Tim
April 11th, 2006, 05:20 AM
I picked up a new guitar book this past weekend. I purchased it from Borders. It is put out by Hal Leonard. The title of the book is “Amazing Phrasing” by Tom Kols. It comes with a CD which has 89 tracks of examples of improvising over rhythmic tracks. The examples are done twice. Once with a full rhythm band and once with only a solo at half speed
The book is divided into 5 sections:
1. The Basics: Slides, Hammer-ons, Pull-offs, Vibrato, Bends and more …
2. Melodic Concepts: Melodic Motifs, Sequencing Scales, Major & Minor Pentatonic Frameworks, Chords/Scales in Major & Minor Keys, Arpeggios, Pedal Tones and more ….
3. Harmonic Embellishments: Thirds & Fourths, Sixths, Octaves and Fifths, Open Strings, Harmonics and more ...
4. Rhythmic Concepts: Using Rest, Rhythmic Accents, Guitar Nuances, Rhythmic Displacement, Free Time Tuning and more ...
5. Solo Structure: Two Bar Phrasing, Four bar Phrasing, Using Dynamics, and Pitch Dynamics and more ...
There are many other topics covered, but the book explores all the main components necessary for creating a well balance rhythmic and melodic phrases. The book is geared toward the intermediate player, but I hope to gain much knowledge and skill from studying it in depth.
The book is written to increase your skills as you progress through it. In the final section all topics discussed are brought together to form a complete structuring on extended solos. The last lesson teaches how to construct a solo to tell a story. The final song is 48 bars long and is broken down into four sections with explanations on how to capture your audience.
1. First Chorus: Setting the Scene
2. Second Chorus: Developing the Plot
3. Third Chorus: The Turning Point
4. Fourth Chorus: The Exciting Conclusion
The CD is packed full with examples and backed with a full rhythm section. One default is the examples are only a few bars and not full songs. The mix is recorded with the solos on once channel and the rhythm track on the other for full separation.
I hope to use this book along with my “Blues You Can Use” book to enhance my playability. But I think this new book will help me be able to play more from the heart rather than copying a song from the latter mentioned book. As many well seasoned fretters have mentioned in the forum, the “blues” comes from within the player not from a book.
The book is divided into 5 sections:
1. The Basics: Slides, Hammer-ons, Pull-offs, Vibrato, Bends and more …
2. Melodic Concepts: Melodic Motifs, Sequencing Scales, Major & Minor Pentatonic Frameworks, Chords/Scales in Major & Minor Keys, Arpeggios, Pedal Tones and more ….
3. Harmonic Embellishments: Thirds & Fourths, Sixths, Octaves and Fifths, Open Strings, Harmonics and more ...
4. Rhythmic Concepts: Using Rest, Rhythmic Accents, Guitar Nuances, Rhythmic Displacement, Free Time Tuning and more ...
5. Solo Structure: Two Bar Phrasing, Four bar Phrasing, Using Dynamics, and Pitch Dynamics and more ...
There are many other topics covered, but the book explores all the main components necessary for creating a well balance rhythmic and melodic phrases. The book is geared toward the intermediate player, but I hope to gain much knowledge and skill from studying it in depth.
The book is written to increase your skills as you progress through it. In the final section all topics discussed are brought together to form a complete structuring on extended solos. The last lesson teaches how to construct a solo to tell a story. The final song is 48 bars long and is broken down into four sections with explanations on how to capture your audience.
1. First Chorus: Setting the Scene
2. Second Chorus: Developing the Plot
3. Third Chorus: The Turning Point
4. Fourth Chorus: The Exciting Conclusion
The CD is packed full with examples and backed with a full rhythm section. One default is the examples are only a few bars and not full songs. The mix is recorded with the solos on once channel and the rhythm track on the other for full separation.
I hope to use this book along with my “Blues You Can Use” book to enhance my playability. But I think this new book will help me be able to play more from the heart rather than copying a song from the latter mentioned book. As many well seasoned fretters have mentioned in the forum, the “blues” comes from within the player not from a book.