This is another blues licks / solos book with a bit of a twist. The content is easy to follow and pretty much jumps straight into simply learning a bunch of licks, but in an organised fashion. All the examples are played over a single chord progression with two common variations and all in the same key.

The idea is to learn a bunch of licks that work over each section of the chord progression. For instance, you get about fifteen licks for bars one and two, ten licks for bars three and four, ten licks for bars five and six, etc..

The licks are designed to flow musically into each section of the chord progression. What this basically does is gives you a variety of licks that once learned, can be pulled out of your virtual hat and used randomly over each of the twelve bars and should fit well over any I IV V blues progression, but more importantly, flow musically with the chord changes. Of course, you don’t need to (and shouldn’t) play a blues solo in such an ordered manner but what this book does is gives you lots of ideas to work with.

If you are still in the early intermediate stage of guitar playing then this idea can be used to give you a good leg up to play a fair variety of very passable blues solos, even if you aren’t quite ready to experiment and mix them in with your own ideas. There’s also the added benefit that these kind of exercises work well towards training your ear. Do this stuff enough and your solos will flow well over chord changes no matter what scales or licks you are using as new habits are formed.

I like the concept of this book, and while you could argue this is slightly gimmicky, it doesn’t make it any less of a useful guitar book. The licks are all real world and very usable. Each lick is included with Tab and notation. At the end of the book you are given the full chord progressions with two variations and in three keys.

The CD includes all the example licks for you to hear what they sound like and the solo part can be panned out one side of the stereo field. The last few tracks contain two examples of full solos using the licks from the examples to give you an idea of how they can be pieced together. You also get the backing tracks minus the guitar part for three different keys for you to practice with. The solo examples aren’t Tabbed in the book but the licks used are displayed under each chord so it’s pretty much the same thing, you just have to flick back and forth between a few pages if you want to follow the solo example exactly as played. The backing tracks are quite basic but good enough to keep you inspired if you are going to spend quite a few hours practicing with them.

All in all, I’m happy with this book and I think it’s one worth having in anyone’s blues learning / practicing arsenal.

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Author: Tim Quinn
Level: Advanced

When I wrote about this book previously, I ended off with “I’ll let you know when I buy it”. Well, I bought it … So now I guess I’d better let you know

This one is going to be simple. The book is good but not quite what I was expecting from the title. In short, this is a pure workbook. There’s not a great deal going on in terms of actual reading material. Although there are some tips scattered and a few pages of advice, the heart of this book is hands on. Lots of arpeggio patterns to practice in many variations and positions, including major and minor triads, major sevenths, dominant sevenths, minor sevenths, minor sixth and diminished arpeggios. There are a few short etudes included which are always great for practicing and warm ups and also give you some ideas of tying chords together. All examples are provided by TAB and notation.

This book is not for the beginner and I would say it’s borderline for intermediates. This really is aimed at advanced guitarists. Although the arpeggio patterns and examples are the kind you expect to see in the shred scene, they aren’t genre specific and will be useful for any style of guitar. Although many of the patterns could be played in swept fashion, the author recommends alternate picking for each of the exercises. The content is not just page filler, all the arpeggio shapes and patterns are worth knowing and well worth putting in the effort to practice. Just make sure you are ready for it. Some of these patterns require some difficult finger stretches.

All in all it’s a great workbook and a worthwhile addition to include among your learning resources. The only snag for me is the CD. Although all the examples are there for you to listen to, there are no practice tracks which is a bit of a let down and the examples can’t be panned out in the stereo field. Admittedly, my gripes are borne out of laziness. For anyone who takes guitar seriously, knocking up a quick backing track to aid your practice just isn’t a problem. Then again, you might be one of those aliens that only ever practice with a metronome so it wouldn’t be a problem!

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I finally got round to buying this book a few months ago but I’ve only just managed to take a good look through it. So what’s the verdict? The book gets a very big thumbs up from me, but before I go any further, it’s important you understand the purpose of the book. If you don’t, then you may end up buying it for the wrong reasons. In short, mastering the art of using chord tones can take a few years of dedicated practice. If you are after a quick fix then this isn’t the book for you. If you aren’t prepared to put in the effort then the best you’ll get out of it is an understanding of the concepts of creating melodic solos. If however your goals are more realistic then this book will help you with the following.

