---
product_id: 128909376
title: "Fundamental Changes in Jazz Guitar: An In depth Study of Major ii V I Bebop Soloing"
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reviews_count: 13
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---

# Fundamental Changes in Jazz Guitar: An In depth Study of Major ii V I Bebop Soloing

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## Description

Stuck with Jazz Guitar and don't know where to start? Fundamental Changes in Jazz Guitar is a step-by-step method that teaches you how to solo intricately over the most common progression in jazz: The Major ii V I ('two five one'). 163 Live-Recorded audio examples played at two speeds 20 step-by-step lessons Go from 'Zero to Hero' or dive in wherever you feel comfortable Theory, Licks, Tricks and Techniques A heavy focus on playing, application and having fun! A Complete Method to Combine Theory, Licks and Actual Playing into painless growth and Mastery of Jazz Guitar We all know that Jazz Guitar Soloing can be hard to learn - and there is so much information out there that can lead you down paths you may not be ready for. Fundamental Changes in Jazz Guitar teaches you to solo on the Fundamental Chord Changes of Jazz. You will learn to master: Jazz Guitar Arpeggios to outline the chord progression Jazz Guitar Scales to help you create smooth runs between chord tones Chromatic Alterations and Passing Notes to add a genuine bebop flavour like Joe Pass or Wes Montgomery Extensions and Advanced Alterations to help you hit the rich, beautiful tones like Charlie Parker and Miles Davis Looking for a simple path to learn Jazz Guitar Soloing? Sometimes it seems like there is more information out there than we could ever possibly learn, and getting started while knowing your moving in the right direction is more than half the battle! Fundamental Changes in Jazz Guitar holds your hand and takes you one step at a time from understanding how jazz solos work, right through to playing some great-sounding, advanced and groovy soloing ideas. The emphasis is on playing and feeling the ideas so you can easily build and improvise your own solos Focus only on what's important and learn it at the right time ! By moving in small, defined steps over a period of twenty concise chapters, you move on to the next idea only when you're ready. This helps you to build a string foundation of the musical fundamentals and sounds that combine to make great jazz guitar solos. With over 160 notated audio examples that you can download for free, you will know how you should be sounding and you can try out your ideas with the free backing tracks. Learn it once and learn it right! The actual theory of Jazz Guitar isn't really that difficult, but learning the right thing at the right time is the key to quick progress. Fundamental Changes in Jazz Guitar teaches you: How a Jazz Guitar solo works How to apply the theory How to build brilliant solos and become a jazz guitar master By focusing only on the essentials, you will build an excellent, musical foundation that will serve you for life. Hundreds of reviews! Check out the reviews below! This is a book that has made a difference in thousands of people's lives! Fundamental Changes have sold over 150,000 books on guitar and have over 3000 5* reviews on desertcart. We highly recommend spending the few extra dollars and buying the Paperback version of this book. The kindle is great for when you're on the move, but there's nothing like studying music from paper. Ready to Master Jazz Guitar Soloing? Free Delivery to your Kindle or to your door with desertcart Prime. Buy Fundamental Changes in Jazz guitar now... It'll be the best thing you every do for your Jazz Guitar playing.

