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The Beato Book
The Beato Book, A Creative Approach to Contemporary Music Theory and Improvisation for all Instruments.
- GenresMusic
468 pages, ebook
Published January 1, 1990
17 people are currently reading
163 people want to read
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Displaying 1 - 8 of 8 reviews
January 5, 2022
This is definitely not a good study material. I've watched Rick's videos for a while and I have three things to say: first, he is an excelent musician. It shows how much work he has put into it and how natural even some complex stuff are for him. Second, he does a good job at popularizing guitar and music theory with song analysis and interviews of great guitar players - and he seems to be good friends with a lot of them and a really nice guy in general. And third, he is terrible at teaching, probably because these things feel so natural for him - he might have forgotten what it is to be in a learning proccess for a lot of music theory.
I have come to the realization that his videos suffered from lack of didactics a while ago - some of his videos are better produced than others, and a simple on-screen chart made a few of them much better to follow. But most of his videos are just of him rambling about complex theory stuff, being a borderline show off while posing as an instructor. Then, he recommends getting the Beato Book in order to get more details of what he is talking about.
I decided to try the book that was on holiday sale and I could not be more disappointed.
Everything I feared was true. The Book suffers from the same lack of didatics than his videos. It is basically just a cheat sheet of different music theory concepts that seems you need to know before understanding what is in the book. If I need to know the exact thing the book is supposed to tell me before I even understand what the books is telling me, then why do I need the book?
It doesn't add anything to the theory, it just shows it in a uncorrelated, unexplained way, with notations that are not yet covered and when there is an explanation - which is rare - it is a superficial one that raises more questions than answers. It is, just as most of his theory videos, just a collection of ramblings from a proficient instrumentist.
If you ever tried to study some concepts from the study notes of a class coleague, you know what to expect: these notes are made for his mind only - a mind of someone who knows a lot of music theory in a natural way.
"But there is a lot of content, and you can consult it if you want to quickly check something", one might say. It is true, but it is also much quicker to google "major triad inversions guitar" than open a giant PDF and getting to the corresponding chapter. Or "diminished scale voicings" or "triadic superimposition", etc. You might even stumble on a good didatic chart in a free content.
It is also worth noting that the current version of the book is 4.0. And no, I don't recommend it to anyone - if you are still learning much of these concepts, you are better off getting more didatic content, and if you are an experienced musician, chances are you have your own notes and/or a collection of web pages, charts and files that you can reach in order to quickly check - or just make your own cheat sheet.
If you want to support Rick's work, then by all means do it. But he is a great musician, probably a good producer, a nice content creator, and definitely not a good instructor - might be better to just support his channel or join his patreon.
I have come to the realization that his videos suffered from lack of didactics a while ago - some of his videos are better produced than others, and a simple on-screen chart made a few of them much better to follow. But most of his videos are just of him rambling about complex theory stuff, being a borderline show off while posing as an instructor. Then, he recommends getting the Beato Book in order to get more details of what he is talking about.
I decided to try the book that was on holiday sale and I could not be more disappointed.
Everything I feared was true. The Book suffers from the same lack of didatics than his videos. It is basically just a cheat sheet of different music theory concepts that seems you need to know before understanding what is in the book. If I need to know the exact thing the book is supposed to tell me before I even understand what the books is telling me, then why do I need the book?
It doesn't add anything to the theory, it just shows it in a uncorrelated, unexplained way, with notations that are not yet covered and when there is an explanation - which is rare - it is a superficial one that raises more questions than answers. It is, just as most of his theory videos, just a collection of ramblings from a proficient instrumentist.
If you ever tried to study some concepts from the study notes of a class coleague, you know what to expect: these notes are made for his mind only - a mind of someone who knows a lot of music theory in a natural way.
"But there is a lot of content, and you can consult it if you want to quickly check something", one might say. It is true, but it is also much quicker to google "major triad inversions guitar" than open a giant PDF and getting to the corresponding chapter. Or "diminished scale voicings" or "triadic superimposition", etc. You might even stumble on a good didatic chart in a free content.
It is also worth noting that the current version of the book is 4.0. And no, I don't recommend it to anyone - if you are still learning much of these concepts, you are better off getting more didatic content, and if you are an experienced musician, chances are you have your own notes and/or a collection of web pages, charts and files that you can reach in order to quickly check - or just make your own cheat sheet.
If you want to support Rick's work, then by all means do it. But he is a great musician, probably a good producer, a nice content creator, and definitely not a good instructor - might be better to just support his channel or join his patreon.
May 11, 2020
It feels like the book is mostly a collection of self-study materials that the author gathered or produced over the years. There’s little to no explanation of most presented concepts and the material doesn’t follow any particular order. Mr. Beato in his excellent videos oftentimes guides the viewer to seek more details or thorough explanation in the book. I couldn’t agree less with this advice.
June 17, 2023
His book is basically for the Advanced Intermediate, and if one gets to this stage, I feel they can get the most out of his material.
Mind you, he does sell a whole package with Beginner Material and Ear Training and the pdf of this book and I think another thing on lessons/exercise videos. So you can wait for certain months of the year and get all four packages for about $100 total, rather than piecemeal and paying about $450 dollars.
I was not terribly interested when the book only existed in PDF form, but his fans have suggested that for $30 dollars they went to Lulu and uploaded the PDF to print a personal copy. However you might have to pay $40 (or more) for a Color Version of it in hardcover. I'm not sure what sizes are best for printing it out, since not every version would be a spiral one. And you'd like this to be way more like Levine's Jazz Piano book with large pages and a perfect spiral booklet to lay flat.
