I Purchased Chordal Bebop lines Book 1

**guitarplayer007** · 03-23-2011, 09:20 AM

I'm not thrilled with it at all, the chord/lines dont sound that great
Ken

**gersdal** · 03-23-2011, 02:05 PM

Originally Posted by guitarplayer007

I'm not thrilled with it at all, the chord/lines dont sound that great
Ken

Can you give a link (amazon or whatever) so we know what you talk about?

**guitarplayer007** · 03-23-2011, 02:24 PM

HOW TO PLAY CHORDAL BEBOP LINES FOR GUITAR: Jim Bastian:

**JazzVocab** · 03-23-2011, 02:51 PM

I was tempted by that book at one point, but never got round to getting it, lucky by the sounds of it!

In the end I transcribed a load of cool chord lines from the Wes version of "Gone With The Wind" a perfect solo!

**gersdal** · 03-23-2011, 06:41 PM

Originally Posted by guitarplayer007

HOW TO PLAY CHORDAL BEBOP LINES FOR GUITAR: Jim Bastian:

Thanks. I think I've seen that and found it good. Could be I should look at it again.

**wizard3739** · 03-23-2011, 07:05 PM

I bought the first 2 volumes and use them both for good chordal ideas when I feel like I need something new or different.

wiz

**Meggy** · 03-25-2011, 08:56 AM

Could it be that this is one of those books that is good, but you need to work at the contents, and really learn to apply it in a band context, before you start to see the benefit? I find a lot of stuff is like that with jazz guitar! Although I think the point about learning directly by transcribing Wes is also very well made.

**Jim Bastian** · 03-26-2011, 02:59 PM

Hi Ken,

when I was trying to learn the technique of improvising lines in chords I could find no organized approach. I ended up giving alot of years to studying it and the books resulted out of that work. I think it is the first book of its kind (to deal at all with this topic in this extent), and certainly exhibits growing pains (I am sure others will develop a more cohesive educational approach in the future). But I think the methodology is strong: the intro of Book 1 starts with inversions of chords but really focuses on scale sounds that are harmonized, much in the same way you practice single line scales/modes and draw from those to improvise. Certainly these are the basics that can be used even if you did not like the example lines which come later in the book? It is a fact that many of the harmonized lines in book 1 are actual Wes transcriptions of riffs, short phrases, and stock licks he used. These are mixed up with original ones too.

I think it takes a long time to really integrate the style into one's playing. I would be interested to hear more specifically about your thoughts on the book. I think one has to approach the book as a springboard...it provides a concept for developing one's own style in this technique. Before I did the books, I played single lines or comped, but didn't understand how to organize a framework or language from which to draw CHORDAL LINES.

It is interesting to me that so many people write to me and express appreciation for the niche that these books provide, so too I am interested when someone is disappointed.

Jim Bastian

**Meggy** · 03-29-2011, 02:14 PM

Originally Posted by islandfunhouse

Hi Ken,

when I was trying to learn the technique of improvising lines in chords I could find no organized approach. I ended up giving alot of years to studying it and the books resulted out of that work. I think it is the first book of its kind (to deal at all with this topic in this extent), and certainly exhibits growing pains (I am sure others will develop a more cohesive educational approach in the future). But I think the methodology is strong: the intro of Book 1 starts with inversions of chords but really focuses on scale sounds that are harmonized, much in the same way you practice single line scales/modes and draw from those to improvise. Certainly these are the basics that can be used even if you did not like the example lines which come later in the book? It is a fact that many of the harmonized lines in book 1 are actual Wes transcriptions of riffs, short phrases, and stock licks he used. These are mixed up with original ones too.

I think it takes a long time to really integrate the style into one's playing. I would be interested to hear more specifically about your thoughts on the book. I think one has to approach the book as a springboard...it provides a concept for developing one's own style in this technique. Before I did the books, I played single lines or comped, but didn't understand how to organize a framework or language from which to draw CHORDAL LINES.

It is interesting to me that so many people write to me and express appreciation for the niche that these books provide, so too I am interested when someone is disappointed.

Jim Bastian

Thank you for posting with your thoughts, much appreciated. I feel your books really do address a key area for jazz guitar, which does seem to have not been looked at enough in the past - certainly in terms of available educational material. I must say I think I will be giving the books a try myself, as I do love this kind of playing - Wes and Barney are two of my favourite players. I think quite a few learning guitarists get to the point where they have some reasonable single line chops going, and good comping skills also, but are not so hot at integrating chords into soloing. As you say, it takes time to develop something that works with one's own playing, but I think your books could provide a very useful structure and overall framework, plus some helpful examples.