Review: Very useful and practical guide - This book represents my first real attempt to learn how to play electric guitar properly through study. I have reached the end of chapter 6, which is a quarter of the way through the book; it has taken me months and months to get to this point! Now, most of that is down to my relative inexperience on the guitar, building up finger strength, getting familiar with string & fret locations without looking at the fretboard etc; some of it is down to my not-so-young mind being slow picking up new concepts; but I think this book also begs to be used as a springboard for further ideas, which I have tried to go along with. As other reviews have stated, it starts by presenting three chords that form the ii-V-I progression, then gets you to play around with arpeggios created from these chords. The idea is to be fluent with starting your arpeggios from the root, 3rd, 5th, or 7th across a couple of octaves, going in either direction and eventually being able to form credible sounding progressions using notes from the chords in a non-linear way, so it doesn't just sound like a collection of scales being played... At each stage of the process I have read the instructions and then spent a few hours noodling to some backing tracks (using SessionBand Jazz apps on an iPad - great for this!) and I have had a lot of fun doing this. It is all starting to come together for me now, what notes to choose, not looking at the fretboard so much, trying different styles/rhythms to play along to etc. Flicking through the rest of the book I can see there is a lot more coming up! I am sure that guitarists that are coming to this with a fair bit of experience will take a lot less time than me to absorb the information, but whatever your experience, this is a book where you should start at the beginning and make sure you are familiar with the concept in each chapter before moving to the next as they build on what has gone before. This is not a "dip in to a random chapter" style of study book. I am thoroughly pleased and excited to be learning this stuff and for me, this is a 5* book. I have two minor criticisms which are that the spidery font used on the chord diagrams makes it very hard to see the fret numbers and I would have appreciated some indication of which fingers should be used on the chords and certain note runs - for example, going from 7th fret on the 5th string to 7th fret on the third, do you bar, roll your finger or use different fingers? And how do you play that A chord in the first lesson? Its probably down to you but I'd like to know the accepted way so I don't learn bad habits (I'm using my thumb to fret the bottom string, just seems to gravitate there!) I have since bought the follow-on book (soloing in the Minor key) and the Blues compendium and am very much looking forward to working through them (I feel a New Year resolution coming...) - I should like to point out that the author and others have an active website called Fundamental Changes that contain a lot of further information and lessons - I haven't had much time to study from it yet but would like to do so when I can.
Review: A lot more than it seems - At first glance, the scope of this book may seem limited due its focus on arpeggios over the major form of the ii V I progression but the thoroughness of its contents more than make up for any perceived restrictions. Given how commonplace this progression is in jazz, it can't be over-emphasised how important it is to know it inside out. Arpeggios themselves can sound like an exercise, particularly when played from the root, so the book places strong emphasis on learning how to play arpeggios starting from any of the notes that make up the individual arpeggios. This leads on to more musical playing by learning how to play through the changes by moving to the nearest note of the next associated arpeggio rather than starting on its root. Along with introducing chromaticism, combining the arpeggios with bebop scales, the use of b9s for the V, tritone substitutions for the V and extending the arpeggios themselves (3 to 9, 5 to 11, 7 to 13), the book really does take you a long way from the simple root, 3rd, 5th and 7th sequence that you start out with. In fact, the material by the end is deceptively complex; it's just the ease in which you're introduced the material that makes you think otherwise. Although a lot of ground is covered but the approach is less about learning 'formulas' and more about internalising the sounds and getting it all into your fingers, so whilst you learn to 'understand' the theory behind it, the emphasis is always on the playing and the hearing. One thing I did appreciate, particularly when compared to other learning materials I've come across, was that the related audio tracks came at different speeds. All too often, backing tracks or even played examples seem to be in odd, bland sounding mid-tempos, which are not only short on the inspiration front but are rarely reflective of the music I hear or want to make. I've put the backing tracks from this book on my phone so I can take them with me whenever I want work through some things. This book isn't aimed at the more advanced guitarist, although I'd imagine that they'd appreciate the accessibility of the material as the author explains each topic clearly and the book itself is very cleanly and consistently laid out with all the examples presented in both tab and stave formats. That said, there's a lot here for the beginner and the 'improving' guitarist and the book does live up to its title in that it provides a good, in-depth grounding and (more than) the fundamentals of playing jazz guitar over the major ii V I.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Customer Reviews | 4.8 out of 5 stars 162 Reviews |

## Images

![Fundamental Changes in Jazz Guitar: An In depth Study of Major ii V I Bebop Soloing - Image 1](https://m.media-amazon.com/images/I/71FRR-H8h-L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ Very useful and practical guide
*by D***N on 30 November 2015*

This book represents my first real attempt to learn how to play electric guitar properly through study. I have reached the end of chapter 6, which is a quarter of the way through the book; it has taken me months and months to get to this point! Now, most of that is down to my relative inexperience on the guitar, building up finger strength, getting familiar with string & fret locations without looking at the fretboard etc; some of it is down to my not-so-young mind being slow picking up new concepts; but I think this book also begs to be used as a springboard for further ideas, which I have tried to go along with. As other reviews have stated, it starts by presenting three chords that form the ii-V-I progression, then gets you to play around with arpeggios created from these chords. The idea is to be fluent with starting your arpeggios from the root, 3rd, 5th, or 7th across a couple of octaves, going in either direction and eventually being able to form credible sounding progressions using notes from the chords in a non-linear way, so it doesn't just sound like a collection of scales being played... At each stage of the process I have read the instructions and then spent a few hours noodling to some backing tracks (using SessionBand Jazz apps on an iPad - great for this!) and I have had a lot of fun doing this. It is all starting to come together for me now, what notes to choose, not looking at the fretboard so much, trying different styles/rhythms to play along to etc. Flicking through the rest of the book I can see there is a lot more coming up! I am sure that guitarists that are coming to this with a fair bit of experience will take a lot less time than me to absorb the information, but whatever your experience, this is a book where you should start at the beginning and make sure you are familiar with the concept in each chapter before moving to the next as they build on what has gone before. This is not a "dip in to a random chapter" style of study book. I am thoroughly pleased and excited to be learning this stuff and for me, this is a 5* book. I have two minor criticisms which are that the spidery font used on the chord diagrams makes it very hard to see the fret numbers and I would have appreciated some indication of which fingers should be used on the chords and certain note runs - for example, going from 7th fret on the 5th string to 7th fret on the third, do you bar, roll your finger or use different fingers? And how do you play that A chord in the first lesson? Its probably down to you but I'd like to know the accepted way so I don't learn bad habits (I'm using my thumb to fret the bottom string, just seems to gravitate there!) I have since bought the follow-on book (soloing in the Minor key) and the Blues compendium and am very much looking forward to working through them (I feel a New Year resolution coming...) - I should like to point out that the author and others have an active website called Fundamental Changes that contain a lot of further information and lessons - I haven't had much time to study from it yet but would like to do so when I can.

