Description
THis book is the greatest chord book for guitar ever.... Anyone familiar with Steve's work with Steely Dan and his solo works and works with numerous other artists know what a tasteful guitarist he is... I am an Army guitar player currently studying at the Armed Forces School of Music, Army Element, and this book was issued to me... Not wanting to go without this book once I graduate I HAD to buy my own copy, since I will refer back to this book all the time.... No wasted space... To the point, and you will notice your vocabulary expanding greatly week after week if you use this wonderful book... I also ordered his other book on pentatonic scales, but have not yet recieved... I will review after a few weeks of using that book...

Pages: 77
Year: 1997
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Description
I bought this book in the '70s, when I was trying to be a self-taught rock guitarist. It was initially very helpful because of its basic explanation of chord theory--this really advanced my understanding of music in general and the guitar in particular. It also got me interested in jazz, though I didn't really understand much of what he was talking about. Now I play jazz guitar, and this book has been very helpful to me. The book contains pages and pages of different inversions of different chord types, and when you first open the book you might think this is the point, but it's not. The point of the book is found in the sections on chord theory that follow those diagrams. Here Ted Greene gives a very helpful analysis of the principles of chord substitution--these are the basics of jazz guitar comping (accompaniment) and also solo playing. Along with his discussion of the theory, Ted Greene gives many sample ways of playing the things he's discussing, and these are very valuable chord sequences (worth memorizing). My copy of this book is mostly worn out from years of turning the pages, and I can largely chart my musical education in terms of when I digested various parts of this book. It's a book for serious study, but if you're into that, I recommend it highly. His two volumes on single-note soloing are also extremely helpful.

Pages: 114
Year: 1981
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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
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