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Develop your Vocabulary Without Limitations

You can create endless possibilities

 
 

Preliminary Fragments;

 

20 Examples of Lines;

Audios in Three Different Speed;

All The Details of Right and Left Hand in Tablature.

Video of all Examples Played Slowly.

Review

This book from Isaac Negrene is out of the ordinary. For guitarists, there is an abundance of online lessons available, often for free. So, the question is when should someone spend their hard earned money on a book? Well, This is one of those times. 

In Isaac’s new book, he shares out of the box, across the fretboard lines that are VERY DIFFICULT to play but extremely rewarding. These lines use large intervals, legato playing and unconventional fingerings to get more modern sounds. You know, the kind of stuff you hear people like Lage Lund, Mike Moreno, Jonathan Kreisberg, Ben Monder play – that kind of stuff. Cool, difficult, modern and interesting stuff.

I particularly love how he gave nick names to each of the 20 examples. ‘Monster Line Connection’, ‘Spread Fingers’ and ‘Confusion’ should give you an idea of what’s in store. Also, the fragments section at the beginning of the book is helpful for those who want to work in small bite size ideas before trying out the difficult longer full examples.

If you’re a music college student, this is your food. If you’re a contemporary guitarist looking to get new ideas into your playing, this is the real stuff. Like I said, these lines are hard – but man, they sound so good (when you can play them). I’m particularly excited that Isaac has foreshadowed in the introduction of the book that this is the first of 4 volumes that he’s planning to release. There’s more to come!

In conclusion, if you like modern jazz sounds – this is a great book to get. 

Pros: Lots of challenging Lines, clearly notated with fingering and pick directions. Audio and video demonstrations useful to hear the lines in context.

Cons: None

TLDR: If you want great sounding challenging modern jazz lines to play on guitar, this is a great book to get.

Az Samad

 

"Improvising and Connecting Lines"

 
 

FAQ

BOOK STRUCTURE / CONTEÚDO DO LIVRO


• The book contains 30 pages in total. You going to find on the first page a text where I talk about the book concepts and a suggestion of how to study, and the next two pages you going to see the small fragments separated from each of the 20 lines presented in the book; • 20 Lines with all details of right an left hand in score and tablature; • And the last page is about the writer. Extras: 1 - Audio of all Lines in three different speeds 50, 100 e 150 BPMs. 2 - Video of all Lines played slowly. __________________________

• O Livro contem 30 páginas no total, uma com texto onde falo sobre o conceito do livro e uma sugestão de como estudar, em seguida, duas páginas com fragmentos menores, separados de cada um dos 20 Lines apresentados no livro;

• 20 Lines com todos os detalhes transcritos em partitura e tablatura, com todos os detalhes de mão direita e esquerda;

• E a ultima página, sobre o autor.

Extras:

1 - Áudio de todos os Lines em três velocidades diferentes, 50, 100 e 150 BPMs.

2 - Video de todos os Lines tocados de forma lenta.




WHO IS THIS BOOK FOR? / PARA QUEM SE DESTINA O LIVRO?


- This Book is for all musicians, of any level or any type of musical instrument, who feel the need of change in their way of playing; - Modern Linear Vocabulary brings a modern vision, which helps us unlock the way we see the scales. You going to see this in the first's book examples; - We usually learn scales and arpeggios with patterns used for centuries, this left us cast, becoming slaves of these patterns and leaving our mechanical solos / improvisations; - The idea that I had and today is in this book, started from my need to get out of these patterns and to be able to bring fresh and free sound in my solos / improvisations with the notes of the scale, without becoming a "slave"; - The creation process took almost 7 years, composing each fragment, forcing me to leave the patterns I already knew, until I began to hear the notes that were soon ringing in my ears. __________________________ - O Livro é para todos os músicos, de qualquer nível e qualquer instrumento musical, quem sentem a necessidade de mudança em sua forma de tocar; - Modern Linear Vocabulary” é uma visão moderna, que ajuda a desbloquear a forma como enxergamos as escalas, você verá isso nos primeiros exemplos do livro; - Geralmente aprendemos escalas e arpejos com padrões utilizados a séculos, isso nos deixou engessados, nos tornando escravos desses padrões e deixando nossos solos/improvisos mecânicos. - A ideia que eu tive e hoje esta nesse livro, partiu da minha necessidade de sair desses padrões, poder trazer em meus solos/Improvisos o som fresco e com liberdade com as notas da escala, sem que me tornasse “escravo”; - O processo de criação levou quase 7 anos, compondo cada fragmento, forçando sair dos padrões que eu já conhecia, ate eu começar a ouvir as notas que logo estavam soando em meus ouvidos. O processo de criação levou quase 7 anos, compondo cada fragmento, forçando sair dos padrões que eu já conhecia, ate eu começar a ouvir as notas que logo estavam soando em meus ouvidos.




HOW SHOULD I PRACTICE THE LINES? / COMO DEVO PRATICAR OS LINES?


• I suggest starting with small fragments and gradually developing the technical and auditory mechanism. Touch slow (this is very important);

• Pay attention at all the right and left hand details, these details are extremely important in this initial process, so you will be doing it automatically. This will also give you security so you can play smoothly and quickly;

• Now you can already use the audios that you received with this book, do this soon after being sure of all the details of right and left hand. Practice on the first suggested 50 BPM tempo.

