Additional information
by Richie Zellon (Author)
ABOUT THE BEBOP GUITAR IMPROV SERIES
Bebop is a language. Like any language, it has its own melodic grammar, rhythmic syntax, and internal logic - and it has to be learned systematically, not assembled from fragments.
What the system covers: Each of the six books plays a specific, non-redundant role in a structured progression from foundational principles to complete fretboard mastery. All lessons and exercises are written in standard notation, tablature, and intervallic script. Vol. 1 Lesson Book - The entry point for every student. Nine progressive modules cover jazz improv theory and practice from the ground up: guide tones, voice leading, diatonic and chromatic approaches, enclosures, upper extensions, and 27 bebop etudes in order of difficulty over II-V-Is, secondary and substitute dominants, altered dominants, Bird Blues, and more. Vol. 1 Workbook - Six sets of Bebop Calisthenics systematically drill every approach note concept from the Lesson Book across all chord families in seven fingering positions, converting theory into muscle memory. Includes a Rhythm Lab covering swing and syncopation. Scale & Arpeggio Book - The technical backbone of the entire curriculum. Introduces the Heptatonic System (an expanded approach to the CAGED system) - seven fingering patterns covering every scale and arpeggio family across the complete fretboard. Referenced throughout both volumes. Vol. 2 Lesson Book - Picks up exactly where Volume 1 ends. Nine advanced modules and 21 etudes over Rhythm Changes, Autumn Leaves, All The Things You Are, Stella By Starlight, and more. Introduces four-note enclosures, intervallic approaches, modal superimposition, symmetrical diminished harmony, and two-voice counterpoint - with a technical focus on multi-positional playing across the full fretboard. Vol. 2 Workbook - Nine sets of Bebop Calisthenics (#7-15) provide a complete, full-fretboard technical workout for every concept introduced in the Vol. 2 Lesson Book. Arpeggio Frameworks for Melodic Targeting - The capstone of the curriculum. A specialized system for bridging the gap between knowing the theory and spontaneously creating jazz lines in real time, applied over Blues forms and a wide range of jazz standards. Grounded in the author's extensive study of research from the field of Psychology and its application to how musicians most effectively learn to improvise in real time, it provides a step-by-step procedure for mastering real-time melodic targeting. Used in conjunction with both volumes. The series was developed by Richie Zellon - guitarist, composer, and international clinician who has taught at music schools and universities worldwide, including Florida International University and the University of South Florida - whose work has been recognized in several major jazz reference publications. Audio files and Band-in-a-Box practice files are available for download for all applicable books.
Author Biography
Richie Zellon, guitarist, composer, and music educator, has held teaching positions as professor of jazz guitar at Florida International University (Miami) the University of South Florida (Tampa) The Music Workshop (Orlando) and his own venue, Miami Jazz Guitar. With several critically acclaimed recordings under his name, Zellon has recorded and/or performed with some of the most influential musicians both in the mainstream and Latin jazz genres. Among them, Paquito D' Rivera, David Leibman, Jerry Bergonzi, Sam Rivers, George Garzone, Danilo Perez, Jeff Berlin, Abraham Laboriel, Alex Acuna and Ignacio Berroa to name a few. Due to his innovations in the field of jazz and latin music he has been profiled in several important books such as "The Great Jazz Guitarists" by Scott Yanow, "The Jazz Guitar: Its Evolution, Players and Personalities Since 1900" by Maurice J. Summerfield,"El Diccionario de Latin Jazz" by Nat Chediak, "Caliente: A History of Latin Jazz" by Luc Delanoy and "Jazz Jews" by Michael Gerber. For almost a decade, he wrote an instructional column for Jazz Improv magazine. In addition to his dedication to mainstream jazz, his ongoing research on the music of various Latin American cultures and their fusion with contemporary music has been a sought after topic by musicians at international clinics and workshops as well.