• Master the ability to create melodic phrases with ease
• Improvise on the fly and play guitar solos that fit perfectly with the underlying chords, as though they were pre-prepared and practiced.
• See the entire fretboard as a series of endless possibilities virtually on autopilot over any chord progression.

All of these things are traits of the professional guitarists that most amateur guitarists only dream of. The reality however is that any guitarist can accomplish these goals, and the aim of this book is to help you get there through a well structured series of exercises. It would be very easy to underestimate the value of these exercises / lessons if you don’t understand the purpose of them. Everything in the book is easy to play, even the beginner could get through the entire book without too much difficulty. It’s this simplicity that could lead you to underestimating the value of the book.

Chord tone soloing goes well beyond targeting notes that simply belong to the underlying chord of the moment. Making your solos flow melodically through a piece of music requires you to understand the many ways that chords, scales, modulation, tension etc., all tie together. Playing a great solo is much more than knowing a bunch of scales and licks that you can pull out of the hat at random. Sure, that method has it’s place but if it’s all you’ve got then not only will you run out of ideas quickly, you are always playing with limitations that can often leave you stumped.

Mastering this skill takes time because it has to work on autopilot to be useful. Repetition is the key to success here and this is why the exercises do not need to be played fast or complicated. They are designed to make you play great sounding guitar solos that always fit the music, almost at a subconscious level.

The exercises take you from dead simple root notes to leading tones, the CAGED system, mixing chord tones with scales, playing over chord progressions that stay in one key signature as well as mixed keys, recognising and finding the keys, modes and more. There is an awful lot to learn in this book but it will pretty much guarantee you to master this skill as long as you stick with it. Some of it will be down to you to work creatively with the ideas you are given. This will happen naturally once you have been through a lot of the exercises. Remember, the key to mastery is practice and repetition. All of the exercises in the book could be played within a few days by any reasonably determined guitarist but that is not how it works. It’s the repetition that embeds familiarity into your unconscious thinking. Realistically you could work with the ideas in this book for many years and still be improving as a guitarist. Once you develop a new way of thinking about the way you play guitar, one that goes beyond basic scale sequences and licks, a whole new world will open up to you.

Everything is straightforward and easy to follow. The only thing I can see being a problem is understanding some of the theory which could get a bit confusing if your music theory knowledge is very limited. Although it’s reasonably basic stuff, theory has proven itself to be a complicated subject that many guitarists struggle with. If this happens to you then firstly, it doesn’t need to stop you doing the exercises. Sometimes just listening and playing something a few times helps to make sense of things just by example. If not, then it doesn’t matter, like I said you could work with this book for years and still learn from it but if your theory is weak then something like the idiots guide to music theory will help you out. Great guitar playing comes simply by doing, the more you do it, the more you understand it. It can take a few years but one day it all snaps together and makes sense.

Most of the examples in the book are on the CD for you to listen to. The CD might be my only gripe here. There are no separate practice tracks which is a shame. The examples all have the lead part panned to one side of the stereo channel so you can balance it out if it’s distracting. Only problem with that is some of the examples are very short. Another minor detail is one of personal choice. Each example has an eight beat count, which I think is too long, but that might just be me. So with short example tracks and long count ins, the easy way to practice through the examples will be to create your own backing tracks. This can easily be done by recording yourself playing the guitar chords, use a looper or do whatever method you prefer to lay down some backing. This would be a good idea (actually, a must) even if the supplied backing tracks were better, so it’s not really a big deal.

The bottom line is this. If you are serious about mastering this skill and you have the discipline then this book is not going to disappoint you and is pretty much guaranteed to make big changes to the way you play guitar. Get ready to start turning heads!

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The way I would best describe this book is it’s the “ultimate snippet guide to guitar”. I’m torn on this one. It’s almost like the author has tried hard to improve on the classic Guitar Handbook by Ralph Denyer but failed miserably, probably because of restrictions and guidelines imposed by the publisher. It’s glossy, feature / picture packed content makes it look interesting at a first glance, but when you dig deeper into the content, it kinda stops short of being of any real use to it’s intended audience. Similar to the dummies guides, it tries to cover far too much information, only in this case, with less space for written content, which it tries to make up for with pretty pictures and coloured tables and diagrams.

