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Complete Johnny Smith Approach to Guitar

By Johnny Smith

Guitar (flatpicking) - Intermediate-Advanced
Composed by Johnny Smith. Jazz, Wire bound, Technique, Theory, Reference & Rhythm. Complete. All styles. Book. 256 pages. Mel Bay Publications, Inc #93669. Published by Mel Bay Publications, Inc (MB.93669).

Item Number: MB.93669

ISBN 9781562222390. 8.75 x 11.75 inches.

Jazz virtuoso Johnny Smith presents his complete system of chord analysis, scale and arpeggio study, and practical theory application. This is one of the most useful books to be found in any jazz guitarist's library! Lessons include 2-octave scales, 6th chord forms, alterations of chords, resolution exercises, scales and arpeggios, upper extensions from 9th to 13th chords, suspended fourth chords, voicing major and minor chords with a 4th step melody, alterations of upper extended chords, and much more. In order to represent the guitar in the octave it actually sounds, the bass clef is used when appropriate. Book is in actual pitch notation/grand staff notation (treble and bass clefs) per the author's preferences.

  • Introduction to Basic From Major/Minor Chords and Scales 
  • Root Position Major and Minor Chords 
  • Basic Form Two Octave Major and Harmonic Minor Scales 
  • Major and Minor Triad Inversions 
  • Inversions of Root Position Major and Minor Chords for Rhythm or Accompaniment 
  • Major and Minor Arpeggio Studies 
  • Basic Form Major Sixth Chords 
  • Root Position Inversions of the Major Sixth Chords 
  • Alteration of the Major Sixth Chord 
  • Minor Sixth Chords 
  • Root Position Inversions of the Minor Sixth Chords 
  • Upper Structure Inversions of the Minor Sixth/Dominant Ninth Chords 
  • Introduction to the Seventh Chords 
  • Basic Form Dominant Seventh Chords 
  • Root Inversions of the Dominant Seventh Chords 
  • Upper Structure Inversions of the Dominant Seventh Chords 
  • Alteration of the Dominant Seventh Chords 
  • Augmented Seventh Chords 
  • Basic Form Minor Seventh Chords 
  • Minor Seventh (Major Sixth) Inversions 
  • Alterations of the Minor Seventh Chords 
  • Major Seventh Chords 
  • Major Seventh to Major Sixth Resolutions 
  • Alterations of the Major Seventh Chords 
  • Minor Natural Seven Chords 
  • Resolution Exercises for the Minor Natural Seven Chords 
  • In Closing Part I 
  • Introduction to Part Two 
  • The Augmented Chord 
  • The Augmented Arpeggio Studies 
  • The Augmented Scales 
  • Application of the Augmented Arpeggios and Scales 
  • The Diminished Seventh Chord  
  • The Diminished Arpeggio Studies 
  • The Diminished Scale Studies 
  • The Half Diminished Chord 
  • The Chromatic Scale Studies 
  • The Major Add Nine Chords 
  • The Major Six-Nine Chords 
  • The Dominant Ninth Chords 
  • Root Inversions of the Dominant Ninth Chord 
  • The Augmented Ninth Chords 
  • The Numerical System of Transposition 
  • Root Inversions of the Augmented Ninth Chords 
  • Alterations of the Dominant Ninth Chords 
  • The Seven Flat Nine Chords 
  • Root Inversions of the Seven Flat Nine Chords 
  • The Dominant Ninth Flat Five Chords 
  • The Seven Flat Nine Flat Five Chords 
  • The Augmented Seven Flat Nine Chords 
  • Root Inversions of the Augmented Seven Flat Nine Chords 
  • The Seven Raised Nine Chords 
  • Inverting the Seven Raised Nine Chords 
  • The Augmented Seven Raised Nine Chords 
  • The Minor Ninth Chords 
  • Root Inversions of the Minor Ninth Chords 
  • The Major Ninth Chords 
  • Root Inversions of the Major Ninth Chords 
  • Utilization of the Upper Structure of the Major Ninth Chord 
  • The Minor Nine Natural Seven Chords 
  • The Suspended Fourth Chords (Major and Minor) 
  • The Dominant Seventh (SUS 4) Chords 
  • The Minor Seventh (SUS 4) Chords 
  • The Dominant Sixth (SUS 4) Chords 
  • Voicing the Major and Minor Chords with a Fourth Step (Eleventh) Melody 
  • The Eleventh and Minor Eleventh Chords 
  • Alterations of the Eleventh Chords 
  • The Thirteenth Chords 
  • Alterations of the Thirteenth Chords 
  • The Minor Thirteenth Chords 

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  • Ratings + Reviews

  • 5

    heath busen
    fort scott, kansas
    Difficulty Level:
  • September 16, 2001 All guitarist should take note.

    This could be the single most important jazz guitar book you ever own. I'm convinced that if all guitarist were to study this book our current instrument would be taken more seriously. I applaud Johnny Smith for writing a book that presents the guitar in actual pitch as opposed...

    to being transcribed. What this means is that the book is presented in bass clef and treble clef eliminating the need for multiple ledger lines that are present when the guitar is written only in treble clef. Look at it this way, would you want the piano written only in treble clef with all the ledger lines? It would create a mess. By writing the book in actual pitch one can branch out into other music notably that written for the piano. Imagine studying Bill Evans or any great pianist simply by playing artist transcriptions written for the piano and not having to transcribe them to fit the guitar that’s what you’ll be able to do if you make serious study of this book.

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