[share_ebook] John Riemer - Handbook For The Jazz Guitarist


Author: Handbook For The, Jazz Guitarist, John Riemer

Date: 2011-08-21

Pages: 504

Publisher: The Caboogie Publishing Company

Category: Arts


Posted on 2011-11-21, by sharebookfree.

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John Riemer - Handbook For The Jazz Guitarist


John Riemer - Handbook For The Jazz Guitarist
Handbook For The, Jazz Guitarist, John Riemer | The Caboogie Publishing Company | 2011-08-21 | 504 pages | English | PDF

This file is not meant to be a free standing course of study. The different elements are suggested to the individual based on experience and musical background. It is best used by people with some background in jazz and I will be happy to provide direction via email if any questions arise. "The following pages summarize my approach to jazz harmony and the guitar. I grew up in Chicago listening and watching greats such as Kenny Burrell, Wes Montgomery, Joe Pass, Grant Green, George Benson, Phil Upchurch, and Larry Coryell. They all played great but were not always sharing concepts or techniques. They each had a system of thought and technique worked out that would convey their musical soul. I was especially impressed by Wes Montgomery because of his economy of motion and the reoccurrence of chord forms that projected a new slant on the harmony. Joe Pass as well had a system of chords that he used repeatedly but it never sounded worn out. I came to realize that these players were superimposing their familiar, well practiced chord forms over various harmonic situations and depending on the rest of the band was doing, having a fresh sound develop. An example would be if the band is playing the dominant chord, let’s use G7 as the example; you could play a Dmi9 arpeggio and have a pretty sound. If the band was on the four chord (Fmaj7) the same arpeggio would have a different effect but still agreeable. The key to making this work was good resolution, knowing which note to end on to satisfy the prevailing harmony. An E minor 9 arpeggio would work in a somewhat “out” fashion over the one chord (C maj7). So two simple arpeggios would satisfy the One, Four (or Two), Five chord situations. This collection represents many years of playing and study. Each study is a focus on a concept which contributes to a technique that flows through complex tunes. Table of Contents: John' Musical bio...Page 3 1. Blues and Variations ...Page 12 2. Chord Chart ...Page 37 3. Chord Theory and application...Page7 4. Chord, scale, arpeggio connection....Page 31 5. Coltrane harmony...Page 41 6. Quartal Harmony...Page 107 7. Convert to Minor...Page 45 8. Functional Harmony ...Page 51 9. Gateway Pattern ...Page 66 10. Managing Pentatonic scales...Page 97 11. Modal Harmonic Devices ...Page 69 12. Moveable Chords ...Page 83 13. Musicians Quotes...Page 188 14. Pentatonic Scales...Page 97 15The ".Bonus" section...Older worksheets Page 332 16. Triad Superimposing...Page 184 17. Scales, Ragas, and Riffs ...Page 112 18. Scale Mode Structures...Page 404 19. Scale Morphing ...Page 500 20. Scales, Intervals, and Compass ...Page 94 21. Teaching diagrams...Page 126-157 22. Three note per string scale..Page158 23.Tonal Pivots ...Page 174 24. Arrangements All Blues All the Things You Are Autumn Leaves Blue In Green Cherokee Chitlin’s con Carne Four on Six Georgia On My Mind Giant Steps Goodbye Porkpie Hat Green Dolphin Street Impressions Killer Joe Norwegian Wood Nuages ‘Round Midnight Satin Doll Shiny Stockings Skydive Take Five Twisted Blues West Coast Blues


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