS, KEYS AND MODULATION; CHORD VOICINGS 103 ■ Exercise 2.13 Ninth chords; four essential ninth types; seeing chords as having the same structure 103 R Exercise 2.14 CD12 Kenny s Blues , rhythm track, using ninth and seventh chords; playing rests 104 ■ Exercise 2.15 CD28 Kenny s Blues with different shapes 106 ■ Exercise 2.16 CD29 Chords in a key; triads 107 ■ Exercise 2.17 CD30 Seventh chords in C, built in thirds 108 ■ Exercise 2.18 CD31 Seventh chords in C, practical voicings 109 ■ Exercise 2.19 CD32 Seventh chords in G major, two ways; voice-leading 110 ■ Exercise 2.20 CD33 32-bar jazz standard form; the ii-V-l progression; changing key (modulation) 111 ■ Exercise 2.21 Majors and relative minors; the Circle of Fifths; modulating to nearby keys; the order of sharps and flats 114 ■ Exercise 2.22 CD23 Blues in B-fiat from Exercise 1.22; the simplest blues changes 117 ■ Exercise 2.23 CD34 B-flat Jazzy Blues , and its implied key changes; transposing instruments, and jazz in flat keys 119 ■ Exercise 2.24 CD35 B-flat Jazzy Blues , arpeggio-based blues melody; learning music in phrases 120 SECTION 3: MINOR HARMONY; SUBSTITUTIONS AND INVERSIONS 122 ■ Exercise 2.25 CD36 Minor scales: three different types 122 ■ Exercise 2.26 CD37 Chords in a minor key: triads and sevenths; the minor ii-V-i 123 ■ Exercise 2.27 CD38 Practical shapes for chords in A minor 125 ■ Exercise 2.28 CD39 Bossa Blue , ii-V-i in С minor; fingerstyle right-hand technique; bossa nova style; cadences and classical terminology 126 ■ Exercise 2.29 CD40 ninth chords in С and A minor; diminished seventh chords 128 ■ Exercise 2.30 CD41 ii-V-i in A minor and other keys with ninth chords; right-hand technique using e finger; composing using ii-V-l 129 ■ Exercise 2.31 CD42 Substitutions in the ii-V-l; the tritone substitution in C; using pick and fingers 131 ■ Exercise 2.32 CD43 The tritone substitution in action; eight more bars of ii-V-l 133 SECTION 4: INVERSIONS AND EXTENSIONS 135 ■ Exercise 2.33 Inversions of triads; slash chords 135 m Exercise 2.34 Seventh chords contain two triads 136 ■ Exercise 2.35 CD45 Comping with triads and inversions 136 ■ Exercise 2.36 CD46 Seventh chords inverted 138 ■ Exercise 2.37 CD47 Comping with seventh chords in inversions; a blues in C; position changes with chords 141 ■ Exercise 2.38 CD48 Inversions with sixth-string roots; practising with the Circle of Fifths 144 ■ Exercise 2.39 CD49 Blues in G using sixth-string inversions 145 S Exercise 2.40 Diatonic extensions; elevenths and thirteenths; sus4 chords 147 β Exercise 2.41 Chromatic or non-diatonic extensions; sharp elevenths and flat thirteenths 150 я Exercise 2.42 CD50 32-bar jazz standard with 7sus4, eleventh and thirteenth chords 152 ■ Exercise 2.43 CD51 Eight bars of thirteenths, ninths, and chromatic extensions 155 contents Part 3: Beyond pentatonics 157 SECTION 1: MAJOR SCALES AND MODES 158 ■ Exercise 3.01 CD52 Major scales for soloing; G major, shape one 158 ■ Exercise 3.02 CD53 Soloing with the major scale on Gmajľ/Cmajľ; recording guitar and making up backing tracks 159 ■ Exercise 3.03 CD54 All seven G major scale shapes; using the Circle of Fifths to practise in all keys 161 ■ Exercise 3.04 CD55 The seven modes of the major scale and how we use them; modal jazz, Miles Davis, Bill Evans and A Kind of віие m