Jazz Guitar Bebop and Beyond

Doug Munroe 4/12/02

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Item# JGU126
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The most complete method for the modern jazz guitarist. This book explores advanced, modern jazz and bebop concepts and techniques, including music theory, scales, modes, chord voicings, arpeggios, soloing and comping concepts. Over 170 music examples and 13 complete solos in the styles of many jazz greats are used to place all concepts into a pra musical context. A CD with all the music examples is included!

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The beboppers changed everything. They took an indigenous American folk music-jazz-and brought it to technical heights that demanded a discipline equal to, or greater than, that of the classical virtuoso. Cats were still playing jazz by ear, but it was a much more discerning ear.This was music for musicians. After their "straight" gigs (big band or commercial), these musicians would gather in late-night sessions at small clubs to play music that challenged both the players and their audience. Players like Dizzy Gillespie and Charlie Parker invented this music. Players like John Coltrane and Sonny Rollins continued to pursue the aggressive harmonic and virtuoso ideals laid down by these cats. The trend for further expansion and expression continues today with players like Michael Brecker and Mike Stern.

In this book we will explore jazz improvisation from bebop forward. This book is not intended as a his-tory book. I do feel, however, that it is important for the player to have a chronological sense of whencertain approaches to jazz improvisation developed. Jazz improvisation is a musical form that is contin-ually evolving or, sometimes, devolving. Starting from the beginnings of improvisation and working yourway up to the present is a good, orderly way to build your abilities as an improvising musician.

What you are going to get in this book is my triple reinforcement approach to learning jazz improvisation. I've developed this approach during a lifetime of devotion to music: listening, playing, analyzing, transcribing, watching, teaching, learning, and always digging music. Remember, this book is not the only way to learn, it's just one way. There really is no wrong way, as long as you learn. What I have tried to do here is to present some of the necessary materials in an orderly fashion with musical examples and some suggested essential listening and transcribing to create a realistic method for learning jazz improvisation. Throughout this book you will see words that are highlighted. I have highlighted players, composers, songs, and concepts that I felt were important to emphasize. This book is filled with musical examples. I highlight the styles of many different players in these examples and cite them by name. Check out these artists, listen to them, and transcribe their solos. Transcribing is the best way to learn in depth about a player. I also put a lot of my own riffs and playing style in this book. When I don't attach an artist to an example, it's probably because it is one of my own. Many of the examples that I do credit the origins of still have my mark on them. After playing for more than 20 years, you can't help but develop your own voice. I hope you enjoy playing through this book as much as I enjoyed putting it together.