Over the years, Mike’s Master Classes have accumulated a lot of reviews. We want to thank all those that have taken the time to write out thoughtful responses upon completing the classes. We hope your responses will help others find a new class to expand their studies.
- Chord Solos
Master Working Guitarist Jack Wilkins explains his learning process using the standards! 5Jack Wilkins is one of the most admired guitarists in NYC. He's "the guitarist all the other guitarists go to see". He's played with Buddy Rich, Chet Baker, Bill Evans and many others. In this video he gives a very generous breakdown of how he approaches practicing, how to develop fingerboard knowledge, and how to learn and develop an approach to playing common standards...and he performs many examples. To have an top working musician provide the "real work" regarding jazz guitar should be of high interest to anyone who is serious. True, the video technology is a bit dated, but the tips he shares more than makes up for that.
Paul LoubrielPlaying Changes in One Octave
Fantastic course 5Randy always gives a well thought out and logical presentation in easy to digest chunks of information. I was especially impressed by this course. This is certainly one of the best presentations on a soloing concept I have heard in a long time. A great practice tool, and I'll be practicing this concept everyday. I can see where it forces one to learn the neck and helps to create a cohesive solo. Highly recommended.
Robert MinchinPlaying Changes in One Octave
Playing Changes in One Octave is INCREDIBLE! 5Another home run Randy!! I started watching it yesterday and Could not put down my guitar. This Is by far The most effective Exercise and way to practice I have ever heard of! This is the "Secret" I have been looking for To make my solos Sound good. This is going to be My Go-To Method of practicing every jazz standard that I am working on........ Thanks so much for sharing this valuable concept With us !!!!
Ray KingUseful Voicings
Great Course! Highly recommended! 5This class was so easily assimilated and Paul explains the material clearly. I was familiar with all the chord shapes but Paul goes over the applications, substitutions and I was able to use them immediately in my playing. I would say this class is pretty much essential. I also would highly recommend Paul's recordings as I downloaded many of them on iTunes after watching this class and I am now a big fan of his playing! 5 stars! Can't wait to get the others as well!
Clint Perron“West Coast Blues” [Guitar Masterclass]
An inspiring goldmine ! Thank you, Randy 5This gets it steaming all together: inversions, diminished, voiceleading .. Great Jazz!
Dave SilhanekAdvanced Jazz Guitar Harmony: Drop 2 and 4, Drop 2 and 3
5All of Tom's courses are fantastically thorough; all the information is laid out logically, with plenty of examples given so the music can be heard, not just read. His library, including the advanced harmony course is amazing in that it sets you up for a lifetime of exploration. He knows how the interaction between jazz as a common practice and academic harmony and rhythm works; his insights are completely functional. Thanks Tom...
peter watrousMelodic Minor Complete – Part II: Practical Application
5Tom is one of the best guitar teacher and awesome jazz guitar player that i encountered. His ideas are superb and crystal clear, all my gaps in my playing are being filled. I highly recommend all his lessons.
Manuel IIIObiasExploring Modern Ideas for Jazz Standards: Pt. 2
Exploring Modern Ideas Pt. 2 5Fantastic as always. John never disappoints. There are so many great ideas in this class.
