Top positive review
Reviewed in the United States on February 10, 2016
This little book is wonderful.
The longer I play, the more I've noticed that the single biggest problem most guitarists have is understanding musical context, and figuring out exactly how the thing they're playing at any particular moment fits into the big picture. I know I struggled with this for a long time myself, and I think because of that I'm very sensitive to it when I see another musician experiencing the same problem. Some musicians seem to be born with an innate sense of how this stuff works, for the rest of us though it's work.
The information is this book goes a long way towards helping this situation by showing how three crucial pieces of the puzzle fit together: a chord, the arpeggios that form the backbone of that chord, and the scale, mode, or position that [typically] supports the chord and the arpeggio. The three, in many ways, really are expressions of the same basic identity.
There is PLENTY of good stuff in here to practice, but more importantly, IMHO, it helps you to understand the relationship between the set of notes in a key and the different ways you can use them. There's not a lot of text in there, it's not really an instructional book in that it doesn't hold your hand... it's just pages and pages of chords, arpeggios and scales.. it's up to you what you do with them!
I just re-read this review, and wanted to add something else: Arpeggios, for guitarists at least, are a strange topic. Even though we all use them and agree what they are in principal (in other words, as defined by music theory), the way they are approached and used musically is RADICALLY different from one genre to the next. Honestly I can't think of any other theory topic where the end result of the same idea varies so much from one style to another?!
With that in mind, it's worth mentioning that I feel like this book's approach leans very heavily towards the jazz or jazz-fusion idea of arpeggios... the chords and especially the recommended fingerings are very traditional diatonic/modal structures. In contrast, if you're more of a metal guitarist (for example) you might expect to see more Harmonic/Melodic Minor or Phrygian Dominant structures, and fingering arrangements driven more by economy than anything else.
My own feeling tends to be that if you sort of stick to one genre's preferred method of doing something, the best possible thing for you as a musician is to force yourself to look at it--and learn it-- a different way... LOL I'm a bit of a masochist in that respect I suppose. But that's not for everyone, so I though I'd put it out there so you're not disappointed. As far as I'm concerned, this book is phenomenal!