Introduction to Jazz Guitar Soloing: A Comprehensive Improvisation Method
(Musicians Institute Press). Perfect for seasoned rockers seeking new challenges and jazz newcomers looking for a good start, this book/CD pack covers scales, chords, licks, techniques and other vital jazz improv concepts step by step. The accompanying CD features 65 full-band demo and play-along tracks.
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The guy lost credibility with me when he said that most key-center solos are like pointless conversations, as there's "...no specific or direct information being communicated."
This assumes that the player can't play what he's imagining in his mind (which is what improvisation is), but is stupidly running his fingers through memorized scale patterns that contain notes that won't clash. Mr. Elliot should know better than this. Even if there are players who play this way (and there probably are), it's safe to say nobody is listening. Arpeggios are wonderful tools (again, fingering patterns), but as with a key-center approach to improvising, the player must ultimately use his creativity and imagination (his "ear") to guide him in playing a solo that is pleasant to listen to. It is simply not true that a player must know arpeggios, or chord tones (same thing), in order to play a solid solo. If he keeps his ears open and practices, there's a high probability that he or she will learn to gravitate toward notes that sound good, and develop a more colorful style in the process. His/her solos won't be paint-by-number-ish "do-mi-sol-mi-do" things that treat all the other notes on the fingerboard as "passing tones" or "in-between" notes. I'm not saying Mr. Elliot teaches players to play this way, necessarily... but let's at least give the player who approaches soloing with the whole fingerboard as his palette more credit than we'd give to someone babbling out a "meaningless conversation."