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Beginning Jazz Guitar: The Complete Jazz Guitar Method: Beginning-intermediate-mastering Chord/Melody-mastering Improvisation [Format Kindle]

Workshop Arts , Jody Fisher
5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)

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Présentation de l'éditeur

Anyone with a knowledge of basic chords and guitar scale fingerings can dig right in and start learning to play jazz right away. Spanning from the major scale and basic triad theory all the way up to extended chords and the modes, this book features a full-length etude or song to go with every new concept introduced. Beginning Jazz Guitar breaks the age-old tradition of dry, intimidating and confusing jazz books, and provides an actual step-by-step and enjoyable method for learning to play in this style.

Clearly organized into easily mastered segments, each chapter is divided into separate lessons on harmony or improvisation. All music is shown in standard notation and TAB.

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Commentaires client les plus utiles
5.0 étoiles sur 5 Excellente méthode 2 mars 2014
Par eric.mas
Format:Broché|Achat vérifié
Cette méthode ne s'adresse pas à des débutants en guitare mais plutôt à des guitaristes ayant déja une certaine pratique de l'instrument et qui sont désireux d'étudier l'improvisation. Elle aborde les accords sous diverses formes, les gammes majeures ainsi que les modes qui en découlent, avec de nombreux exemples.Le double systéme portée/tablature et les diagrammes d'accords facilitent le déchiffrage.L'organisation progressive de l'étude rend cet ouvrage attrayant. Si vous ne lisez pas l'anglais il est préférable d'acheter cette méthode en français avec le DVD, mais elle est plus chére.
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0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Un bon compagnon pour les débutants 1 septembre 2009
Un bouquin très simple et très pédagogique pour découvrir la guitare jazz et s'initier aux règles de l'harmonie, des gammes et de l'improvisation
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Amazon.com: 4.0 étoiles sur 5  62 commentaires
101 internautes sur 102 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Probably the best jazz guitar tutorial in print 2 octobre 2004
Par J. Janssen - Publié sur Amazon.com
Format:Broché|Achat vérifié
I've played guitar for more than thirty years and have focused on straight ahead jazz for the last 15 or so. All that time I've absorbed bits and pieces of musical knowledge from method books, lick guides and transcriptions as well as from the experience gained playing with others. No resource that I've encountered offers the degree of fundamental understanding that one can gain from this series of books.

Unlike most other method books, "Beginning Jazz Guitar" starts from chapter 1 with a dual track instruction mode of chord and scale studies mixed with a moderate dose of musical theory AND the author wisely limits the first volume to just the major scale. Too many other fine publications insist on bedeviling the student with a bewildering array of scales and modes in rapid fire succession. This volume shines when it comes to supplying answers to real world questions as the student might actually encounter them. Additionally, Jody Fisher presents scales in a format that encourages horizontal rather than vertical playing (one of the most important and most overlooked aspect of improvisation). As a matter of fact, more experienced players may have to relearn scale positions to work through the etudes and excercises in this book since they are fundamentally different than those normally found in most instructional texts.

Likewise, for a beginning book, the text does a credible job in presenting harmony and chord progressions with just enough theory to understand how progressions are structured and how to extend and alter chords. Most books present chordal theory in the first part of the book and then take up lead playing in the second half as if they bore no relationship with one another. Again, the author scores with the dual track approach.

Finally, the information contained in the "Coda" at the end of the book is worth the price alone. One could spend half a lifetime studying jazz guitar and not stumble over some these gems of info.

As a companion to this book I might also recommend "All Solos & Grooves for Jazz Guitar" by Jim Ferguson (Mel Bay) which serves up major scale studies along with more advanced solos utilizing similar techniques. As a matter of fact all of Ferguson's books would fit in nicely with this series.

All in all, an excellent resource for the determined student.


Since it's been almost 10 years since I wrote this review I thought I'd add a couple comments that didn't occur to me at the time. A misconception that I had was that no one could possibly confuse the title of "Beginning Jazz Guitar" with "jazz for beginning guitarists". Unfortunately, that''s proven not to be the case largely because there is very little mass exposure to jazz in our current culture. At the time I was growing up jazz artisans like Ramsey Lewis, Wes Montgomery, Cal Tjader, Dave Brubeck, and many others had Top 40 hits that competed on AM and FM radio with Elvis, MoTown, BB King,The Beatles, and every sundry blues, folk, R&B, and rock act in the 1960's. Practically every neighborhood had a jazz club or at least a coffeehouse* that showcased jazz artists a few nights a month. This exposure allowed every player to observe professional musicians in a closeup informal atmosphere and you could see how they actually worked together, how they played certain lines, and how they played with the music to make something new and fresh. Today, it's difficult to find live jazz in any venue, let alone in a place where you could plant yourself 10 feet from a master. For this reason alone I'd advise beginning guitar players to avoid jazz like the plague unless they're possessed of child prodigy qualities. I belatedly came to this conclusion largely due to a few 1 and 2 star reviews by critics who admonished this publication as "not for beginners. Those critics are correct, but not because this series is lacking.

