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4.7 out of 5 stars
Jazz Guitar Single Note Soloing, Volume 2
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69 of 74 people found the following review helpful
on June 10, 2000
Format: Paperback
This actually is the second and last part of Greene's miniseries, and I decided to write about it because I bought this part based on several recommendations that it contains way more important and helpful material for guitarists, much more into the detail than Part I.
Greene himself says that the topic was basically only "touched" in Part II, while in this episode, he provides even more examples and material. Or to quote Greene "so we're going to really 'hit it' now"
He jumps right in, talking about condensed arpeggios, preparing to demonstrate how to solo while staying in one position. Chapters deal with "Playing through changes", "Chromatic tones", "Soloing over fast changes", "Slurring and decoration", "Rhythm and Phrasing", different scales and chords, up to sophisticated scales, chromatic progression.
Greene does something here that I personally consider extremely important: Not only does he provide much useful information and explains many many important techniques and approaches, he also explains how to use them and incorporate into real playing, by talking about Rhythm and Phrasing, slurring and decoration. (Which I think is even more important than just the scales by themselves). Each chapter features easy-to understand explanations and diagrams, but the major part of this book is MUSIC. A lot of notation, with chord diagrams, all based on the topic of the chapter. I think that he not only addresses all the important topics, but also explains how to apply them to the "real world", and all that with lots of musical examples, therefore providing the reader with an actual demonstration of the discussed techniques and topics.
One of the best jazz players writes an extremely complete guide to a huge topic. And pretty much covers EVERYTHING important! Not only straight theory, but also important topics like phrasing (which often is ignored and dismissed, although it is as important as the actual notes one plays). A great guide to the topic, very complete, with theory ranging from basic to very sophisticated, requiring quite some time and experimentation by the reader. Very very good, I absolutely recommend it
Prerequisite: Sight-reading, good knowledge of chords and basic theory, a bit of playing experience in any case.
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8 of 9 people found the following review helpful
on November 21, 2010
Format: PaperbackVerified Purchase
I have been trying to get a copy of this book for a few years now. I am delighted to say that I have recently received a copy in mint condition. In forty years of playing and twenty four years of teaching guitar and Music (you know ? - the language), I have only seen one other book which equals this one.

This book is as good as it gets. The guitar itself is just some wood with strings on it. Music comes from the player. If a person wants to express themselves in English, it REALLY helps to read, write and know the rules of grammar and syntax. The same applies to ANY other language. Music is no different. Too many guitar players are well versed on equipment (i.e. guitars, amplifiers et cetera) but do not know the fretboard ! If you don't know where and what the notes are, you can't use them. An analogy is a tradesman who has very good tools but is only aware of maybe 5% of their uses. Playing by ear alone is ok but limiting. Imagine if you learnt French by ear alone ? You wouldn't be able to read street signs, menus, books or anything else in France. How would you find your way around ? Why spend months trying to learn something by ear when you can just read it instantly ? Why spend ages learning someone else's licks when you can make up your own that are just as good or better ? This is a very satisfying and rewarding experience. In my experience of performing, the best compliments I have received were from people who liked the way I express myself in Music language, not from people who liked the way I copied someone else. Novelists, sculptors, artists and many other creative people work hard at developing their own style but guitar players (who haven't learnt the language) don't seem to care about this. This is just plain arrogance. Other instrument players learn this stuff.

If YOU don't really care about the way you phrase and express music, then NO ONE ELSE will care about the way you phrase and express music. It's just simple mathematics really. I don't care if there are famous players who can't read or improvise. To my ears, they reach a certain level and don't get any better. Famous or not. It's just a con ! It's like the movie 'Groundhog Day.

Ted Greene's book: 'Jazz Guitar Single Note Soloing, Volume 2,' is the Holy Grail. You can use it to develop Rock, Blues, Country or just about any style of music played on the guitar as well as Jazz.

Believe in yourself. Take the bull by the horns and discover how 12 notes can create color !

Thanks again Ted !

