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December 28, 2013


From the site:

NOW AVAILABLE!!! The book is drawn from concepts which I have been sharing with my private students, and those who have attended my clinics and master classes, for now over 30 years. Like many aspects of my early music education and jazz education, these were ideas which I came upon by myself, because during the years when I was trying to learn about such things, the mid-’60s, there wasn’t the scope of information(books, videos, play-alongs, etc.) which exists today. As there are already many fine books dealing with "jazz lines" and their formation, and various theories about how one can best "speak the linear language" of jazz, I felt that I had to narrow my focus and concentrate on one area. This book is intended to work hand-in-hand with "CHORD KHANCEPTS" and function as its linear adjunct. It is, hopefully, a relatively comprehensive study of the improvisational usage of, what I feel are, the two most common pentatonics: the minor pentatonic[R, m3rd, 4th, 5th, 7th] and what I have come to call the dominant 7th pentatonic[R, 2nd, 3rd, 5th, 7th]. In addition, the book tries to clarify the difference between the "blues scale" and the "minor pentatonic" scale. With that done, the book shows how one can then "backtrack" and put to use the blues scale over what might seem to be some pretty uncommon chord structures. It all works beautifully together in the end. The book then seeks and explains, and in great detail, how one goes about applying these simple formations to the basic harmonic "families" encountered in "jazz" or any music where improvisation is important. Any instrumentalist could benefit from the concepts in this book. If one is trying to specifically narrow it down to the guitar, well, I’d have to say that obviously those players who are trying to further develop their abilities to improvise would benefit the most. That doesn’t necessarily mean that only ‘jazz’ or ‘jazz-fusion’ players would get the most out it. The book is really geared towards everyone! It is not intended to speak over anyone’s head, nor beneath it. It appears in standard notation with TAB…, one could easily say that it’s a "rock"-friendly book. By that I mean, players, whose primary focus might be in rock, R&B, hip-hop, blues, country, pop, and other areas, should also be able to gain a lot from the shared information. There is yet another fantastic example/play-along CD, only one(1) this time, accompanying the book and its text. The CD features performed examples which appear in the book as well as Steve’s performance improvisations. The book can be obtained from, as well as Jamey Aebersold or directly from Alfred Publishing Co. at: (888) 310-3342 or online via Order Music Today.


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