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Jazz Guitar Etudes (with Tab), by Greg Fishman
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This book features master jazz guitarist Mike Allemana playing twelve bebop style etudes. Also includes the author (Greg Fishman) playing each etude on tenor saxophone. This allows the student the choice of playing along with Mike (guitar) or Greg (tenor). This is the only book on the market with this unique feature. Book also features tablature with Mike Allemana's own fingerings! This book includes twelve bebop style etudes, based on blues, rhythm changes and standard chord progressions. There are three play-along tracks for each etude. The first track features Mike Allemana playing the etude with the rhythm section. The second track features Greg Fishman playing the etude on tenor saxophone with the rhythm section. The third track features the rhythm section only, with extra choruses built in for soloing.
- Sales Rank: #325772 in Books
- Brand: JAZZ STUDIO
- Model: JGE
- Published on: 2008-08-21
- Number of discs: 1
- Dimensions: .21 pounds
- Binding: Paperback
- 52 pages
Review
I encourage the jazz guitar students at the University of North Texas to emulate tenor saxophonists. Greg Fishman's book, Jazz Guitar Etudes, contains idiomatic bebop lines and will be a great tool for any guitar teacher with aspiring jazz guitarists. Thanks, Greg! --Fred Hamilton, professor of jazz guitar, University of North Texas
These are great solos and etudes! I'm always telling my guitar students to learn lines and phrasing from horn players, and Greg Fishman's book is perfect for this approach. The book is nicely done and very well laid out. --Corey Christiansen Professor of Guitar, Utah State University, Visiting Professor, Indiana University
About the Author
Saxophonist and flutist Greg Fishman is an accomplished performer, recording artist, author, teacher and clinician. Born in Chicago in 1967, he began playing professionally at age fourteen. Greg graduated from DePaul University in Chicago with a degree in Jazz Performance, and earned a Masters Degree in Jazz Pedagogy from Northwestern University. He is among the foremost experts on the music of Stan Getz and is the author of three Getz transcription books published by Hal Leonard. His self-published books, Jazz Saxophone Etudes, Jazz Saxophone Duets, and Jazz Trumpet Duets are in circulation world- wide and have been endorsed by top educators and jazz performers, including Michael Brecker, Jerry Coker and Phil Woods. Greg is a contributing author of jazz theory articles for Jazz Improv magazine, JAZZed, Chicago Jazz Magazine, IAJE Jazz Educators Journal, and was featured on the cover of Saxophone Journal, for whom he also writes. He is the author of the liner notes for the Verve reissue of the Getz recording The Steamer. Greg has toured and performed worldwide with his own group, and with such artists as Phil Woods, the Woody Herman Band, Louis Bellson, Slide Hampton, Conte Candoli, Lou Levy, Clark Terry, Jackie and Roy, Don Menza, Ira Sullivan, Judy Roberts, Jeremy Monteiro, Jimmy Heath, Lou Donaldson, HarryAllen, Jeff Hamilton, Eddie Higgins, and Benny Golson. Greg is the co-founder, along with Brazilian guitarist/vocalist, Paulinho Garcia, of the award-winning duo known as Two for Brazil. They perform worldwide, and have recorded five CDs. Greg's additional discography features jazz releases in the U.S., Singapore, and Japan. In addition to clubs and concerts in the U.S., Greg has been featured at the Concord-Fujitsu jazz festival in Japan, the NorthSea Jazz Festival in the Netherlands, and in numerous concerts in Hong Kong, Bangkok, Singapore, China and Israel. Greg teaches jazz master classes and college workshops nationally and internationally, and is on the faculty of the Jamey Aebersold Summer Jazz Workshop. When not on tour, Greg is based in the Chicago and Phoenix areas where he performs locally and teaches at Greg Fishman Jazz Studios. ...His solos areshrewdly conceived yet delivered with apparent ease and elegance. He develops harmonies that sometimes startle the ear as he forges lines that take unexpected twists and turns... Chicago Tribune Greg Fishman dares to explore new musical heights. Every lesson in Greg s books is a must for all musicians, and this latest book is no exception. Greg, you ve done a beautiful, musical thing again! James Moody
Most helpful customer reviews
20 of 20 people found the following review helpful.
Buy it right now!
By True Living Productions
I am a professional musician, producer, and teacher. I've been playing guitar for over 20 years. I've studied jazz guitar with several teachers over the years, taken jazz theory classes at Oberlin Conservatory, and I've purchased many jazz guitar instructional books. I've learned bebop scales, arpeggios, chord inversions. But no matter what I did, I never felt like anything I played actually sounded like jazz! Have you been there?
My wife (who is an acclaimed jazz trumpeter) bought me the Guitar Etudes book for my birthday. I wasn't sure what it was exactly, but I noticed that Michael Brecker endorsed it, so I'm thinking it's gotta be legit. I listened to the CD, and I'm like "WOW! These are BEAUTIFUL"
I, like most guitarists, am a pretty weak reader, so I really listened to the first etude and sang along with it a bunch before trying to tackle it. Then I followed the author's instructions: put my metronome at half the speed of the first song. I want to work on my reading skills, so I'm trying to read the notes and rhythms on the staff, but the tablature is also invaluable. The positions that Mike uses to get various notes are so different from what my approach would have been. (As the author says, the way saxophone players phrase notes does not fall "naturally" on the guitar. Learning these types of lines is the only way you'll get to be able to play these types of lines.)