### ⭐⭐⭐⭐⭐ A lot more than it seems
*by U***S on 19 May 2015*

At first glance, the scope of this book may seem limited due its focus on arpeggios over the major form of the ii V I progression but the thoroughness of its contents more than make up for any perceived restrictions. Given how commonplace this progression is in jazz, it can't be over-emphasised how important it is to know it inside out. Arpeggios themselves can sound like an exercise, particularly when played from the root, so the book places strong emphasis on learning how to play arpeggios starting from any of the notes that make up the individual arpeggios. This leads on to more musical playing by learning how to play through the changes by moving to the nearest note of the next associated arpeggio rather than starting on its root. Along with introducing chromaticism, combining the arpeggios with bebop scales, the use of b9s for the V, tritone substitutions for the V and extending the arpeggios themselves (3 to 9, 5 to 11, 7 to 13), the book really does take you a long way from the simple root, 3rd, 5th and 7th sequence that you start out with. In fact, the material by the end is deceptively complex; it's just the ease in which you're introduced the material that makes you think otherwise. Although a lot of ground is covered but the approach is less about learning 'formulas' and more about internalising the sounds and getting it all into your fingers, so whilst you learn to 'understand' the theory behind it, the emphasis is always on the playing and the hearing. One thing I did appreciate, particularly when compared to other learning materials I've come across, was that the related audio tracks came at different speeds. All too often, backing tracks or even played examples seem to be in odd, bland sounding mid-tempos, which are not only short on the inspiration front but are rarely reflective of the music I hear or want to make. I've put the backing tracks from this book on my phone so I can take them with me whenever I want work through some things. This book isn't aimed at the more advanced guitarist, although I'd imagine that they'd appreciate the accessibility of the material as the author explains each topic clearly and the book itself is very cleanly and consistently laid out with all the examples presented in both tab and stave formats. That said, there's a lot here for the beginner and the 'improving' guitarist and the book does live up to its title in that it provides a good, in-depth grounding and (more than) the fundamentals of playing jazz guitar over the major ii V I.

### ⭐⭐⭐⭐⭐ Learn to play jazz guitar the right way!
*by R***P on 22 November 2015*

Prior to reading this book I had played some jazz but I was constantly left feeling that my jazz playing lacked something but what it was I couldn't quite put my finger on it. After hearing Sheryl Bailey (associate jazz professor at Berkley) say that jazz is more about arpeggios than scales, all of a sudden things became clearer, yet there was still something missing. I started to search for something related to jazz guitar playing and came across this book. At first I wasn't too sure about whether the book was legitimate or not, after all there are some very dodgy products on amazon with glowing 5 star reviews clearly written by people with fake names/profiles. The ability to look inside was useful as I'm an already advanced guitar player (just under 20 years at this point playing mainly rock, metal, shred, blues and country with just a little bit of melodic jazz thrown in, courtesy of Jimmy Bruno's No Nonsense Jazz) and the chapter headings were things I had heard about jazz but not studied in the way the book lays out. What really sold me on the book was the fact that the author attended Leeds College of Music and took a BA in Jazz studies, the same place Tom Quayle studied jazz. For me Tom Quayle is one of the best modern jazz guitar players and his legato technique is exquisite, so I decided to buy the book. I am really pleased that I did. This book is a great place to START to learn to play jazz on the guitar in the right way, approaching it in the way that Joe Pass, Jimmy Raney, Wes Montgomery, Pat Martino and others have. The book is very good at taking ideas and breaking them down into simple easy to understand parts that are subsequently built upon after that. In 3/4 months my jazz playing has improved but i'm still no Andreas Oberg, I finally feel like i'm learning to play jazz and not just play scales that sound a bit jazzy. I am impressed enough that I will purchase the minor 2 5 1 book once I feel a bit more fluent with the major 2 5 1 progression.

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*Product available on Desertcart Saudi Arabia*
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*Last updated: 2026-06-03*