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Table of Contents
1 - Introduction
2 - How to Use This Book
3 - Chapter Video
4 - Theory and Harmony
5 - Naming Intervals
6 - Enharmonic Intervals
7 - The Circle of 5ths
8 - Chords and Their Formulas
9 - Major Scale (Triads and Sevenths)
10 - Major Scale Modal Sounds
11 - The Lydian Mode
12 - Major Scale Mode Recap
13 - Building Diatonic Triads
14 - Natural Minor Scale
15 - Natural Minor (Aeolian) Lecture
16 - Melodic Minor
17 - Melodic Minor Modal Sounds
18 - Dorian b2 Composition
19 - Altered Dominant Voicings and Lines
20 - Harmonic Minor
21 - Harmonic Minor Modal Sounds
22 - The Phrygian Major Mode
23 - The Sounds of Minor (A Linear Study of Modal Interchange)
24 - Harmonic Major
25 - Harmonic Major Modal Sounds
26 - Double Harmonic Major
27 - Double Harmonic Major Modal Sounds
28 - More About Seventh Chords
29 - Relative Major/Minor
30 - Chords for Songwriters
31 - Chords for Songwriters (2)
32 - Modal Interchange Lecture
33 - Modal Mixture for Songwriters
34 - Modal Interchange Sounds For Composing
35 - Basic Triads
36 - Advanced Triads
37 - Musical Gravity Modal Demonstration
38 - Suspended Triads and Other Three Note Structures
39 - Suspended Triads and Other Three Note Structures (2)
40 - Chord Scales
41 - Chord Scales (2)
42 - Tonic and Dominant Diminished Scales
43 - Chord Families and Their Scales
44 - Chord Families and Their Scales (2)
45 - Scale Degree Names and Basic Progressions
46 - Basic Progressions
47 - Basic Progressions (2)
48 - Pre-dominant - Dominant - Tonic Lesson
49 - Cadences
50 - Authentic & Plagal Cadences
51 - More About Roman Numeral Analysis
52 - More About Roman Numeral Analysis (2)
53 - Neapolitan 6th Chord Progression
54 - Sus4 Resolutions
55 - Cycle of Fifths and Backcycling
56 - Roman Numeral Analysis and Chord Scale Choice
57 - Basic Rules for Chord Substitutions
58 - Basic Rules (2)
59 - Basic Rules (3)
60 - Basic Rules (4)
61 - Basic Rules (5)
62 - Basic Rules (6)
63 - Basic Rules (7)
64 - Basic Rules (8)
65 - Basic Rules (9)
66 - Basic Rules (10)
67 - Basic Rules (11)
68 - Basic Rules (12)
69 - Basic Rules (13)
70 - Multi-Functional Harmony
71 - Triads Over Bass Notes
72 - Polychords
73 - Chromatic Polychords
74 - Triads and Seventh Chords Over Bass Notes and Polychords
75 - Triads and Seventh Chords Over Bass Notes and Polychords (2)
76 - Triads and Seventh Chords Over Bass Notes and Polychords (3)
77 - Triads and Seventh Chords Over Bass Notes and Polychords (4)
78 - Reharmonization and Chord Substitutions
79 - Advanced Reharmonizations
80 - Advanced Reharmonizations (2)
81 - Advanced Reharmonizations (3)
82 - Advanced Reharmonizations (4)
83 - Advanced Reharmonizations (5)
84 - Advanced Reharmonizations (6)
85 - Advanced Reharmonizations (7)
86 - Advanced Reharmonizations (8)
87 - Advanced Reharmonizations (9)
88 - Advanced Reharmonizations (10)
89 - Advanced Reharmonizations (11)
90 - Reharmonization of Standard Forms
91 - Common Tone Reharmonization
92 - Common Tone Reharmonization (2)
93 - Modal Harmony and Theory
94 - Sharp and Flat Direction Modal Modulation
95 - Sharp and Flat Direction Modal Modulation (2)
96 - Sharp and Flat Direction Modal Modulation (3)
97 - Sharp and Flat Direction Modal Modulation (4)
98 - Sharp and Flat Direction Modal Modulation (5)
99 - Resolution Tendencies Between Modal Groups
100 - Voice Leading
101 - Voice Leading (2)
102 - Mirror Modal Equivalents
103 - Mirror Modal Equivalents (2)
104 - Mirror Modal Equivalents (3)
105 - Mirror Modal Equivalents (4)
106 - Composing With Only White Notes
107 - Using Multiple Compositional Techniques
108 - 3 Chord Film Scoring
109 - Chapter Video
110 - Chord Forms
111 - Major Triads
112 - Minor Triads
113 - Diminished Triads
114 - Augmented Triads
115 - Sus4 Triads
116 - Sus2 Triads
117 - Sus4b5 Triads
118 - Lydian Triads
119 - Phrygian Triads
120 - Locrian Triads
121 - Drop Voicings
122 - Drop 2 (Maj6)
123 - Drop 2 (Maj7)
124 - Drop 2 (Dom7)
125 - Drop 2 (Min7)
126 - Drop 2 (Min6)
127 - Drop 2 (MinMaj7)
128 - Drop 2 (Min7b5)
129 - Drop 2 (Dim7)
130 - Drop 2 (DimMaj7)
131 - Drop 2 (AugMaj7)
132 - Drop 2 (Aug7)
133 - Drop 2 (Maj7b5)
134 - Drop 2 (Dom7b5)
135 - Drop 2 (Maj7sus4)
136 - Drop 2 (Dom7sus4)
137 - Drop 2 (Lydian Maj7)
138 - Drop 2 (Lydian Dom7)
139 - Drop 2 (DimMaj7b13)
140 - Drop 3 (Maj6)
141 - Drop 3 (Maj7)
142 - Drop 3 (Dom7)
143 - Drop 3 (Min6)
144 - Drop 3 (Min7)
145 - Drop 3 (MinMaj7)
146 - Drop 3 (Min7b5)
147 - Drop 3 (Dim7)
148 - Drop 3 (DimMaj7)
149 - Drop 3 (AugMaj7)
150 - Drop 3 (Aug7)
151 - Drop 3 (Maj7b5)
152 - Drop 3 (Dom7b5)
153 - Drop 3 (Maj7sus4)
154 - Drop 3 (Dom7sus4)
155 - Drop 3 (Lydian Maj7)
156 - Drop 3 (Lydian Dom7)
157 - Drop 3 (DimMaj7b13)
158 - Drop 2 + 3 (Maj6)
159 - Drop 2 + 3 (Maj7)
160 - Drop 2 + 3 (Dom7)
161 - Drop 2 + 3 (Min6)
162 - Drop 2 + 3 (Min7)
163 - Drop 2 + 3 (MinMaj7)
164 - Drop 2 + 3 (Min7b5)
165 - Drop 2 + 3 (Dim7)
166 - Drop 2 + 3 (DimMaj7)
167 - Drop 2 + 3 (AugMaj7)
168 - Drop 2 + 3 (Aug7)
169 - Drop 2 + 3 (Maj7b5)
170 - Drop 2 + 3 (Dom7b5)
171 - Drop 2 + 3 (Maj7sus4)
172 - Drop 2 + 3 (Dom7sus4)
173 - Drop 2 + 3 (Lydian Maj7)
174 - Drop 2 + 3 (Lydian Dom7)
175 - Drop 2 + 3 (DimMaj7b13)
176 - Drop 2 + 4 (Maj6)
177 - Drop 2 + 4 (Maj7)
178 - Drop 2 + 4 (Dom7)
179 - Drop 2 + 4 (Min6)
180 - Drop 2 + 4 (Min7)
181 - Drop 2 + 4 (MinMaj7)
182 - Drop 2 + 4 (Min7b5)
183 - Drop 2 + 4 (Dim7)
