Description
Vol 1:Complete Jazz Guitar Method: Beginning Jazz Guitar

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, and the CD demonstrates the examples in the book.

Vol 2:Complete Jazz Guitar Method: Intermediate Jazz Guitar

This book is great for guitarists who have learned the basics of jazz harmony and improvisation. Topics include the ii-V-I progression, creating solo lines, altered chord formulas, and comping in different jazz feels such as Latin, swing, ballad, and even funk. Continuing in the format of Beginning Jazz Guitar, every new concept is accompanied by etudes and songs for practice, and every chapter is clearly divided into lessons on harmony and improvisation. Packed with literally hundreds of chord voicings and improv ideas, this book is a must for any serious student of jazz guitar. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book.

Vol 3:Complete Jazz Guitar Method: Chord/Melody

Your guitar becomes the ultimate jazz solo instrument when you master the techniques and concepts in this book. Picking up where the harmony lessons in Intermediate Jazz Guitar leave off, topics include melody and harmony integration, bass line development, chord enhancement, quartal harmonies, and how to arrange a guitar solo. Learn to simultaneously play the harmony, melody, rhythm, and bass parts of any song! Concepts are illustrated with lots of examples to practice, including arrangements of some traditional melodies. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book.

Vol 4:Complete Jazz Guitar Method: Improvisation

Expand the boundaries of your knowledge and improvisation skills with this exciting book, which picks up where the improv lessons in Intermediate Jazz Guitar leave off. Topics include improvising over altered dominant chords, the diminished scale, the whole-tone scale, targeting the altered chords, revamping licks, modes of the minor scales and more! Loaded with easy-to-read scale diagrams and example phrases, this book is packed with essential information for the improvising jazz guitarist. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book.

Pages:
Year:
Buy this book
RapidShare: (if you have a link please provide it in the comments section)
http://rapidshare.com/files/61033761/Jody_Fisher_-_Jazz_Guitar_Series_Vol.1-4.part1.rar
http://rapidshare.com/files/61037327/Jody_Fisher_-_Jazz_Guitar_Series_Vol.1-4.part2.rar
http://rapidshare.com/files/61038870/Jody_Fisher_-_Jazz_Guitar_Series_Vol.1-4.part3.rar

Description
While "Jazz Guitar Technique," Andrew Green's first book, (highly recommended) covers many facets of jazz guitar playing, "Jazz Guitar Structures" is focused on the process of solo line development. "Jazz Guitar Structures" provides a detailed approach to building improvised jazz lines using short identifiable structures. Anyone familiar with Andrew Green's first book, "Jazz Guitar Technique," knows that he is concise and direct in delivering information. This new book also includes a CD that demonstrates many of the lines in the book with bass & piano rhythm section accompaniment.

This book details an approach that includes hearing, facility and visualization exercises by which the reader gains experience in hearing and applying familiar melodic figures to most chord types. This approach really helps to reduce the seemingly huge amount of material that one can feel confronted with when working at jazz improvisation. This is not a book of licks or stylistic examples. Rather, it is a detailed approach to making the greatest use of short melodic structures. What excites me is that this approach, once mastered, will enable a person to fully develop many, many uses for melodic structures as they come into one's musical consciousness. As a student of improvisation, I have read interviews with the masters where one will refer to hearing one of her or his favorite players apply an idea in many different contexts. I am quite sure that "Jazz Guitar Structures" provides a method with which to do that. This is excellent material.

Pages: 136
Year: 2004
Buy this book
RapidShare: (if you have a link please provide it in the comments section)

Description
This is really a great book.
Go to the roots of the chords and build form there with your pinky finger. try different strums and plucks. You'll get it. After forty years I can finally play a really COOL tune, instead of only channeling Jimi Hendrix. Trying to do the opposite, with a REALLY laid back, melancholy (well, that's the same), almost shy virtuoso approach is opening up many doors. This music is everything American def medal is not. Brilliant. Get this book as a portal. It includes at least three ways to approach each song. And so you see that each time you play them, you must play it differently (or are free to improvise as you wish) LEarn tunes with more than one two or even three chords. YOu will not regret it. Great place to continue and expand and to breathe.

