58 LINES (eBook + Online Audio)
Theories of Linear Improvisation for the Evolving Guitarist
The Rosetta Stone is a large stone tablet (ca. 196 BCE) discovered in Egypt in 1799. It is important because it allowed researchers to translate ancient Egyptian hieroglyphic writing for the first time.

This book is a Rosetta Stone for the jazz guitarist who is ready to take a leap. Within these pages are found the tips, tools, and techniques to transform your playing and understanding of what is possible.

This book is my personal masterclass with you. Alex Le ...more
Product Number:
31209MEB
Format:
eBook + Online Audio
Skill Level:
Intermediate-Advanced
Notation Type:
Standard Notation and Tab
Pages:
192
Binding:
eBook
ISBN:
1-5134-7906-7
ISBN13:
978-15134-7906-4
Publisher:
Mel Bay Publications, Inc.
Date Published:
6/6/2024
The Rosetta Stone is a large stone tablet (ca. 196 BCE) discovered in Egypt in 1799. It is important because it allowed researchers to translate ancient Egyptian hieroglyphic writing for the first time.

This book is a Rosetta Stone for the jazz guitarist who is ready to take a leap. Within these pages are found the tips, tools, and techniques to transform your playing and understanding of what is possible.

This book is my personal masterclass with you. Alex Levine has carefully and precisely isolated and organized 58 of the most advanced and evolutionary ideas played on the guitar. Each idea is explained, mechanics given, and the means to make it your own are offered.
 
This book includes audio examples of me playing each line. As a special bonus, each line is looped ten times so you can play along, learn, and absorb the information.

This book is like coming to my studio, sitting down with me, and listening as I turn decades of study, practice, and artistry into 58 lines. These lines are just for you.

Open your ears and heart and practice these lines and ideas. You will never be the same again.

Foreword by Miles Okazaki

Preface and Acknowledgments by Rodney Jones

Introduction and Acknowledgments by Alex Levine

How to Read the Fingerings

Line 1 Blues in F - Audio 2 & 3 - shifting while retaining shape, covering range

Line 2 Blues in F - Audio 4 & 5 - nine-note figure, reorienting figures, V-I idea

Line 3 Blues in F - Audio 6 & 7 - two notes per string, interlocking triads, pivot points

Line 4 Blues in F - Audio 8 & 9 - picking exercises, moveable cells

Line 5 Blues Minor - Audio 10 & 11 - descending chromatics, chromatic enclosure, Miles chromatics

Line 6 G Minor Blues - Audio 12 & 13 - fourths/fifths cells, triads in whole tones

Line 7 Darn That Dream - Audio 14 & 15 - seven-note and five-note figures, legato chromatics

Line 8 A Minor Vamp - Audio 16 & 17 - connecting chromatics, arpeggios, and scalar fragments

Line 9 Blues in F - Audio 18 & 19 - using only first and third fingers, using familiar shapes to get different combinations

Line 10 G Minor Blues - Audio 20 & 21 - shifting mid-idea, using the physical framework of cells, phrase length variation, conversation

Line 11 Impressions - Audio 22 & 23 - arpeggios in four and five-note groupings, departing/returning to home tonality, identifying cells and phrases

Line 12 It Could Happen To You - Audio 24 & 25 - chord voicings as physical frames and moveable figures, ii-V-i idea, arpeggios applied on different chords

Line 13 Jeannine - Audio 26 & 27 - minor seventh arpeggio using fingers one and four, structure of arpeggios

Line 14 Lover Man - Audio 28 & 29 - chromatic approach notes and enclosures, ghost notes

Line 15 Blues Minor - Audio 30 & 31 - same shape played with different fingering, broken chromatics, rhythmic spacing, breath, symmetrical s9 shape

Line 16 A Night in Tunisia - Audio 32 & 33 - rhythmic groupings of five, six, and seven, descending chromatics

Line 17 Willow Weep For Me - Audio 34 & 35 - ghost notes, seven-note short/long permutations

Line 18 Giant Steps - Audio 36 & 37 - moving cells through changes, V-I phrases through changes

Line 19 Days of Wine and Roses - Audio 38 & 39 - combining bebop language with descending fourths

