The Jazz Guitar Chord Dictionary
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  1. #26
    Jazz theory resources vol 1 and 2 are theory books and probably best to start with, since that's what you're looking for.
    They're really a 2 volume edition of a single text. Start with vol. 1 if you like.
    Last edited by matt.guitarteacher; 04-12-2015 at 06:21 AM.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    I have the Levine book, and I'd recommend it with reservations. You need at least one other book to balance its bias, which is towards chord-scale theory.
    It's very well-written, easily readable - sensible spiral binding so you can put it on a music stand (although the stand will need to be sturdy...), plenty of real musical examples from solos by jazz masters.
    However the latter are misleading. They seem to give Levine's concepts unassailable authority - look, those guys actually played these scales! - but most of the time other interpretations are possible. (The other thing that makes him look totally authoritative is his mind-boggling listening list at the end; my life is too short for all that...)

    In short, Levine's book doesn't really examine functional harmony, the major-minor key system on which all jazz standards were based up until 1959(ish). He presumably takes it as read that you know what that's all about, and his area of interest is really post-modal jazz. That's fine, except that the book still presents itself as "The Jazz Theory Book", as if it's all you need to know. It ain't. What it contains is great (and there's years, maybe decades, of work in it), but you need other books too.

    Robert Rawlins' and Nor Eddine Bahaa's book Jazzology: The Encyclopedia of Jazz Theory for All Musicians: Amazon.co.uk: Robert Rawlins, Nor Eddine Bahha: 9780634086786: Books was designed partly as a response to what Rawlins felt was lacking in Levine, so should make a good companion to it. Problem with that one is it seems a little dry and text-booky after Levine, and (worse) has no real-world quotes; all the musical examples were written by the authors.

    I agree that Bert Ligon's books look ideal, although I've not read them myself.
    Last edited by JonR; 04-12-2015 at 08:07 AM.

  4. #28

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    Thanks so much, I was just going to ask about Rawlins/Bahha. Reviews are good and it's cheap!

  5. #29

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    Your 1959 question is interesting. I think I'm more interested in pre than post. I prefer Wes, Grant Green, and Jimmy Bruno playing standards rather than Pat Metheny modern-type stuff. Not my bag.

  6. #30

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    Daniel Ricigliano's book might be helpful then. I'm not certain if it's still in print.

    http://www.amazon.com/Popular-Jazz-H...iel+ricigliano

  7. #31

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    The best Jazz theory "book" for me is the records first and foremost. However, I do have a bookshelf with lots of reference books for when I need to leaf through to figure out what I'm hearing. I don't have any one favorites I learn from many. Even bad books.

  8. #32

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    Quote Originally Posted by tomems
    Your 1959 question is interesting. I think I'm more interested in pre than post. I prefer Wes, Grant Green, and Jimmy Bruno playing standards rather than Pat Metheny modern-type stuff. Not my bag.
    In that case, I doubt you'll get much from Levine.
    It might be worth remembering that nobody back then learned from books. They learned from (a) listening to records and (b) jamming with other musicians. They probably had some conventional (classical) lessons on their instrument as kids, which would have taught them all their scales, and some basic key theory.
    So the best kind of book you can learn from would be a Real Book, or any collection of standards. The chord changes will show you the theory in action, which is the best way to understand it.

  9. #33

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    Quote Originally Posted by tomems
    Your 1959 question is interesting. I think I'm more interested in pre than post. I prefer Wes, Grant Green, and Jimmy Bruno playing standards rather than Pat Metheny modern-type stuff. Not my bag.
    Those guys learned by listening, listening, and listening then playing. Most learned "theory" in the streets except Jimmy Bruno who I believe his father and mother were both musicians. FYI: Pat Metheny is also basically is self taught and started by transcribing every Wes record as a kid (and Beatles) he even got some gig as a kid playing Wes tunes note for note. So like smokinguit said your stack of CD's is your best source of learning, that's how the old guys did it.
    Last edited by docbop; 04-12-2015 at 12:24 PM.

