Question about book, Connecting chords with Linear Harmony

[guitarplayer007]

I've had the book a long time but never really studied with it. I'll take some any opinions on it. Is it really important to learn these outlins as well?
thx
Ken

[FatJeff]

I don't know - ask some of the players the book takes examples from (Sonny Rollins, Lester Young, Charlie Parker, Sonny Stitt, Miles Davis).

Seriously, it's a great book. Put it to use. Don't get hung up on the huge chapter that has all the various examples in it. Just read the introductory material, and then the later chapters on "getting it into your playing." You can go back to the other middle chapters later when you've got the basics down.

[guitarplayer007]

thanks Jeff

[docbop]

I just got the book a week ago I like it so far, he's done a great job of analyzing great players and find common ground in their solos.

[guitarplayer007]

cool

[dyross]

I just ordered the book and am hoping to get it today. I own this one:

Amazon.com: Comprehensive Technique for Jazz Musicians: For All Instruments (Jazz Book) (9780634001765): Bert Ligon: Books

and found that the mini-section was so interesting and helpful that I ordered the other one. Here's why I am excited for the book:

1) As a relative beginner, I am thinking that outlines are one of the most important things for me to work on. I think a mastery of them will both give me a good foundation in building / modifying lines on the fly, but more importantly, stressing the resolutions between the outlines will help me hear the changes more and make all this effortless. After working through some stuff in the short chapter in "Comprehensive Technique", I already and finding some wins.

2) As was mentioned above, the myriad of real jazz examples from the greats make the book a lot more than just a theory / technique book. It's a history and style lesson as well!


So yeah - I think you should pick it up again

[JonnyPac]

I love Bert's Connecting Chords book. It really helped me get into the idea of creating harmonically specific lines and use embellishments to bring out the real-time jazz counterpoint between the bass and melody without a chordal instrument needed. Some ideas really open up the guitar too. It was the main inspiration to add a section in my own theory book. It takes the static chord-scale theory and put it into motion. Very cool stuff. I stink at reading, so it took me a bit to go through it. That's why my books's little section has tab. lol. I highly recomend it.


Here's my thread with my book's entire LH section. It's good starter http://www.jazzguitar.be/forum/impro...-examples.html Enjoy!