184 - Drop 2 + 4 (DimMaj7)
185 - Drop 2 + 4 (AugMaj7)
186 - Drop 2 + 4 (Aug7)
187 - Drop 2 + 4 (Maj7b5)
188 - Drop 2 + 4 (Dom7b5)
189 - Drop 2 + 4 (Maj7sus4)
190 - Drop 2 + 4 (Dom7sus4)
191 - Drop 2 + 4 (Lydian Maj7)
192 - Drop 2 + 4 (Lydian Dom7)
193 - Drop 2 + 4 (DimMaj7b13)
194 - Triads Over Bass Notes
195 - Maj∆/7
196 - Maj∆/b7
197 - Maj∆/6
198 - Maj∆/#5
199 - Maj∆/5
200 - Maj∆/#4
201 - Maj∆/4
202 - Maj∆/3
203 - Maj∆/b3
204 - Maj∆/9
205 - Maj∆/b9
206 - Min∆/7
207 - Min∆/b7
208 - Min∆/6
209 - Min∆/b6
210 - Min∆/5
211 - Min∆/#4
212 - Min∆/4
213 - Min∆/3
214 - Min∆/b3
215 - Min∆/9
216 - Min∆/b9
217 - Sus4∆/7
218 - Sus4∆/b7
219 - Sus4∆/6
220 - Sus4∆/b6
221 - Sus4∆/5
222 - Sus4∆/#4
223 - Sus4∆/4
224 - Sus4∆/3
225 - Sus4∆/b3
226 - Sus4∆/9
227 - Sus4∆/b9
228 - Spread Triads Over Bass Notes
229 - Major Type Spread Triads/Bass Notes
230 - Major Type Spread Triads/Bass Notes (2)
231 - Major Type Spread Triads/Bass Notes (3)
232 - Major Type Spread Triads/Bass Notes (4)
233 - Major Type Spread Triads/Bass Notes (5)
234 - Minor Type Spread Triads/Bass Notes
235 - Minor Type Spread Triads/Bass Notes (2)
236 - Minor Type Spread Triads/Bass Notes (3)
237 - Minor Type Spread Triads/Bass Notes (4)
238 - Minor Type Spread Triads/Bass Notes (5)
239 - Minor Type Spread Triads/Bass Notes (6)
240 - Dom7 Type Spread Triads/Bass Notes
241 - Dom7 Type Spread Triads/Bass Notes (2)
242 - Dom7 Type Spread Triads/Bass Notes (3)
243 - Dom7 Type Spread Triads/Bass Notes (4)
244 - Dom7 Type Spread Triads/Bass Notes (5)
245 - Dom7 Type Spread Triads/Bass Notes (6)
246 - Dom7 Type Spread Triads/Bass Notes (7)
247 - Dom7 Type Spread Triads/Bass Notes (8)
248 - Dom7 Type Spread Triads/Bass Notes (9)
249 - Dom7 Type Spread Triads/Bass Notes (10)
250 - Dom7 Type Spread Triads/Bass Notes (11)
251 - Dom7 Type Spread Triads/Bass Notes (12)
252 - Diminished Type Spread Triads/Bass Notes
253 - Diminished Type Spread Triads/Bass Notes (2)
254 - Diminished Type Spread Triads/Bass Notes (3)
255 - Diminished Type Spread Triads/Bass Notes (4)
256 - Twelve-Tone Type Spread Triads Over Bass Notes Lecture
257 - Twelve Tone Type Spread Triads/Bass Notes
258 - Twelve Tone Type Spread Triads/Bass Notes (2)
259 - Quartal Voicings
260 - 3-Part Quartal Voicings - Major Scale
261 - 3-Part Quartal Voicings - Major Scale (2)
262 - 4-Part Quartal Voicings - Major Scale
263 - 4-Part Quartal Voicings - Major Scale (2)
264 - 5-Part Quartal Voicings - Major Scale
265 - 6-Part Quartal Voicings - Major Scale
266 - 3-Part Quartal Voicings - Melodic Minor Scale
267 - 3-Part Quartal Voicings - Melodic Minor Scale (2)
268 - 4-Part Quartal Voicings - Melodic Minor Scale
269 - 4-Part Quartal Voicings - Melodic Minor Scale (2)
270 - 5-Part Quartal Voicings - Melodic Minor Scale
271 - 6-Part Quartal Voicings - Melodic Minor Scale
272 - 3-Part Quartal Voicings - Harmonic Minor Scale
273 - 3-Part Quartal Voicings - Harmonic Minor Scale (2)
274 - 4-Part Quartal Voicings - Harmonic Minor Scale
275 - 4-Part Quartal Voicings - Harmonic Minor Scale (2)
276 - 5-Part Quartal Voicings - Harmonic Minor Scale
277 - 6-Part Quartal Voicings - Harmonic Minor Scale
278 - Skipped String Voicings
279 - Major Skipped String Voicings
280 - Melodic Minor Skipped String Voicings
281 - Dominant Diminished Skipped String Voicings
282 - F Blues Example
283 - Open String Voicings Lecture
284 - Open String Voicings
285 - Open String Voicings (2)
286 - Open String Voicings (3)
287 - Open String Voicings (4)
288 - Open String Voicings (5)
289 - Open String Voicings (6)
290 - Open String Voicings (7)
291 - Open String Voicings (8)
292 - Open String Voicings (9)
293 - Open String Voicings (10)
294 - Open String Voicings (11)
295 - Open String Voicings (12)
296 - Open String Voicings (13)
297 - Open String Voicings (14)
298 - Open String Voicings (15)
299 - Polychords Lecture
300 - Polychords
301 - Polychords (2)
302 - Polychords (3)
303 - Polychords (4)
304 - Using Comping Voicings in New Ways
305 - Constructing Chord Scales
306 - Chordal Scales
307 - Chordal Scales (2)
308 - Chordal Scales (3)
309 - Chordal Scales (4)
310 - Chordal Scales (5)
311 - Chordal Scales (6)
312 - Chordal Scales (7)
313 - Chordal Scales (8)
314 - Chordal Scales (9)
315 - Chordal Scales (10)
316 - Chordal Scales (11)
317 - Diminished Scale Voicings Lecture
318 - Diminished Scale Voicings
319 - Dim7 Type comping voicings
320 - Dim7 Type comping voicings (2)
321 - Dim7 Type comping voicings (3)
322 - Dim7 Type comping voicings (4)
323 - Dim7 Type comping voicings (5)
324 - Dim7 Type comping voicings (6)
325 - Stretch Voicings
326 - Stretch Voicings (2)
327 - Stretch Voicings (3)
328 - Stretch Voicings (4)
329 - Stretch Voicings (5)
330 - Stretch Voicings (6)
331 - Chordal Lines
332 - Chordal Lines (2)
333 - Chapter Video
334 - Mode (Scale) Practice
335 - Triads
336 - Triads (2)
337 - Modes of the Major Scale
338 - Modes of the Melodic Minor Scale
339 - Modes of the Harmonic Minor Scale
340 - Messian Modes
341 - Miscellaneous Scales
342 - Blues and Pentatonic Scales
343 - Blues and Pentatonic Scales (2)
344 - Blues and Pentatonic Scales (3)
345 - Blues and Pentatonic Scales (4)
346 - Close Position Fingerings
347 - Major Scale (Close Position)
348 - Melodic Minor (Close Position)
349 - Harmonic Minor (Close Position)
350 - Scales with Two Notes per String
351 - Major Scale Modes (2 notes per string)
352 - Melodic Minor Modes (2 notes per string)