  10. #34

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    The winner? Jazzology by Raw/Bah. The table of contents is fantastic and it's half the price of the others. That, and all the stuff written on the Internet about Giant Steps.

  11. #35

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    I like the Levine book. I already knew functional harmony from my classical theory classes in college. The Levine book is really what made things "click" for me with modal/chord-scale stuff.

  12. #36
    Quote Originally Posted by JonR
    I have the Levine book, and I'd recommend it with reservations. You need at least one other book to balance its bias, which is towards chord-scale theory.
    Ligon's Jazz Theory Resources are probably good to balance. Jonny Pack was always enamored with them as being a "remedy for un-learning some of the common pitfalls of Mark Levine's Jazz Theory Books" (from his amazon review). That's purely 2nd hand. I don't have the above mentioned books, but I have Ligon's other 2 books and they're excellent.

    tomems, you probably couldn't go wrong having both authors' books.

  13. #37

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    Gosh, there are so many books. It's not a huge amount of help but I would say that the best book is the one you find useful.

    Personally I find that reading a lot of different ideas is best for me. I usually fix on something and look at that in detail.

    Someone mentioned having a good grasp of functional harmony before thinking about the Mark Levine book (which is chord/scale based.) This strikes a chord for me.

    No jokes, perhaps the most influential book on theory I ever read was the AB Grade 5-8 Music Theory guide (here in the UK) for pre-college classical music students which explained secondary dominants, diminished sevenths, Aug 6ths, modulations and borrowed chords. Suddenly, the structure of jazz standards started to make sense. A similar intermediate-advanced of college primer on Harmony should do the job, though you will have to wade through a lot of stuff on part writing and grapple with figured bass notation. Obv. helps if you read a bit of music.

    Jerry Coker's Hearing the Changes, and Conrad Corks New Guide to Harmony with Lego Bricks are good books.

    So - you are interested in classic jazz guitar:
    I also recommend, Forward Motion (Hal Galper), this book, the Barry Harris approach (there are a few books out there - I think Alex Kingstone has one for guitar.) These have all been very useful.

  14. #38

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    Also I like Andy Jaffe Jazz Harmony.

  15. #39

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    I was looking for theory books in my university library and I found Jazz Theory Workbook by Mark E. Boiling and I like it very much. However, I think it is recommended to go through the book with a teacher or someone that knows his stuff because I find that I've had to figure out some stuff on my own while reading it. I also think that reading other theory books and lessons has helped me understand a lot of stuff found in it, while reading this book has helped me understand stuff I've read in other books. This forum has also helped me a lot. Overall I'd say it my not be a beginners book but I like the "workbook" approach of it where they give you exercises, examples, and just enough information for you to understand what they're talking about. If you can find it in a library do take it out, but I wouldn't buy it.

  16. #40

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    You can't go wrong with the Ligon books, or with Jazzology. Another good series is Contemporary Music Theory, by Mark Harrison. It is a 3 book series, and each book is just under $30, which is relatively expensive compared to books like Jazzology. What I like about it is that is is set up in workbook format, and is very easy to follow independently. It may not be complex enough for some, but for those with little to no background in music theory it is a great place to start, and in a fairly short time will give you a solid understanding of the important aspects of theory. Progressing through the more intense books will then be much easier.

  17. #41

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    Just got jazz theory resources in the mail and although upon first look this book looks like a wooly mammoth, I'm stoked to get it going. Right off the bat reading the first few pages before the review I knew this book was the right choice! Thanks for the help people

  18. #42

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    I agree with the Ligon recommendations. Yes the Schoenberg is heavy but lots of information in there.
    I started with the old school standards from a while ago, Walter Piston's Harmony and Vincent Persichetti's Twentieth Century Harmony and though it's much more rigorous than books aimed towards the specifics of Jazz harmony, both these books, when given their due study taught me a lot more about harmonic possibilities than any more recent books.
    They are classically oriented, and in so being, they get into devices and compositional tools that are not immediately useful for "just jazz" in a traditional framework.
    But more modern improvisational approaches have begun to dip deeply into these advanced compositional techniques. Composers from Ellington to Andrew Hill have been expanding the boundaries of improvisation through compositional vehicles. I'm certainly aware of a deeper theoretical framework because of my foundations with Piston and Persichetti.

