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

By Jim Ferguson

Destined to turn into a vintage, this ebook is the typical results of not just years of enjoying jazz guitar but in addition of the author's lengthy institutions with many leading edge jazz guitarists. This finished advisor is without doubt one of the first jazz tips on how to concentration fullyyt at the blues idiom and its contribution to jazz improvisation. it truly is designed that will help you play authoritatively in a huge spectrum of jazz guitar settings from vast band to small combinations to a solo context. This ebook 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 techniques, triads over bass notes and a wealth of chord voicings and inversions. comprises over a hundred and ten tune examples, forty five entire 12-bar choruses, and a CD with 30 tracks. It additionally bargains a beneficial word list of jazz terminology. Written in common notation and tablature.

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Extra resources for All Blues For Jazz Guitar - Comping Styles,Chords & Grooves

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4b with a different hand. They should focus on the sticks’ position and grip, continually trying to match the weaker hand to the position/​grip of the stronger one. 4c Single strokes: smoothly adding the second hand. 4c requires your students to play quarter notes with one hand while dropping in the eighth note on the half beat every other bar. The purpose here is to consistently monitor the fluidity of the hand that plays repeatedly, and to make sure that the hand joining in on the second half of the beat does not interrupt the “dribbling basketball” feel of the stroke.

Having it under control results in a more effortless execution of accents and a more relaxed approach to drumming in general. To play it, students should do the following: • Turn the wrist and lift the tip of the stick to a point 12 inches above the drum. Make sure that the fingers don’t open up and flip out as the stick is lifted. • Drop the wrist, allowing the stick to fall onto the snare. The hand must stay relaxed and come to a dead stop with the stick resting just slightly above the rim. The relaxed forearm need not move much.

The three “levels” in lifts and levels—​about 2 inches, 6 inches, and 12 inches above the head of the drum—​approximate the points from which the stick is dropped and to which it returns when playing a single stroke. 5b. What is important is that levels are consistent throughout each exercise and that there are clear differences between them. 5a). The level at which the stick comes to rest determines the volume of the subsequent note played with that hand. 5a The 12-​inch level. 5b The 2-​inch level.

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