Ed Byrne' s Linear Jazz Improvisation

**nomelite** · 07-13-2009, 12:06 PM

OK We are overwheelmed by methods and books ,chord/scale oriented or not, but I'm really curious by this one brought by another forum guy.
Can someone give a review? is it too too advanced? i see that it's easy but a bit too 'academic' for me. I would like to hear some opinions.

Byrne Jazz - Home

**ingeneri** · 07-13-2009, 12:37 PM

I haven't taken classes with Ed, but I know him from his participation at the AllAboutJazz.com Musician2Musician forum. You should check out Ed's posts there and at FreeJazzInstitute.com for a better sense of his thinking and way of communicating.

I opted to study as one of the first students at Jimmy Bruno's site instead of with Ed. The possibility of getting one-on-one instruction with a top guitarist whose playing I greatly admire gave it the edge. However, both Jimmy and Ed share an aversion to the orthodox chord-scale-theory approach. Ed's ideas, while initially technical, really come down to knowing the damn tune (based on the melody instead of getting hung up on what scale to play over what chord of someone else's transcription.

Jake has worked with Ed more extensively, so you may want to send him a PM.

**Jake Hanlon** · 07-13-2009, 12:54 PM

Despite Ed and my falling out personally I won't risk bad mouthing someone who has worked out a clear method for developing his improvisation. Ed's got a Guitar book that I helped proof maybe a year or two ago and it's out now. It's not a bad book, I wouldn't say it is any better then anything else out there, however mixed with his method it is just another means to another end in regards to how to improvise.

It isn't a difficult method, it is rather intuitive, universal to any instrument. I think for someone who finds it difficult to think in terms of scales that it is something you should investigate.

**ingeneri** · 07-13-2009, 12:57 PM

Sorry Jake, didn't realize you two had had a falling out. Please accept my apologies, as I didn't mean to put you in an uncomfortable position.

**Jake Hanlon** · 07-13-2009, 01:01 PM

don't worry bout anything like that Mat, the details are between me and Ed. I have nothing but respect for his music, it is difficult not to!

Jimmy Bruno posts on aaj now also! Does Martino still post as well?

Subsequently I'm gonna go see John Abercrombie tonight. I 't wait to get to see him again, hopefully time permitting get in a hang. I was called to sit in with another group later, I am hoping to get him to come as well. John appears on Ed's only leader release, which is a solid recording for sure, with an all-star cast.

**nomelite** · 07-13-2009, 01:03 PM

Originally Posted by Jake Hanlon

Despite Ed and my falling out personally I won't risk bad mouthing someone who has worked out a clear method for developing his improvisation. Ed's got a Guitar book that I helped proof maybe a year or two ago and it's out now. It's not a bad book, I wouldn't say it is any better then anything else out there, however mixed with his method it is just another means to another end in regards to how to improvise.

It isn't a difficult method, it is rather intuitive, universal to any instrument. I think for someone who finds it difficult to think in terms of scales that it is something you should investigate.

Thanks Jake..just one additional question. Does the Guitar book stands alone or it has to be studied in conjunction with the Linear Improvisation book?

**Jake Hanlon** · 07-13-2009, 01:10 PM

The draft I was given back then was a stand alone book that had a chapter that basically outlined the principles of his total method. I don't know how much that has changed. Either way, the combination of the two I think is where it reaches it's best potiential.

If I were investing in books I would not buy the guitar book personally. Reason being, I wouldn't be a book on heart surgery written by a dentist if you know where I'm getting at. Ed does his reserch, and he gets his sources checked for real, at the same time, it's a guitar book written by a non-guitarist and to me that makes little sense. Not to say Ed knows nothing of guitar, he's a big fan (so he's told me many times).

The LJI really would be the way to go. I worked through the 1st book 3 years ago and it helped me organize some things I was having trouble with especially in a melodic sense.

Basically, I recommend the method, absolutely.

**nomelite** · 07-13-2009, 01:28 PM

thanks a lot Jake and Ingenieri! that gives me a better picture.

**Ed Byrne** · 11-13-2009, 01:11 PM

Guitarists:

Thank you for your interest in Linear Jazz Improvisation Method, in particular my new book, LJI Functional Jazz Guitar. First, let me respond to a few of the remarks, and then I will supply some detailed information on my guitar method.

