aah Jazz Improvisation for Guitar A Melodic Approach Garrison Fewell Edited by Susan Gedutis Lindsay OWBak CD Track List RSS Reet Rae BBD SHS MCAM BES RETR HAR 2-H ARLHES SS RENDER SAH JB RADE JSC AUB OVOAE MBPS AOR ADSETT HALES Sah AMA) ANSDeRARALECS AIAN REOD BRIS His RD OM ERP OR MMA PS RAMI B=eM ROVRRMRE BRA: bee EG!) 4 LAV ERAHES : VEL S BSL Rites 08h BNROHReS BIRD AAS LSRRAALHSRBLS Sims mew EBtCNEL NAS oNRE ShSM BAL MARARCPSORERAUSS as 28 30 36 45 46 56 67 68 68 86SUBH MAR LNNH: SRS SGSHsewR se6q NASH LRRHSSS SPSTHSSRR : MLNKSRECES MAP II/V7/ | DRTISSNRSSO : SSR BSS SK Ssh 8 FRRPERSISSR HEAR REE AER ERR SSSR R RM : HCI SBM NSAP I-7 (bS) /V7 (bo) / | AOMTADSIMS ME ESHSMGRE : ISANSS STR | EMAAR LOUIS : ARS II /V/ | OAD MTT BIB RRM S StS BES VTMRIHOE : bMS V TASC BIS HEPES. HM R13S Stoem v7 (+5) wae ee Re “Hearing Things” (Garrison Fewell, Steve LaSpina, and John Riley) About the Author Discography as Leader Reviews 98 98 102 107 113 118 18 121 124 125 130 140 142 185 174 172 172 175 177 184 184 188 190 194 195 195CD Track List 1. Fig. 2.1. Extensions of G minor 2, Fig, 2.2. Melody based on G minor triad and melodic extensions 3. Exercise 23. “Elle,” rhythm track 4, Fig. 3.1, Practice phrase using Bomajor triad 5, Fig. 3.2, Practice phrase, with triplet added 6. Fig. 35. Sample solo, “Hot Saw” 7, Exercise 3.3, “Hot Saw,” rhythm track 8, Fig. 3.6, Rest-stroke articulation in the style of Wes Montgomery 9. Fig. 3.7. Four triads with cighth-note triplets and rest-stroke articulation 10. Fig. 3.9. Combination, ascending and descending rest strokes 11. Fig. 3.10. Descending and ascending rest strokes in a IV/V/l progression 12, Fig. 3.11. Triad over strings 1, 2, and 3, with rest-stroke articulation 13, Exercise 3.4.1 14, Exercise 3.4.2. 15. Exercise 3.43. 16. Exercise 3.5. “Three Bee's,” rhythm track 17. Fig. 4.3. Phrase in the style of Charlie Christian 18. Fig, 4.6, Christian-style phrase, using chromatic passing tones 19, Exercise 4.2. “Blues for Charlie,” rhythm track 20. Fig, 5.1. G minor line over C7 21. Fig, 5.2, Phrase in the style of Wes Montgomery 22, Fig. 5.3. Minor lines played over descending chromatic progressi 23. Fig, 5.4. Phrase in the style of George Benson 24, Fig, 5.5. Phrase in the style of Pat Martino 25, Fig, 5.6. Martino-style minor line extension over dominant chord 26. Fig. 5.7. Phrase in the style of Grant Green 27. Fig, 5.8. Green-style phrase 28, Fig, 5.9. Phrase in the style of Kenny Burrell 29, Fig, 5.10. Phrase in the style of Jimmy Raney 30. Fig. 5.11. Phrase in the style of Johnny Smith 31. Fig, 5.12, Phrase in the style of Tal Farlow 32, Fig, 5.13. Phrase in the style of Jim Hall 33. Fig, 5.14. Melodic grace and rhythmic precision, Montgomery style 34, Fig, 5.15, Montgomery-style phrase, moving from second to fourteenth fret 35, Exercise 5.2. “East Ghost Blues,” rhythm track 36. Exercise 6.1. “Lovers No Mare,” solo 37. Exercise 6.2. “Lovers No More,” rhythm track 38, Fig. 7.1. Guide-tone voice leading using 3rds and 7ths 39, Fig, 7.2, 3-note guide-tone voice leading 40, Exercise 7.3. “Rhythm Changes,” comping 41. Exercise 7.4. “Rhythm Changes,” rhythm track 42. Exercise 7.6. 3-note voice leading with tensions for II-7(%5)/V7/I- in D minor43. Fig. 7.7. Chord substitutions 44, Fig, 7.8, Chord substitutions can add color and brightness 45. Exercise 7,7. “Love Is Beautiful,” comping 46. Exercise 8.1. Guide-Tone linevdirect approach on I/V/VV7 progression 47. Fig, 8.3. Guide-tone line with indirect approach, 48. Fig. 8.4. Guide-tone line with indirect approach and melodic extensions 49. Fig. 8.5. Guide-tone line with chromatic approach 50. Fig. 8.7. Guide-tone lines with double-indirect approach over I/W/L 51. Exercise 8.5, Melodic contour with chord extensions and varied resolutions 52. Fig. 8.9. 