Exercise 3.05 CD56 The Dorian mode; Dorian groove in A; using motifs; walking modal basslines; the medieval modal system versus the jazz approach 168 ■ Exercise 3.06 CD57 Dorian groove backing track and modal chords; using play-along CDs 170 ■ Exercise 3.07 CO58 Lydian groove solo in C; vibrato; grace notes and ornaments; the relationship between scale shapes and the different modes 172 ■ Exercise 3.08 CD59 Lydian groove backing track and Lydian mode chords 174 ■ Exercise 3.09 CD60 Modal chords in С 175 ■ Exercise 3.10 CD61 Mixolydian groove, solo; swing loth-notes 176 ■ Exercise 3.11 CD62 Mixolydian groove, funky backing track 178 ■ Exercise 3.12 CD62 Mixolydian groove, bass part 179 ■ Exercise 3.13 CD63 and CD39 (backing track) Aeolian and Locrian modes; soloing on Bossa Blue , Exercise 2.28179 SECTION 2: ARPEGGIOS 183 ■ Exercise 3.14 CD64 Seven arpeggios on major scale shape one 183 a Exercise 3.15 Seven arpeggios on major scale shape seven; inversions of arpeggios 185 ■ Exercise 3.16 CD65 Gmajľ/Cmajľ groove with arpeggios; sweep picking 188 ■ Exercise 3.17 CD66 and CD62 (backing track) Chromatic decoration of arpeggios 190 ■ Exercise 3.18 CD67 More Dľ arpeggios, two notes per string 191 ■ Exercise 3.19 CD68 Other two-note arpeggios 193 SECTION 3: THE MELODIC MINOR SCALE 195 ■ Exercise 3.20 CD69 С major versus С melodic minor ascending 195 ■ Exercise 3.21 CD70 Seven modes on G melodic minor 196 ■ Exercise 3.22 CD71 Seven G melodic minor shapes 199 ■ Exercise 3.23 CD72 ii-V using melodic minors, Gm majľ and Cľ*11202 ■ Exercise 3.24 CD73 ¡i-V using melodic minor modes; modes one and four 202 ■ Exercise 3.25 CD74 The Lydian augmented mode, solo; leaving breathing spaces in your solos; modes and key signatures 206 ■ Exercise 3.26 CD75 The Lydian augmented mode, chords; using pick and fingers 209 ■ Exercise 3.27 CD75 The Lydian augmented mode, bass part; recording your own backing tracks 209 ■ Exercise 3.28 CD76 ii-V using Gmľ and C7#5b9 backing track for Locrian Џ and Altered scale 210 ■ Exercise 3.29 CD77 Locrian г and Altered scale solo; treating ii-V as all chord V 212 contents SECTION 4: SYMMETRICAL SCALES - AND OTHERS 214 ■ Exercise 3.30 Whole-tone scale theory 214 ■ Exercise 3.31 Whole-tone scale shape 215 ■ Exercise 3.32 Diminished scale theory 215 ■ Exercise 3.33 Diminished scale shape (whole-step/half-step) 216 ■ Exercise 3.34 Diminished scale shape (four notes per string, half-step/whole-step) 217 ■ Exercise 3.35 CD78 Whole-tone and diminished scale solo 218 ■ Exercise 3.36 Other scales; chromatic, harmonic minor, and harmonic major 220 ■ Exercise 3.37 Scale shapes, three notes per string 221 ■ Exercise 3.38 Scale patterns for practice; using a metronome to develop speed; Real books and Fake books 222 Part 4: Jazz guitar styles 225 SECTION 1: RHYTHM STYLES, CHORD/MELODY TECHNIQUES, AND TIME SIGNATURES 226 ■ Exercise 4.01 CD79 Kenny s Blues , both parts 226 ■ Exercise 4.02 CD80 Chord/melody; chords with melodies and comping with two and three-note chords 228 ■ Exercise 4.03 CO81 Walking bass, and how to do it 230 ■ Exercise 4.04 CD82 Walking bass with chords, Joe Pass style 232 ■ Exercise 4.05 CO83 Chord/melody, Lenny Breau style 235 ■ Exercise 4.06 CD84 Chord/melody solo arrangment in 3/4 time 235 SECTION 2: NOTE CHOICES AND MELODY STYLES 238 ■ Exercise 