Hola soy humberto de la republica dominicana,y me gustaria saber si hablas
español,para compartir harmonia


>From: "Ricky G. Garcia" <egroup@...>
>Reply-To: jazz_guitar@egroups.com
>To: jazz_guitar@egroups.com
>Subject: [jazz_guitar] Greetings!!
>Date: Tue, 27 Jun 2000 17:27:44 -0000
>
>HI!
>
>My name is Ricky G. Garcia from germany and I'm new to that list here
>and I just want to say hello to everybody!! I'm a guitar student at
>Berklee College of Music in Boston. I hope to get into some
>interesting
>discussions.
>
>So take care and read you later!!
>
>Bye,
>
>Ricky
>--
>======================================================
>              Check out my Official WebSite
>               http://www.RickyGGarcia.com
>                            ***
>              Go to MP3.com for FREE songs
>             http://www.mp3.com/rickyggarcia
>======================================================
>

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Hi everyone.  This group has been a little quiet so I descided to throw some
thoughts in that have been bugging me lately.

How do you guys deal with the feeling that you could play, "a lot better"?

I myself have been playing guitar for almost 3 years and I started when I
was 16.  About a year ago I descided I wanted to focus on Jazz/Blues and now
Funk.  Right now my anger has been over my hands.  I've been doing a lot of
technique exercises to help add some good speed to my playing and for a
little while I seemed to make a little progress, but now I have slid
backwards a bit.  I don't want to really be a speed demon, but I like to
play the way I think and talk and that has occasional lighting bursts.
Right now I stumble all over attempts like that, and to be truthful, if I
try to play fast I just can't cut it (it's fustrating when you just want to
start flying, but just can't).

My mental knowledge and education about guitar has grown well, and I really
have no plans to attempt to become famous or a "guitar god."  Are there any
guitarists out there that are or have taken the road I'm looking at...Any
advice?  Thanks a lot!

Jamie
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com

Jamie,
I don't know what type of exercises you are doing to increase your speed,
but I have
a few suggestions:

1) Always practice  with a metronome.
2) Start out slow, and then gradually increase the tempo - if you can't play
(articulate well) slow,
     you'll never be able to play fast without sounding sloppy.

I know how well worn these suggestions are, but they are constantly repeated
for a reason - they work!

Good Luck,
John

----- Original Message -----
From: Jamie - <guitarelf@...>
To: <jazz_guitar@egroups.com>
Sent: Wednesday, July 05, 2000 9:50 PM
Subject: [jazz_guitar] Grading Yourself


> Hi everyone.  This group has been a little quiet so I descided to throw
some
> thoughts in that have been bugging me lately.
>
> How do you guys deal with the feeling that you could play, "a lot better"?
>
> I myself have been playing guitar for almost 3 years and I started when I
> was 16.  About a year ago I descided I wanted to focus on Jazz/Blues and
now
> Funk.  Right now my anger has been over my hands.  I've been doing a lot
of
> technique exercises to help add some good speed to my playing and for a
> little while I seemed to make a little progress, but now I have slid
> backwards a bit.  I don't want to really be a speed demon, but I like to
> play the way I think and talk and that has occasional lighting bursts.
> Right now I stumble all over attempts like that, and to be truthful, if I
> try to play fast I just can't cut it (it's fustrating when you just want
to
> start flying, but just can't).
>
> My mental knowledge and education about guitar has grown well, and I
really
> have no plans to attempt to become famous or a "guitar god."  Are there
any
> guitarists out there that are or have taken the road I'm looking at...Any
> advice?  Thanks a lot!
>
> Jamie
> ________________________________________________________________________
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
>
>
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At 10:50 PM 7/5/00 -0400, you wrote:
>How do you guys deal with the feeling that you could play, "a lot better"?