James S.Stella by Starllight – Changes, Voicings and Lines
It doesn't get any better!! 5Phenomenal lesson....... Randy Plays A few different chord melodies. He also plays several different Full Chorus Single line solos! He goes over Key centered Approaches For the newer player And also Other scale choices For the More Advanced players.........There is also a fantastic segment on How-to solo over a minor 251 By simplifying everything Using minorization and tetra chord Concepts. There is much much more also! Like all of Randy's lessons, They are like multiple lessons In one. He also discusses The necessary theory And harmony For a difficult tune (Stella) In my view All of Randy's lessons are by far The best bang for the buck on the entire Internet. He gives Great stuff To get into are playing and Take it and use it At the next gig For jam session Or whatever......... I look forward To many more Lessons On Jazz standards Like This one! Ray King
Ray KingHarmonic Rhythm
Creating Motion in My Solo Lines and Comping 5I added Phil Robson’s Harmonic Rhythm to my playlist because I was looking for other approaches for improvising and comping to complement what I am already doing. Harmonic Rhythm details the techniques of playing chord changes (ii-V-I-VI) in advance (anticipation) or behind (delay) of where they are written. Also, important is Phil’s discussion on phrase placement in relation to the beat and bar-line as a way of making some phrases standout from the rest in your improvisation and/or connect your melodic fragments to one another. Phil talks about how to change the feel of any phrase by setting it to different parts of bar. I am also using his methods (note placement and note duration) to embellish the written melody of a tune. There may be some instructional material out there that mentions this approach, but Phil’s workshop goes into a detailed step-by-step approach to retraining your hearing to hear an idea in motion towards future rhythmic and harmonic resolution targets. But at the end of the day, what Phil offers in this lesson is another process/method of creating single-note and chord motion across the bar-line (to create tension and release within a phrases). The ultimate goal for me is to be able to play anything anywhere; and create rhythmic and melodic freedom during my solos and comping. Phil’s lesson gets me one step closer to this destination. Thanks Phil, Guy
Gy MotenSimplifying Jazz Guitar
Simplifying Jazz by Randy Johnston 5This is a phenomenally good Lesson! Actually it is like eight lessons in one........Don't overlook this because the video resolution Isn't the greatest. The guitar Fretboard Can be clearly seen........and the sound is good enough. Randy starts off With a solo guitar version Of My favorite things. Next Is some incredible Solo guitar For Stella by starlight. Several choruses Of great playing with Interesting changes! I'm transcribing that now I like it so much! Randy then goes into a great discussion and demonstration of tetrachord scales Which is very informative. Next It's a discussionAnd demonstration of the different ways to approach A minor 251 Really good stuff here also! Then As if this all wasn't enough already, Randy finishes off With some excellent G Blues Solo guitar. This one is next on my list to transcribe! There is a real Lot of Material Here. Good Material! I highly recommend this Lesson. RAY KING
Ray KingPsychology, Philosophy & Methodology for the Jazz Guitarist – I
Psychology, Philosophy & Methodology For The Jazz Guitarist - 1 5Excellent thoughts and ideas on getting better at music and life.
Dane ClarkeSimplifying Jazz Guitar
Film recordings 2Dear People at Mike's Master Classes As much i love Randy Johnstons playing and the man himself, i have to say that the film recording is very amateurish and of poor quality. I wouldn't take any money for it. Thank you for taking notice and for your good work on other courses. Yours sincerly Nilo
Nilo BortotSoloing Using Chord Shapes – “Speak Low”
THIS IS A KEEPER 5I agree with the other reviews, this is a great class!!! One that you can keep going back to and mining for more insight. Thanks Paul, this will keep me busy for quite awhile. Highly recommended.
MiguelThe Melodic Minor #5 Scale
Melodic Minor #5 4Great class, unique approach to a scale you don't find much instruction on, if any! Only suggestion would be that a loop or backing track of the chord roots might help with the examples of the scale over jazz and standard progressions. Other than that, tremendous class!
James S.Sheryl Bailey Live Q&A 2/28/18 at 8pm EST [Free for Members]
5Awesome!! Very clear and direct answers to the important points! I'm impressed with almost all Sheryl just said but this statement just knocked me out: "Devotion to getting locked to the beat!!!". Thanks Mike and Sheryl!!
Daniel CorzoMelodic Minor Complete – Part II: Practical Application
Get both Parts 1 & 2. 5Another home run! Tom’s classes are the best. The course description will give you a good of idea of what to expect. What it doesn’t convey is what a great instructor Tom is. His way of presenting the material is great. He makes things easy to understand and incorporate in your own playing. I own quite a few of his videos and have been very happy with all of them. His videos are destine to become classics! Highly recommended!!
Franklin BrownMelodic Minor Complete – Part I: Theory
5Another home run! Tom's classes are the best. The course description will give you a good of idea of what to expect. What it doesn't convey is what a great instructor Tom is. His way of presenting the material is great. He makes things easy to understand and incorporate in your own playing. I own quite a few of his videos and have been very happy with all of them. His videos are destine to become classics! Highly recommended!!