What beginning guitarists that ASPIRE to play jazz should do is to study blues and classical guitar along with as much musical theory as they can absorb. Of the popular music forms, the blues is rather straight forward in it's construction and much of the jazz repertoire is derived from the tradition of blues players migrating into the jazz world. Alternatively, musicians like Dave Brubeck, Jim Hall and Bill Evans came from the classical tradition which brought a modal approach and varying time signatures to familiar themes. Jazz, at it's most elemental, is the deconstruction and re-organization of known standard works. It later became quite acceptable to author original pieces that were created with recognizable embellishments of the many reconstruction forms. This began largely as a pass time by professional musicians in the 1920's and 30's who performed the same dance music night after night. Anything you do repeatedly has the potential of becoming stale and increasingly the side men from different bands would get together after hours to "tweak" the music as a form of entertainment among themselves. Almost immediately some of this started to leak into their professional work and a savvy audience could figure out what they were doing and cheered them on, usually to the dismay of the band leader who didn't approve of the hired help getting star billing. Early guitar players like Charlie Christian experimented with amplifying their instruments which allowed them to move from the rhythm section to lead playing where they could go toe to toe with the horn players thereby creating more room for improvisation in the form of single string melodic work which, in turn, led to the development of smaller groups of trios and quartets that personified post war jazz. There are certainly other jazz forms that evolved in different ways spanning Dixieland, New Orleans, and Latin influences, but they all bore a single trait; that jazz as a genre was "music for professional musicians", not a form of popular music that came from the folk tradition in which music or dance was used as a medium for larger social expression.

While I've probably run the risk of sounding like an aging blow hard, the reason for the preceding is to stress that beginning guitar students need to become as acquainted with the multitude of scales and modes as they probably are with a handful of first position chords. The jazz musician isn't just playing a piece of music; he's playing with it, in the sense that he's messing around with the way it's normally played in a similar fashion to the way Picasso might rearrange the eyes and nose of his portrait subject. Like a visual artist the jazz musician has to be able to depict the subject realistically before he can effectively abstract it, and that takes a firm grasp of musicianship, musical theory and instrumental technique. Fortunately these are skills that can be acquired by most aspiring musicians just as draftsmanship can be taught to art students even though they weren't born with that innate skill.

To play jazz you can't just emulate what's in the notation. The musician works in concert with his fellow players and creates a unique work with each performance. It's never about playing the same piece the same way every time. In order to do this the player has to be able to dip into his tool box and deal with a piece of music as a creative force that he's constantly manipulating in much the same way the abstractionist creates a painting. Study theory, classical form, the emotion created with blue notes, and much of what appears difficult or incomprehensible in this series will be transformed into a usable set of tools enabling you to make music that's unique to you, not just rote playing of jazz etudes. Without getting too artsy, it's about you owning the music, not the music owning you.

* In the 50's and 60's "coffeehouse" didn't mean a neighborhood starbucks. It referred to a bar or nightclub that catered to the avant-garde. The beat generation needed places to live their lives and besides showcasing music, poetry readings, and occasional art exhibits, these establishments often sold books and recordings along with coffee, tea and, occasionally, herbal concoctions of questionable legality. Since they usually didn't sell alcohol (though it was commonly available as BYOB) they could stay open well past normal closing hours and became a natural habitat for jazz musicians who wanted to unwind after working their nightly gigs.
26 internautes sur 26 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Good Book to Learn More Sophisticated Guitar 3 juin 2008
Par M. Dacre - Publié sur Amazon.com
Format:Broché|Achat vérifié
First off, when this book says "beginning," it does NOT mean it is targeted to a complete beginner to guitar. It means it is written for a guitarist who knows the basics of rock guitar and would like to learn more about the more sophisticated and traditional jazz style.

The book assumes that you already know a couple scales (pentatonics, etc.) and most standard rock chords, and I greatly appreciated that it assumed I knew these, because I was afraid the book would be too "dumb" in the beginning.

This book is fantastic... it shows you what to play with clear diagrams and explanations and all the etudes and songs are written in TAB and traditional so it exposes you to playing guitar using traditional notation, which is an important skill.