**Meggy** · 07-01-2011, 07:18 AM

Just an update, it took me a while, but I have just ordered the set of 3 books from Jazzlines in the UK (despite the OP's less than enthusiastic response to the first volume!). I like the short lesson on this style that Jim Bastian has written on this website, so I figure I will probably be happy with the books too - I'll soon find out though. Anyway, I'm really keen to develop a vocabulary in this area of playing, and I hope these books will provide some useful structure and insight to help me.

**MackBolan** · 07-02-2011, 04:03 AM

I"ve ordered all three books from ejazzlines in the States cause you can"t
get them over hre in Germany,they"ve arrived in a relative short period of
time.
Cool as hell,bought em cause the author mentioned Wes and Cal Collins.
The chord diagrams are easier to see and read as T.Greene"s Chord
Chemistry,the only non good sounding line I"ve found yet is on page 18,
second G-Major alternating 1 and 5,the D7flat9 should be on fret 13.
Hope the author does something similar as these books with single line
scales.
I recommend it,but who cares?

**Jim Bastian** · 08-15-2011, 10:33 PM

Hey MACKBOLAN.....thanks for pointing out that typo....the highest sounding voice of the D7b9 chord should be F#.
page 18 of volume 1....line 2.....chord 7.....the fret number beside the chord should be 13. (The chord shape of a diminished chord is correct...just the fret number is wrong).

**Meggy** · 08-16-2011, 05:04 PM

Originally Posted by MackBolan

I"ve ordered all three books from ejazzlines in the States cause you can"t
get them over hre in Germany,they"ve arrived in a relative short period of
time.
Cool as hell,bought em cause the author mentioned Wes and Cal Collins.
The chord diagrams are easier to see and read as T.Greene"s Chord
Chemistry,the only non good sounding line I"ve found yet is on page 18,
second G-Major alternating 1 and 5,the D7flat9 should be on fret 13.
Hope the author does something similar as these books with single line
scales.
I recommend it,but who cares?

I recently got all 3 volumes from Jazzlines in the UK - haven't had much chance to work from them yet (and there clearly is plenty of work to be done!) but what I have tried I liked, and I'm pretty pleased I got them. I can't agree with the OP, I think these are great books that deal with an otherwise rather neglected area in guitar tuition.

**guelda** · 08-25-2011, 07:01 AM

Really ? I dig those books ! Well, especially the 2nd and 3rd volumes which have lines in context, i.e. applied to standards songs. I love the sounds of the examples.

**guitarplayer007** · 08-25-2011, 09:05 AM

Hey Guelda,

So books 2 and 3 actually show you how to apply then to jazz tunes?
Ken

**guelda** · 08-25-2011, 10:28 AM

Well not exactly, but there are some tunes (blues, Ceora, a tune from Ch. Parker, etc.) with chordal chorus on the entire structure, so understanding the chord progressions (i.e. seeking for II-V-I, III-VI-II-V, etc.), what phrases are used and how they are built, is an interesting exercise. I tried some and really liked the sound.

**guitarplayer007** · 10-14-2011, 08:55 AM

I guess i should have got volume 3 maybe. I just find most of the lines sound bluezy, which is'nt bad, just wanted more bebop sounds. But then again i only have volume one.
ken

**jmstritt** · 10-14-2011, 11:32 AM

This thread has got me interested. I may have to check these books out...

**Jazzguitarsussx** · 12-24-2012, 04:41 PM

Where's the best place to order them from if u live in the uk? Want the package with all 3 books..

**Jim Bastian** · 12-24-2012, 04:47 PM

here's a link

Wes Montgomery Chord Method 200 page book Jazz Guitar (Gibson L5 L-5 7)

**jseaberry** · 12-24-2012, 09:25 PM

Hey Jim, I just moved to East Providence last week; where are you playing any time soon?

**Derekdaman** · 12-28-2012, 02:46 PM

What exactly is a chordal bebop line? How is it different from a "regular" bebop line?

**Lane** · 12-28-2012, 08:59 PM

Steve Herberman has a great class on this offer through Mike's Masterclases.

**gersdal** · 12-29-2012, 09:03 AM

Originally Posted by Derekdaman

What exactly is a chordal bebop line? How is it different from a "regular" bebop line?

Chordal bebop lines is chord improvisation. If you have listened to Wes Montgomery he normally build up his solos by playing single lines for a chorus or two, then octaves for another couple of choruses, and then he finalize it all by a chorus of chordal lines. These books mentioned in this thread is about that last chorus you could say.