3-note voice leading with guide tones over “Tune It Up!” 53. Exercise 8.7. “Tune It Upl,” solo 54, Exercise 88, “Tune It Upl,” rhythm track 55. Exercise 9.1. Guide-tone lines 56. Fig. 9.3. Example with} to 5 resolution 57. Fig. 9.4. Direct resolution,J9 to 5 58. Fig. 9.5. Indirect resolution, 9 to 5, with chromatic approach 59. Fig, 9.6.59 to 5 with double-chromatic resolution 60. Fig. 9.8. Guide-tone resolutions with octave displacement 61, Exercise 9.5, Melodic lines over I/V7/l in minor 62, Exercise 9.6. “Love Is Beautiful,” rhythm track 63. Fig. 10.2. “Bossa Azure,” 3-note voice leading 64, Fig. 10.4, Guide-tone line, embellished with Parker-esque melodic approaches 65. Fig. 10.5. Parker-esque approach using direct, indirect, and double-chromatic approaches 666. Exercise 10.1. “Bossa Azure,” rhythm track 67. Exercise 10.3, “Falling Leaves,” guide tones and melody 68. Exercise 10.4. “Falling Leaves,” solo 69, Exercise 10.5. “Falling Leaves,” rhythm track 70. Fig. 11.1. Dominant 7 line with tensions>9 and #9 71. Fig. 11.2. Phrase in the style of Lee Morgan 72, Fig, 11.3. Phrase in the style of Charlie Parker 73. Exercise 11.1. Guide-tone line over V7 in major key 74, Exercise 11.2. Melodic lines using altered tensions 75, Fig. 11.6. G-(9) arpeggio over E-7(95); B>-(9) over AT 76, Fig, 11.7. Walt with changed melody on II-7 chord, 77. Fig, 11.8. Melodic motif, transposed in three keys 78. Fig, 12.2. Augmented triad over II/V/l in C major 79. Fig, 12.3. Augmented triads used in descending chromatic line over I/V/l 80. Fig, 12.4. Augmented triad played over F7 as approach to Bs-7 81, Fig. 12.5. Augmented triad over minor II/V/ in Ab 82, Exercise 12.2. “Bossa Lee,” rhythm track 83. Bonus track, “Hearing Things” by Garrison Fewellw CD Credits All solo tracks recorded by Garrison Fewell Trio tracks (indicated in bold): Garrison Fewell, guitar. Steve LaSpina, bass. John Riley, drums. Steve LaSpina recorded six albums with guitarist Jim Hall and has performed with Benny Carter, Stan Getz, Pat Martino, Chet Baker, and Art Farmer. Steve's solo recordings are on the Steeplechase label and he currently teaches at William Patterson University. ‘wwwstevelaspina.com John Riley is currently a member of the Vanguard Jazz Orchestra performing every Monday night at the Village Vanguard, NYC. John has played with Miles Davis, John Scofield, Stan Getz, Dizzy Gillespie, and Milt Jackson. He currently teaches at Manhattan School of Music and the New School wwwwjohnriley.org Read about Garrison Fewell in “About the Author” at the end of this book. ‘Trio tracks recorded at Marion Studio, Fairview, NJ. ‘wwww.marionstudio.com Engineered by Dave Bellochio. 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2 7 Pat Martinoté SHERg HA 1965-6703 + MERAH AYRES Wes MontgomeryRAH » (ePat Martinot# 2 LAME BIS SPEARS + 1h58 Johnny Smith S RBH LA Buse » ALLS ABT HRS) LERRMAIE UEKE-AERWAR Ki eeaee Grant Greens 5 S888 (8 Ai Parker = 2 BiB AR A bebop¥4) = b[Pat MartinotE 19602 (CAT AM AUELAS » EBL7 ME LMF N= MAME * ME FTES LR RAIL RGK » UNA] LLRpickt#2 > 3 > 4AKBARATE SE DAA SESE RAGE RSR IG: ML-HEBOSHERE ERB EGR MARES LTS TIAL © 73BRE - RWROAK 74 RYM5.5: Pat Nartino@te Hs 4) Pat Martinota72 BCA S SLMS /)\ = HMO F RRR SS AQTEAVEES: + TE PR 12/) ARETE TATE + PRB] DLS SAAD ARAN ETAL » SARMEF7 