    Just for the bibliography.
    David

  19. #43

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    Quote Originally Posted by TruthHertz
    I agree with the Ligon recommendations. Yes the Schoenberg is heavy but lots of information in there.
    I started with the old school standards from a while ago, Walter Piston's Harmony and Vincent Persichetti's Twentieth Century Harmony and though it's much more rigorous than books aimed towards the specifics of Jazz harmony, both these books, when given their due study taught me a lot more about harmonic possibilities than any more recent books.
    They are classically oriented, and in so being, they get into devices and compositional tools that are not immediately useful for "just jazz" in a traditional framework.
    But more modern improvisational approaches have begun to dip deeply into these advanced compositional techniques. Composers from Ellington to Andrew Hill have been expanding the boundaries of improvisation through compositional vehicles. I'm certainly aware of a deeper theoretical framework because of my foundations with Piston and Persichetti.

    Just for the bibliography.
    David
    I just recieved the ligon book jazz theory vol 1. And by skimming through it I already am motivated to dig into it. I am honestly no hardcore jazz guy but respect it and really plan on using the book as a supplement to my own style and music that I want to create rather than specifically following this path to the T.

  20. #44

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    Quote Originally Posted by b_ryceeeee
    I'm mostly in to playing heavier music,reggae,punk but I really do enjoy playing all genre even though some might not be my thing I still respect it and try to take inspiration from it. I just bought jazz theory resources vol 1. Like I said above, I think I made the right choice with that book. I like looking at different perspectives and being challenged. And after all, it is theory
    I'm not sure why you feel you need a theory text - is there something specific you are interested in doing?

    - Are you interested in becoming a better improviser over harmonic chord progressions, like jazz standards?
    - Do you want to be inspired by new sounds - scales or chords, say - for your writing and improvising?
    - Do you want to understand notation better?
    - Do you want to study compositional technique?
    - Do you want to be able to pastiche and already existing style of music (bebop or 18th century classical, say)
    - Do you need to pass an exam?
    And so on.

    There is a lot of theory out there. If you try to learn it all, you will never actually get round to doing any playing ;-) To me, theory is always most valuable in combination with a clear goal. There are certain textbooks that I certainly can recommend and that have helped me achieve certain things in my playing and helped me understand music.

    What you would you like to be able to do with theory?
    Last edited by christianm77; 09-09-2015 at 03:16 PM.

  21. #45

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    Quote Originally Posted by christianm77
    I'm not sure why you feel you need a theory text - is there something specific you are interested in doing?

    - Are you interested in becoming a better improviser over harmonic chord progressions, like jazz standards?
    - Do you want to be inspired by new sounds - scales or chords, say - for your writing and improvising?
    - Do you want to understand notation better?
    - Do you want to study compositional technique?
    - Do you want to be able to pastiche and already existing style of music (bebop or 18th century classical, say)
    - Do you need to pass an exam?
    And so on.

    There is a lot of theory out there. If you try to learn it all, you will never actually get round to doing any playing ;-) To me, theory is always most valuable in combination with a clear goal. There are certain textbooks that I certainly can recommend and that have helped me achieve certain things in my playing and helped me understand music.