4.07 CD85 and CD87 (backing track) Octaves, Wes Montgomery style 238 ■ Exercise 4.08 CD86 and CD 87 (backing track) Chord solo 240 ■ Exercise 4.09 CD88 Bird Blues , bebop changes and extending the blues changes 242 ■ Exercise 4.10 CD89 Bird Blues melody; note choices, extensions, and encircling tones 244 ■ Exercise 4.11 CD90 Hot Club/Gypsy jazz rhythm and chord shapes 246 ■ Exercise 4.12 CD91 Django-style melody or improvisation; Gypsy picking 247 ■ Exercise 4.13 Rhythm Changes , chords and substitutions 249 ■ Exercise 4.14 CD92/93/94 Santa Margarita , calypso-style melody over Rhythm Changes 253 ■ Exercise 4.15 Triads with a foreign bass tone; more slash chords 255 ■ Exercise 4.16 CD95 Slash Chord Thing intro 256 ■ Exercise 4.17 CD95 Slash Chord Thing 256 ■ Exercise 4.18 CD96 Slash Chord Thing solo 258 Appendix 263 ■ Fingerboard chart: notes, letternames and fret numbers 263 ■ Spellings of jazz chords 264 On the CD 265 ■ CD track listing, and which tracks can be used for solo practice 265
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spelling	Fogg, Rod 1958- Verfasser (DE-588)135486432 aut The Jazz guitar handbook a complete course in all styles of jazz Rod Fogg San Francisco, Calif Backbeat Books 2013 266 p. 28 cm CD (12 cm) txt rdacontent n rdamedia nc rdacarrier This book offers discussion and exercises in jazz concepts and forms such as blues, pentatonic scales, chords and arpeggios, voicings, major and minor scales, and more. Also includes information on jazz guitar history. With an introduction and appendix. Color and black & white photos. The CD contains recordings of the exercises in the book Guitar music (Jazz) Jazz / History and criticism Gitarrenspiel (DE-588)4021101-0 gnd rswk-swf Jazz (DE-588)4028532-7 gnd rswk-swf Gitarre (DE-588)4124933-1 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Jazz (DE-588)4028532-7 s Gitarre (DE-588)4124933-1 s Gitarrenspiel (DE-588)4021101-0 s DE-604 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026923181&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Fogg, Rod 1958- The Jazz guitar handbook a complete course in all styles of jazz Guitar music (Jazz) Jazz / History and criticism Gitarrenspiel (DE-588)4021101-0 gnd Jazz (DE-588)4028532-7 gnd Gitarre (DE-588)4124933-1 gnd
subject_GND	(DE-588)4021101-0 (DE-588)4028532-7 (DE-588)4124933-1 (DE-588)4151278-9
title	The Jazz guitar handbook a complete course in all styles of jazz
title_auth	The Jazz guitar handbook a complete course in all styles of jazz
title_exact_search	The Jazz guitar handbook a complete course in all styles of jazz
title_full	The Jazz guitar handbook a complete course in all styles of jazz Rod Fogg
title_fullStr	The Jazz guitar handbook a complete course in all styles of jazz Rod Fogg
title_full_unstemmed	The Jazz guitar handbook a complete course in all styles of jazz Rod Fogg
title_short	The Jazz guitar handbook
title_sort	the jazz guitar handbook a complete course in all styles of jazz
title_sub	a complete course in all styles of jazz
topic	Guitar music (Jazz) Jazz / History and criticism Gitarrenspiel (DE-588)4021101-0 gnd Jazz (DE-588)4028532-7 gnd Gitarre (DE-588)4124933-1 gnd
topic_facet	Guitar music (Jazz) Jazz / History and criticism Gitarrenspiel Jazz Gitarre Einführung
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