Tim Quinn – 84 Melodic Studies for Rock Guitar
Tim Quinn 84 Melodic Studies for Rock Guitar PDF + Mp3 CD download. Tim Quinn Fluid Pentatonics for Guitar 84 Melodic Studies for Rock Guitar is a comprehensive manual for developing blistering pentatonic motion that moves freely over the entire fretboard, using position-shifting slides, hammer-ons, and pull-offs for speed and fluidity. Emphasis is on overcoming the restrictive nature of traditional pentatonic box scale fingerings by developing pathways that continually shift between and connect the five pentatonic boxes. Complete whole-neck control is developed through an extensive series of repeating melodic exercises and etudes.
Section One presents 35 sequential whole-neck studies, each of which spans the range of twelve frets, thus unlocking virtually every possible position shift.
Section Two develops complete non-shifting control through a series of 15 interesting and useful sequential patterns, applied to each of the five pentatonic boxes.
Section Three presents 10 whole-neck/position-shifting studies that are non-sequential in design, in order to develop unpredictable melodic flow.
Then, in Sections Four and Five, two vital extensions/variations of the pentatonic scale are fully explored; the Hexatonic and Dominant Pentatonic scales. The result is a complete matrix of pentatonic moves and connections that allow the guitarist to float freely across the entire fretboard without being locked into any single particular pentatonic box. The resulting sound is definitely NOT bluesy (very little string bending), but closer to a modern jazz-rock fusion style; fluid and unpredictable. Great for all guitarists in rock, jazz, fusion, blues, country, and pop styles who want to unlock complete whole-neck freedom and develop a fast, modern pentatonic sound. CD included. Presented in standard notation and tablature.
This book will help you break out of the traditional bluesy-sounding pentatonic box-licks and teach you to how to play flowing lines all over the neck in a style more reminiscent of Joe Satriani, Steve Vai, and Eric Johnson (though there are no licks from those players).
All of the examples are fun to play, very musical and immediately applicable to your playing. It’s not just a collection of patterns; by studying and playing through all the examples you’ll learn how to approach playing fluidly all over the neck and you’ll know how to make up your own lines and sequences.
It will be helpful (though not necessary if you’re super-motivated and hard-working) if you’re already familiar with the traditional box shapes (Quinn reviews them at the beginning of the book) and have a basic understanding of understanding of the music theory behind them. This will help you understand how each set of studies is organized and make it easier to learn them.
This book is for intermediate to advanced players. If you’re still struggling with basic technique such as alternate picking, hammers, pulls and slides, it’ll be a hard slog.
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