353 - Harmonic Minor Modes (2 notes per string)
354 - Examples of Extended Range Scale Fingerings
355 - Diatonic Intervals
356 - Diatonic Arpeggios
357 - Diatonic Arpeggios (2)
358 - Spread Triad Arpeggios Introduction
359 - Bitonal Spread Triad Exercise
360 - Practicing Dominant 7th Arpeggios
361 - Practicing Dominant 7th Arpeggios Chart
362 - Seventh Chord Arpeggios
363 - Triads and Suspensions
364 - Using Triads and Pedal Point
365 - Seventh Chord Arpeggios (Root 6)
366 - Seventh Chord Arpeggios (Root 6) (2)
367 - Seventh Chord Arpeggios (Root 6) (3)
368 - Seventh Chord Arpeggios (Root 6) (4)
369 - Seventh Chord Arpeggios (Root 6) (5)
370 - Triads (Root 6)
371 - Triads (Root 6) (2)
372 - Triads (Root 6) (3)
373 - Seventh Chord Arpeggios (Root 5)
374 - Seventh Chord Arpeggios (Root 5) (2)
375 - Seventh Chord Arpeggios (Root 5) (3)
376 - Seventh Chord Arpeggios (Root 5) (4)
377 - Seventh Chord Arpeggios (Root 5) (5)
378 - Triads (Root 5)
379 - Triads (Root 5) (2)
380 - Triads (Root 5) (3)
381 - Bitonal Arpeggios
382 - Major and Minor Bitonal Arpeggios
383 - Major Bitonal Arpeggios
384 - Major Bitonal Arpeggios (2)
385 - Tritone Triads
386 - Major Bitonal Arpeggios (3)
387 - Minor Bitonal Arpeggios
388 - Minor Bitonal Arpeggios (2)
389 - Minor Bitonal Arpeggios (3)
390 - Diminished Bitonal Arpeggios
391 - Diminished Bitonal Arpeggios (2)
392 - Diminished Bitonal Arpeggios (3)
393 - Augmented Bitonal Arpeggios
394 - Augmented Bitonal Arpeggios (2)
395 - Augmented Bitonal Arpeggios (3)
396 - More About Practicing Scales and Arpeggios
397 - Chapter Video
398 - ii-V-I Progressions
399 - ii-V's in One Measure
400 - ii-V's in One Measure (2)
401 - One Measure ii-V-i's in Major
402 - One Measure ii-V-i's in Major (2)
403 - One Measure ii-V-i's in Major (3)
404 - One Measure ii-V-i's in Minor
405 - One Measure ii-V-i's in Minor (2)
406 - ii-V-I Substitute Patterns
407 - Turnarounds
408 - Imaj7-VI7-ii7-V7 Exercise
409 - Imaj7-VI7-ii7-V7 Exercise Video
410 - Turnarounds Over 4 Measures
411 - Turnarounds Over 4 Measures (2)
412 - Turnaround Substitutions
413 - Cycle of Fifths
414 - Cycle of Fifths (2)
415 - Pentatonic Scales
416 - Pentatonic Scales (2)
417 - Melodic Minor Pentatonics
418 - Triadic Superimposition
419 - Triadic Superimposition Charts
420 - Triadic Superimposition Chart (2)
421 - Triadic Improvisation
422 - Seventh Chord Superimposition
423 - Seventh Chord Superimposition Chart
424 - Seventh Chord Superimposition Chart (2)
425 - Seventh Chord Superimposition Chart (3)
426 - Seventh Chord Superimposition Chart (4)
427 - Hybrid Arpeggios
428 - Hybrid Arpeggios Charts
429 - Hybrid Arpeggios Charts (2)
430 - Playing Over Unusual Resolutions
431 - Playing Over Unusual Resolutions (2)
432 - Playing Over Unusual Resolutions (3)
433 - Melodic Ideas
434 - Melodic Ideas (2)
435 - Melodic Ideas in Natural Minor
436 - Major Scale Impressions Video
437 - Major Scale Impressions
438 - Major Scale Impressions (2)
439 - Major Scale Impressions (3)
440 - Major Scale Impressions (4)
441 - Modes: Linear Approach
442 - Modal Lines
443 - Modal Lines (2)
444 - Modal Lines (3)
445 - Modal Lines (4)
446 - Modal Lines (5)
447 - Modal Lines (6)
448 - Blues Sounds
449 - Blues Sounds (2)
450 - Diminished Sounds
451 - Diminished Sounds (2)
452 - Diminished Sounds (3)
453 - Whole Tone Lines
454 - Modal Mixture
455 - Modal Mixture (2)
456 - Using One Interval Set Over Many Chords
457 - Using One Interval Set Over Many Chords (2)
458 - Using One Interval Set Over Many Chords (3)
459 - Outside Playing Over One Chord
460 - Outside Playing Over One Chord (2)
461 - Chromaticism and Twelve-Tone Applications
462 - Chromaticism and Twelve-Tone Applications (2)
463 - Chromaticism and Twelve-Tone Applications (3)
464 - Chromaticism and Twelve-Tone Applications (4)
465 - Twelve-Tone Triadic Formulas
466 - Twelve-Tone Triadic Formulas (2)
467 - Twelve-Tone Formulas Using Seventh Chords
468 - Non-Tertian Twelve-Tone Rows
469 - Non-Systematic Row
470 - Twelve-Tone Triad Etude
471 - Modal Shapes
472 - Modal Shapes (2)
473 - Tonic and Dominant Diminished Scale Shapes
474 - Tonic and Dominant Diminished Scale Shapes (2)
475 - Unorthodox Left Hand Techniques
476 - Modern Linear Examples
477 - Modern Linear Examples (2)
478 - Neo Classical Spread Triads
479 - Pedal Point Soloing
480 - Studies/Improvisations
481 - Studies/Improvisations (2)
482 - Studies/Improvisations (3)
483 - Studies/Improvisations (4)
484 - Studies/Improvisations (5)
485 - Studies/Improvisations (6)
486 - Studies/Improvisations (7)
487 - Studies/Improvisations (8)
488 - Studies/Improvisations (9)
489 - Studies/Improvisations (10)
490 - Studies/Improvisations (11)
491 - Studies/Improvisations (12)
492 - Chapter Video
493 - Bass Lines
494 - Bass Lines (2)
495 - Bass Lines (3)
496 - Pedal Points
497 - Rhythm Changes Bassline
498 - Rhythm Changes Bassline (2)
499 - Walking Bassline
500 - Comping Rhythms
501 - Solos Over Standard Forms
502 - Solo No. 1
503 - Solo No. 2
504 - Solo No. 3
505 - Blues Solo
506 - Rhythm Changes Solo
507 - Modern Approach to Rhythm Changes
508 - Practicing
509 - Practicing (2)
510 - Practicing (3)
[This is the latest edition of his infamous book]
---
I rated it Three Stars since people might be overly frustrated till they are ready for terse, you're on your own music theory books, which unfortunately is how 75% of how music books just are.