Pages: 136
Year: 2004
Buy this book
DownloadProvider: http://www.download-provider.com/search/brazilian+jazz+guitar.html?aff.id=1091

Description
If you are just geting into jazz chord melody this is an excelent choice. I got a more complete but harder to get thru book on chord melody before this one. That book was just to much for me at the time. I then decided to give this one a try and it was the right thing to do. As oppose to the other book the pogressions here are all in the light side of jazz guitar. It allows you not only to develop the technique but to develop your Ear!!! That is very important. Now i can internalize better the concepts I'm learning from the other book much better. Beware, this is not a begginers guitar book; but it is a begginers chord melody jazz guitar book. For the price, scope and quality of arrangents in the CD it is a keeper! Definitively what i was looking for.

Pages: 48
Year: 2001
Buy this book
RapidShare: (if you have a link please provide it in the comments section)

Description
Robert Yelin is perhaps the most prolific arranger of guitar music in the classic chord-melody style, popularized by players such as Johnny Smith and Joe Pass. This collection of 35 jazz standards from the 1930's, 40's and 50's is for the serious jazz guitar student, as it puts a four or five note chord under almost every melody note. The first pass through each song can be heavy going, but as the chord changes start to fall under your hand, the richness and warmth of the arrangements begins to shine through. The voicing is especially rich in the ballads (Hoagy Carmichael's Skylark is a good example) where he uses maj13 and min7add4 chords to create feeling of melancholy. Yelin draws from a palate of mainstream jazz chords that are, with a few exceptions, reasonable on the hands, and you will see the same chords used again and again throughout the book. There are occasional four fret stretches but thankfully no five fret handkillers. In addition, the tablature is a welcome sight to those of us (me included) who are slow music readers. Working up these tunes will really put the polish on your chord changes, and give you a cool repertoire of oldies to play unaccompanied, but be ready for some work (and some tired hands) getting these beauties up to tempo.

Pages: 144
Year: 2002
Buy this book
RapidShare: (if you have a link please provide it in the comments section)

Description
This is a spiral bound book with 44 arrangements and 2 CD's. Two outstanding arrangements are 'Misty' and 'Summertime', each by a different arranger. I like 'Misty' for the innovation and 'Summertime' for the feeling. These are not the only good arrangements in the book, just my personal favorites. The recordings are bare bones for the most part utilizing just a miked up jazz guitar but there are a few exceptions with bossa nova rhythm sections. The only slight negative I've found is there are a few tunes that were arranged, performed and/or recorded poorly. One arranger for example tries to put chords to every beat of the melody he tackles which is redundant sounding and too difficult for even him to pull off. Dogmatically sticking to one discipline when combining other techniques might help is ridiculous. Another example is the arrangement of 'It Don't Mean A Thing If It Ain't Got That Swing' which sounds more like a funeral dirge than the uptempo, fun tune it was meant to be. The chord/melody format is probably wrong for this tune. The majority of the arrangements are however professionally competent to exceptional. 'Misty'(Rick Stone-arranger) to repeat uses interesting,(not run of the mill), chord voicings that change as the song progresses, quick change chords, counterpoint, ascending diads, some linear lines and more. Very nicely done I think ! You wouldn't need to add much to this one.

Pages: 144
Year: 2004
Buy this book
RapidShare: (if you have a link please provide it in the comments section)

Description
This is an extremely dense book, which covers modern advanced jazz harmony. The voicings are based on the "drop 2" concept, which takes the 2nd note from the top in a closed voicing and drops it an octave down. We are instructed to play these voicings on the middle four strings of the guitar, to avoid ambiguity in terms of fingerings. Given these precepts, the author deems it sufficient to only notate the top note of each voicing. That means one has to figure out the rest of the notes to be played from the chord symbol. Since the voicing is already specified as drop 2, there is only one correct way of playing the chord. But it's a lot of work compared to working through books with chord diagrams! I think it's part of the point that you have to put in quite a bit of effort to work your way through this. Particularly for guys looking to improve their "session chops", I can imagine this book would be a nice woodshedding tool. Personally, I found it a bit too heavy-going. Working through 8 bars of chord progressions took me over 30 minutes, and apart from finding that the progression sounded rather like a Zawinul composition, I can't really imagine I'll get much use for a load of maj7#5 and 7sus4 substitutions...