To be clear: Jake H has never studied with me. At his personal request, I attempted to criticize his playing at one time on the AAJ Forum, and he ignored my advice. I have never sent him a draft of Functional Jazz Guitar, which I very much doubt he has ever laid eyes on, much less read. Moreover, to state that he and I had a falling out assumes a great deal on his part, and his statement below demonstrates an unfortunate narrowness of view and fear of anything suggesting the new or unconventional, however practical:

If I were investing in books I would not buy the guitar book personally. Reason being, I wouldn't be a book on heart surgery written by a dentist if you know where I'm getting at. Ed does his research, and he gets his sources checked for real, at the same time, it's a guitar book written by a non-guitarist and to me that makes little sense. Not to say Ed knows nothing of guitar, he's a big fan (so he's told me many times).

Am I really reading this? I have taught jazz guitar (and every other instrument) for my entire career; and I have performed with and written for many of the greatest jazz guitarists in the world. Among my ex-guitar students are Freddie Bryant and Mark Elf. I make my living performing jazz, teaching, writing, and publishing my Linear Jazz Improvisation Method books—some 46 books written for all instruments. Among my current students are faculty members of NEC, Berklee, Harvard, and Yale. Does every guitarist need tablature and fingerings for a book to be useful?

Here’s what some real world-class jazz guitarists have said about me:

Freddie Bryant: Ed Byrne taught me virtually everything I know about composition, and he encouraged and inspired me with his dedication and love of music.

Vic Juris: Ed’s Information is as good as it gets anywhere!

Dom Minasi (about LJI Functional Jazz Guitar): For someone who has been teaching jazz guitar for over forty years, it’s great to finally have a book I can use. Ed Byrne’s Functional Jazz Guitar book is a great way to help students realize their full potential.

The text of FJG, while an easy read with great advice, is not what this book is about. It is about learning the essential skills of playing guitar in a jazz band that is focused upon here—to be learned in all keys by rote by practicing along with the excellent sound files which come with the book (it's all written out as well).

I urge all those interested in a practical method to visit my web site bookstore to see and hear examples from this book:

http://byrnejazz.com/product.php?id=22

Book Contents:
•Jazz thinking
•Guide-tone lines & cadences
•Blues comping
•Bossa comping
•Bass Lines
•Linear melodic solutions
•Diatonic modal planing
Improvisation advice

LJI Functional Jazz Guitar

Linear Jazz Improvisation Functional Jazz Guitar is designed for all the students I have had that have practiced chord scales and done the usual stuff in their back room, but don't know how to get out and function in a jam. What they had learned (chord scales) didn't help them enough at how to apply it to performance. This does—big-time, without any need for scales.

The book assumes a certain basic level of proficiency on the instrument, though. Its focus is on specific accompaniment chords and rhythms on the basic major and minor cadences and 12-bar blues—with specific voicings, rhythms, and melodic licks to go with them. It also covers Diatonic Modal Planing of triads and voicings in fourths.

You can also mix and match the chapters, which is really cool. For example, after you learn the guide tone line in all keys, you can go to the comping chapter of the same cadences, and then play one with the other. Virtually everything in the book is interchangeable in that way. I tell you, man, this was an inspiration.

I am currently running a class at home with my long-term students—on this book exclusively—and it’s effective and fun as hell. You can practice by yourself with it, or with any combination of other players on any instruments. You can then break it up and have each person do a different part from the book, all at the same time. While it is designed, as I said, for the entrance-level practitioner, I doubt if even Vic Juris or Dom Minassi could just knock it all off—I know I can't.

There's a common thread throughout this 255 page book. Rather than offer theoretical explanations, the book just puts the basics to work, supplying specific comping rhythms to use, over a supplied paradigm walking bass line, rhythms and other specific solutions to learn in all keys on the basic cadences major and minor; the 12-bar blues in major and minor, and funk, and diatonic planing though the modes in all keys; and in swing and Latin and funk—with specific comping rhythms and voicings in all keys.

All of this is practiced with supplied Finale and mp3 files and learned by music and ultimately by rote (18 separate files of 168 pages in Finale). The two major and minor blues bass lines are written out in all keys to be learned first as such, and then used against learning the anticipation comping-pecks (always difficult to get used to). Then the riff-style comp is introduced.

The entire book is self-explanatory, however, and the explanations are irrelevant: Just play the whole book and you are ready to play in a group. It is both efficient and artful, and you will have fun learning in this manner.