Even Aebersold's outstanding play-along books [is there like 150 of them now?] might take a long time before you're comfortable with them...
or just let them sit for a few years...
which is perfectly okay to do
Music books do not need to be digested right away, they are demanding books, which need to be digested slowly.
You could say that applies to Astrology books, you need to go slowly and soak it in, same goes for music. Because a lot of stuff is very unfamiliar starting off.
Mind you, he does sell a whole package with Beginner Material and Ear Training and the pdf of this book and I think another thing on lessons/exercise videos. So you can wait for certain months of the year and get all four packages for about $100 total, rather than piecemeal and paying about $450 dollars.
I was not terribly interested when the book only existed in PDF form, but his fans have suggested that for $30 dollars they went to Lulu and uploaded the PDF to print a personal copy. However you might have to pay $40 (or more) for a Color Version of it in hardcover. I'm not sure what sizes are best for printing it out, since not every version would be a spiral one. And you'd like this to be way more like Levine's Jazz Piano book with large pages and a perfect spiral booklet to lay flat.
---
Table of Contents
1 - Introduction
2 - How to Use This Book
3 - Chapter Video
4 - Theory and Harmony
5 - Naming Intervals
6 - Enharmonic Intervals
7 - The Circle of 5ths
8 - Chords and Their Formulas
9 - Major Scale (Triads and Sevenths)
10 - Major Scale Modal Sounds
11 - The Lydian Mode
12 - Major Scale Mode Recap
13 - Building Diatonic Triads
14 - Natural Minor Scale
15 - Natural Minor (Aeolian) Lecture
16 - Melodic Minor
17 - Melodic Minor Modal Sounds
18 - Dorian b2 Composition
19 - Altered Dominant Voicings and Lines
20 - Harmonic Minor
21 - Harmonic Minor Modal Sounds
22 - The Phrygian Major Mode
23 - The Sounds of Minor (A Linear Study of Modal Interchange)
24 - Harmonic Major
25 - Harmonic Major Modal Sounds
26 - Double Harmonic Major
27 - Double Harmonic Major Modal Sounds
28 - More About Seventh Chords
29 - Relative Major/Minor
30 - Chords for Songwriters
31 - Chords for Songwriters (2)
32 - Modal Interchange Lecture
33 - Modal Mixture for Songwriters
34 - Modal Interchange Sounds For Composing
35 - Basic Triads
36 - Advanced Triads
37 - Musical Gravity Modal Demonstration
38 - Suspended Triads and Other Three Note Structures
39 - Suspended Triads and Other Three Note Structures (2)
40 - Chord Scales
41 - Chord Scales (2)
42 - Tonic and Dominant Diminished Scales
43 - Chord Families and Their Scales
44 - Chord Families and Their Scales (2)
45 - Scale Degree Names and Basic Progressions
46 - Basic Progressions
47 - Basic Progressions (2)
48 - Pre-dominant - Dominant - Tonic Lesson
49 - Cadences
50 - Authentic & Plagal Cadences
51 - More About Roman Numeral Analysis
52 - More About Roman Numeral Analysis (2)
53 - Neapolitan 6th Chord Progression
54 - Sus4 Resolutions
55 - Cycle of Fifths and Backcycling
56 - Roman Numeral Analysis and Chord Scale Choice
57 - Basic Rules for Chord Substitutions
58 - Basic Rules (2)
59 - Basic Rules (3)
60 - Basic Rules (4)
61 - Basic Rules (5)
62 - Basic Rules (6)
63 - Basic Rules (7)
64 - Basic Rules (8)
65 - Basic Rules (9)
66 - Basic Rules (10)
67 - Basic Rules (11)
68 - Basic Rules (12)
69 - Basic Rules (13)
70 - Multi-Functional Harmony
71 - Triads Over Bass Notes
72 - Polychords
73 - Chromatic Polychords
74 - Triads and Seventh Chords Over Bass Notes and Polychords
75 - Triads and Seventh Chords Over Bass Notes and Polychords (2)
76 - Triads and Seventh Chords Over Bass Notes and Polychords (3)
77 - Triads and Seventh Chords Over Bass Notes and Polychords (4)
78 - Reharmonization and Chord Substitutions
79 - Advanced Reharmonizations
80 - Advanced Reharmonizations (2)
81 - Advanced Reharmonizations (3)
82 - Advanced Reharmonizations (4)
83 - Advanced Reharmonizations (5)
84 - Advanced Reharmonizations (6)
85 - Advanced Reharmonizations (7)
86 - Advanced Reharmonizations (8)
87 - Advanced Reharmonizations (9)
88 - Advanced Reharmonizations (10)
89 - Advanced Reharmonizations (11)
90 - Reharmonization of Standard Forms
91 - Common Tone Reharmonization
92 - Common Tone Reharmonization (2)
93 - Modal Harmony and Theory
94 - Sharp and Flat Direction Modal Modulation
95 - Sharp and Flat Direction Modal Modulation (2)
96 - Sharp and Flat Direction Modal Modulation (3)
97 - Sharp and Flat Direction Modal Modulation (4)
98 - Sharp and Flat Direction Modal Modulation (5)
99 - Resolution Tendencies Between Modal Groups
100 - Voice Leading
101 - Voice Leading (2)
102 - Mirror Modal Equivalents
103 - Mirror Modal Equivalents (2)
104 - Mirror Modal Equivalents (3)
105 - Mirror Modal Equivalents (4)
106 - Composing With Only White Notes
107 - Using Multiple Compositional Techniques
108 - 3 Chord Film Scoring
109 - Chapter Video
110 - Chord Forms
111 - Major Triads
112 - Minor Triads
113 - Diminished Triads