Year: 1994
Pages: 248
Buy this book
RapidShare: http://rapidshare.com/files/30724114/CompleteHTV.rar

Description
Destined to become a classic, this book is the natural result of not only years of playing jazz guitar but also of the author's long associations with many innovative jazz guitarists. This comprehensive guide is one of the first jazz methods to focus entirely on the blues idiom and its contribution to jazz improvisation. It is designed to help you play authoritatively in a broad spectrum of jazz guitar settings from big band to small combos to a solo context. This book is divided into 4 sections which addresses 12-bar blues progressions, 3-note Freddie Green-type chords, shuffles, swing riff comping, chord scales, linear bebop comping, modal concepts, triads over bass notes and a wealth of chord voicings and inversions. Includes over 110 music examples, 45 complete 12-bar choruses, and a CD with 30 tracks. It also offers a helpful glossary of jazz terminology. Written in standard notation and tablature.

Year: 1997
Pages: 92
Buy this book

Description
The most complete guide to jazz/blues soloing ever written! This comprehensive book details the sounds, elements, and approaches that make the blues such an integral part of the jazz vocabulary. Moving from blues progressions to fingerboard organization to phrasing, essential blues scales, riffs, lick development, and an array of advanced concepts and devices, including substitute scales & extended super arpeggios are covered. Throughout this process 38 solos, over 100 music examples, and hundreds of licks are featured. Written in notation and tablature.

Year: 1999
Pages: 96
Link

Abstract
I recall coming across a copy of Garrison Fewell's earlier jazz guitar book in the school bookstore as I made my haj to Berklee over twenty years ago. No way could I afford to study there but if I could just check the place out I might be able to take back something of that hallowed vibe that might inspire me to the upper reaches, or at least upper chord extensions a la Bird's "Cherokee". And just maybe I'd spot Mick Goodrick unloading his amp from a car trunk in need of a hand and a second guitarist on this session and, well, 'tis the stuff of youthful daydreams...

What appeared to be a self-published work by Fewell just reeked of "this is the real deal" and I happily plunked down my change and bagged my latest (along with a blank Berklee manuscript pad that I do still have as a momento of the trip).
To be honest, that book and its contents are long gone from my library and memory but I always remember a name so when I spotted Fewell's latest I had to have it, for old times sake if nothing else. I was pleasantly surpised to find a book full of
varied and useful information much more in sync with my current way of playing than the "miles and miles of scales" approach of yore that yielded chops and dexterity, but came up short on musical invention.

Fewell's approach to melodic lines is based on triads and their extensions rather than scales. A scale is a large piece of musical information with many implications to graft
onto a chord change or progession. By contrast a triad is more focused, expressive of the underlying harmony and a more managable bite to handle for beginning (and experienced)
improvisors.

Examples "in the style of" jazz guitar masters such as Charlie Christian, Wes Montgomery and Jim Hall confirm Fewell's point that effective melodic playing emphasizes triadic chord tones
from the underlying harmonies and logical extensions to those triads. This is really about perspective: the same notes Fewell derives from triads and their extensions can be found in the
diatonic/modal scales traditionally taught to be played over standard changes. However, by conceptualizing this material as Fewell proposes, the player can more easily and effectively play lines that express the harmony.

A unique feature of the book is a discussion of phrasing and articulation, related to picking and thumb/finger strokes. It's rare in the jazz guitar literature to find what is all too often taken for granted or along the lines of "listen and figure it out yourself".

Another aspect of conceptualizing the material is understanding guide tones, their relationship to the triads and extensions and how they can be expressed not only melodically as target tones, but as two and three-note chords, providing an effective way to comp. Guitarists have tendency to segregate chordal forms, particulary larger block forms (e.g. CAGED) from lines and melodic material. The harmony lessons Fewell presents go a long way towards merging these two aspects of playing, evisioning chords as collections of melodic lines moving at a slower,
half note harmonic rhythm than what we typically think of as eighth note jazz melody.

After presenting these building blocks of melodic playing the author demonstrates combining phrases into complete choruses over various standard progressions.

The accompanying recording demonstrates individual phrases as well as providing rhythm-section backup for the later complete chord progressions.

"Jazz Improvisation for Guitar" works well for a player who has done scales, apreggios and chord voicings to death, is comfortable (but not TOO comfortable)with their physical technique and is now more interested in integrating and applying
that knowledge to better understand and serve the music.

Year: 2005
Pages: 150
Link