Three-Note Voicings and Beyond Spiral-bound – August 17, 2011

This book opens up chords to be more movable and flexible than drop chords. There's a surprisingly large amount of possibilities that open up.I was impressed with the small amount of typos in this book. The fewest I've ever seen in a guitar instruction book.As is my custom here they are:Page 51: Example 4-17: the Gb7 grid should be on strings 3-5 (not 2-4 as shown)Page 177: Example 11-7: the B dim7 should be on the 4th fret (not 7th fret as shown)Still, a 194 page book with only 2 typos is incredibly good and the Sher Music Co.'s music is beautifully illustrated.I would say that it is best to be familiar with drop 2 chords before starting this book. In particular it might be best to go through Randy's other chord book, "Jazz Guitar Voicings - Vol 1: The Drop 2 Book" first since he makes a lot of references to it in Three Note Voicings, especially in the drop 2 reductions section.I feel like I need to go through this book again and probably many times to really let it sink in.There's a lot of information.Great book.

As a music geek I have a lot of music books, sometimes mostly to have an idea about how the author presented the content.I don't have the Drop2 book from Randy Vincent, but even if I think I know those voicings "quite well" I'll may give a try as the present book is a true gem. By now I don't think I've ever seen a book which provides so much information, and presented in such a clear maneer. Even if you're an "advanced player" you WILL find something to work on using this book. The description lists the subjects treated here and surprisingly I still haven't taken a look at all the chapters even for glancing, which is what I do in most cases. For this one, I prefer to keep some pleasure for tomorrow and the day after, as each chapter can be a real eye-opener, even when you think you know a lot !...but hey why would my review useful when you see what Jim Hall, Pat Metheny, Mike Stern, Julian Lage, Mark Levine, Ben Monder and Gene Bertoncini wrote about this book ! And for the first time, I think they really think what they say.Have fun with it, as I do since I got it !

To me, this one here, is by use by a student of the craft (even though I believe anyone who continues to pursue music is and always will be one). I mean like in school for better comprehension and perhaps the time needed to really devote to it. It is very good stuff, but, even like the author has noted, he is still working on it himself, so I guess you could say, this would be part of that life long journey. Needless so say, this could be very important to have in adding to a persons true virtuosity. If you want to learn how to not waste movement and time, this is one to look into perhaps.

Just going through Three Note Voicings for the second time, I am learning as much (if not more than the first time!).When I first powered through Three Note Voicings, I was not prepared, what Randy Vincent said didn't make much sense to me, it was way over my head. So I just plucked out the diagramed tabs and learned some chords, I barely scratched the surface but I learned so much along the way.Now I'm back for round two, and Three Note Voicings is blowing my mind once more. I'm taking the time to understand what Randy says, and revelations are striking me left and right.The main selling point to me when it comes to Three Note Voicings is the amount of knowledge it contains. This is a multi year experience, a book that will always teach you something new. It is everything that I could want in a Jazz Theory book, and it's taking my playing to whole new levels. Would recommend to any intermediate or advanced guitar player.

I too love this book. It is just unbelievably loaded with great things to work on, work out, work through in order to get better and go deeper. Right now I'm chugging away on harmonized altered bebop minor scales. I'm working the 4321 string group, which isn't even directly addressed in the book. Randy gives us key of C on 5432, goes without saying that we'll take it from there, because by the very next page it's into how to apply in musical context using examples. I'll keep adding notes to this as I go. I just moved back to this book from the 3-note voicing book, having left off in a good place after getting priceless leaps and bounds out of that one. Randy's books just keep on giving; they're crazy good. I'll be back in the other one soon enough, just going deeper and deeper. There's no bottom, no top, just keep going.

As an amateur from a rock n roll background, I wanted to learn more about how jazz guitarists seem able to play all their chords within 3-4 frets of one another and simultaneously weave melody and/or bass lines into it. Well this book reveals the secrets and does it in a well thought out and logical manner with thorough musical explanations and excellent staff / guitar tab chord diagrams. While the book seems aimed at aspiring jazz guitarists and the material can get too complex or difficult for me at times, I am still able to learn much from it that I can put to use immediately. An aside, the author must have much longer fingers than me to make some of the stretches!

Excellent explanation of a critical (and often ignored) part of jazz and electric guitar theory and practice. Exercises are progressive and well designed. Suitable for intermediate and advanced players. Recommended - as essential as The Real Book for jazz guitarists, and important for any player aspiring to a deeper understanding of the instrument and its role in a jazz or rock band context. Also, for players wondering how to express harmony when using distortion without sounding muddy, the answer is in here.

This is truly an outstanding guitar book with an emphasis on jazz chords and improvisation. I was first shown this book by one of my students and since then have been recommending it to nearly everyone with an interest in a deep study of chord voicings for jazz and contemporary music. Outstanding!

Ring bound book for life! - intuitive and osmotic - not one individuals highly stylised method, but the real deal well laid out - typesetting is good (if small fret numbers on diagrams) - only two discernible typos in whole book which believe me is rare in books of this type - I love this book as much as the Ted Greene books it has really helped my navigation of the fretboard in terms of useful voicings, getting out of the boxes and developing more linear, flowing transitions. Highly recommended for all levels/styles.

Comprehensive and densely packed with good stuff. There's enough material in here to keep even an advaced player busy for quite a while.

Useful studies for those serious to learn Jazz guitar.

Lo q no me gusta es el no poder pasarlo a pdf. Para trabajar secuencias de acordes con la guitarra se hace mejor desde el papel.

Un des livres sur les accords les plus intéressants de ces dernières années qui regroupe toutes les différentes techniques pour les construire et les exploiter, illustré par des exemples musicaux pertinents musicalement utilisant les grilles d'accords importantes (blues, anatoles, II-V-I majeur et mineur) et des fragments mélodiques de standards célèbres. Tous les exemples sonnent!