I highly recommend this book. If you are a fairly good intermediate-level rock guitarist who knows all the basic open and barre chords, this book will pick up right where you want it to and help you add some sophistication to your playing... all you have to do is practice what it teaches you!
28 internautes sur 29 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Learning Jazz or reading TAB 15 mars 2006
Par Amazon Customer - Publié sur Amazon.com
Format:Broché|Achat vérifié
I have used this book a lot since I got it, and I have learned much from it. While I at first was quite entusiastic about the book, I am slightly more critical now.

The book proceeds along two tracks, chords and solo. In both cases etudes goes alongside the theory so you can apply what you have leared. But after learning some of the etudes, I started wondering if I had really learned the theory. You learn to play basic triads on any three adjacent strings, and this accompanied by an etude. But as the etude is written in TAB I do not think about whether the chord I play is an d-minor or an A major or any other chord. I found that when I took an old song-book and tried comping using the same basic triads, I had to think about how to form the chord and hence I learned more. For many of the other etudes I got a similar feeling that what I learned was not the chord or the fingering, but to read TAB.

Another strange point is that the book starts out by a short review of the pre-requisite. You are supposed to be familiar with fingering of the pentatonic scale, and basic blues chord progression. But nowhere in the book would lack of such knowledge be an aparent problem.

Still, this is an good book. The basic theory is excellently explained. I have learened a lot from the book. It starts out easy both in construction and voicing of chords and improvisig, proceedin to modes of the major scale.
18 internautes sur 19 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Better as a reference book 2 septembre 2010
Par real san diego reader - Publié sur Amazon.com
Format:Broché|Achat vérifié
First of all, I think Jody Fisher has done a commendable thing by putting together a book for beginning jazz guitarists because there are so few books of its kind. Unfortunately, I have not found this book to be very useful other than as a source of reference.

The main problem with the book is that, while the material it covers is fairly comprehensive, it provides very little guidance in actually learning and memorizing the materials presented. I liken it to someone handing you a Japanese dictionary and expecting you to learn how to speak Japanese from it. For example, the book covers triads and all of their inversions, diatonic scales and modes, a whole bunch of chords (7th, 11th, 13th, Add9, dominant 7th suspended, etc.) and many different fingerings for each. Yet, for all the material that it covers, the book relies exclusively on short little etudes to demonstrate the application of each concept. I do not think these etudes are very effective in internalizing the concepts presented. The best instructional books provide a lot of guidance on how to learn. Ted Greene's books are always full of comments like, "Don't worry about memorizing all of these forms right now, just focus on hearing how they sound..."

Another problem was that you have to get through well over half of the book before you get to anything that sounds remotely "jazzy". Compare this with Mickey Baker's Complete Course in Jazz Guitar which gets you playing cool sounding jazz chords from the very first page of the book. A student who wants to learn jazz guitar will need a lot of patience in order to stick with this book.

Finally, I thought that the absence of arpeggios in the book was a huge weakness. The book makes a clear distinction between chords and scales, going so far as dividing the book into "A" sections (for chords) and "B" sections (for scales). I think this approach is somewhat misguided -- it wasn't until I learned to utilize arpeggios and target chord tones that I could make my soloing sound jazzy. I think that, for many years, I was stuck in a rut precisely because I had so thoroughly separated chords from scales in my head. In contrast to this book, Ted Greene's Single Note Soloing Volume 1 introduces arpeggios within the first few pages, shortly after he introduces chords and scales. This has the effect of reinforcing the close relationship between the two concepts.

The Intermediate Jazz Guitar book (the next one in this series) is a little bit better because it starts you off playing jazz from the get go. In addition, it provides a little more guidance in internalizing the concepts and the CD has some backing tracks for improvisation. Personally, I think most people who want to learn jazz guitar can skip this one and go straight to the Intermediate level book. If you don't mind reading standard notation, the Mickey Baker book I mentioned above is a good one, as well as Ted Greene's Chord Chemistry and Single Note Soloing Volumes 1&2.
15 internautes sur 16 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Great Intro to Jazz Guitar! 5 décembre 2006
Par Scott - Publié sur Amazon.com
Format:Broché|Achat vérifié
I agree with the other reviewers on the content of the book. While some of the material in the beginning may be a little basic, it is clearly and concisely explained. The subsequent material is explained with the same clarity, and thoroughness. The sections on playing in various modes are particularly helpful. Great material!! I mistakenly rated the book/DVD down at a three because I didn't think the DVD included the audio tracks for the lesson and was frustrated. But thanks to another Amazon reviewer who straightened me out, I found them and am making great progress. Now if I could only figure out how to change my rating from 3 to 5 stars....
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