Randy Vincent's new book on improvising single note lines

[nosoyninja]

Funny, I was just thinking of buying this book.

Vic Juris, a great Jazz Guitarist from New York mentioned on his facebook page that Randy is coming out with a new book called 'Line Games', about playing better lines.

Think I'll wait until Line Games is published and then I'll get both.

I couldn't help myself after reading this and went over to Randy's website to see if there was any news of this book. Although there was nothing posted there, I went out on a limb and emailed him directly. I told him every one over here at the forum would love to know a little of what to expect from his new book, and this is what he answered back!:

Hi Kiyoshi,
Thanks for your interest in the new book.
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.

I hope that will help.

Thanks again, Randy

cool!

K

[konstantine]

that is great, any idea when this will be published?

[Big Tony]

Very interesting!

/ Tony

[Dana]

I emailed Randy and he said it should be available around the end of October.

Looks awesome, can't wait to score myself a copy.

[sjl]

Sure it is a great book but I think there are so many methods out there.

[nosoyninja]

Sure it is a great book but I think there are so many methods out there.

Agreed. But still, a new text from a recognized jazz educator like Vincent is always welcome. It has become clearer and clearer to me that there is no one single approach that works best over all. Thus I have come to welcome opportunities to learn new ways to think about improv, or new ways to organize known material.

I know, I know, collecting method books is a form of GAS. But I try to keep in mind that none of them is the one single answer to all your problems, just a window into a new perspective...

K

[Sharks]

Wow. Lots of work there from the sound of it. Sounds pretty comprehensive, to say the least.
I'll be hanging out for this.

[RyanM]

So is this out yet?

[konstantine]

it will be out at mid/end of this week! I cant wait!

[Moonray]

It's listed on Amazon, but not available just yet.

Thanks for reminding us of this.

Have pre-ordered a copy.....got my sleeves rolled up.

[Moonray]

"Line Games", Randy Vincent's new book on ....well, lines...

Now available as of this post....at Jamey Aebersold Jazz Books.
I had ordered with Amazon but they still don't have any stock.
It's currently going at Jamey's for $24. I was rash and spent twice as
much as the cover price on express.
BTW Jamey's site let me know via their weekly email update that they
had new stuff from Sher Pub......I checked with Amazon, still nothing.
Go for it folks!
Oh, and I'm not connected in any way to Sher Pub. or Mr Vincent.

[cubistguitar]

I went with Jamey Aebersold today as well, they had the book discounted like you mentioned, which covered the shipping cost, very happy to get a copy on the way. I don't know why Chuck Sher wouldn't be crowing over the moon about this new guitar book, guitar books must do OK for them.

[Dana]

Just ordered. Looking forward to checking it out.

[Dana]

Anyone get theirs yet?

[cubistguitar]

Got my copy today. Just gave it a quick look, but it oughta keep me busy for a little while.

[Moonray]

Waiting, waiting.....So much for UPS Express Mail International.

Mind you, New Zealand is quite a long ways from Louisville or wherever Jamey hangs out.

UPS says 3-6 days....OK...but I think it was 3-4 days to get the order
processed & shipped.....I wouldn't mind but the shipping cost more than the
book.
Oh well...if that's all I have to bitch about, life is pretty damn fine.

C'mon cubistguitar haven't you cancelled all other commitments....
Look forward to exchanging views on the book.

[momotor]

I wonder how this method compared to Dr. Lemos' pentatonic based method. Obviously the hexatonic scale contains one more note. Are there as many types and fingering that needs to be learned? I'm hoping to apply the CAGED major scale fingerings if possible. I like the idea of "restricting" note choices when soloing over chords to 5 or 6 of them. I've been trying to apply the 2 most frequently recommended methods:
(1) the key-center based approach (specifically, the 5 shapes and pitch collections taught by Jimmy Bruno) If I only use the 7 "inside notes" it doesn't sound like jazz. On the other hand, I wasn't able to determine which of the 5 "outside notes" are usable on the fly while playing.

