Jazz Conception: Guitar: Guitar Book & MP3 CD

Snidero's etudes sit at exactly the right angle between accessibility and authenticity. Rather than simplified "jazz for guitarists" studies, these are real solo vehicles built on standards and blues changes, backed by a first-rate New York rhythm section (Mike LeDonne, Dennis Irwin, Kenny Washington) that swings hard. The progression from approachable early etudes to more demanding later ones makes this work equally as a foundational jazz vocabulary builder and as a bridge toward transcribing and learning from the masters.

Studying with a master who knows exactly how to phrase a blues and what makes a line sing. The rhythm section locks in with relaxed authority, creating the kind of swinging accompaniment that makes playing feel inevitable rather than forced. There's real joy in discovering how well-constructed melodies can become your own vocabulary.

Guitarists serious about learning jazz language, from intermediate players building foundational vocabulary through advanced students refining sight-reading and transcription skills. This works equally well in private lessons, self-study, ensemble settings, or as part of a structured curriculum using the accompanying Study Guide.

• Start by playing along with the soloist on the CD to absorb the phrasing and articulation choices before attempting your own interpretation.
• Work through the earlier etudes deliberately enough to build melodic vocabulary; these aren't just warm-ups but building blocks for constructing logical solos later.
• Sing the melody first, away from the guitar. This firms up your internalization of the line and helps you understand the solo as singing rather than as fingering patterns.
• When you're ready, use the rhythm section track without the soloist and transcribe what you hear, then check your transcription against the book to catch subtle timing and articulation details.

Assign etudes progressively throughout the jazz year, using earlier ones to scaffold fundamentals and advancing students on the harder changes to deepen their harmonic and melodic understanding. The 21 titles include blues, standards, and original forms, making them flexible enough to assign alongside whatever standards your ensemble is currently studying. Advanced guitarists can work through transcription assignments independently while developing reading chops at the same time.

• Phrasing and articulation in jazz contexts
• Soloing over standard chord changes and blues progressions
• Transcription from recorded audio
• Sight-reading in jazz idioms
• Construction of logical, musical solos
• Jazz vocabulary and melodic language
• Listening to and matching a professional soloist's interpretation
• Playing with a rhythm section in a conversational way