Giving up single note lines

[sjl]

Randy Vincent's - The Cellular approach.

https://www.jazzguitar.be/forum/impro...cent-book.html

[gsegal]

Mick Goodrich books 1-3, especially book 3 "the mother load" will open things up for you. I have spent years in those books and always keep coming back.

[mr. beaumont]

Nice, thanks!

Can i dive into 3 or should i dig 1 and 2 first?

[christianm77]

One upon a time, most guitar solos were like this....

[gsegal]

I think you can probably dive right in but it wouldn't hurt to check out the other two, if you can locate them. I think those books have enough material in them to last a life time. Maybe two

[TH]

Nice, thanks!

Can i dive into 3 or should i dig 1 and 2 first?

No. Absolutely not. Yes the material in V1 and 2 might be more diatonically familiar, but they are not meant as method books (by ANY means) and they are not meant to be taken in order. Volume 3 is where the really amazing sounds are. All the things that you might try to transcribe all day were you to hear them in a compositional or solo context and it's still be elusive as to what the logic behind them is. Here is where the order comes from. The challenge is putting them into context. That's the lifetime's work in these books. And everybody's got a different take. It's the implicit challenge of these instruction-less books: Here's the gold mine of harmonic sounds; what can you do with them?

Taking the almanacs in order just serves to underscore the enormity of the resource and not open up the enormity of the potential. It also is the fastest way to get discouraged. I'm sure it's why these books are among the top contenders for "Great doorstops in the history of music".

There's a thread on this stuff around here somewhere.
David

[NSJ]

No. Absolutely not. Yes the material in V1 and 2 might be more diatonically familiar, but they are not meant as method books (by ANY means) and they are not meant to be taken in order. Volume 3 is where the really amazing sounds are. All the things that you might try to transcribe all day were you to hear them in a compositional or solo context and it's still be elusive as to what the logic behind them is. Here is where the order comes from. The challenge is putting them into context. That's the lifetime's work in these books. And everybody's got a different take. It's the implicit challenge of these instruction-less books: Here's the gold mine of harmonic sounds; what can you do with them?

Taking the almanacs in order just serves to underscore the enormity of the resource and not open up the enormity of the potential. It also is the fastest way to get discouraged. I'm sure it's why these books are among the top contenders for "Great doorstops in the history of music".

There's a thread on this stuff around here somewhere.
David

i've been trying to find these books for a while but no dice. Sadly, they may as well not even exist anymore.

[mr. beaumont]

Just as well, i really don't learn from books anyway.

[va3ux]

For a month.

I gave it up years ago, and with good reason : wanting and trying to be a good improvisor does not mean I would become one. The best solos I've ever heard came from the recordings I own of all the greats. The absolute worst solos I ever heard came from me. And after years of working at it as a hobbiest, I finally concluded that further effort would yield only little improvement.

[mr. beaumont]

Yeah, that's not what I'm talking about though.

I'll never be great, who cares? I can still have fun and learn and play the music i hear in my head...

[RClegg]

I think I am going to try something like this. Some warm up drills and arpeggios to warm up and continuing to learn the neck, and then just focus on chordal movement as a way to better learn tunes, hear connections, and improve chord melody playing.