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.
TLDR: If you want great sounding challenging modern jazz lines to play on guitar, this is a great book to get.
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;
• 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.
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;
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;
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;
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;
UPCOMING VOLUMES / PRÓXIMOS VOLUMES
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;
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).