Now don’t get me wrong, this isn’t necessarily a bad book, it does in fact contain quite a lot of useful information. It could be argued that The Guitar Handbook also tries to cover too much information but there is a big difference. The Guitar Handbook is sold primarily as a reference book and is aimed towards the serious guitarist at all levels. The New Complete Guitarist, however, tries to sell itself as the all in one – everything you need to know about the guitar from maintenance to recording to playing like a pro. It’s trying so hard to appeal to every level of guitarist to maximise sales that the reality is it’s, if anything, just an interesting read with information that just makes it useful enough to keep on the bookshelf as a reference book.

That sounds quite harsh so let me add some balance. The book is not poorly written in any way and the content is not at all useless. In fact, if you are a complete beginner then I would say this book is well worth buying, possibly more so than the Guitar Handbook because it’s probably easier to follow. There’s a good amount of information that is useful and it’s not a bad reference lookup guide, in fact, if I lost my Guitar Handbook and couldn’t get a replacement, I’d possibly use this as an alternative. For the beginner guitarist this is probably a very good book to have as an addition to a decent teach yourself guitar book / video or alongside some song books from your favourite bands. It serves as a great guide – but it’s far from being an instructional or method book.

I’m not going to score this book because it wouldn’t be fair. It’s not bad, it just isn’t what it says on the tin. If you are an early beginner then I think you will find some good value in it. If you are an advanced beginner / intermediate guitarist looking for a decent reference book / encyclopaedia then don’t waste your time. Just go straight for the Guitar Handbook, you can read my review of it here.

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When I look through a new book I’ve just purchased, I normally spend some time looking through all the pages, listening to the CD (if there is one) and then maybe have a little work through one or two of the examples if something inspires me at the time. All in all, I don’t actually buy guitar books with the intent of working through the whole thing straight away, if ever. The hour or two I spend when I first look through it, tells me what I want to know about a book, how good it is and how much I can gain from it. This information gets logged in memory until the time comes that I feel inspired by something, which makes me want to go grab an appropriate book for some serious guitar practice. So why am I telling you this?

Because a lot of the reviews I do on this website are based on that experience, not necessarily that I have worked so much with a book that I know every detail of it. Having said that, before I write my own opinion and make it public, I like to check out what others are saying about the book. This helps make sure I am writing the review as unbiased as I possibly can. Okay, so now I can get to my point! … Finally! I hear you say

The Amazon Reviews

I’ve just spent about an hour going through Blues Solos For Guitar and my overall sentiment is this is a very good value, useful guitar book. It appears, however, that the reviews at Amazon aren’t so enthusiastic about it as I am. I was surprised to see an average 3 star rating. Admittedly, there are only 6 reviews at the moment so it’s not enough to be fairly balanced, but one thing is clear. The low rated reviewers aren’t rating the book at all, they are rating a comparison of a previous product. It seems this book was released years ago with six audio cassettes which I believe has been discontinued.

An Updated Version

The book in this review however is a somewhat cut down version of that old version. I can’t personally comment on it because I have never seen it. Maybe I’m missing something but I can’t find any reference where this book claims to be the same version or claims to come packed with six CD’s. Also, bear in mind the cost of this reissue is (apparently) less than a quarter of what it was in the eighties – add inflation to that and maybe it’s closer to a tenth of the cost. Maybe the book should have a different title but, if you see something re-released at a much lower price than expected which includes one CD instead of six audio cassettes, doesn’t that kind of give a few warning signs that this might not be the same content as previously sold years ago?

I just thought that should be made clear first so that there is no confusion. Now on to the book itself.

Inside The Book

The content follows an unusual format but I’ll get to that in a moment. The theme of the book basically consists of six full blues guitar solos. Each one of them is printed in full TAB and notation. The CD includes each of the solo examples, in full, and also each backing track is included without the solo for you to practice with (contrary to what one Amazon reviewer says, the backing tracks most certainly are included on the CD – with and without the solo, so he is either wrong, or the book / CD has been updated). The backing tracks are all of good quality and quite inspiring which is important when you spend hours jamming to them.

