JAZZ GUITAR VOICINGS RANDY VINCENT PDF

Randy Vincent synthesizes jazz harmony on the guitar in a clear and concise way. Within its pages, this book can give any player a few lifetimes worth of chordal study and exploration s! In fact, this is what I appreciate so much about the book: Vincent managed to start at the foundation of jazz guitar chords and build on that very solid framework of basic concepts Starting from the beginning, with you guessed it! This is good news: finally a focused, well explained and neatly presented way of teaching beginners the nuts and bolts of jazz guitar comping.

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He wrote several timeless jazz guitar books on Sher publishing. Cellular Approach comes immediately after Line Games by Randy Vincent, a book about improvising melodic lines. Instead of memorizing or creating long lines of notes, the author insists that we can use basic 4-note cells to move from one chord to the next while soloing.

This works extremely well when chords go by in the typical cycle of fourths. But using a cellular approach can be useful on virtually any sequence of chord changes. Take lines played from the masters on jazz recordings. Slice them up. Then apply them wherever you need them while soloing on chord progressions! The book contains dozens of examples from actual solos by jazz greats such as Joe Pass and is written in a friendly, non-intimidating tone of voice.

The beginner will be able to "see the light" on fast moving changes by using and copy-pasting the same melodic formula over several bars. While the more adventurous will look into the later chapters to get chromatic "out" ideas such as side slipping and atonal lines. I like the fact that Vincent in Cellular Approach outlines not only the strongest possibilities, but lots more of logical and good-sounding lines that run through changes. In short, I think of it like an extension of the Connecting Chords book.

Lots of lines by legendary players are used to demonstrate cells. The information was not conceived in a vacuum, and we can feel it being solidly anchored in the jazz tradition.

The author spends time demonstrating the sames line over different string sets on the guitar. Every line, cell or concept is explained concisely yet precisely. I feel a great effort to keep things clear and short throughout the book. And then some. Wait, is that a "pro" after all?! The description of the alternative and optional fingerings in certain chapters , although fun, can be a bit overkill. Even for an advanced player. Which might be a pro if you can focus on one tiny thing at once and use patience, like the author recommends in the introduction.

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