Our goal here is to be able to function in a jazz group setting. For this the jazz guitarist needs to know some basic cadences and blues form-types, in all twelve keys, in the basic rhythmic feels of swing, bossa, and funk. To fully know these cadences and blues forms, we shall internalize the guide-tone line, basic cadences, root progression, and melodic line realizations of these same forms.

We shall also address the various roles of the jazz guitarists, while continuing to focus on the same essential forms, those of the bassist, accompanist, and soloist. In this effort, specific solutions for each of these roles will be learned by rote in all keys, such as guitar chord voicings and comping rhythms, specific bass lines, and melodic solos on all of these roles, including blues scale licks.

After learning these paradigms individually, you can go back and mix and match. For example, you can practice playing the comp against the bass playback—or visa versa; or play the solo against the comp of the blues or a cadence in either major or minor. Play the bass against the comp. All combinations are helpful in acclimating yourself to the entirety of each style.

It is not a play-along, but rather, a practice-with. All of the accompaniment material, though, is comprised of what you learned earlier in the book, so it is cumulative in nature.

**JohnW400** · 11-13-2009, 01:39 PM

Hello Ed,

Welcome to the forum

**Ed Byrne** · 11-13-2009, 01:52 PM

Originally Posted by JohnW400

Hello Ed,

Welcome to the forum

Thank you, John. It's good to be here. I was surfing the net and came upon this thread, in which I was mentioned; so I thought I would set the record straight.

Best,
Ed

**randalljazz** · 11-13-2009, 02:02 PM

hope you'll hang around, old friend (lot of kids here in need of clear thinking...no offense to anyone in particular...)

**Ed Byrne** · 11-13-2009, 02:24 PM

Originally Posted by randalljazz

hope you'll hang around, old friend (lot of kids here in need of clear thinking...no offense to anyone in particular...)

Thanks, Randall. It's good to see you. I have really gotten too busy to write regularly in forums any more, but I think that jazz guitar students should really check out my book. It works--big-time. My students love it. We first learn specific musical solutions, and then how to actually improvise on them. This book not only supplies the methodology, but specific content with meaningful substance.

So I will be happy to discuss the LJI method with anyone here for a while, if anyone is interested. I can't, however, take the trolls any longer, or those who merely wish to express their uninformed opinions.

Best,
Ed

**mr. beaumont** · 11-13-2009, 02:32 PM

hey ed,

i don't think jake was trolling (then again, i know nothing of the whole story)--simply stating an opinion, and i would agree with it to a certain extent--the way i look at it, i would imagine your books work better for someone who definitely already knows how to play the guitar well from a technique standpoint, and has already investigated plenty of "guitar-centric" materials. So basically, I'd say your method appears to be something a guitar player can look at as a "second opinion?" But I don't know, maybe I should shut up and check out the text first?

Which I will--I'm quite interested in checking them out. I learned most of what i know about jazz from a piano player so I can certainly see the value in having a teacher who doesn't necessarily play the same instrument as you...

**Jake Hanlon** · 11-13-2009, 02:36 PM

Glad you're book is doing well Ed, and I do not mean to Troll nor did I troll.

I do remember you sending me a copy of a book for Guitarists you wrote or were working on with a Peer of yours, his name eludes me since this was a number of years ago. You asked my for my opinions which I was glad to give, perhaps this is a different publication. If I got that information wrong I certainly do apologize for that. I haven't got an issue with your books, teaching or you. Take that for whatever you wish to take it for and I'm fine with whatever choice you make.

Also, glad you're busy! It's hard out there. I actually have a student who I recommended ordering your LJI method too since he asked me about books... they're great books.

**NSJ** · 11-13-2009, 02:38 PM

I have Ed's other LJ materials (not the guitar book) and attest to their quality---highly recommended. It really forces you to be able to think like a musician first and guitar player 2nd. Which I think is good by the way.

One thing is crystal clear form Ed's works---it really forces you to sing your lines and really address the central melodic and rhythmic aspects of a tune. Which is often neglected, unfortunately. I'll be working on this stuff for a good long time, that's for sure.

I also have very much enjoyed reading Jake's excellent musical contributions on this and other boards.

**Ed Byrne** · 11-13-2009, 02:45 PM

Originally Posted by mr. beaumont

hey ed,

i don't think jake was trolling (then again, i know nothing of the whole story)--simply stating an opinion, and i would agree with it to a certain extent--the way i look at it, i would imagine your books work better for someone who definitely already knows how to play the guitar well from a technique standpoint, and has already investigated plenty of "guitar-centric" materials. So basically, I'd say your method appears to be something a guitar player can look at as a "second opinion?" But I don't know, maybe I should shut up and check out the text first?

