New Randy Vincent book : Line Games

cubistguitar · #1 11-04-2012, 03:26 PM

I am a jazz book fan. Anyone else see this one is due next week. Jamey Abersold already shows it ready to order. Looks like a real doozy of a text. I woulda linked up sumpin for you, but I am on the phone.

cubistguitar · #2 11-04-2012, 03:32 PM

From another board I frequent.

Here's a preview of the Contents and Introduction:

Table Of Contents

Introduction

Chapter 1 - Basic Hexatonic Scales For Jazz Improvisation The types of basic hexatonic scales A system to create hexatonic melodies Positional hexatonic scale fingerings Long three-octave fingerboard patterns Some thoughts on HOW to practice the exercises Applying the hexatonics to altered V7 chords resolving to I chords Applying hexatonics to complete II-V-I progressions Applying hexatonics using the 13susb9 sound and its harmonic implications Applying hexatonics to II-V-I in minor tonality Applying hexatonics with cycle motion Applying hexatonics with descending half-step motion Applying hexatonics with tritone motion “Editing” eighth-note lines Applying hexatonics to II-V-I in three-four time Applying hexatonics to II-V-I with only two beats per change Fingering and rhythmic variations The compatibility of hexatonics with wholetone and diminished scales A sample chorus on a popular standard demonstrating hexatonics

Chapter 2 – Using Chromatics to Improvise “Inside” Conventional Chords Chromatics added to hexatonic lines Using other chromatic notes added to hexatonic lines Adding chromatic notes to conventional scale patterns Diatonic triads and seventh chords with added chromatics Using added chromatic notes on tonic triads Practicing the chromatically embellished triads Exercises on chromatically embellished ninth chords Introducing the “bebop scales” Bebop dominant scale exercises Bebop major scale exercises More forms and keys for the bebop dominant and major scales Exercises on the bebop melodic minor scale “Inside” chromatic wrap-up

Chapter 3 – Hexatonics Revisited: Mutually-Exclusive Triad-Pairs Positional fingerings for the major whole-step pair Special patterns combining adjacent positions Long fingerboard patterns for the major whole-step pair Some lines derived from the major whole-step pair A brief look at some other triad pairs

Chapter 4 – Four-Note Arpeggios and Pluralities Table of pluralities Forms for four-note arpeggios Alternate fingerings for the long forms Applying the four-note arpeggio pluralities to a standard chord progression

Chapter 5 - “Loose Ends” Running arpeggio pattern sequences through a standard chord progression Using chromatic voice-leading to build long lines Building lines on “skeleton” melodies Solo breaks and other ways to start a solo Thematic development

Introduction

Unlike my previous jazz guitar chord voicings books (Jazz Guitar Voicings Vol. 1 – The Drop 2 Book and Three-Note Voicings and Beyond, both available from Sher Music Co.), this book is a collection of things to practice on the guitar that will help develop the vocabulary of jazz improvisation while simultaneously developing and maintaining single-note technique. I have included many lines and phrases transcribed from the recordings of several master guitarists (and occasionally saxophonists, trumpeters, and pianists as well) to demonstrate the validity of the concepts behind the exercises given.

The topics roughly follow concepts in the same order as I became aware of them in my own development, but not always. For example, the triad-pair concept in chapter 3 came much later in my own playing, while the pluralities concept from chapter 4 came very early. Of course they don't really happen one after another but are very overlapping.

To use this book you should have some basic knowledge of standard music notation and the ability to find notes anywhere on the guitar. When strings and fingerings are shown the strings are the numbers inside small circles (above the staff), while the fingers are numbers without circles (below the staff). It's standard guitar fingering, with 1 being the index, 2 the middle, 3 the ring, and 4 the “pinky”. When there's a straight line between repeated finger numbers, that finger slides along the string it's on to the next note. When there's a bracket below repeated finger numbers, that finger rolls to an adjacent string on the same fret to play the next note. If the roll is to a higher pitched string the roll starts on the finger tip and rolls over to the side of the finger. If the roll is to a lower pitched string the roll starts on the side of the finger and rolls over to the finger tip. Occasionally the notes on the same fret will be on non-adjacent strings, but the technique will be the same. All the fingerings are suggestions only, so if something else works better for you, by all means feel free.

There will be a follow-up volume that will use the the concept of melodic cells to address various fast moving changes, such as quick cycles, turnarounds, Coltrane changes, etc. It will also address playing “outside” of the changes and “free” improvisation as well. The epilogue will introduce these topics with a few examples to get you started.

Clifford-D · #3 11-04-2012, 06:01 PM

I have all of Randy's books so buying this book is a priority for me.
Randy was my guitar tutor in college back in '85.
He has been a huge influence on Julian Lage when Julian was a kid.
I so glad to see this great teacher get his ideas out in books.

cubistguitar · #4 11-04-2012, 06:12 PM

Yeah, this looks interesting, the examples pages i saw looked great, all applied science kinda stuff, not just raw material, not just examples without knowledge. I gotta give this a whirl. I bet Mr. Vincent made a great teacher, seems organized and thoughtful.