This is a familiar dilemma.  When I listened to players and I heard "fast"
and wanted to play "fast" I would find myself tripping and stumbling.  It
was only when I started to hear the other things, melodic ideas, rhythmic
phrases, knowing what I wanted to say and play before the fingers started
moving, that my playing started to get faster.  It was like when I wanted
to play something fast and I didn't have a reason, my fingers would say to
me "well, what do you want me to do NOW?".  Fast isn't a musical idea, it's
a one way of doing a musical idea.  The players I really like have all told
me, practice as slow as your metronome will go.  Take the speed up
gradually and take your ideas with you.  Why did it take me so long to
believe them?!
David

Hi Jaime:

First, what you are experiencing is something we all go through..  whether
you are a musician, Olympic athlete or engaged in any attempt at self
improvement or growth.  It's called a Plateau...

In order to begin to progress, you must accept that the plateau is a
temporary condition where certain elements of your training are catching up
to other elements;when those elements that are a little behind mature, all
of a sudden..  (after continued "sweat equity"), you 'll get to the next
level..

Being discouraged or even angry is normal..  Just keep your course!!

It'll happen.

Peace

DAN

Daniel e. Marti

-----Original Message-----
From: Jamie - [mailto:guitarelf@...]
Sent: Wednesday, July 05, 2000 10:50 PM
To: jazz_guitar@egroups.com
Subject: [jazz_guitar] Grading Yourself


Hi everyone.  This group has been a little quiet so I descided to throw some

thoughts in that have been bugging me lately.

How do you guys deal with the feeling that you could play, "a lot better"?

I myself have been playing guitar for almost 3 years and I started when I
was 16.  About a year ago I descided I wanted to focus on Jazz/Blues and now

Funk.  Right now my anger has been over my hands.  I've been doing a lot of
technique exercises to help add some good speed to my playing and for a
little while I seemed to make a little progress, but now I have slid
backwards a bit.  I don't want to really be a speed demon, but I like to
play the way I think and talk and that has occasional lighting bursts.
Right now I stumble all over attempts like that, and to be truthful, if I
try to play fast I just can't cut it (it's fustrating when you just want to
start flying, but just can't).

My mental knowledge and education about guitar has grown well, and I really
have no plans to attempt to become famous or a "guitar god."  Are there any
guitarists out there that are or have taken the road I'm looking at...Any
advice?  Thanks a lot!

Jamie
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com


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Re grading yourself.  Whenever you start feeling bad about yourself think
about Jim Hall.  He never played a fast note in his life, and he is proof
that there are many facits to being a great guitar player and speed is the
least.

Good luck!!!
  Jimm1326@...

Try to find a piece of music with a head you really dig.  Maybe something
from Lester Young or whomever you like.  Follow that head and get it down.
Guitar playing is about sound, and you do this because there are sounds you
heard and you want to copy.  Don't get bogged down in exercises that are not
musical.  Lifting weights is always different than making music. If you seek
to play fast it is because there is a fast sound you are subconsciously
seeking  to emulate.  Play for sound and play and play until you have it.
The goal is sound not exercises.

Remember Charlie Parker, when Count Basie drummer Jo Jones kicked him off
stage and humiliated him, he memorized every note Lester Young every played
and came back and showed the world what this thing was all about about.

GP


-----Original Message-----
From: Jamie - <guitarelf@...>
To: jazz_guitar@egroups.com <jazz_guitar@egroups.com>
Date: Wednesday, July 05, 2000 10:50 PM
Subject: [jazz_guitar] Grading Yourself


Hi everyone.  This group has been a little quiet so I descided to throw some
thoughts in that have been bugging me lately.

How do you guys deal with the feeling that you could play, "a lot better"?

I myself have been playing guitar for almost 3 years and I started when I
was 16.  About a year ago I descided I wanted to focus on Jazz/Blues and now
Funk.  Right now my anger has been over my hands.  I've been doing a lot of
technique exercises to help add some good speed to my playing and for a
little while I seemed to make a little progress, but now I have slid
backwards a bit.  I don't want to really be a speed demon, but I like to
play the way I think and talk and that has occasional lighting bursts.
Right now I stumble all over attempts like that, and to be truthful, if I
try to play fast I just can't cut it (it's fustrating when you just want to
start flying, but just can't).