The solos themselves are also very good. Whereas a lot of solo examples in books aren’t exactly what I would call real world guitar solos, that is not the case here. The solos are each based on a different style of blues guitarist, BB King, Albert Collins, Albert King, SRV, T-Bone Walker and more?… Make your own mind up on that. One reviewer argues that the styles are nothing like the original artists. Personally, I beg to differ, but then my expectations may be different. When a tutorial is “in the style of,” take that to mean what it says. It’s the tutor’s own interpretation of that artist based on his own experience. The bottom line is this, the solos are good enough and interesting enough to play on stage and get plenty of heads turning. This is all I want from a book like this. Real world ideas that I may learn something useful from and inject some new ideas into my own style of playing. That’s what playing lead guitar is all about.

So what about the unusual format? This is the first time I have ever come across something like this in a guitar teaching book. As well as the full TAB for the solos, each solo is broken down into small phrases, literally every bar from what I can tell without going through it with a fine tooth comb. Keith Wyatt goes into extremely fine detail about what his hands are doing, mostly the fretting hand. How much value you get from this will be down to how much you might be questioning it. I can’t answer that but for some, it might be viewed as a waste of time, for others it might be the very thing you have been looking for in a guitar book but never found. I personally have little use for it and although I’d glance over it, I doubt I’d find it of any use … But, there was a time in my guitar learning experience where this would have been exactly what I was looking for in a teaching book. If I reviewed this book twenty years ago, I would have been hyper-enthusiastic about this idea.

It’s actually a fantastic addition to have included this kind of detailed information. I mean, he literally describes every imaginable detail of what his left hand is doing, for instance this is quoted straight from the book … “Then I release the bend, leaving my second finger on Bb, but after I play that Bb I’m going to move my first finger down on the first string to G at the 3rd fret” and “What I’m doing is squeezing the pick real tight in my right hand so that when I pick the note the pick hits the string and then my thumb hits it immediately, kind of muting the note so I get that little tink, tink, tink,”.

Conclusion

This is the kind of detail Keith is describing for virtually every note of each solo. Take it or leave it, it’s there if you need to know and can be ignored if you don’t. Most of the guitarists that buy books like this, do so for getting new ideas and inspiration. I’m one of them and I have every penny of my money’s worth just from the TABs, audio example and the backing tracks. If you need the detail, then it’s there and it’s just about as specific as you can get. About the only thing I don’t see mentioned is whether the right hand is using an up or down stroke for each note, but come on, how much detail do you need! Blues Solos For Guitar gets a big thumbs up from me.

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This is essentially a practice workbook for advanced lead guitar. These kinds of books are undoubtedly the best to learn and improve your guitar lead playing but what you aren’t going to get is any kind of epiphany from them. A lot of guitarists are looking for answers to concepts they don’t understand, a quick route to enlightenment. That’s not knocking anybody, I was the same and I think to some extent most guitarists are. The actual reality of improving your lead guitar playing comes from hands on experience.

A book like this gives you a leg up and nothing much else, but whether you like it or not, this is where the real answers are to all of your questions. You are given an idea, a kick start for an idea or soloing concept, the rest is down to you. Don’t try too hard to understand everything all in one go. I learned this lesson late in my guitar life. Just keep doing and doing, and eventually things fall into place. You can spend years looking for the magic formula of what makes a pro a pro but this is where it’s all at. Get on with it and let the logic catch up when it’s ready. If you do it enough then this is what will happen.

Inside The Book

The outline of this book is 17 practice sessions and it’s not for the beginner. The range of topics cover soloing with the melodic minor, Phrygian, Locrian and Lydian modes, diminished, altered and whole tone scales, chromaticism and secondary dominants.

Each section explains the outline but not in lengthy detail so you will need to know your basic theory. Throughout the book there are a bunch of exercises and ideas to work with, a few licks and some complete solo examples. The CD contains 22 tracks that start with the example lick or solo and then leads into a few rounds of backing track to play along with. I would prefer to have seen separate backing tracks, with and without the solo part, rather than have them combined into one track but this is a small issue. It doesn’t deter you from the value of the content, just makes it harder to run a continuous loop without interruptions.

