For many guitarists, the transition from practicing scales to playing fluid, creative jazz solos feels like an insurmountable wall.
What makes the book revolutionary is that it translates piano/brass-centric jazz lines onto the fretboard. Vincent understands the geometry of the guitar. He provides fingerings, string sets, and positional shifts that make impossible lines playable.
The core thesis of the book is that most great jazz lines (from Charlie Parker to Pat Metheny) are not random notes. They are variations of a few simple melodic "cells" or "games."
This is not a beginner's book. As one Italian reviewer notes, it is not about shortcuts or "quick and easy" methods. Instead, it offers a massive amount of material ("una montagna di materiale") to refine one's soloistic language to a professional level. It demands real dedication, but promises an equally substantial payoff. He provides fingerings, string sets, and positional shifts
Describes it as a "serious, well-conceived book" with a "tremendous amount of useful information." Ben Monder:
Take a specific game from the book and immediately apply its rules to a jazz standard you are learning, such as "Autumn Leaves" or "All the Things You Are." Conclusion
Line Games is not a book to be read and set aside. It is a practice manual to be lived with. It is best approached slowly, one concept at a time. The goal is not to speed through the exercises but to absorb the language and make it a natural part of your playing.
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For many guitarists, the transition from practicing scales to playing fluid, creative jazz solos feels like an insurmountable wall.
What makes the book revolutionary is that it translates piano/brass-centric jazz lines onto the fretboard. Vincent understands the geometry of the guitar. He provides fingerings, string sets, and positional shifts that make impossible lines playable.
Available as a physical book and in digital PDF format. Expert Reviews
Line Games approaches improvisation differently by focusing on . The core philosophy rests on a few essential principles:
and rhythm changes) to show exactly how the "games" work in a real musical context.
The core thesis of the book is that most great jazz lines (from Charlie Parker to Pat Metheny) are not random notes. They are variations of a few simple melodic "cells" or "games."
This is not a beginner's book. As one Italian reviewer notes, it is not about shortcuts or "quick and easy" methods. Instead, it offers a massive amount of material ("una montagna di materiale") to refine one's soloistic language to a professional level. It demands real dedication, but promises an equally substantial payoff.
Describes it as a "serious, well-conceived book" with a "tremendous amount of useful information." Ben Monder:
Take a specific game from the book and immediately apply its rules to a jazz standard you are learning, such as "Autumn Leaves" or "All the Things You Are." Conclusion
Line Games is not a book to be read and set aside. It is a practice manual to be lived with. It is best approached slowly, one concept at a time. The goal is not to speed through the exercises but to absorb the language and make it a natural part of your playing.