My mental knowledge and education about guitar has grown well, and I really
have no plans to attempt to become famous or a "guitar god."  Are there any
guitarists out there that are or have taken the road I'm looking at...Any
advice?  Thanks a lot!

Jamie
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com


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Bill Frissell is another guitarist who plays very slowly.  In fact, I'd say
he plays slower than Jim Hall.  He is also considered by many non-guitarists
to be the best around right now (except for Metheny).  Bill Frissell
(ironically?) studied with Jim Hall.  Both of them are much more creative and
melodic when they play solos.  In Frissell's video, he says "Melody is
everything."  Just a few thoughts.

seeking correspondance lessons in Jazz/Smooth Jazz

Check out guitarcollege.com
Rich
----- Original Message -----
From: <DLynnShirley@...>
To: <jazz_guitar@egroups.com>
Sent: Tuesday, July 11, 2000 4:40 AM
Subject: [jazz_guitar] correspondance lessons


> seeking correspondance lessons in Jazz/Smooth Jazz
>
>
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>
>
>

I have recently reconnected my e-mail, so I found 900+ messages.  One of
these messages dealt, (or tried to deal with) the guide tone approach.
What transpired was bantering among the members, and I think the question
wasn't even answered.  So I'm asking.  Could you explain the Guide Tone
approach, also, creating lines for scales and creating lines using notes
from the Arpeggio.  I support  this group, and I find it very benefical.

Check with Mark Stefani at VisionMusic.com. Mark has been teaching for 27 or
so years and has correspondence students in many countries, in addition to
those fortunate enough to receive instruction in person. After about a year
and a half of his lessons by mail, I am totally happy, and I can see a marked
improvement in many areas of my playing. Mark is also a trememdous motivator
and communicator.

Dave Williams

Hi Dale, I'm sorry but I don't know what the guide tone approach is either.
It might be a new voice leading type of method but its something I haven't
heard of before. I've been playing guitar for 45 years and have always been
fascinated by how musicians think and analize harmony and melody. Sometines
thier thinking is so strange that I can't understand how they possibly got
there. Yet some are great players so I'm not too sure, after the basics, that
it matters how you analize as long as it makes music.
Write me if you care to. I'm from the  be-bob school and studied a little but
probably have the same wierd thinking that I think I see in other players.

                       Bob Rushinsky

Bob,

I missed the original question to which you replied. However, the "Guide
Tone Approach" (so-called) is simply a method or reference to comping
that takes into account the ESSENTIAL (definitive) intervals in a chord
and seeks to create a smooth voice leading from one chord to the next in
a progression. Generally, this applies to the third and seventh of the
chord.  However -depending on the type of voice movement desired- other
notes may be utilized to create a sense of melodic continuity via
harmonic movement.

DON

Hi I need a recomendation.  I need a book for these things, in fact I
would like to get a different book for everything.
1. Chord Voicings
2. Modes
3. Scales
4. Improvising with scales
5. Improvising with modes
6. making Chord melodies
7. How to hold the guitar
8. What kind of guitar I should use for jazz
9. How to set my amp up to sound like jazz masters
10. A book on other books I should buy
11. About 5 or so books on jazz theory
12. Any other books

I want to collect close to 30-40 books and try to learn to be a jazz
master.  I have a bunch of Larry Carlton and 80's Sanborn recordings.
All of that old stuff is boring so I won't listen to it.  I'll just
learn how to play from a bunch of books.  Also I don't have the
patience to get a private teacher.  They take too long.  Books don't
take nearly as long.  Besides, if I have more books than Wes or Pat
Metheny then I'll be a better player before long.  Well tell me all
of the books and I'll go buy them
BOOKS BOOKS BOOKS BOOKS BOOKS BOOKS!!!!!

Topic: Your review and participation

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essays and articles are initially available. They cover Substitution,
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Perhaps you have an essay or article that you would like to post within this
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Please note Guitar-Masters is a free non-commercial guitar education
facility. It is sponsored, in part, by Music123.com and dedicated to the
free dissemination of quality educational materials.  Thank you for your
time and support.