114 - Augmented Triads
115 - Sus4 Triads
116 - Sus2 Triads
117 - Sus4b5 Triads
118 - Lydian Triads
119 - Phrygian Triads
120 - Locrian Triads
121 - Drop Voicings
122 - Drop 2 (Maj6)
123 - Drop 2 (Maj7)
124 - Drop 2 (Dom7)
125 - Drop 2 (Min7)
126 - Drop 2 (Min6)
127 - Drop 2 (MinMaj7)
128 - Drop 2 (Min7b5)
129 - Drop 2 (Dim7)
130 - Drop 2 (DimMaj7)
131 - Drop 2 (AugMaj7)
132 - Drop 2 (Aug7)
133 - Drop 2 (Maj7b5)
134 - Drop 2 (Dom7b5)
135 - Drop 2 (Maj7sus4)
136 - Drop 2 (Dom7sus4)
137 - Drop 2 (Lydian Maj7)
138 - Drop 2 (Lydian Dom7)
139 - Drop 2 (DimMaj7b13)
140 - Drop 3 (Maj6)
141 - Drop 3 (Maj7)
142 - Drop 3 (Dom7)
143 - Drop 3 (Min6)
144 - Drop 3 (Min7)
145 - Drop 3 (MinMaj7)
146 - Drop 3 (Min7b5)
147 - Drop 3 (Dim7)
148 - Drop 3 (DimMaj7)
149 - Drop 3 (AugMaj7)
150 - Drop 3 (Aug7)
151 - Drop 3 (Maj7b5)
152 - Drop 3 (Dom7b5)
153 - Drop 3 (Maj7sus4)
154 - Drop 3 (Dom7sus4)
155 - Drop 3 (Lydian Maj7)
156 - Drop 3 (Lydian Dom7)
157 - Drop 3 (DimMaj7b13)
158 - Drop 2 + 3 (Maj6)
159 - Drop 2 + 3 (Maj7)
160 - Drop 2 + 3 (Dom7)
161 - Drop 2 + 3 (Min6)
162 - Drop 2 + 3 (Min7)
163 - Drop 2 + 3 (MinMaj7)
164 - Drop 2 + 3 (Min7b5)
165 - Drop 2 + 3 (Dim7)
166 - Drop 2 + 3 (DimMaj7)
167 - Drop 2 + 3 (AugMaj7)
168 - Drop 2 + 3 (Aug7)
169 - Drop 2 + 3 (Maj7b5)
170 - Drop 2 + 3 (Dom7b5)
171 - Drop 2 + 3 (Maj7sus4)
172 - Drop 2 + 3 (Dom7sus4)
173 - Drop 2 + 3 (Lydian Maj7)
174 - Drop 2 + 3 (Lydian Dom7)
175 - Drop 2 + 3 (DimMaj7b13)
176 - Drop 2 + 4 (Maj6)
177 - Drop 2 + 4 (Maj7)
178 - Drop 2 + 4 (Dom7)
179 - Drop 2 + 4 (Min6)
180 - Drop 2 + 4 (Min7)
181 - Drop 2 + 4 (MinMaj7)
182 - Drop 2 + 4 (Min7b5)
183 - Drop 2 + 4 (Dim7)
184 - Drop 2 + 4 (DimMaj7)
185 - Drop 2 + 4 (AugMaj7)
186 - Drop 2 + 4 (Aug7)
187 - Drop 2 + 4 (Maj7b5)
188 - Drop 2 + 4 (Dom7b5)
189 - Drop 2 + 4 (Maj7sus4)
190 - Drop 2 + 4 (Dom7sus4)
191 - Drop 2 + 4 (Lydian Maj7)
192 - Drop 2 + 4 (Lydian Dom7)
193 - Drop 2 + 4 (DimMaj7b13)
194 - Triads Over Bass Notes
195 - Maj∆/7
196 - Maj∆/b7
197 - Maj∆/6
198 - Maj∆/#5
199 - Maj∆/5
200 - Maj∆/#4
201 - Maj∆/4
202 - Maj∆/3
203 - Maj∆/b3
204 - Maj∆/9
205 - Maj∆/b9
206 - Min∆/7
207 - Min∆/b7
208 - Min∆/6
209 - Min∆/b6
210 - Min∆/5
211 - Min∆/#4
212 - Min∆/4
213 - Min∆/3
214 - Min∆/b3
215 - Min∆/9
216 - Min∆/b9
217 - Sus4∆/7
218 - Sus4∆/b7
219 - Sus4∆/6
220 - Sus4∆/b6
221 - Sus4∆/5
222 - Sus4∆/#4
223 - Sus4∆/4
224 - Sus4∆/3
225 - Sus4∆/b3
226 - Sus4∆/9
227 - Sus4∆/b9
228 - Spread Triads Over Bass Notes
229 - Major Type Spread Triads/Bass Notes
230 - Major Type Spread Triads/Bass Notes (2)
231 - Major Type Spread Triads/Bass Notes (3)
232 - Major Type Spread Triads/Bass Notes (4)
233 - Major Type Spread Triads/Bass Notes (5)
234 - Minor Type Spread Triads/Bass Notes
235 - Minor Type Spread Triads/Bass Notes (2)
236 - Minor Type Spread Triads/Bass Notes (3)
237 - Minor Type Spread Triads/Bass Notes (4)
238 - Minor Type Spread Triads/Bass Notes (5)
239 - Minor Type Spread Triads/Bass Notes (6)
240 - Dom7 Type Spread Triads/Bass Notes
241 - Dom7 Type Spread Triads/Bass Notes (2)
242 - Dom7 Type Spread Triads/Bass Notes (3)
243 - Dom7 Type Spread Triads/Bass Notes (4)
244 - Dom7 Type Spread Triads/Bass Notes (5)
245 - Dom7 Type Spread Triads/Bass Notes (6)
246 - Dom7 Type Spread Triads/Bass Notes (7)
247 - Dom7 Type Spread Triads/Bass Notes (8)
248 - Dom7 Type Spread Triads/Bass Notes (9)
249 - Dom7 Type Spread Triads/Bass Notes (10)
250 - Dom7 Type Spread Triads/Bass Notes (11)
251 - Dom7 Type Spread Triads/Bass Notes (12)
252 - Diminished Type Spread Triads/Bass Notes
253 - Diminished Type Spread Triads/Bass Notes (2)
254 - Diminished Type Spread Triads/Bass Notes (3)
255 - Diminished Type Spread Triads/Bass Notes (4)
256 - Twelve-Tone Type Spread Triads Over Bass Notes Lecture
257 - Twelve Tone Type Spread Triads/Bass Notes
258 - Twelve Tone Type Spread Triads/Bass Notes (2)
259 - Quartal Voicings
260 - 3-Part Quartal Voicings - Major Scale
261 - 3-Part Quartal Voicings - Major Scale (2)
262 - 4-Part Quartal Voicings - Major Scale
263 - 4-Part Quartal Voicings - Major Scale (2)
264 - 5-Part Quartal Voicings - Major Scale
265 - 6-Part Quartal Voicings - Major Scale
266 - 3-Part Quartal Voicings - Melodic Minor Scale
267 - 3-Part Quartal Voicings - Melodic Minor Scale (2)
268 - 4-Part Quartal Voicings - Melodic Minor Scale
269 - 4-Part Quartal Voicings - Melodic Minor Scale (2)
270 - 5-Part Quartal Voicings - Melodic Minor Scale
271 - 6-Part Quartal Voicings - Melodic Minor Scale
272 - 3-Part Quartal Voicings - Harmonic Minor Scale
273 - 3-Part Quartal Voicings - Harmonic Minor Scale (2)
274 - 4-Part Quartal Voicings - Harmonic Minor Scale
275 - 4-Part Quartal Voicings - Harmonic Minor Scale (2)
276 - 5-Part Quartal Voicings - Harmonic Minor Scale
277 - 6-Part Quartal Voicings - Harmonic Minor Scale
278 - Skipped String Voicings
279 - Major Skipped String Voicings
280 - Melodic Minor Skipped String Voicings
281 - Dominant Diminished Skipped String Voicings
282 - F Blues Example
283 - Open String Voicings Lecture
