Revised 2008 Edition. All three volumes in one, with over 200 pages of text on pro quality score paper. Spiral binding lets it lay flat on your stand.
A guide to developing a linear chordal vocabulary for improvisation. Written with the styles of Wes Montgomery, Cal Collins, and Barney Kessel in mind. 80 pages. Plastic comb binding allows it to lay flat on your music stand.
Improvising using lines of chords is an advanced craft. This book is intended for the jazz guitarist who is familiar with music theory, has developed at least a basic vocabulary in bebop and jazz improvisation, has studied some ear training, and is now beginning to explore the technique of playing lines of chords. Specifically, this book is a collection of patterns that demonstrate how lines of chords can be created and used to express improvised melodies.
The patterns are arranged by tonal centers of the dominant 7th, the minor, and the major. A section is included in the front which illustrates (1) frequently used voicings; (2) four note chords in their inversions; and (3) different types of chord scales. These are the building blocks from which melodic lines in chords can be created.
Chordal Bebop Lines for Guitar Volume 2 provides the next logical step, following Volume 1, for guitarists who are seriously engaged in developing a chordal approach to improvisation, in the styles of Wes Montgomery, Barney kessel, and Cal Collins.
Whereas Volume 1 lays a foundation for this style, and includes studies of patterns, chord scales, and chord inversions, Volume 2 devotes more space to longer and more complex patterns.
This volume contains more advanced linear examples, exercises i voice leading (which utilize more modern voicings), extended solo excerpts from the masters of this style, and a widening vocabulary of chords that builds on those found in Volume 1.
The same principle from Volume 1 is applied in Volume 2 as well: In memorizing the chordal patterns, fragments, and riffs, the goal is for the player to be able to weave these together to fit any changing improvisatory situation.
The goal of both volumes is to develop a chordal vocabulary which can be applied over underlying chord changes, much the same as singl-line patterns and scales are internalized and able to be applied without thinking about them.
The book contains Wes-style chorded solos for the following tunes: Ceora, Days of Wine and Roses, Dexter's Textures (G Blues), Confirmation, and Bb Rhythm Changes.
You do not have to be able to read music to navigate this book....all chord voicings are written above the melody line in diagram form. This is not a traditional book of 'chord solos' to be played by a solitary guitarist, but is rather a collection of 'chorded solos' intended for combo format.....the difference is understood by examining a typical Wes Montgomery solo, and the introduction explains the book this way: "Within a trio or quartet format, a typical Wes Montgomery solo often escalates in interest from single lines, to octaves, to chordal lines. The arrangements found in 'Chorded Solos Workbook' are written in the harmonic language of that improvised chordal style.
Each of the solos all of which occupy one or more choruses - might be thought of as 'shout chorus' improvisations that could come at the end of an improvised solo. This collection of arrangements is exemplary of how a vocabulary of chordal patterns can be linked together over active chord progressions, in a manner that puts forth a strong melodic composition.
The solos in this volume are illustrations of that advanced technique. The solos are written over standard tunes, and a fake sheet of the basic chord progression precedes each solo. This allows a comparison of the basic chord changes of each tune to the written solos, as a means of understanding how the chordal phrases are employed, and to see how they connect changing tonal centers."