Perry W. Terhune
Pterhune@...

Hmmm...like books do we?

Transcribing a bunch of Larry Carlton and 80's Sanborn recordings would
certainly help your funky fusion chops, but you're actually correct to put
them aside if you want to become a jazz master, using jazz in the most
common sense of the word.

Since you seem to have complete disdain for book learning, I'll recommend a
few books :)

-Bert Ligon's Linear Harmony book

Sure, you can do all the analysis and categorization that Bert did yourself.
But why?  Anybody who feels guilty or impure for accepting advice from
somebody else who's obviously done a great job putting information together
should certainly not go to a teacher, as that's exactly what they'll be
hoping to get.

-Andy Jaffe's Jazz Harmony book
-Coker, et. al.  'Hearin' the Changes'

Hey, why learn to understand the things you're doing in depth?  Eddie Van
Halen never did!  Well, as good as his playing is (in its context) you can
hear his lack of study everytime he hits clams that are clearly based on a
physical pattern not an aural understanding of what's going on.  And, hey,
Coltrane didn't study harmony; oh wait, yes he did.  Let's see, Bird didn't
know from harmony; that one's worth a good laugh, Bird clearly knew what he
was doing.  Evans, what did he know?; well, lot's.  And Beethoven, Mozart,
those guys were just natural geniuses, right?  Hope you get the point here.
Whatever way you choose to get this knowledge, there's nothing wrong with
getting it and these books are good routes.

You seem to disdain books but not private teachers.  My best private
teachers gave me short, musical, systematic treatises on this or that
subject and then told me to go for it.  I would check in weekly for some
human advice, some awe inspiring playing, and a check-up on how I was doing.
That's exactly the kind of thing that can happen for the diligent,
auto-didactic who picks up a good book such as Bert Ligon's, applies some
elbow grease, digs into it, and comes out much improved.

My worst teachers were usually great players who had no idea how to impart
their knowledge on to others.  You may call that osmosis at the feet of a
master, I call it inefficiency.  I can sit at the feet of a master for the
cost of a Pass CD.  I expect an expensive teacher to know how to get his/her
point across.  That said, there is certainly value to studying with a great
player for the playing and listening alone.

Transcribing, private teachers these are great and vital things to do to
learn to play jazz.  Nothing wrong, however, with a good book judiciously
applied.

George Bullock

-----Original Message-----
From: Sam Smiley [mailto:Dolphy231@...]
Sent: Wednesday, July 12, 2000 8:00 AM
To: jazz_guitar@egroups.com
Subject: [jazz_guitar] Books


Hi I need a recomendation.  I need a book for these things, in fact I
would like to get a different book for everything.
1. Chord Voicings
2. Modes
3. Scales
4. Improvising with scales
5. Improvising with modes
6. making Chord melodies
7. How to hold the guitar
8. What kind of guitar I should use for jazz
9. How to set my amp up to sound like jazz masters
10. A book on other books I should buy
11. About 5 or so books on jazz theory
12. Any other books

I want to collect close to 30-40 books and try to learn to be a jazz
master.  I have a bunch of Larry Carlton and 80's Sanborn recordings.
All of that old stuff is boring so I won't listen to it.  I'll just
learn how to play from a bunch of books.  Also I don't have the
patience to get a private teacher.  They take too long.  Books don't
take nearly as long.  Besides, if I have more books than Wes or Pat
Metheny then I'll be a better player before long.  Well tell me all
of the books and I'll go buy them
BOOKS BOOKS BOOKS BOOKS BOOKS BOOKS!!!!!



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hey george,

   >
   > Transcribing a bunch of Larry Carlton and 80's Sanborn recordings would
   > certainly help your funky fusion chops, but you're actually correct to put
   > them aside if you want to become a jazz master, using jazz in the most
   > common sense of the word.
   >

can you recommend the best larry carlton albums for this stuff? I have all the
steely dan and joni mitchell stuff but i've never yet found the classic larry
carlton 70's fusion album released under his own name.

rgds. -simon-

Good man, George. Could have put it better myself...