284 - Open String Voicings
285 - Open String Voicings (2)
286 - Open String Voicings (3)
287 - Open String Voicings (4)
288 - Open String Voicings (5)
289 - Open String Voicings (6)
290 - Open String Voicings (7)
291 - Open String Voicings (8)
292 - Open String Voicings (9)
293 - Open String Voicings (10)
294 - Open String Voicings (11)
295 - Open String Voicings (12)
296 - Open String Voicings (13)
297 - Open String Voicings (14)
298 - Open String Voicings (15)
299 - Polychords Lecture
300 - Polychords
301 - Polychords (2)
302 - Polychords (3)
303 - Polychords (4)
304 - Using Comping Voicings in New Ways
305 - Constructing Chord Scales
306 - Chordal Scales
307 - Chordal Scales (2)
308 - Chordal Scales (3)
309 - Chordal Scales (4)
310 - Chordal Scales (5)
311 - Chordal Scales (6)
312 - Chordal Scales (7)
313 - Chordal Scales (8)
314 - Chordal Scales (9)
315 - Chordal Scales (10)
316 - Chordal Scales (11)
317 - Diminished Scale Voicings Lecture
318 - Diminished Scale Voicings
319 - Dim7 Type comping voicings
320 - Dim7 Type comping voicings (2)
321 - Dim7 Type comping voicings (3)
322 - Dim7 Type comping voicings (4)
323 - Dim7 Type comping voicings (5)
324 - Dim7 Type comping voicings (6)
325 - Stretch Voicings
326 - Stretch Voicings (2)
327 - Stretch Voicings (3)
328 - Stretch Voicings (4)
329 - Stretch Voicings (5)
330 - Stretch Voicings (6)
331 - Chordal Lines
332 - Chordal Lines (2)
333 - Chapter Video
334 - Mode (Scale) Practice
335 - Triads
336 - Triads (2)
337 - Modes of the Major Scale
338 - Modes of the Melodic Minor Scale
339 - Modes of the Harmonic Minor Scale
340 - Messian Modes
341 - Miscellaneous Scales
342 - Blues and Pentatonic Scales
343 - Blues and Pentatonic Scales (2)
344 - Blues and Pentatonic Scales (3)
345 - Blues and Pentatonic Scales (4)
346 - Close Position Fingerings
347 - Major Scale (Close Position)
348 - Melodic Minor (Close Position)
349 - Harmonic Minor (Close Position)
350 - Scales with Two Notes per String
351 - Major Scale Modes (2 notes per string)
352 - Melodic Minor Modes (2 notes per string)
353 - Harmonic Minor Modes (2 notes per string)
354 - Examples of Extended Range Scale Fingerings
355 - Diatonic Intervals
356 - Diatonic Arpeggios
357 - Diatonic Arpeggios (2)
358 - Spread Triad Arpeggios Introduction
359 - Bitonal Spread Triad Exercise
360 - Practicing Dominant 7th Arpeggios
361 - Practicing Dominant 7th Arpeggios Chart
362 - Seventh Chord Arpeggios
363 - Triads and Suspensions
364 - Using Triads and Pedal Point
365 - Seventh Chord Arpeggios (Root 6)
366 - Seventh Chord Arpeggios (Root 6) (2)
367 - Seventh Chord Arpeggios (Root 6) (3)
368 - Seventh Chord Arpeggios (Root 6) (4)
369 - Seventh Chord Arpeggios (Root 6) (5)
370 - Triads (Root 6)
371 - Triads (Root 6) (2)
372 - Triads (Root 6) (3)
373 - Seventh Chord Arpeggios (Root 5)
374 - Seventh Chord Arpeggios (Root 5) (2)
375 - Seventh Chord Arpeggios (Root 5) (3)
376 - Seventh Chord Arpeggios (Root 5) (4)
377 - Seventh Chord Arpeggios (Root 5) (5)
378 - Triads (Root 5)
379 - Triads (Root 5) (2)
380 - Triads (Root 5) (3)
381 - Bitonal Arpeggios
382 - Major and Minor Bitonal Arpeggios
383 - Major Bitonal Arpeggios
384 - Major Bitonal Arpeggios (2)
385 - Tritone Triads
386 - Major Bitonal Arpeggios (3)
387 - Minor Bitonal Arpeggios
388 - Minor Bitonal Arpeggios (2)
389 - Minor Bitonal Arpeggios (3)
390 - Diminished Bitonal Arpeggios
391 - Diminished Bitonal Arpeggios (2)
392 - Diminished Bitonal Arpeggios (3)
393 - Augmented Bitonal Arpeggios
394 - Augmented Bitonal Arpeggios (2)
395 - Augmented Bitonal Arpeggios (3)
396 - More About Practicing Scales and Arpeggios
397 - Chapter Video
398 - ii-V-I Progressions
399 - ii-V's in One Measure
400 - ii-V's in One Measure (2)
401 - One Measure ii-V-i's in Major
402 - One Measure ii-V-i's in Major (2)
403 - One Measure ii-V-i's in Major (3)
404 - One Measure ii-V-i's in Minor
405 - One Measure ii-V-i's in Minor (2)
406 - ii-V-I Substitute Patterns
407 - Turnarounds
408 - Imaj7-VI7-ii7-V7 Exercise
409 - Imaj7-VI7-ii7-V7 Exercise Video
410 - Turnarounds Over 4 Measures
411 - Turnarounds Over 4 Measures (2)
412 - Turnaround Substitutions
413 - Cycle of Fifths
414 - Cycle of Fifths (2)
415 - Pentatonic Scales
416 - Pentatonic Scales (2)
417 - Melodic Minor Pentatonics
418 - Triadic Superimposition
419 - Triadic Superimposition Charts
420 - Triadic Superimposition Chart (2)
421 - Triadic Improvisation
422 - Seventh Chord Superimposition
423 - Seventh Chord Superimposition Chart
424 - Seventh Chord Superimposition Chart (2)
425 - Seventh Chord Superimposition Chart (3)
426 - Seventh Chord Superimposition Chart (4)
427 - Hybrid Arpeggios
428 - Hybrid Arpeggios Charts
429 - Hybrid Arpeggios Charts (2)
430 - Playing Over Unusual Resolutions
431 - Playing Over Unusual Resolutions (2)
432 - Playing Over Unusual Resolutions (3)
433 - Melodic Ideas
434 - Melodic Ideas (2)
435 - Melodic Ideas in Natural Minor
436 - Major Scale Impressions Video
437 - Major Scale Impressions