Line 20 Giant Steps - Audio 40 & 41 - additive rhythms, isolating and applying rhythmic phrases

Line 21 Softly, as in a Morning Sunrise - Audio 42 & 43 - exploring alternative fingerings

Line 22 Blues in F - Audio 44 & 45 - minor triads in minor thirds, three-note device falling back through the beat

Line 23 Blues in F - Audio 46 & 47 - sonic trickery, using familiar phrases in unexpected ways

Line 24 Blues in F - Audio 48 & 49 - tritone substitution, melodic figures from physical chord shapes

Line 25 D Minor Blues - Audio 50 & 51 - shifts guided by individual melodic cells

Line 26 Blues in F - Audio 52 & 53 - chromatic enclosures targeting chord tones, moving between rhythmic strata

Line 27 Vamp in Bf Minor - Audio 54 & 55 - fifths and fourths concept, Arthur Blythe

Line 28 D Minor Blues - Audio 56 & 57 - phrasing with pentatonics, changing fingers to play one note

Line 29 D Minor Blues - Audio 58 & 59 - hammer-ons and dynamics, conversational phrases

Line 30 Softly, as in a Morning Sunrise - Audio 60 & 61 - sliding, the impact of fingerings on the directionality of ideas

Line 3 Blues Minor - Audio 62 & 63 - rhythmic punctuation, grammar

Line 32 Blues Minor - Audio 64 & 65 - patterns of varying lengths, rhythmic structure

Line 33 Blues Minor - Audio 66 & 67 - dominant to tonic resolution, minor tonalities moving in different intervals

Line 34 Blues in F - Audio 68 & 69 - blues language, articulation, singing quality

Line 35 Blues in F - Audio 70 & 71 - 1235 shape and variations

Line 36 Impressions - Audio 72 & 73 - whole-tone figure

Line 37 Rhythm Changes - Audio 74 & 75 - triple feel, scalar idea filled in with chromatics, fourths as a framework for expanding ideas

Line 38 Impressions - Audio 76 & 77 - directionalism

Line 39 F Minor Blues - Audio 78 & 79 - shifting tonalities, chord on every beat

Line 40 Blues Minor - Audio 80 & 81 - C minor and Bf major triads over F minor

Line 41D Minor Vamp - Audio 82 & 83 - George Benson influence, slide/interval leap to an adjacent string

Line 42 Blues in G - Audio 84 & 85 - fundamental diatonic sequences and arpeggios, minor seventh chords a major third apart

Line 43 So What - Audio 86 & 87 - descending chromatic, shifting tonalities while keeping the same fingering

Line 44 Softly, as in a Morning Sunrise - Audio 88 & 89 - ascending C minor, descending B minor

Line 45 Softly, as in a Morning Sunrise - Audio 90 & 91 - reaching out of position for a note

Line 46 Unit 7 - Audio 92 & 93 - fourths a whole tone apart, triad permutations

Line 47 Speak Low - Audio 94 & 95 - triplets grouped in twos, ghost notes

Line 48 Lover Man - Audio 96 & 97 - G minor tetrachord, retaining the same fingering through the range, scale fragments in various note groupings

Line 49 Little Sunflower - Audio 98 & 99 - building and expanding phrases from a rhythmic idea

Line 50 Blues in F - Audio 100 & 101 - shifting, directionalism

Line 51 D Minor Blues - Audio 102 & 103 - arpeggios with different numbers of notes, changing direction, delayed resolution

Line 52 Blues Minor - Audio 104 & 105 - musical sentences, structure from shifts in position, tonality, or rhythm, melodic shapes in tritones

Line 53 Little Sunflower - Audio 106 & 107 - four-over-three, whole-tone device

Line 54 Impressions - Audio 108 & 109 - two notes per string, chromatics cells, repeated notes on different strings

Line 55 Summertime - Audio 110 & 111 - sense of direction, target points, chromatic enclosure

Line 56 Speak Low - Audio 112 & 113 - arpeggios with note groupings of five and four

Line 57 Speak Low - Audio 114 & 115 - descending chromatics into chord tones

Line 58 Blues in F - Audio 116 & 117 - three-finger technique, repeated note on the same string with different fingers

 

 
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