A Common Sense Approach to Improvisation for Guitar (eBook)
99607EB
The goal of this book is to provide a concept for guitarists that will help them go quickly to the core of the harmonies that must be dealt with in order to improvise over chord changes. Joe Negri shows how you can assimilate harmonies and quickly determine a common denominator that you instantly visualize on the fingerboard. From this `cell' harmony you will be able to build or create single-note melodic lines. Joe Negri has taken the fundamentals of music theory and made them applicable and relevant to th ...more
Product Number:
99607EB
Format:
eBook
Skill Level:
Beginning-Intermediate
Pages:
40
Binding:
eBook
ISBN13:
978-16191-1720-4
Publisher:
Mel Bay Publications, Inc.
Date Published:
2/20/2017
The goal of this book is to provide a concept for guitarists that will help them go quickly to the core of the harmonies that must be dealt with in order to improvise over chord changes. Joe Negri shows how you can assimilate harmonies and quickly determine a common denominator that you instantly visualize on the fingerboard. From this `cell' harmony you will be able to build or create single-note melodic lines. Joe Negri has taken the fundamentals of music theory and made them applicable and relevant to the improvising guitarist. One of this book's secrets is the use of basic triadic shapes as an organizational tool to demystify improvisation. This keep it simple approach allows improvisers to hear and unveil melodic lines that are right under their fingers within simple triadic shapes. These studies are packed with the basic information the student needs in order to use the chord tones as melodic focal points. Written in notation and tablature.

Foreword.......................................................................................................... 6

Preface............................................................................................................. 7

A Closer Look at the Guitar............................................................................. 8

Playing Major Triads and their Inversions.................................................... 10

Arpeggio Picking for the Right Hand.............................................................11

Major Triads and Inversions in the Remaining Keys.................................... 12

Playing Minor Triads and their Inversions.................................................... 14

Playing Three-Note Dominant Seventh Chords and their Inversions........... 16

The Plagal Cadence....................................................................................... 18

The Authentic Cadence.................................................................................. 19

The Complete Authentic Cadence................................................................. 20

Building a Single-Note Line from a Triad..................................................... 21

The Charlie Christian Legacy........................................................................ 23

Phrasing and Articulation.............................................................................. 24

Phrasing and Articulation with Sweep Picking............................................. 25

Variations of Sweep and Slur Exercises........................................................ 26

The Upper Neighbor Tone............................................................................. 27

Primary to Secondary Harmony.................................................................... 29

The Complete Authentic Cadence with iim7................................................. 30

Examples of (iim7) (V7) (I) Progressions..................................................... 31

Spring Loose.................................................................................................. 33

Cheery-Oak.................................................................................................... 34

Spring Loose and Cheery-Oak Changes for Creating Melodic Lines........... 35

Final Notes..................................................................................................... 36

Acknowledgements....................................................................................... 37

 
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