438 - Major Scale Impressions (2)
439 - Major Scale Impressions (3)
440 - Major Scale Impressions (4)
441 - Modes: Linear Approach
442 - Modal Lines
443 - Modal Lines (2)
444 - Modal Lines (3)
445 - Modal Lines (4)
446 - Modal Lines (5)
447 - Modal Lines (6)
448 - Blues Sounds
449 - Blues Sounds (2)
450 - Diminished Sounds
451 - Diminished Sounds (2)
452 - Diminished Sounds (3)
453 - Whole Tone Lines
454 - Modal Mixture
455 - Modal Mixture (2)
456 - Using One Interval Set Over Many Chords
457 - Using One Interval Set Over Many Chords (2)
458 - Using One Interval Set Over Many Chords (3)
459 - Outside Playing Over One Chord
460 - Outside Playing Over One Chord (2)
461 - Chromaticism and Twelve-Tone Applications
462 - Chromaticism and Twelve-Tone Applications (2)
463 - Chromaticism and Twelve-Tone Applications (3)
464 - Chromaticism and Twelve-Tone Applications (4)
465 - Twelve-Tone Triadic Formulas
466 - Twelve-Tone Triadic Formulas (2)
467 - Twelve-Tone Formulas Using Seventh Chords
468 - Non-Tertian Twelve-Tone Rows
469 - Non-Systematic Row
470 - Twelve-Tone Triad Etude
471 - Modal Shapes
472 - Modal Shapes (2)
473 - Tonic and Dominant Diminished Scale Shapes
474 - Tonic and Dominant Diminished Scale Shapes (2)
475 - Unorthodox Left Hand Techniques
476 - Modern Linear Examples
477 - Modern Linear Examples (2)
478 - Neo Classical Spread Triads
479 - Pedal Point Soloing
480 - Studies/Improvisations
481 - Studies/Improvisations (2)
482 - Studies/Improvisations (3)
483 - Studies/Improvisations (4)
484 - Studies/Improvisations (5)
485 - Studies/Improvisations (6)
486 - Studies/Improvisations (7)
487 - Studies/Improvisations (8)
488 - Studies/Improvisations (9)
489 - Studies/Improvisations (10)
490 - Studies/Improvisations (11)
491 - Studies/Improvisations (12)
492 - Chapter Video
493 - Bass Lines
494 - Bass Lines (2)
495 - Bass Lines (3)
496 - Pedal Points
497 - Rhythm Changes Bassline
498 - Rhythm Changes Bassline (2)
499 - Walking Bassline
500 - Comping Rhythms
501 - Solos Over Standard Forms
502 - Solo No. 1
503 - Solo No. 2
504 - Solo No. 3
505 - Blues Solo
506 - Rhythm Changes Solo
507 - Modern Approach to Rhythm Changes
508 - Practicing
509 - Practicing (2)
510 - Practicing (3)
[This is the latest edition of his infamous book]
---
I rated it Three Stars since people might be overly frustrated till they are ready for terse, you're on your own music theory books, which unfortunately is how 75% of how music books just are.
Even Aebersold's outstanding play-along books [is there like 150 of them now?] might take a long time before you're comfortable with them...
or just let them sit for a few years...
which is perfectly okay to do
Music books do not need to be digested right away, they are demanding books, which need to be digested slowly.
You could say that applies to Astrology books, you need to go slowly and soak it in, same goes for music. Because a lot of stuff is very unfamiliar starting off.
October 18, 2020
Rick is one of the few Who know how music really works & He helping others to understand complex music theory @ min effort!! I love him a lot & soon he will speak about my music which i learnt from him.😊
Love From INDIA 🇮🇳
The Patrick Emmanuvel :)
Love From INDIA 🇮🇳
The Patrick Emmanuvel :)
July 10, 2022
A music theory textbook with tons of good information. Now updated with an "interactive" version with audio and video for nearly every lesson. Pretty cool.
March 24, 2024
Let me start by saying I think Rick is very knowledgeable, I enjoy his youtube videos. Thats why I purchased this book from the "expert". The book is just like the other reviews said, an encyclopedia of musical information. If you are looking to learn guitar this book is not for you. There is a ton of information but thats it. If you're very advanced you may get something from it. I have 2 degrees and have taken many classes and am quite used to different teaching styles for learning. Unless you're really advanced save youre money because you will not learn anything from these lessons
June 10, 2023
I made the mistake of taking Rick Beato at his word when he said (repeatedly) that the material in his videos is explained in greater detail in the Beato Book. It really isn't. In fact, the "interactive" book (which is not usable as a "book") includes videos telling you that the material in the video is explained in the book. I have to recommend against buying this book as anything other than a donation to Rick.
It's possible the previous pdf version of the book was more useful than what this is. This is a waste of money.
It's possible the previous pdf version of the book was more useful than what this is. This is a waste of money.
June 24, 2025
I read pdfs online then bought his course pack and dived through them. He explains a lot and my playing has gotten better as a result but there’s gaps that make it kinda hard to understand it from his point of view. He’s a master though.
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