__________________________

• Sugiro começar com pequenos fragmentos e aos poucos desenvolvendo o mecanismo técnico e auditivo, toque de forma lenta, (isso é muito importante);

• Atente-se a todos os detalhes de mão direita e esquerda, esses detalhes são extrema importância nesse processo inicial, logo você estará fazendo de forma automática. Isso também lhe trará segurança para que você possa tocar de forma fluida e rápida;

• Agora você já pode utilizar os áudios que acompanham o livro, faça isso logo após estar seguro de todos os detalhes de mão direita e esquerda. Pratique no primeiro andamento sugerido de 50 BPM.




WHERE CAN I APPLY THE LINES? / ONDE EU POSSO APLICAR OS LINES?


• All examples of the first volume of the book were composed on the C major scale, C D E F G A B; • All fragments and Lines, without exception, can be applied to any chord that makes up the major natural harmonic field; • Some chords will sound lighter or darker; • You can put to play the audios with the book's examples and meanwhile play your favorite chords. (From the harmonic field in question). __________________________ • Todos os exemplos do primeiro volume do livro foram compostas na escala de Dó Maior, C D E F G A B; • Todos os fragmentos e Lines, sem excessão, podem ser aplicados em qualquer acorde que compõe o campo harmônico maior natural; • Alguns acordes soarão mais claros ou mais escuros; • Você pode colocar para tocar os audios com os exemplos do livro e em quanto isso tocar seus acordes favoritos (Do campo harmônico em questão).




CAN I USE FOR ANY TYPE OF MUSICAL STYLE? / POSSO UTILIZAR PARA QUALQUER ESTILO MUSICAL?


• Yes, you can. You can use for any style / musical genre, what you will play are notes of a common scale, with a fresh and modern tone; • Use rhythmic variations, this going to further enrich your vocabulary; • You do not necessarily have to play all the Lines in quick tempos, use small melodic fragments followed by chord blocks. __________________________ • Sim. Você pode utilizar para qualquer estilo/gênero musical, o que você vai tocar são notas de uma escala comum, com um tom fresco e moderno; • Utilize de variações rítmicas, isso irá enriquecer ainda mais o seu vocabulário; • Não necessariamente é obrigado a tocar todos os Lines em andamentos rápidos, use pequenos fragmentos melódicos seguidos de blocos de acordes.




IS IT NECESSARY PLAY ALL THE EXAMPLES? / É NECESSÁRIO TOCAR TODOS OS EXEMPLOS?


• It's not necessary play all the examples in this book. Choose the ones that sound best for you, mix fragments of distinct Lines, and develop your own Lines; • The intention of this book is to bring freedom into your instrument and develop your own voice. __________________________ • Não é necessário tocar todos os exemplos do livro, escolha os que soam melhor para você, misture fragmentos de Lines distintos e desenvolva os seus próprios Lines; • O intuito desse livro é trazer liberdade no seu instrumento e desenvolver sua própria voz.




UPCOMING VOLUMES  / PRÓXIMOS VOLUMES


• Modern Linear Vocabulary - Vol.2 (Melodic Minor) • Modern Linear Vocabulary - Vol.3 (3rd Messiaen Mode) • Modern Linear Vocabulary - Vol.4 (4rd Messiaen Mode) • Modern Linear Vocabulary - Vol.5 (Harmonic Major) • Modern Linear Vocabulary - Vol.6 (6rd Messiaen Mode) • Modern Linear Vocabulary - Vol.7 (Twelve-Tone Row)




IS IT NECESSARY TO FOLLOW THE FINGERING SUGGSTED IN THE BOOK? / É NECESSÁRIO SEGUIR O DEDILHADO SUGERIDO NO LIVRO?


• It is not mandatory, but the fingering is an essential part to reach the maximum of your Linear performance; • Besides that, you going to acquire the technique of Hybrid Picking, which added to your technique it's going take you to the next level. • To develop a new fingering technique, example; Hybrid Picking, Alternate Picking and Sweep Picking, it's essential to create a vocabulary. __________________________ • Não é obrigatório, mas o dedilhado é parte essencial para chegar no máximo de sua perfomance Linear; • Sua articulação e fluência no fretboard depende dessa economia; • Além disso você ira adquirir a técnica de Hybrid Picking, que somado a sua técnica te levara ao proximo nível; • Para desenvolver uma técnica nova de dedilhado, exemplo; Hybrid Picking, Alternate Picking e Sweep Picking, é indispensável criar um vocabulário.





About me

Isaac Negrene was born in Brazil. At the age of 16, he heard some of his friends playing Brazilian popular music, and that was the main trigger for his interest in learning guitar.

Isaac studied harmony and improvisation at UFRN (Federal University of Rio Grande do Norte) with guitarist Manoca Barreto.  Soon after finishing the course, Isaac became a busy recording artist, producer, and sideman. This helped him to develop an eclectic and original style, moving through various musical genres with ease.

He has performed in venues like New Morning (Paris), Ronnie Scott's (London), MC Theater - Paradiso (Amsterdam), Pretol Club (Antwerp - Belgium), Rockstore (Montpellier - France), Espaço Brasil (Lisbon - Portugal), among other presentations in theaters and jazz festivals in Buenos Aires (Argentina), Montevideo and Mercerdes (Uruguay), Bogota (Colombia), Madrid and Zaragoza (Spain).

As a sideman, he worked with renowned artists like: Ed Motta, Elza Soares, Chico Cezar, Claudio Zoli, Toni Garrido, Tony Tornado, Pee Wee Ellis (James Brown), Guida de Palma (Portugual), Jesuton and Heidi Vogel (England).

 

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