    What you would you like to be able to do with theory?
    Basically number two with what you said. New sounds scales/chords for writing. Connecting the different possibilities. Also rhythm odd meters polyrhythms. I find I really get more inspired by being out in the ocean surfing big waves, being in the mountains, the sounds of just nature in General and using those sounds when I create if that makes sense. I also get inspired by going to live shows and playing with different musicians. Trust me, I do a lot of playing

  22. #46

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    Quote Originally Posted by b_ryceeeee
    Basically number two with what you said. New sounds scales/chords for writing. Connecting the different possibilities. Also rhythm odd meters polyrhythms. I find I really get more inspired by being out in the ocean surfing big waves, being in the mountains, the sounds of just nature in General and using those sounds when I create if that makes sense. I also get inspired by going to live shows and playing with different musicians. Trust me, I do a lot of playing
    Cool. Well the sky's the limit really, and the suggestions here might well be of interest (Schoenberg's book is not so much about finding new sounds as understanding existing harmony from his own perspective.) but you might want to check out the Arabic Maqam system which has some beautiful scales, some involving quarter tones. These are doable if you have fretless bass.... For me on my fretted guitar box it is a bit more tricky :-)

    There's a book on Maqams called, you guessed it - the Maqam book. Will probably be good for this. Arabic music theory is based on tetrachords which are used to build up full scales.

    There also the Indian systems - Hindustani and Carnatic, which are different.

    In terms of classical music theory, I've seen a few books. A book that was useful to me (no jokes) was this - a standard text at about 1st year college level dealing with classical harmony. It details lots of very useful stuff -secondary dominants, use of diminished sevenths and augmented sixths, that really helped with understanding the types of functional harmony often found in jazz standards. Furthermore the book touches on a bit of modern harmony too, such as Messiaen's modes of limited transposition, so is a useful primer. If you are interested in following something further you can get a more detailed book.

    It's not a classic text like Piston, but it is accessible and clear.

    Rhythm wise, a lot of jazz musicians have been turned onto the Carnatic system of rhythmic solfege. This theory covers polyrhythms and odd meter far more extensively than any Western European theory. Problem with this is I can't name a good textbook - any recommendations?

    Whatever you end up checking out - I wish you an exciting journey of discovery and hope you find materials to help you express yourself.
    Last edited by christianm77; 09-09-2015 at 04:54 PM.

  23. #47

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    Quote Originally Posted by christianm77
    Cool. Well the sky's the limit really, and the suggestions here might well be of interest (Schoenberg's book is not so much about finding new sounds as understanding existing harmony from his own perspective.) but you might want to check out the Arabic Maqam system which has some beautiful scales, some involving quarter tones. These are doable if you have fretless bass.... For me on my fretted guitar box it is a bit more tricky :-)

    There's a book on Maqams called, you guessed it - the Maqam book. Will probably be good for this. Arabic music theory is based on tetrachords which are used to build up full scales.

    There also the Indian systems - Hindustani and Carnatic, which are different.

    In terms of classical music theory, I've seen a few books. A book that was useful to me (no jokes) was this - a standard text at about 1st year college level dealing with classical harmony. It details lots of very useful stuff -secondary dominants, use of diminished sevenths and augmented sixths, that really helped with understanding the types of functional harmony often found in jazz standards. Furthermore the book touches on a bit of modern harmony too, such as Messiaen's modes of limited transposition, so is a useful primer. If you are interested in following something further you can get a more detailed book.

    It's not a classic text like Piston, but it is accessible and clear.

    Rhythm wise, a lot of jazz musicians have been turned onto the Carnatic system of rhythmic solfege. This theory covers polyrhythms and odd meter far more extensively than any Western European theory. Problem with this is I can't name a good textbook - any recommendations?

    Whatever you end up checking out - I wish you an exciting journey of discovery and hope you find materials to help you express yourself.
    The maqam book seems like something I would definitely be into. I had used this book Harmony and Theory: A Comprehensive Source for All Musicians (Essential Concepts (Musicians Institute).): Carl Schroeder, Keith Wyatt: 9780793579914: Amazon.com: Books as my first book for music theory and enjoyed it. There was a lot of secondary dominant stuff and diminished stuff too in there. Kind of a book to get you going with a working level of music theory. Rhythm wise there is a chapter on rhythm in th Bret ligons jazz theory vol 1 book I just got that seems pretty extensive and I also have this book on rhythm http://www.amazon.com/Rhythm-Meter-P.../dp/0769234690

  24. #48

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    Here's my recommendation:

    Best Jazz Theory Book?-record-stack-jpg

    #theresalwaysone