(2) the chord-based approach. If I play the 4 chord tones strictly (in 2 octaves), I have 8 notes to play with. But if I keep doing this (say the song is really simple with 1 chord per bar and I play 8th notes mainly), it would sound boring too (i.e., not like jazz again)

So, to be able to choose from 10 or 12 notes (pentatonic or hexatonic in 2 octaves) seems like a happy medium to me in theory.

[AmundLauritzen]

Just ordered the book from Aebersolds website.

International shipping is 2-4 weeks. Priority and express are double price so I'd rather wait than pay expensive shipping. Really looking forward to diving head first into this book. I've been working with triad pairs and the augmented scale for a while so the book seems to have just what I need at this point.
In the meantime I'd love to hear what those of you who have your hands on it already think.

[cubistguitar]

I love the first chapter about "basic hexatonic"

He proposes 2 scales and a couple of inversion of those to represent the same as avoid note playing. Beautiful lines. Very melodic and I have never played with any avoid note tendencies, but I feel like the lines are very strong. I look forward to the more modern sounds, but I have never given these less modern sounds a good turn yet, so I have already gained some insight. I will put in some more time, I rarely get more than an hour a day, but that is great when I have a little extra insensitive like the LineGames. I will be back to share more experience , look forward to hearing from others.

[Jazz_175]

I looked at the Aebersold Web Site.
There are some preview pages (pag 23-24)
As I understand he names as Abmi-maj7 hexatonic scale a scale which is essentially the melodic minor scale of Ab, except for removal of Db.
So there it is, starting from G
G Ab Bb B Eb F
When played against G7 it is like playing the superlocrian mode, but one note is skipped
G Ab Bb B (Db skipped) Eb F
R b9 #9 3 (#4 skipped) #5 b7

[GuyBoden]

The Hexatonic scales are briefly mentioned in his "three note voicings" book on page 112 ex.6-24 and ex.6-25. One is a Major scale with no fourth and the other a Melodic minor scale with no fourth, so obviously all the usual Major and Melodic minor modes can be derived from these two scales, but each mode will have one note missing.

The Hexatonic scale theory is easy compared with the amount of practice needed to be fluent in playing them.
Guy

[cubistguitar]

The Hexatonic scales are briefly mentioned in his "three note voicings" book on page 112 ex.6-24 and ex.6-25. One is a Major scale with no fourth and the other a Melodic minor scale with no fourth, so obviously all the usual Major and Melodic minor modes can be derived from these two scales, but each mode will have one note missing.

The Hexatonic scale theory is easy compared with the amount of practice needed to be fluent in playing them.
Guy

Exactly, Mr. Vincent is not making a theory lesson on the correct notes to play, he has created some exercises and "looped" passages that are designed to strengthen this "hexatonic" playing in different positions. Seems like I will have some woodshed material for the near future. I would like to make these types of lines second nature, which i think is his proposition. He has you looking at the hexatonic later in the first chapter as (3) 2 note cells. From this idea he introduces the idea of each 2 note cell being tied together in line making, that is to say if one note of the two note cell sound, then the partner note of the cell should sound also before moving on. Depending on how you arrange the skips or steps this approach can make a lot of lines from highly simple to somewhat complex sounding, and yet again the "what" is quickly moved on to the "how" with lots of examples to try out and master the sound of. His approach to the altered chord is excellent and the lines are some the best ii-Valt-I licks i have heard.

[MattC]

Just got my today. Definitely well put together and very practical. Reminds me of Bert Ligons books in that it strongly validates the "theory" with many examples of very melodic lines from the greats. One key difference is the obvious emphasis on examples from guitar players here (Wes, Martino, Pass, etc.) verses mostly other type (horn, piano, etc.) players in Ligons books.

So far all I've done is read a little and play a few of the first examples, but I already love this book. I'll probably just read and practice a few lines for a while and then dig into some of the loop exercises.

Oh and by the way, he mentions he is planning a follow-up volume that will deal with melodic cells, fast cycling changes, outside playing and more. Obviously there is not enough in this book to keep one busy.

Matt

[BirdLives!]

This thread has really made me wanna get this book!

[David B]

Just bumping this thread to see how people are getting on with the book. My copy's in the post. The table of contents and the example pages have really got me interested.