So, after a lot of work, I can play the whole etude at half speed, and I start notching up the metronome a couple BPM at a time. A couple hours later, for the first time in my life, I'm playing music on my guitar that actually sounds like jazz! Next I visualized myself playing it, looking at the book when I get to a part I can't remember, and after a couple weeks, I've got it memorized. Now I'm able to play it along with the recording and can work on nuance. Next, I isolate some phrases I like and take them through all 12 keys.
After having gone through this process, I had a gig with a smooth jazz / R&B group that I play with occasionally, and I felt like a totally different guitarist. What a joy!
I was hoping to get through 1 etude a month. But I'm 4 months in and just finishing my second etude. :-) That's okay! No rush! That just means I have at least a couple years worth of studying out of this book. It's exciting to think about what my playing will be like by the time I get to the end.
Here's the thing. Music is a language. When I think about how I learned to play blues and rock guitar, I didn't learn the theory first. I learned the "licks" of my favorite players. I copied what they were saying. Then I learned the theory and understood how to apply that vocabulary into different situations. Musical ideas in that genre that used to seem overwhelming to me are now easily at my disposal in any situation. Although jazz is a more sophisticated vocabulary, and takes longer to master, it would make sense that process would be the same, and this gives me hope and inspiration. For example, the second etude has some beautiful ii V vocabulary. So I can take some of those little snippets through 12 keys, and then I have those phrases at my disposal to help express myself meaningfully at my next jazz gig.
One other tip I'd like to mention. I recently got an app on my iPhone called The Amazing Slower Downer. I can import songs from my iTunes library and change the tempo without changing the pitch. I can also loop small sections. I've been using that with the second etude in my car, slowly singing the intervals and getting them internalized. There is a similar software for the computer called "Transcribe!" I think it's about $30, but the app is only $14.99 and I like having it on my phone, personally. Now I can play along with the etudes even before I have gotten them up to tempo. Awesome.
So, if you're self-motivated and you want to get thousands of dollars worth of collegiate-level jazz education for $20, I would recommend that you buy this book right now! :-)
9 of 9 people found the following review helpful.
The ear naturally hears phrases based on breath
By TheJoe
Thank you Greg Fishman and Mike Allemana for putting this book together! This is a fine collection of saxophone solos transcribed for the guitar. I agree with the other reviewer that once you start playing these, it sounds good immediately! I've been playing guitar for over 20 years now and am still exploring the richness of jazz on the guitar. Many jazz guitarists recommend playing horn-based solos and lines, and after spending time in this books, I can see why:
The ear naturally "hears" the breaths in musical phrases- it's unnatural sounding to play long, extended lines of scales on the guitar with no breaks or rests or "breaths in between". Technically you can do this on the guitar because the guitar is not driven by breath; it will just sound somewhat mechanical. Sax solos have natural breaks in the phrases that help you to learn phrasing. This also sounds more pleasing to the listener (for example, imagine how weird it would be if you had to listen to someone talk and they never took a breath). It helps tremendously when you're learning the solos. I'd find myself learning chunks of notes, and being able to identify where one phrase ends and another begins. And so, to me this book is a great way to improve your listening as well as your playing.
I hope these author-musicians can do more volumes in the future, this approach is definitely satisfying as well as instructional. One last note, the CD tracks are great. It's interesting to hear the subtle differences when a phrase is played on a saxophone versus a guitar. I have a new-found appreciation for saxophone music now. Highly recommended!
16 of 17 people found the following review helpful.
A Fantatsic Book!
By John E. Horne
Jazz Guitar Etudes by Greg Fishman contains 12 jazz etudes and a CD with three practice tracks for each piece: one with the etude played on guitar, another with the etude played on tenor sax, and another with only a rhythm section. The book sells for $19.95.
Jazz Guitar Etudes is the first of two books I'm going to be reviewing that is NOT written by a guitarist. It turns out that Jazz Guitar Etudes was originally written by Chicago-based saxophonist Greg Fishman as a collection of saxophone etudes that has recently been adapted for guitar. Fortunately for us guitarists, Fishman did not simply transpose his sax studies for C instruments and leave it at that. Instead, he brought a guitarist on board. The guitar edition relies heavily on contributions from guitarist Mike Allemana who provides guitar tablature and relevant ideas of fingering and articulation options. The book also contains detailed notes from both Fishman and Allemana on how intermediate, advanced, and professional level students can use the etudes to further their improvisational skills.
Beyond these few pages of text the book gets right down to business with 12 etudes based on a variety of familiar chord progressions including blues, rhythm changes, and the changes to standard tunes such as "Alone Together", "Body and Soul", and "Have You Met Miss Jones". The melodic lines in each etude are fantastic examples of classic bebop phrasing. Fishman makes the etudes thematic to a point, but doesn't go so far as to make them sound like sound like tunes so much as really well-constructed solos that are hip and fun without ever straying from the underlying harmonies. There was obviously enough thought put into each etude that you could do an analysis of the material identifying common elements in bebop phrasing. However, just playing through the etudes will provide guitar players with a lot of great ideas to add to their vocabulary.
Once players get the etudes under their fingers they can play along with the included CD. Probably the most useful tracks to play along with are the tenor sax tracks. Playing along with Greg on the sax is a really fun and satisfying experience that will challenge your timing, tone, and articulation. Guitarists who are working to get that horn-style phrasing into their playing will especially benefit from this feature and this is the only book on the market that offers this option.
I really enjoyed working with this book and I hope that Greg Fishman will eventually make some of his other books available for guitarists as well. I think his books Jazz Saxophone Duets and Jazz Phrasing for Beginners would also translate particularly well for guitarists.
See all 14 customer reviews...
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