All Blues For Jazz Guitar - Comping Styles,Chords & Grooves by Jim Ferguson

By Jim Ferguson

Destined to develop into a vintage, this e-book is the typical results of not just years of taking part in jazz guitar but additionally of the author's lengthy institutions with many leading edge jazz guitarists. This accomplished consultant is likely one of the first jazz how to concentration completely at the blues idiom and its contribution to jazz improvisation. it really is designed that will help you play authoritatively in a huge spectrum of jazz guitar settings from sizeable band to small combinations to a solo context. This publication is split into four sections which addresses 12-bar blues progressions, 3-note Freddie Green-type chords, shuffles, swing riff comping, chord scales, linear bebop comping, modal suggestions, triads over bass notes and a wealth of chord voicings and inversions. contains over a hundred and ten track examples, forty five entire 12-bar choruses, and a CD with 30 tracks. It additionally bargains a priceless word list of jazz terminology. Written in regular notation and tablature.

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Sample text

This grip will make your hand rigid, and you’ll tire quickly. 12. v Fingertips Only. If your fingertips are pressed in on the frog but hardly touching the stick, you won’t be able to control the bow. v The Iron Grip.

This maneuver is difficult with the D string, because the D string peg is at the top of the peg-box, with very little space behind it. You might find that a pair of needle-nose pliers comes in handy. Begin to tighten the peg, while pulling rather firmly on the main length of the string. You want the string to press down on the free end as you turn the peg. (If you happen to have three hands rather than two, this maneuver will be easier. ) Do not continue tightening; pause at this point. Check that the lower end of the string is still seated properly in the tailpiece.

The hair should be facing more or less downward and inward, so that it’s nearer the cello while the stick is further from the cello. 1 Preparing to grasp the bow. 2 The right hand on the frog—three views. 3 The bow grip seen from underneath. Relax If the bow slides away from you, down across the bridge, the first time you try to play a note on the cello, you may be tempted to control it by tightening your grip. Don’t tighten up! A tight bow hand will tire quickly and won’t produce a smooth, warm tone.

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