The primary goal of this investigation is the proposal and subsequent demonstration of a practice-based methodology for the development of original improvisatory language, in this study specifically applied to jazz guitar. My findings are presented as 'Volume 1 - Theoretical Writings and Evidenced Application of Practice Methodology', and COs 1-7, which contain 7.5 hours of audio recording (both live and studio) documenting my own performance and development throughout the period of study. Examples of what are deemed stylistically defining improvisational techniques/approaches are subsequently drawn from this recorded catalogue and, for ease of reference, presented in isolation as 'Cropped Audio Extracts: Personal', included here as COs 15-19. Each 'Extract' is supported by a related transcription, with all such transcriptions submitted as 'Volume 3b - Transcription of Cropped Audio Extracts: Personal'. Providing context to these materials is an analysis of contemporary jazz guitar improvisation post-Kurt Rosenwinkel ('Stylistic Review: Contextual - Contemporary Jazz Guitar improvisation'), examining four musicians (Gilad Hekselman, Jonathan Kreisberg, Lage Lund and Mike Moreno) whom I consider to be among the most significant to have emerged in the field during the past 10 years. Applying a system similar to that outlined above, examples of stylistically defining improvisational techniques/approaches are identified in and subsequently drawn from the publicly available discographies of these artists, being presented in isolation as 'Cropped, Audio Extracts: Contextual', included here as COs 8-14. Each 'Extract' is supported by a related transcription, with all such transcriptions submitted as 'Volume 3a - Transcription of Cropped Audio Extracts: Contextual'. Thus, the submission makes an original contribution to knowledge in terms of the unique 'Practice Methodology' it articulates, its evidenced application of the latter in the development of my own improvisational vocabulary and the presentation of these findings in the context of an analysis of the key improvisational techniques and approaches of contemporary jazz guitar improvisation.