جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
by Vincent Bredice
An interval is the distance between two notes measured in whole and
half steps. When we stack intervals one on top of another, we produce
chords. If we play the intervals in the chord one after another, we
produce an arpeggio. But since all intervals, chords, and arpeggios are
generated by scales, it follows that scales are the basis of all music
from these scales we will find our JAZZ LINES, which is what this book
is about.
The following is a list of most of the jazz scales the
student will encounter as he becomes involved in the study of
improvising. When we improvise, we use as our weapons the scale,
harmony and melody. The two dimensions in music are the harmony
(vertical) and melody (horizontal). It is highly recommended that every
student of improvising, know his scales in all positions and a variety
of chords that the scales generate. All scales should be played in at
least four positions especially the 1st position forces one to learn the
theory. All other position pattern scales must be transposed throughout
the guitar. The author has written a few pages in the beginning of the
book serving as a prerequisite for the jazz lines to follow. It is
essential that the student know the scales, key signatures, intervals,
and chord constructions that will be used throughout the book. In order
to benefit fully from this approach to jazz, the student must understand
the full meaning of the words practice and analysis. Most students
confuse practice with playing or reading through the exercise. To really
improve and absorb the material, every phase must be practiced. This
means the fingering must be committed to memory, slowly at first and
then as fast as technique allows. The idea must be so ingrained in the
mind that it flows from any part of the fingerboard that the performer
desires. This is the way great players approach an idea – from any fret,
string or position! If there is no harmonic or melodic analysis of the
material being studied, then the learning skill becomes superfluous and
there is no comprehension and absorption, and without this proper
digestion the performer cannot use it as his taste dictates.