Me LhS Me ABU B", “2 Be ay: are xa xt piss aaa | FYRS.6: Pat Martinod) £9 MUG» RAB CFM bb Shoe HB ae He Grant Green Grant Green MRE (FRE AEE 1950F MAH + SAHRA — (ET FJimmy Forrest—#AtE + TRE OF KMRARA RED NA FZ — + HATHA AAI BEA Mbebophy SMBUS » (Aim AT MES TH ANS AS EAE DA Bik EE LAA + (REIMAN ASEAIA + HES Charlie Christiane — SSF hash + AAS BAHT Miles DavistS STDS tte LE ©(RA]LLGEGrant GreenBA MRE MSS » Stet PSIG SBT MAMET A BBE + Grant Green H SLUSESI/\ AHA SS REE » DZ FEBb7 AL LI (BFS ALA A EAA ks HAS BIE RBH RL + AT DURE F] RITE MAAS ° ai teers 3 wae! 2a a AIMS. 7: Grant Greens a #4 SAP ABE AE A LL St EE TT N/V) | ALARA: tLREEG-7/CTIF © BFS ORR —-MUEBSECAMRLOAREE PRI5.8: Grant Greenstt i #4 7576 BER - RAR Kenny Burrell Kenny Burrelliz & thi-t S Mit Pa T RAISES + ih Bae TAMAWBE + (HBS MMLARMRRREA NaN SBS LURE RESEND LB BAMA AE ANKE + Kenny BurellM PREFERS ESR HURGMEMRLARES PALER HSB ° mE N/V) | ANAETT AIF P+ TER] DURA Kenny Burrellé= FA > SB HYRRP HS HERE aS DANZA + FMR ECTME L BATTS BRIE > BRCTHBSS (B Sit) WARS (CH) RCM > AMBRE Il /V METIS BAY Sik) MMB > Kenny Burrell ERE AHRAB ASE > WeM5.9: Kenny Burrel Lise # 4 ‘EE + (RFT LLB A ACD RS OM MISS + RATE 12) ATR IETT LR PRASHANT +» ARE AAAS + BREA ES PASAT EB CMRLAMBET Jimmy Raney Jimmy Raney 2A AtHiSR RUPEE RE RHEA RRA ENE SS SMLRSNLRAESHROER + She FORA S SEMRHVSE » MRSA SAH ISR E TH » MSE HOWE RRRGRNSE : THLE RER ARAM A AS ALEEAHSRBSLARATABET FIAT RECT AA | BSH D/)\= MERRIE » RES SL EB SDPSSB SSH + MIR TRIS TARTAR AUEE MENS * DUBVBAVS BIRAR + TERZED/)\ EAGAFAE A SWS + (RLU RRM + BBB PHB—-ME—AZY SERFS BART LAMA ARRESTS TARP RRTRAMERE ) ©AEM: 5.10% Jimmy Raney 48 66 # 4 Johnny Smith Johnny Smith2#237 7 MARTE HRB MSR 2 — + HEHE RIMRACRMIBIT TAS ARABS » RAABRAEZPat Martino + Johnny Smith? 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He has taught at most major European Conservatories including Rotterdam, Graz, Cologne, Leipzig, Warsaw, and the American School of Modern ‘Music in Paris, and has conducted workshops throughout the United States and South America. With a mature, melodic sound and an elegant, lyrical style of writing and playing, Garrison has established himself as a distinetive voice throughout his thirty-year career. Critics have called him “one of today’s most personal guitar players” (Boston Phoenix ), “an assured stylist with a strong sense of tradition” (The New Yorker ), “a player of virtuosity and swinging intensity” (UPD, and “refined, passionate, and inspiring” ( Guitar Player ). His diverse discography, beginning with 1993's Boston Music Award-winning A Blue Deeper than the Blue (Accurate), counts multiple titles ranked on best-of-the-year lists in publications such as Coda, Guitar Player, Musica Jazz , and his hometown Philadelphia Inquirer. Garrison has performed with his quartet at NYC's Blue Note and Birdland jazz clubs, and international festivals such as Montreux, North Sea, Umbria, Clusone, Veneto Jazz, Copenhagen, Krakow, Budapest, Cape Verde, Af and Asuncion, Paraguay. His performing experience includes appearances with Tal Farlow, Benny Golson, Fred Her: Herbie Hancock, Larry Coryell, Buster Williams, George Cables, Kenny Wheeler, Dusko Goykovich, Ct Bridgewater, Billy Harper, John Tehicai, Norma Winstone, and Slide Hampton. Garrison is the author of Jazz Improvisation (1984) and a frequent contributor to Guitar Player, Guitar Club , and Axe magazines. He is the recipient of several major music grants: National Endowment for the Arts, Artslink, Arts International, and ACULSPEC. www.garrisonfewell.com