Summary

All in all, this is a good book and I would have no trouble recommending it – but only for the serious guitarist prepared to put some work into it. Take it from me, these are the best kinds of books to learn from but you have to put the effort in to get the most out of them.

I don’t own any others in this series but I will be buying more when I get round to it, the MI books are well thought out and I don’t think I’ve come across a bad one yet.

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I couldn’t begin to imagine how many times I have opened this book, I’ve owned it for around twenty years and I still use it today. If something happened to it I would immediately order a replacement. So what’s so cool about it? Well to be honest it’s not particularly exiting or anything like that, it’s also not exactly a guitar teaching book either. I suppose I would describe it as the ultimate guitar answer bank. I have opened this book so many times I’m amazed the binding is still holding together. If you are anything from slightly interested in guitar to a seasoned pro, you should have a copy of this on your bookshelf. The only other book I have recommended this hard is Creative Guitar 1 by Guthrie Govan.

A problem with recommending anything with too much passion is there will always be a certain amount of people that simply don’t agree. For instance, the Guthrie book in my opinion is one of the best guitar teaching books ever written – but it has to be suited to what you are doing and what level you are at for you to get the same value out of it as me.

The Guitar Handbook however is more suited to any guitarist, any level, any style, so it makes it a bit easier to recommend. With that said, you can’t please everybody so I’ll say this. Be careful with your expectations. You might buy this book and your first impression is you feel a bit let down by me hyping it up so much, and I don’t want anyone to put a hit on me for misleading them!. You are not going to become the next guitar god because of this book and the value of it might not manifest itself fully until you have owned it for a while. So what’s in it?

The Content

Not all the of the content goes into explicit detail, a lot of what’s in here covers the foundations of many subjects related to the guitar. Most of the time this is all the info you might be looking for. The first thirty or so pages give a few titbits and short bio’s on some well known guitarists. The next two chapters are about how acoustic and electric guitars are constructed, some history and various information about different types of guitar which can be a great resource of information and also makes an interesting read.

The next chapter is about playing the guitar and probably makes up half of the book. To be honest, there’s not a lot in here that will teach you how to play the guitar but what you get instead is the ultimate lookup guide, information on everything from left and right hand techniques through to barre chords, to transposing, scales, exotic scales, intervals, arpeggios, technique and loads more. There is a wealth of information in here, each section is quite short and to the point.

Next up is guitar customising and maintenance – strings explained, fitting strings, setting the action, adjusting the neck, intonation, guitar care and repair, pickup wiring and testing etc, all complete with diagrams, pictures and sketches.

Then there is a section on amplifiers and recording which is interesting but to be honest doesn’t go into much detail. The book then finishes off with a chord dictionary which gives you about 23 chord types in each key, all useable chord shapes, complete with note information and scale spelling for every chord, which is a great reference.

Summary

This book will never outdate and is without doubt the ultimate encyclopaedia for guitarists. It will always be on my book shelf and easily accessible, even after twenty years of owning it this one never gets buried in a pile. I can’t really say much more than that!

Here’s the Guitar Handbook at Amazon.com or Amazon.co.uk

I have said it before and I’ll say it again. Fretboard fluency is one of the most beneficial techniques you can gain on the guitar. Unfortunately, mastering this skill is usually hampered by two obstacles. The first is that a lot of guitarists have a hard time grasping it, believing it is too complex and requires too much theory and hard work. The second obstacle which in my opinion is the bigger problem, many just don’t believe that it can help you that much.

Mastering the fretboard is a bit like the chicken and egg. I’ll give my own example. I spent many years asking the same questions and looking for that ‘light bulb’ moment of sudden enlightenment, the big secret, and eventually came to the conclusion that some people have what it takes, some don’t and I’m one of them that don’t. A guitar teacher friend of mine used to tell me the same thing every time I asked him a question, “learn the notes, learn the fretboard.”

The thing is I just couldn’t see for the life of me how this can possibly relate to my problems and take me to the next level. This isn’t what I was looking for, there must be something else. Long story short, I spent years getting nowhere until one day I was playing around with the pentatonic positions trying to piece them together across the neck and I suddenly realised something, I had got better, much better. I was now looking for notes on the fretboard and not thinking so much about scale patterns.