L,L&Fishcakes..

G.
-----Original Message-----
From: George Bullock <gbullock@...>
To: 'jazz_guitar@egroups.com' <jazz_guitar@egroups.com>
Date: 12 July 2000 23:05
Subject: RE: [jazz_guitar] Books


>Hmmm...like books do we?
>
>Transcribing a bunch of Larry Carlton and 80's Sanborn recordings would
>certainly help your funky fusion chops, but you're actually correct to put
>them aside if you want to become a jazz master, using jazz in the most
>common sense of the word.
>
>Since you seem to have complete disdain for book learning, I'll recommend a
>few books :)
>
>-Bert Ligon's Linear Harmony book
>
>Sure, you can do all the analysis and categorization that Bert did
yourself.
>But why?  Anybody who feels guilty or impure for accepting advice from
>somebody else who's obviously done a great job putting information together
>should certainly not go to a teacher, as that's exactly what they'll be
>hoping to get.
>
>-Andy Jaffe's Jazz Harmony book
>-Coker, et. al.  'Hearin' the Changes'
>
>Hey, why learn to understand the things you're doing in depth?  Eddie Van
>Halen never did!  Well, as good as his playing is (in its context) you can
>hear his lack of study everytime he hits clams that are clearly based on a
>physical pattern not an aural understanding of what's going on.  And, hey,
>Coltrane didn't study harmony; oh wait, yes he did.  Let's see, Bird didn't
>know from harmony; that one's worth a good laugh, Bird clearly knew what he
>was doing.  Evans, what did he know?; well, lot's.  And Beethoven, Mozart,
>those guys were just natural geniuses, right?  Hope you get the point here.
>Whatever way you choose to get this knowledge, there's nothing wrong with
>getting it and these books are good routes.
>
>You seem to disdain books but not private teachers.  My best private
>teachers gave me short, musical, systematic treatises on this or that
>subject and then told me to go for it.  I would check in weekly for some
>human advice, some awe inspiring playing, and a check-up on how I was
doing.
>That's exactly the kind of thing that can happen for the diligent,
>auto-didactic who picks up a good book such as Bert Ligon's, applies some
>elbow grease, digs into it, and comes out much improved.
>
>My worst teachers were usually great players who had no idea how to impart
>their knowledge on to others.  You may call that osmosis at the feet of a
>master, I call it inefficiency.  I can sit at the feet of a master for the
>cost of a Pass CD.  I expect an expensive teacher to know how to get
his/her
>point across.  That said, there is certainly value to studying with a great
>player for the playing and listening alone.
>
>Transcribing, private teachers these are great and vital things to do to
>learn to play jazz.  Nothing wrong, however, with a good book judiciously
>applied.
>
>George Bullock
>
>-----Original Message-----
>From: Sam Smiley [mailto:Dolphy231@...]
>Sent: Wednesday, July 12, 2000 8:00 AM
>To: jazz_guitar@egroups.com
>Subject: [jazz_guitar] Books
>
>
>Hi I need a recomendation.  I need a book for these things, in fact I
>would like to get a different book for everything.
>1. Chord Voicings
>2. Modes
>3. Scales
>4. Improvising with scales
>5. Improvising with modes
>6. making Chord melodies
>7. How to hold the guitar
>8. What kind of guitar I should use for jazz
>9. How to set my amp up to sound like jazz masters
>10. A book on other books I should buy
>11. About 5 or so books on jazz theory
>12. Any other books
>
>I want to collect close to 30-40 books and try to learn to be a jazz
>master.  I have a bunch of Larry Carlton and 80's Sanborn recordings.
>All of that old stuff is boring so I won't listen to it.  I'll just
>learn how to play from a bunch of books.  Also I don't have the
>patience to get a private teacher.  They take too long.  Books don't
>take nearly as long.  Besides, if I have more books than Wes or Pat
>Metheny then I'll be a better player before long.  Well tell me all
>of the books and I'll go buy them
>BOOKS BOOKS BOOKS BOOKS BOOKS BOOKS!!!!!
>
>
>
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>Come to FirstLook.com and preview the newest video and DVD releases!
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>

are they any bass programs to buy?