Kevin Donnelly. BA(Mus)., DipEd., Melbourne, Australia.
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4 of 4 people found the following review helpful
Format: Paperback
This book was one of the core books that Howard Morgen had me buy as a young student, many years ago. Ted's books have since become classics, and rightly so. Ted covers all the main techniques of jazz soloing on guitar, and in all positions, which is an important, and often neglected part of advanced guitar soloing. The first section, "Playing Through Changes" using 'condensed arpeggios', is one of the most important and useful chapters I have seen in any guitar book. Ted takes altered and extended riffs through the I VI II V progression in a number of keys, through each position on the guitar. This is an extremely important skill for jazz guitar soloing, as there are many ways to play any one riff on the guitar, and in jazz playing, there needs to be no 'gray areas' on the fretboard. It is a 'basic advanced' skill to be able to play any idea in any key, in any area of the board, and this is the most thorough presentation I have seen of that. Also, using the I VI II V is a great tool. Besides being an important progression on its own, it gives you the V7 I of the minor, and the II V7 I and V7 I of the major. Most jazz is based on those progressions, so I found this section to be very useful as I evolved from a jazz student, to a player.

Ted also covers Chromatics, Fast Changes, Slurring and Decoration, Rhythm and Phrasing, Melodic Patterns, Shifting and Connecting Positions, Mi7b5 sounds, Melodic and Harmonic Minor Scales, Diminished Scales and Arpeggios, Soloing off the Melody, Tonal Centers and Altered Dominant Sounds.

This is not a quick, easy read by any stretch. I have had this book for nearly 40 years (ouch), and once in a while spend a month or so on a section. Like Ted's other books, it is pretty dense, and best covered in small doses; a few examples a week over time. In looking back on my own development as a player, Ted's books have influenced not so much what I play, as far as actual riffs and chords, but how I "think" on the guitar. A top shelf book for any serious player, at any level. No tab, so you'll need reading chops, and some good theory background to make it all work. Ted was one of the most dedicated guitar educators ever, and spared no effort in his books. One of the best.
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2 of 2 people found the following review helpful
on July 25, 2010
Format: PaperbackVerified Purchase
This book is a must have for students of all levels. I bought my copy about 25 years ago and still use it.
The ideas contained are not unique to jazz guitar, or to the study of jazz on any instrument for that matter, but Ted presents them in a package that is easy to digest, enjoyable and entertaining.
There is no TAB in this book which means more for your money as there are no wasted pages. Most serious jazz students can read music anyway.
I must confess that I have not practised all the examples in every key as should be done, but I have no doubt that if a student were to do this, this book would set them ahead of the pack. It is all very real.
Level, intermediate. The student should have control of all four fingers on the fretting hand and be comfortable playing major scales over the entire fingerboard.
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on August 12, 2014
Format: PaperbackVerified Purchase
buy this and you won't be sorry. written by one of the greatest jazz guitarists you may, or may not, have heard of. I own several of Ted's books and can attest to their thorough discussion of the topic and clear layout. Over the years, I've purchased many books by other famous guitarists and virtually always have been disappointed in their explanations or inability to elaborate on "why" something works. That's why this book and his others are so valuable.
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on April 14, 2011
Format: PaperbackVerified Purchase
If you know who Ted Greene is, you don't need to read this. If you
don't know who Ted Greene is, check out you tube and wikipedia. He
was a great guitarist and maybe an even better teacher. Hence the
popularity of the books. No matter who you are, you will learn a bunch
from Greene's books.
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on October 6, 2013
Format: PaperbackVerified Purchase
This is the second volume of Ted's series on single note soloing. He also has killer chords and arpeggio ideas. Ted lives on through his website and these books. Any serious guitarist not studying his books is wasting precious time if he is serious about being a stellar improviser and player.
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Format: PaperbackVerified Purchase
My son plays guitar and takes lessons. He was told by his instructor to look into these books. He says he likes them and gets alot out of them.
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on February 18, 2014
Format: PaperbackVerified Purchase
It's a great book and I'll learn a lot from it. I have both books one and two. if you want to learn Jazz Guitar this is the book to get.
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on February 11, 2014
Format: PaperbackVerified Purchase
Just great reference material. I doubt if anyone is going through this thing page by page. Good one to have on the shelf.
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