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Jazz Guitar Voicings - Vol. 1 [Format Kindle]

Randy Vincent
4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)

Prix conseillé : EUR 20,30 De quoi s'agit-il ?
Prix livre imprimé : EUR 34,00
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Descriptions du produit

Présentation de l'éditeur

Have you ever wondered how guitarists like Joe Pass, Jim Hall and Wes Montgomery find such full, luscious voicings for their chord melody playing? Well, much of that sound is based on the "Drop 2" principle of chord voicings. In this book, veteran guitarist Randy Vincent explains exactly how you can get that same sound too. Endorsed by Julian Lage, John Stowell, Larry Koonse, etc. The audio portion of this book is available for free download at http://www.shermusic.com/new/downloads.​shtml.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 5792 KB
  • Nombre de pages de l'édition imprimée : 69 pages
  • Utilisation simultanée de l'appareil : Illimité
  • Editeur : Sher Music; Édition : 1 (12 janvier 2011)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B004KA9VC4
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Non activé
  • Composition améliorée: Activé
  • Moyenne des commentaires client : 4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: n°209.405 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)

Commentaires en ligne

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Meilleurs commentaires des clients
4.0 étoiles sur 5 Très clair et intéressant 17 décembre 2012
Par edz
Format:Couverture à spirales|Achat vérifié
Parfait pour progresser dans l'étude de la guitare jazz. Une bonne connaissance des accords est requise ainsi que celle du manche de la guitare, c'est évident mais il vaut mieux le dire.
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Amazon.com: 4.5 étoiles sur 5  31 commentaires
50 internautes sur 51 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Wow! A profoundly insightful and useful book 9 juillet 2010
Par John Palmer - Publié sur Amazon.com
Format:Couverture à spirales|Achat vérifié
I'm a long time guitar player -- 41 years -- and a long time systems analyst -- almost as long.

I set out to end my guitar music illiteracy about 5 years ago. This was the result of trying to play jazz, feeling ashamed at how poor I was at dealing with the music and working with some very patient bandmates who are literate.

So, I began a journey through the myriad of guitar chord dictionaries and, especially, books that claim to have discovered THE secret to all guitar chord playing knowledge.

Unfortunately, because I'm a systems analyst, I get splinters in my mind when I read books that don't get to the essence of what they are trying to say. (Or worse, have an essence that is just bogus.) Most of the many books on chords for guitar suffer from these problems.

On the other hand Jazz Guitar Voicings is crystal clear about a profoundly fundamental idea: arrangers have standard ways of arranging the notes in a chord (i.e. voicings), low to high. One of them -- Drop 2 -- is the key to playing chord scales and melodies in a way that doesn't induce hand cramps. That is, people like me (Tal Farlow or Lenny Breau I am not) can can play these chords.

These skills are essential for playing jazz, soul, funk, bossa nova and even a surprising number of rock tunes. In fact the only styles of guitar music I can think of where you probably couldn't use these ideas are 3 or 4 chord folk music and metal. (If you are into those styles, this is probably not the book for you.)

Any of you who are Wes Montgomery fans (and if you're into jazz guitar, you'd almost have to be a Wes Montgomery fan) know of his single note, octaves then chords solo structure. When he gets to the chords, much of what he's doing is in Drop 2.

It may take me years to absorb all that Randy Vincent has put into this book. There are so many great ideas, examples and scales to master. But this is one book where I know that the time invested will pay off enormously.
28 internautes sur 28 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 excellent 17 juillet 2011
Par daniel - Publié sur Amazon.com
Format:Couverture à spirales
great book. the rare, actual difference maker, if you put the work in.

one suggestion: once you've covered the intro, and gained a feel for where it's going, proceed to section 4. that's the "practicing" part. do a bunch of that. get to the point where the foundation is under your fingers -- all string sets, all keys, to the point where the harmonized scales feel like, well, scales -- and the actual music-making material (which comes before the practice section in the book) will flow a whole lot better.

that said, i'm real glad i picked this up. thanks to the author.
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Must have 30 janvier 2011
Par Jan Ghijselen - Publié sur Amazon.com
Format:Format Kindle|Achat vérifié
Great book for guitarists desiring to go beyond stock voicings. Based on Mark Levines' drop2 book, it explains how to incorporate modal and chromatic (diminished) passing chords, approach chords to your voice leading efforts.
The book helps you bridge the gap between soloing and comping. In most textbooks the melodic approach to soloing is abandoned when talking about comping. This method emphasizes melody also in accompaniment and gently advizes you "not too overdo" this approach behind singers or soloists.
It brings chord soloing within your reach with deeper understanding of yhe theory and praxis behind it. Great kindle book. Let's have his threenote voicing book on kindle asap...:))
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 At long last,.. 8 juillet 2012
Par RWJ - Publié sur Amazon.com
Format:Couverture à spirales|Achat vérifié
After playing guitar for thirty years, I finally have a book that brings the logic of chord progressions and the logic of the fretboard together. Thank you Randy Vincent!

This is probably not a book for beginners. Indeed, I'm not sure that I would have been ready to absorb it early in my playing life. I think it takes some time, for most of us, to be able to define our musical directions, and a bit more to recognize that a particular batch of instructional materials is the right batch to move us toward our desired musical destination most quickly.

So if you have wanted insights into the abilities of some guitarists to chord almost seamlessly up and down the fretboard, and if you've also wondered why the chords they use almost always seem to be the perfect choices, and if you are ready to challenge yourself musically, this is the book for you.

The chord progressions are logically developed and presented as they relate explicitly to the scales from which they are drawn. If I could add one thing to the presentation, it would be naming the chords in the progressions. The musical staff notation is accompanied by the chord diagrams, but unless the reader takes the time to identify the chords by name, he or she will be building useful patterns that could be so much more so if their components were explicitly named. Maybe Mr. Vincent will add that to the next edition.

Despite this minor point, this is easily the best and most useful book I've found in twenty years.
3 internautes sur 3 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Some Slapdash Parts Make for a Difficult Read 3 mai 2015
Par Scott Miller - Publié sur Amazon.com
Format:Couverture à spirales|Achat vérifié
The book has a lot of good information, but it's put together in a very haphazard way. For example, you would think a book on Drop 2 would start by telling you what Drop 2 is, but instead it starts out with several examples of what Drop 2 sounds like (which is pointless if you don't know what you're listening for), a couple of asides about other types of voicings and the Bebop major scale, before finally getting to the definition of Drop 2 buried at the end of a paragraph several pages in. Without a logical flow of ideas, it can make for confusing reading and virtually forces you to read through the chapters multiple times before moving on. Yes, reading things multiple times is good practice -- to make sure you got all the information. Having to re-read something just to understand it is the very definition of poor writing.

I've also found errors in the printed music. Sometimes the tablature, standard notation and chord names don't match up (and no indication of which one is correct), which can make it virtually impossible to tell what you're supposed to be gleaning from the example. Actually, you may find yourself wondering what you're supposed to get from the examples anyway, as the author often does not say -- he just makes a statement followed by a musical example and then he moves on. Jazz for Dummies this ain't.

I must say, the further you get into the book the more focused it gets, and these issues become fewer. You will find a lot of great insights on Drop 2, Bebop and other aspects of jazz harmony as you work through it. But overall this book needs a thorough look from an editor before I can recommend it.
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