Please unsubscribe me from the group.  Thanks, Xreltub@...

not to be a shit but music does NOT come from books. Here is 2 that should do
the trick though. THE JAZZ THEORY BOOK by Mark Levine, and JAZZ GUITAR by
Mickey Baker.
Jim

No!!! You cannot...
We won't unsubscribe you
You are forever here!!!


-----Original Message-----
From: xreltub@... <xreltub@...>
To: jazz_guitar@egroups.com <jazz_guitar@egroups.com>
Date: Thursday, July 13, 2000 9:38 AM
Subject: Re: [jazz_guitar] Books


>Please unsubscribe me from the group.  Thanks, Xreltub@...
>
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>

To the person who thinks you don't need books.....
   Unless you are a born Mozart or Beethoven everyone can learn something from
someone else. of course a great personal teacher is the best way you can go
because they can explain in live sound as well as theory. But the best
teachers are not always available. How many times have you heard something
that is intriguing (like the first time I heard "so what" by Miles) and knew
they were doing something different and although I could play the notes I
didn't know what it was based on. The overall sound which is neither major or
minor was really interesting. Also the notes that Miles or Coltrane played
did not follow  the exact dorian scale. Until someone shows you or YOU READ
IT somewhere you will not understand it intuitively. Also sometimes it takes
a while the develope an ear for certain chord structures and melodic concepts
and they have to be heard over and over again for it to take. (something like
developing a taste for martinis). But after you get it...........

               Bob Rushinsky

Ok.  The post I did about books was a total joke.  I get sick of
people asking about a book for this and a book for that.  It drives
me nuts.  I have a hundred books (not really, but lots) and I hardly
got anything out of them.  I've gotten SSOOOOOOOOOOOO much more from
teachers, recordings and playing with other people.  I guess I just
tried to use humor to show this 'problem.'  If you learn a lot from
books, good.  But if you are stuck, a book is not going to help you,
usually.  You need to listen to the music and talk to players.

Dear Dolphy231 and Jazzguitar:

Grove Book
==========
You never know when a book will contain a KEY datum that will open new vistas. 
For me Dick Grove's "Arranging Concepts Complete" was such a book.  The datum
was his Density Concept.  Check it out.  Easily, that book contains more
workable info (and more encouragement) than my entire 4 years as a music
composition major.

70's Permissive Approach
====================
The school I attended produced self-taught musicians by recruiting bright,
independent types, let 'em coast for 4 years, hand 'em a diploma.  I could have
saved myself thousands of bucks and just bought the books.

Other Books
===========
I can say that of a couple other books too.  These weren't all available when I
was in school.  There's way more good info available for the self-taught
musician than ever before:

How to Improvise and How to Comp by Hal Crook
The Jazz Piano Book by Mark Levine
Even in the Odds (drum book on odd meters) by Ralph Humphrey
20th Century Harmony by Vincent Persichetti
Thesaurus of Scales and Melodic Patterns by Nicholas Slonimsky

More later,

Mark Secosh

TRANSCRIBE!!!!!!!!!
----- Original Message -----
From: "Sam Smiley" <Dolphy231@...>
To: <jazz_guitar@egroups.com>
Sent: Thursday, July 13, 2000 10:48 AM
Subject: [jazz_guitar] Re: Books


> Ok.  The post I did about books was a total joke.  I get sick of
> people asking about a book for this and a book for that.  It drives
> me nuts.  I have a hundred books (not really, but lots) and I hardly
> got anything out of them.  I've gotten SSOOOOOOOOOOOO much more from
> teachers, recordings and playing with other people.  I guess I just
> tried to use humor to show this 'problem.'  If you learn a lot from
> books, good.  But if you are stuck, a book is not going to help you,
> usually.  You need to listen to the music and talk to players.
>
>
> ------------------------------------------------------------------------
> Life's too short to send boring email. Let SuperSig come to the rescue.
> http://click.egroups.com/1/6809/12/_/795515/_/963501537/
> ------------------------------------------------------------------------
>
> Post message: jazz_guitar@egroups.com
> Subscribe:  jazz_guitar-subscribe@egroups.com
> URL to page: http://www.egroups.com/group/jazz_guitar
>
>
>

