Customer Reviews

Jazz Guitar Soloing Concepts - A Pentatonic Modal Approach To Improvisation BK/CD (Book & CD)

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Let me begin by saying that I think Dr. Lemos is a brilliant guy. I think his concept of using pentatonic scales to improvise in order to eliminate "avoid" notes is full of promise. Additionally, scales with only two notes per string sound easy to learn and particularly easy to play from a purely physical point of view- no wide stretches required. I love watching his youtube videos and find him uniquely personal. He also responds to emailed questions promptly and diligently.

The book is very well written and very well constructed. His ideas are presented in a logical and sensible order. However, in order to appreciate this work, you must believe in the concept of teaching guitar through modes. Many authors and teachers do. But there are those who believe that "modes" are more useful for the theoretical analysis of a tune after it's been played and not useful as a teaching method.

You have to decide for yourself if you want to learn through the modal system or not. If you choose to, then Dr. Lemos' pentatonic system will help you greatly in eliminating "wrong" notes and simplify the process of learning to improvise jazz tunes.

I think the book is certainly worth owning even just as an alternative reference source.

I am supposing that the title of this review might confuse some people. It is a clearly written book. The author gives us his objectives and promises, which are clearly written, in the introduction of this book. His objective is to apply pentatonic scales to all chord changes found in jazz (well, jazz is the focus). Because of the lack of harmonic variation within the traditional major and minor pentatonic scales, he has devised other pentatonic scales that fit specific chords. These scales are true to the pentatonic idea - they have five notes (usually the root, 2nd, 3rd, 5th, and 7th of the chord), two of which are played on one string, allowing for the ease of playability that has made pentatonic scales the most popular scales played on lead guitar.

The warning that I would give to readers is as follows. Should you look through this book and like what you see, you may fail to realize how big the concept is that the author writes about. Sure, he does present pentatonic scales for every chord out there. There are eleven different pentatonic variations that he presents. Since these scales are built directly of the chords they represent, they are unique to that chord. The result is that when multiplied by the amount of keys one could play in (12), there are 132 different pentatonic scales one must internalize in order to become proficient in the system. This proficiency does not even take into the equation to applicability of harmonic substitutions that one can apply to improvization, meaning that, in laymen speech, the pentatonic scales can be used for multiple chords depending on the level of harmonic tension you are looking for.

I am not writing this review in order to push readers away...far from it! The system that Lemos puts forth in his book is a fresh take on something that many guitarists feel has become a bit dry. I am very happy with the product and look forward to the work of internalizing this material and, ultimately, playing it live. I don't want you to think that this is a "get chops quick" kind of book, or else you will be disappointed and fail to see this book for the gem it is.

I was really surprised when I received this book: usually guitar methods are thin, I mean, few chapters, few examples, instead this is an HUGE work-)
Believe me, I don't imagine how much time has spent the author to write all this staff, so accurate, detailed, and clear.
Keep attention: in this book the subject is only the pentatonic scale, analysed throughout all his modes, including all the theory behind and practical tips about how to use this modes when you're playing over a chord progression or over a static chord.
In my humble opinion, this is one of the best book I never bought. The only problem is that:
1) you should be an expert player, professionist or a teacher who wants to enlarge his knowledge about pentatonic scales, otherwise this book can be too difficult and too specific for you
2) I'm a little worried about all the patterns that I should memorize here...if you consider that there're about 5 patterns for every mode, in this book there can be about 120 different patterns to memorize, and only a genious can be able to remember everything -) I'm focusing on the most important and useful modes, without studying the less common modes or scales...I could study for years over this book! -)) Compliments to the author, he must be a genious! Lorenzo from Italy

PS: I really love the Mixolidian pentatonic mode! -)

Everyone knows the importance of the pentatonic scale in improvisation,for its "vocal" melodic quality:this book is the next step:how can I "tailor" the Pentatonic scale so it can fit ANY chord,also the most "difficult" an improvisor can encounter during his playing ? The answer is this book:this is THE hybrid pentatonic scales manual,THE reference on the topic.Also the author (Dr. Ronald Lemos) is a very kind person,not only a master teacher.This is a milestone for any guitarist that want to play better.HIGHLY RECOMMENDED.

Many of today's impressive players execute tremendous speed and technique. Their lines are executed with such blazing speed that consonance and dissonance, tension and release are almost non-issues. They often employ scales and arpeggios that are less commonly used, making us dedicated Pentatonic players feel almost less then adequate. There is absolutely nothing wrong with their approach and it may very well be your cup of tea, but if you are a "Sweet Note" player like myself, trying to get the most feel and mileage out of every note, then this book is for you! If you are a player that is still impressed by how much feeling BB King can get out of every note he plays or find the "inside" sound of today's smooth jazz appealing, you will be amazed at the usefulness of this book and how it can be applied to any style. It is a brilliantly conceived system that works. (Some basis knowledge of music theory is required to get the max out of this book) I would give this book ten stars, but it only goes up to five. I'm loving it!...Bravo to the author!

Tony Profera
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I picked up this book after reading some very helpful online forum posts by the author and seeing his youtube lessons. Ron Lemos is a knowledgeable author and jazz guitar educator and his book/CD set is well presented. The theory behind his use of pentatonic scales is comprehensive, versatile, and fits in with other forms of jazz improvisation. It is also a self-contained system for those who want to take it all the way. His breakdowns on substitute scales, diminished harmony, and soloing over 'Trane's Giant Steps progression were especially enjoyable.

Being a fan of Woody Shaw, McCoy Tyner, Bill Evans and other "modal jazz" pioneers, I have really grown to appreciate the place that pentatonic scales have in jazz. This book explains the usual patterns that we all know so well as guitarists and then introduces some lesser-known versions that are also very useful (they are similar to extended arpeggios). The shape and "color" of pentatonic scales adds a lot of character to a solo, and I feel that they should be in every jazz musicians vocabulary.

Jonathan Pac Cantin, author of Chord-Scale Theory and Linear Harmony for Guitar: Creative Tools for Improvisation and Composition in Contemporary Music

If you are an intermediate player looking for that knowledge to take you to the next level of guitar improvisation, this book is a powerful start. I have been an amateur jazz guitar player coming up to 30 odd years now. I have studied and played and studied ad infinitum, including 2 music conservatoriums (public access courses) in Australia. I have a very solid music book library of close to one hundred publications. What I have in Ron Lemos' book is a structure that allows all the sales and arpeggios to possess a bed-rock. The biggest problem I have had in jazz guitar improvisation is there is way too many notes and technique, but not enough musicality when studying improvisation. I have had my heart broken many times watching jazz guitarists spew out a torrent of notes but leaving me dejected after 2 cycles. The pentatonic modal approach coaxes you to listen to what you are doing and keep it simple. In the simplicity you are set free to play musically even with the most complicated tunes. Take it from me, this book is a must have for all players!
Jazz Guitar Soloing Concepts - A Pentatonic Modal Approach To Improvisation BK/CD (Book & CD)