This gave me a bit of a light bulb moment and so I explored it and took it further, everyday for a few months. In that time I was piecing many different ideas together, using the CAGED chords, scales, arpeggios, thinking about intervals etc, and tying them all together and thinking about how they relate to each other. I had my epiphany and my guitar playing did not stop getting better at a supercharged rate. Everything my friend told me was spot on, no matter how much I couldn’t see my lack of fretboard knowledge being my biggest obstacle, it was everything holding me back.

Hang on, why am I telling you all of this, isn’t this supposed to be about the book?

Well, it might not be so much about the Guitar Fretboard Workbook itself but it has everything to do with what the books about. The first review on Amazon by Steven Stathatos relates exactly to my experience, he gave up believing it wasn’t to be until he got the Guitar Fretboard Workbook.

I don’t own this book but it has some rave reviews and I will end up buying it, there’s plenty I still need to practice and brush up on in this area so this might be a great workbook for me.

The point I want to make here is it doesn’t matter what level you are at, what style you want to play or how much you can’t see fretboard knowledge helping you out, you must learn this stuff. Unless you’re guitar ambitions go no further than having a repertoire of campfire songs (nothing wrong with that) then you can’t fail to benefit from good fretboard knowledge, so judging by the reviews this book is probably a good choice to master this skill. If you are a beginner then this won’t be wasted on you but you’re probably better off waiting until you can play the basic chords and mess around with a few scales before this becomes important for you.

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Chord Chemistry is one of those books that many advanced guitarists talk about. It took me a few years to get around to actually buying it and when I did, and opened it for the first time, I just stared at it. If anything I felt disappointed, it just looks like a book packed with chord diagrams! Well, I’m grown up enough to realise that I must be missing something because I have a lot of respect for the people that recommend this book. With that, I put on the bookshelf and decided to look at it another day. Okay, that was about three years ago and I wanted to write something about it for this website so today was a good day to take another look at it.

I’ll be able to keep this short. I can now see the value in this book, the first two thirds of it is jam packed with just about every chord voicing imaginable. All chords diagrams are only in the key of A and E, that’s it. They are moveable patterns only and some of them will require you to have been born with an extra couple of fingers. The remaining third of the book shows ideas about chord substitution, chord voicing, chord melodies, triads among a few other things and the last chapter shows some interesting ways to jazz up your blues progressions.

I know of some fantastic guitarists that say every time they open this book they learn something new. I can see that now but I have to be completely honest, I’m not ready for this book and I’m not sure I ever will be. This book is about as hands on as you can get, the info and the ideas are there but you need to figure out exactly what you are going to do with them. There is no way I wouldn’t recommend Chord Chemistry but I will say this, if you are unsure if it is what you are looking for, then it probably isn’t. Not everything in here is advanced but I doubt that you would get anything out of it unless you are already an advanced guitarist or a jazzer. Maybe I’m still not ready for it and I don’t mean that because it’s too difficult. I understand it fully but that isn’t the problem. To make the most of it you will need to dissect and devour it. I’m just not ready for that amount of dedication. Then again if you are in a buying mood and don’t know what to buy then it’s always worth putting on the shelf (right next to Piston’s Harmony) so that when your guitarist mates come round they can look and go “wow man, chord chemistry and harmony!” … you can then impress them with a quick “What’s that, oh yeah, just a little light reading for when I’m out of ideas”

Chord Chemistry – See The Reviews at Amazon.com

You can never have enough straight up lick, exercise and workout books for guitar. Of course out of those three, licks are going to be the most exciting. I’d probably buy this book but I am a guitar lick junkie and I’m sure I’d get something out of it.

There’s only three reviews of this on Amazon at the moment but unfortunately they aren’t looking too good. I’ll have to let you make your own mind up on this one, there’s no mention of whether they are beginner licks or for the more advanced but it’s not an expensive book and comes with a CD so I’d personally give it a try anyway.

Lead Licks: Over 200 Licks in All Styles Hal Leonard Guitar Method ->