Sam,

I (and most others, I presume) have collected more guitar/music books
over the years than I can count.  Very few of them have been useful
and some have been downright misleading.  If you want to really learn
to play I suggest you do tons of transcribing (copy licks/phrases)
off of CDs - its the single best thing I have ever done to improve my
playing.  As for the other topics:

[1]  For chord books, there has been only one that I have always found
useful over the years - that is Warren Nunes "Chord Bible", which I
purchased as a single volume 20 years ago, but now comes in 2
volumes.  It has lots of very usable voicings for each chord and then
gives examples of how to use them in progressions.

[2]  Learn lots of tunes (melodies & chords).  You will discover that
almost every tune teaches you a new chord voicing that you wouldn't
have necessarily discovered by thumbing through chord books.  Also,
don't be afraid to throw away a note or two and play some reduced (2
or 3 or 4 note)chords.  They often sound even better than 5 and 6
note chords.

[3]  Learn your enharmonics (same notes, different chord names) -
e.g., Cmaj7 can function as an Amin9 (with no root), etc.  It doubles
your chord knowledge immediately.

[4]  For scales, avoid books that have thousands of fretboard diagrams
covered with dots.  Personally, I have found that Jimmy Bruno's
approach to learning the scales is very easy and logical (see his
video set "No Nonsense Jazz Guitar").  Be careful, there are all
kinds of books with hard-to-play scales that will slow you down
rather than help.

[5]  Prepare to spend the rest of your life learning all the topics
you
listed in your question.

Nick




--- In jazz_guitar@egroups.com, "Sam Smiley" <Dolphy231@a...> wrote:
> Hi I need a recomendation.  I need a book for these things, in fact
I
> would like to get a different book for everything.
> 1. Chord Voicings
> 2. Modes
> 3. Scales
> 4. Improvising with scales
> 5. Improvising with modes
> 6. making Chord melodies
> 7. How to hold the guitar
> 8. What kind of guitar I should use for jazz
> 9. How to set my amp up to sound like jazz masters
> 10. A book on other books I should buy
> 11. About 5 or so books on jazz theory
> 12. Any other books
>
> I want to collect close to 30-40 books and try to learn to be a
jazz
> master.  I have a bunch of Larry Carlton and 80's Sanborn
recordings.
> All of that old stuff is boring so I won't listen to it.  I'll just
> learn how to play from a bunch of books.  Also I don't have the
> patience to get a private teacher.  They take too long.  Books
don't
> take nearly as long.  Besides, if I have more books than Wes or Pat
> Metheny then I'll be a better player before long.  Well tell me all
> of the books and I'll go buy them
> BOOKS BOOKS BOOKS BOOKS BOOKS BOOKS!!!!!

I'm most familiar with Carlton through the Dan and Joni Mitchell.  Also with
the Crusaders.  I'm familiar with his solo work but not enough to make any
recommendations.

George

-----Original Message-----
From: Simon Butler [mailto:simon@...]
Sent: Wednesday, July 12, 2000 4:44 PM
To: jazz_guitar@egroups.com
Subject: Re: [jazz_guitar] Books


hey george,

   >
   > Transcribing a bunch of Larry Carlton and 80's Sanborn recordings would
   > certainly help your funky fusion chops, but you're actually correct to
put
   > them aside if you want to become a jazz master, using jazz in the most
   > common sense of the word.
   >

can you recommend the best larry carlton albums for this stuff? I have all
the
steely dan and joni mitchell stuff but i've never yet found the classic
larry
carlton 70's fusion album released under his own name.

rgds. -simon-

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Good advice Mark.  Like your choice of books. As a former Grove graduate,
I can highly recommended anything from Dick Grove.  His teaching methods
were direct, simple and yet highly emcompassing of all relevant aspects
of theory and harmony.

DON