Jim Ferguson's All Blues For Jazz Guitar - Comping Styles,Chords & Grooves PDF

By Jim Ferguson

Destined to turn into a vintage, this booklet is the usual results of not just years of enjoying jazz guitar but in addition of the author's lengthy institutions with many cutting edge jazz guitarists. This finished consultant is without doubt one of the first jazz how you can concentration totally at the blues idiom and its contribution to jazz improvisation. it truly is designed that can assist you play authoritatively in a extensive spectrum of jazz guitar settings from monstrous band to small mixtures 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. contains over one hundred ten track examples, forty five whole 12-bar choruses, and a CD with 30 tracks. It additionally bargains a useful word list of jazz terminology. Written in typical notation and tablature.

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

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John Passion but are actually similar in many respects. Almost all the Gospel narration in recitative is delivered by singers from Chorus 1, and in fact the disposition of this chorus is exactly the same as in the St. John Passion. Its performing material consists of four vocal parts (for concertists, clearly) including a tenor who sings the Evangelist’s words and a bass who sings Jesus’. As in the earlier work, these four parts contain all the music in a given range: choruses, chorales, recitatives, and arias.

A useful analogy is the way we might analyze hand tools we had never seen in action. Imagine we were shown two saws and asked to deduce how they were meant to be used: a little coping saw with a small grip, and a five- or six-foot-long lumberjack’s saw with a large handle at each end. We would not have much trouble figuring out that the small one was designed to be used by one person and that the large one was designed for two people. Of course, two people could hold on to the small saw at the same time, and one person could conceivably run back and forth from one end of the lumberjack’s saw to the other, but we would have to ask whether the design of the two tools made either of those possibilities likely.

Opera did influence the musical style of this elaborated recitation, particularly in its accompaniment and harmonic language, but its origin was a liturgical practice, not staged musical dramas. The direct speech of characters like Jesus and others, also potentially heard as operatic, was also a legacy of older liturgical practices. In fact the hymnal and service book used in Leipzig in Bach’s time presents the passions according to Matthew and John in the way churchgoers could expect to hear them in less elaborate circumstances and includes words of characters meant to be sung by distinct people.

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

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