Comprehensive Technique for Jazz Musicians: For All Instruments Paperback – CLV, January 1, 1999

Unreadable for the most part, and difficult to follow or find of use for me personally. I do read music and have taken a few years of Jazz instruction on guitar but it still was too difficult for me to follow. I returned it. It is probably best for very serious students of Jazz music who want as much theoretical nerdiness as possible. Definitely not for musicians who are starting to learn about or curious about Jazz. As the title implies, it is a book about technique for Jazz Musicians. For Jazz Musicians, not "other" musicians apparently. You must already have a significant Jazz background to even begin to navigate this book.

This is such a comprehensive book. Jazz has traditionally had a learning process that auditory and intuitive but if you have a theory background or you are accustomed to thinking and visualizing as you learn about music this book is an invaluable help. It has so many exercises and examples it take a lifetime to master everything. I am trying!

When I first purchased this years back it was a bit too advanced for my level of skill. As time has went on, I've come to find that it contains a hefty gallery of exercises that should benefit one of almost any skill level past the straight beginner.

I already owned this book in paperback so I just ordered the Kindle version because I use my iPad for practicing now because it is big enough to read music on. The paperback version is a big book so it weighed to much in my carry on bag to take with me on trips, I don't bring bulky books anymore when the book can go on my iPad. The book itself is a very thorough book for technique practice ideas when working on jazz improv, I consider it one of a small group of essential reference books for me.

I have collected a lot of books on jazz instrumental tuition over the years, and to be honest, most try to present the same information in a new and more accessible manner. But this is a given. Ligon's book is no different but it does it in a way that makes that information more usable than most of the others.I particularly love chapter XV. Outline Exercises, and would have paid the price of the book for this chapter alone.In this chapter Ligon demonstrates how to outline chord changes. Running the changes is the bane of many up-and-coming improvisers and 1000s of books have been written on this topic. It is very important: if you can't play the changes then life as a soloist is going to be very hard. Ligon presents this technique in a manner which really works. A manner which allows one to take this knowledge from the page, practise, then play!I gave this 4 stars instead of 5 because of the binding. Mine started to fall apart after not a lot of use. This book is so important that it will spend a lot of time in use so spiral binding would have been better.This is not a book for beginners. I think you should be able to play the 12 major scales, the common arpeggios and be able to read treble clef. Probably about a grade 3 technique or thereabouts. A basic understanding of jazz harmony is desirable too.I hope this review has helped. There is a lot I did not cover: embellishment, neighbour tones, all the usual jazz study topics.I hope you get the same satisfaction and enjoyment from using this book as I do.

A must have for those seeking to master their instrument in modern (and especially improvisational) styles. Well organized and succinct where it needs to be with more in-depth explanation where needed as well. Dr. Ligon has really achieved something here. A serious student could work from this book for years!

I have the theory book that these exercises accompany in a loose way, so I trust Ligon to give the simplest explanation possible for complex theory questions. Many pattern books don't explain the source of the pattern, or name it without much explanation. With this book, you always know what the exercise is for, how it connects to jazz theory. You can focus on the simple or the complex. I really got inspired by some of the triadic exercises, and also by the patterns using Lydian dominant scale. Ligon's intent is that you learn enough through his examples to create your own patterns and lines. There are many, many exercises to choose from, in treble and bass clef (transposition is left to you) and I know I will continue to return to it as long as I play. I wouldn't recommend it to beginners, but intermediate, advanced, and professional level musicians should have this book.

I have been through the whole book and have found it to be a great source of information and ideas for the aspiring improviser. I wish I had this book earlier! It isn't just a collection of exercises like Coker's Patterns for Jazz but has a range of strategies for creating lines over common progressions. Everything is set out logically and systematically. The section on melodic minor modes could have explained a little better the locrian sharp 2 scale though. Still, an excellent resource!

The best jazz book I have ever bought. You need to be organized and design your method for a dailiy routine (tips are including in the book) otherwise it can be overwhelming and frustrating.The only thing I misses was rhythm exercises, but you can find them in the theory book

If you buy one book to help you improve as a jazz player (and woodshedder), then this should be it. All of Mr Ligon's works are well worth a look, but this is indeed the daddy of them all, the masterwork, the bible.

This is an excellent resource for developing technique for improvising (in any style of music - particularly jazz). Highly recommended - it's a lifetime partner on the subject!

Un eccellente acquisto. Manuale pratico esauriente chiaro e soprattutto funzionale. Ne ho visti sull'argomento e anche buoni,ma il Ligon,a mio avviso vince in efficacia e completezza oltre che come dice il titolo,essere comprensibile ed esaustivo. E i risultati dopo aver praticato,si vedono eccome! Lo consiglio veramente, a tutti quelli che studiano Jazz e vogliono impadronirsi della tecnica e dell'approccio giusto all'improvvisazione. Ma non solo,è un ottimo libro di tecnica a prescindere. Praticate e le mani giudicheranno da sole!

I've bought this book because it was referred to by Bert Ligon himself in his Theory Resources vol 2. As that book is one of the most excellent jazz theory books I've ever read I thought the Comprehensive Technique could be equally good.The great thing about this book is that the exercises are both "generic" and incorporating the jazz idiom. The author doesn't expect you to take an exercise for granted, he clearly describes from which original jazz context it was generated and in which situations it can be applied.Therefore the exercises don't feel like a technical "drill" (like Hanon), but more like expanding your vocabularly and developing your ears, systematically and not random. The book contains material for years of study.Though my instruments are piano and guitar, I also use the exercises away from my instruments (singing), which can even be more challenging.Also the exercises are a good inspiration to generate your own exercises.