Which I will--I'm quite interested in checking them out. I learned most of what i know about jazz from a piano player so I can certainly see the value in having a teacher who doesn't necessarily play the same instrument as you...

Thanks for your remarks, Mr. B. I wasn't accusing anyone here of trolling--just that I can't tolerate all that any longer.

I don't think FJG is a "second opinion," though, since there is nothing out there that I know of that covers the practical skills needed to play in a jazz band: what to play in a comp, and what to play on a jazz blues, etc.

You can just play the sound files and learn, by rote, hip versions of what we all need to know. There's no theory here at all--just do.

I wrote this book for all the guitar students I have, and have ever had, who practice in their back rooms, and don't go out and play with others, due to a lack of practical hands-on familiarity with the jazz guitarist's roles in a group. This book supplies that in a very direct and powerful way.

Believe it or not, I never get any complaints about any of my books, because I write them first for myself. I am still working this guitar book out on trombone myself. It's fun, too!

All that is required is a very basic technical background on the instrument, especially since I believe that the practitioner ultimately needs to find his/her own fingering solutions in the end anyway.

**Ed Byrne** · 11-13-2009, 02:55 PM

Originally Posted by NSJ

I have Ed's other LJ materials (not the guitar book) and attest to their quality---highly recommended. It really forces you to be able to think like a musician first and guitar player 2nd. Which I think is good by the way.

One thing is crystal clear form Ed's works---it really forces you to sing your lines and really address the central melodic and rhythmic aspects of a tune. Which is often neglected, unfortunately. I'll be working on this stuff for a good long time, that's for sure.

I also have very much enjoyed reading Jake's excellent musical contributions on this and other boards.

Thank you very much for your kind remarks, NSJ. You can always feel free to contact me with questions which may arise in working on these books.

You are sure right about the singing, too!

**Ed Byrne** · 11-13-2009, 03:04 PM

Originally Posted by Jake Hanlon

Glad you're book is doing well Ed, and I do not mean to Troll nor did I troll.

I do remember you sending me a copy of a book for Guitarists you wrote or were working on with a Peer of yours, his name eludes me since this was a number of years ago. You asked my for my opinions which I was glad to give, perhaps this is a different publication. If I got that information wrong I certainly do apologize for that. I haven't got an issue with your books, teaching or you. Take that for whatever you wish to take it for and I'm fine with whatever choice you make.

Also, glad you're busy! It's hard out there. I actually have a student who I recommended ordering your LJI method too since he asked me about books... they're great books.

Jake,

Sorry for the misunderstanding: You are no troll. Any draft you may have seen, however, is totally different than this book in question. I did a draft years ago, as you state, but I threw all of it out and came up with this book by myself. I am very pleased with the results.

I am starting to work now as a solo jazz trombone act, which pays far better, given the current economic climate.

Good luck in the Apple. I've been back and forth there again a bit myself lately, and I expect to be there a lot more in the near future.

Best,
Ed

**Ed Byrne** · 11-13-2009, 03:06 PM

Originally Posted by nomelite

Thanks Jake..just one additional question. Does the Guitar book stands alone or it has to be studied in conjunction with the Linear Improvisation book?

nomelite,

It stands on its own. My LJI method addresses how to mine and develop in improvisation the material from specific compositions, while FJG addresses the generic and practical sides of getting started playing the various jazz guitar roles in a jazz group.

Best,
Ed

**Jake Hanlon** · 11-13-2009, 03:50 PM

Ed

Any plans on doing a Solo Bone album? Solo albums by monophonic instruments fascinate me.

I'll be looking into the book for my curiosity and building a library of teaching materials since that seems to be a wise thing to do.

Alrightie, glad all that is cleared up. Sweet.

**Ed Byrne** · 11-13-2009, 03:57 PM

Originally Posted by Jake Hanlon

Ed

Any plans on doing a Solo Bone album? Solo albums by monophonic instruments fascinate me.

I'll be looking into the book for my curiosity and building a library of teaching materials since that seems to be a wise thing to do.

Alrightie, glad all that is cleared up. Sweet.

Yes, but first I am planning a video lesson series for LJI.

Next, I am planning a solo album of my trombone, soloing over my new RC-50 looper-duper supreme, which is cool as hell. I have programmed an entire jazz orchestra of my compositions, comprised entirely of me overdubbing bone (around 12 of them at any given time) on the bass lines, comping voicings, et al. It's easy to perform with, and audiences are loving it so far. I am shooting videos of two different solo gigs on the 17th and 18th.

