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Creative Chordal Harmony for Guitar: Using Generic Modality Compression
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Product details
Paperback: 104 pages
Publisher: Berklee Press; Pap/Com edition (January 1, 2012)
Language: English
ISBN-10: 0876391285
ISBN-13: 978-0876391280
Product Dimensions:
9 x 0.3 x 12 inches
Shipping Weight: 14.1 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
32 customer reviews
Amazon Best Sellers Rank:
#809,151 in Books (See Top 100 in Books)
Mick Goodrick is a very knowledgeable guitarist. His "Advancing Guitarist" book is absolutely excellent, so I expect this one will be also. There are some issues you need to be aware of, however. First, he makes no use of tablature or chord diagrams at all. Standard notation only. Except that there are also many examples of 'non-standard' notation. For example, throughout the book he uses stemless quarter notes to illustrate his concepts. No problem, I get that. But when I see one bar containing six of them with a time signature of 4/4, I'm a little confused. And later on, he provides examples using standard notes and timing indicators, but no time signature at all. I think I know what he means, but then again, I've been studying theory for over forty years. Some explanatory notes might be a good idea. A novice may not be able to figure out what he is doing. Second, if have have a very solid understanding of basic jazz harmony studies, including seventh chords and their related scales and modes, you will be able to handle this book. Otherwise, you won't since no help is given about these things. Third, what is discussed here, and exemplified on the recordings, is for advanced, non-standard, improvising. If you are looking for info on how to do traditional soloing over standard changes, this book is definitely not for you. The info given here is for the musician who is looking for those 'way-out' ways of voicing chords and creating solo material. If this is you, you've hit the jackpot. Fourth, while I haven't listened to the CD at high volume, the mix of the bass on those tracks provided as 'accompaniment' for you to experiment is barely audible on the small player I use for practice. So, with all these things in mind, I still give this four stars. After I've played with this book awhile, I may be inclined to add one more.
This book is 95 pages of a vision that unifies harmony, melody and compositional texture in sounds that I couldn't believe existed in my guitar. In 5 chapters of discussion, etudes, arpeggio explorations, "compressed modal" explorations and a rich section on implications and applications of the material, Mick Goodrick has presented an entirely new attitude that makes perfect sense yet unlocks doorways into beautiful sounds completely missed in the harmonic perspective up to this point. In his previous books, Goodrick has consistently tackled and expanded the boundries of guitar as an improvisational and compositional instrument. He can arguably be called the granddaddy of modern jazz guitar having passed his knowledge on to the who's who of contemporary creative jazz guitar. His books have been exhaustive, uncannily insightful yet challenging in their open ended possibilities. This book may be the most approachable edition to date, with usable examples on chord progressions that demonstrate the utility of the concept and the power of the approach. One note of note: The book is written in standard notation. There IS a CD with examples played by the co-author and notable guitarist in his own right Tim Miller, but fluency in reading and triad voicings will be most helpful. If you are beyond the hand holding foundational material stage, this is a truly rewarding work. If you are searching for ways to expand your creative base and craving totally new colours to use in any situation, this book could very well be the new currency standard.I'm going to be busy for a very long time.
Great book. Like all of Goodrick's books - and Van Eps's books as well - this one requires the musician to figure it out. Essentially, it discards the common chord voicings in favor of a chord-scale approach to harmony. If I had one wish for this book it would be that the etudes were written to more than just the "Stella By Starlight" changes, but I do appreciate that the real work is mine. The recorded etudes are killer takes on the tune, though.
All you could ever really want to know about advanced harmonic usage on the guitar! A diligent student could use the material in this one book to develop exercises for years of study and practice! Truly one of the must haves along with the Bert Ligon and Randy Vincent books!
This book is for edumacateded, literate guitar players, unlike myself. Content looks great, but I have a bit of a challenge here, haha.
This is an amazing book for serious guitar players. If you are already working on Chord scales in major, melodic minor as well as harmonic minor, this book gives some amazing concepts and voicing concepts that bring a whole new aspect to guitar players that are looking to expand their tonal palette.
excellent book, I'll work hard with it
I hate to say this because I really liked the Advancing Guitarist and I personally think Mick is a great guy and and good teacher, having taken a few very inspiring lessons in the early '70s with him but I can't seem to get much out of these later books.I also bought Almanac of Guitar Voice Leading and Factorial Rhythm which I also found to be endless charts of all possible permutations of a few ideas. Maybe I am too thick to get it but I will take another look at these books in the future and see if I can fathom them.
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