Now I can even do local gigs--and get paid for the whole band myself. And it's a lot easier to sound good than with local players. With three pedals I can put three different sections in for each tune. I am soon going to upgrade to a laptop-with unlimited loops for each tune (like Frizell). I've already topped its memory out at 25 compositions. I can also lay down and then layer vamps live, as well. I'm digging it.

I am also doing some duo playing with Freddie B, and am in the planning stages of a duo with Dom (I really am a guitar-lovin' man), who wants no part of any looping (also cool).

**NSJ** · 11-16-2009, 09:37 AM

Originally Posted by Ed Byrne

Yes, but first I am planning a video lesson series for LJI.

Next, I am planning a solo album of my trombone, soloing over my new RC-50 looper-duper supreme, which is cool as hell. I have programmed an entire jazz orchestra of my compositions, comprised entirely of me overdubbing bone (around 12 of them at any given time) on the bass lines, comping voicings, et al. It's easy to perform with, and audiences are loving it so far. I am shooting videos of two different solo gigs on the 17th and 18th.

Now I can even do local gigs--and get paid for the whole band myself. And it's a lot easier to sound good than with local players. With three pedals I can put three different sections in for each tune. I am soon going to upgrade to a laptop-with unlimited loops for each tune (like Frizell). I've already topped its memory out at 25 compositions. I can also lay down and then layer vamps live, as well. I'm digging it.

I am also doing some duo playing with Freddie B, and am in the planning stages of a duo with Dom (I really am a guitar-lovin' man), who wants no part of any looping (also cool).

Ed,

When you say you are using technology, is it along these lines? (Robin Eubanks new album and group):

Looking forward to hearing your solo album.

**Ed Byrne** · 11-16-2009, 10:54 AM

Originally Posted by NSJ

Ed,

When you say you are using technology, is it along these lines? (Robin Eubanks new album and group):

Looking forward to hearing your solo album.

NSJ,

Thank you so much for hipping me to this. I have previously only heard and met RE once, a few years ago. He wasn't doing this that night--just playing his ass off with an acoustic sound. I love his playing. He's by far the best I've heard on the scene (in any style), especially because he is an unusual master of the line, which is what I value above all. It is a rare quality among trombonists.

RE isn't really looping here, though, but rather altering his sound in very interesting ways. As yet I am not altering my sound in this manner, mainly because I don't have that equipment yet. I have a friend who is designing stuff for me (which will take a while), starting with a laptop deal to enable unlimited numbers of loops on each piece. I've been digging Frizzel for his sophistication and subtlety at looping.

If you know what RE's using, please do tell. I want to use some of those sounds, but I don't wish to alter my bone sound to that extent (for that prolonged period of time on any given tune). I'm by no means ideological or a purist, but I worked hard to get my personal trombone sound, so I don't want to disguise or obscure it too much. My sound is my basic starting point.

So far, what I have been doing is orchestrating and overdubbing myself around 12 times--on the bass line, comp, and even shout choruses, lengthy and intricate accompaniments as a vehicle for me to stretch live over that. And I have been performing it all solo so far. But I am auditioning drummers and percussionists to play with this concept. I would love to have his rhythm section, too. His music is great. My concept is similar to his in that he seems to hold, as a basic premise, grooving his ass off--and that's what I always strive for.

It has been my experience that you can put anything that is convincing, however fresh, over a strong groove of any kind, and audiences will love it.

Best,
Ed

**NSJ** · 11-16-2009, 11:57 AM

Ed,

Don't know how Robin is doing what he's doing; from his website, he can be contacted at robineubanks@robineubanks.com.

I myself have some idea of developing a one person project re-interpreting standards and doing free improv involving Loop pedals, real instruments, a MacBook Pro, a program called MainStage 2 (http://www.apple.com/logicstudio/mainstage/), a jazz guitar (I'm totally broke right now, but when I come across some spare money, a 7 string with a center block (sustain!) would be ideal, because it gives you an extra P5 of extra bass notes below the usual low E string), a classical guitar, various pieces of hand percussion, and an instrument called a harmonium (has a cool drone note, which thankfully is a Bb, so all the jazz tunes written for horns--the Flat keys--are available).

Right now, it's a steep learning curve all the way around.

Again, best of luck with all your projects!