Franklin BrownLenny Breau-Style Comping/Soloing (Part 2)
Lenny Breau Pt 2 5Just as an aside, staring at one of Steve’s big 5 note voicings (example one again, the C7 ALT), the last three notes form a quatral voicing (note, P4, P4) but also represent the #9, #5 AND b9. So therefore, any three note quatral voicing represents the juicy ALT sounds of a dominant. Those are the kind of mental connections I try to make when working with this stuff. Nor just practicing by rote, but seeing what else I can find. The guitarist Sid Jacobs one said you can go on any page of Bach’s partitas for solo violin or Charlie Parkers omnibook and take a few measures and spend an entire lifetime learning and working with them. So many diamonds are there to be found on every page . I would never compare anybody to Bach or Bird, But Steve’s material as the same sort of quality: you can take a few measurements and you think about it and it can give you a whole bunch of material for entire lifetime . That’s the hallmark of a really good teacher and good instruction .
Navdeep JhajLenny Breau-Style Comping/Soloing (Part 2)
Lenny Breau pt. 2 5Fantastic class, covering material I have never seen anywhere else either on the Web or in in-person lessons. Steve is a master of so many styles, but his knowledge of the history of jazz really comes through in this one.
James S.Exploring Modern Ideas for Jazz Standards: Pt. 1
John's great! Production lacks. 4John’s classes a great! He provides very clear details and instruction. However, I would agree with the comment above. There needs to be notation provided in order to study such complex material. Also, the sound quality is horrible. This seems to be a problem with most of the videos Mike’s Master Classes offers. It is quite a shame to have such amazing musicians and teachers with such poor sound quality. I think teenagers on youtube are getting way better sound quality. Love the material. Disappointed with the production quality and lack of study materials.
J. AndrewExploring Original Creations [Non-Diatonic]
Exploring Original Creations.....WOW!! 5I have followed John Stowell for quite a few years, been lucky enough to hear him live and play with him, and he is one of the most creative, original, supportive, and enthusiastic musicians anywhere. This class shows what a masterful creator and teacher he is. Beautifully organized, clearly taught, and thoroughly original approaches to the music of today and tomorrow. Highly, highly recommended. (say Hey to Lou for me)
James S.Exploring Original Creations [Non-Diatonic]
A non-diatonic composition course - finally! 5I've been waiting for a course exactly like this - thanks John. The main thing I like about the course is there are lots of short examples of different compositional offerings. John's offerings are cliche-free and he offers loads of approaches that are helping me with my own efforts. Very highly recommended.
Michael BryantBlues: A Modern Jazz Guitar Approach – Part I
Starts with the basics and gets intense 5Tom is a really thoughtful teacher. He paces the course to make sure you have the basics in place - which of course you need to know - before moving on to more advanced material. This isn't just a one-off youtube lesson with a guy showing you a few licks and tricks. This is the real deal and the material is rooted in the playing of the jazz masters. I especially enjoyed the section on outlining chords while retaining the basic sound of the blues. From there Tom takes you into chord scales and substitutions, melodic minor and diminished scale applications, modal concepts ala McCoy Tyner, and then into poly-rhythms, and suspended chordal ideas. Cool stuff. There's a lot here that could keep you busy for a very long time. Even if you absorb just a part of this lesson, with practice it will help you become a better player.
Mark RattnerMelodic Minor Complete – Part I: Theory
Melodic Minor Complete - Part 1 5Excellent. I especially appreciate Tom's urging to not get complacent with the introduction, but to continue to explore all that this fascinating scale has to offer.
Dane ClarkeJazz Guitar Finger-Style Technique
Great course, looking forward to a follow up course 5This was a great course and having Tom answer my questions so quickly was the icing on the cake. With that said, I would love to see a video of Tom doing some "real world" playing and then breaking down what he is doing. Perhaps a video just playing 4-5 bebop heads with solos? If the music/fingerings were included it would be a "must buy" course. This course really got me off the ground using my fingers.
Abe AlamExploring Modern Ideas for Jazz Standards: Pt. 1
audio is a bit quiet / hissy 4The content contains brilliant concepts, but is let down by the low audio volume / high hiss when John speaks.
Michael BryantThe Half Diminished Sound
Great Course 5This is an excellent course which is systematically organised. The price is cheap compared to the information contained within. The most useful part for me was when certain colour tones can be added/replaced to the exisiting half-diminished chord to give a beautiful sound. This course is certainly one to have in your arsenal.
ali baqarBeautiful Love
Thanks for all your help and advice with showing us a pathway through this beautiful tune. 5Randy presents an easily playable, but harmonically challenging arrangement of Beautiful Love. Throughout the lesson he demonstrates a variety of Harmonic Textures by restructuring the original underlying harmony of the song. This was a big help in making several of the passages very playable on the guitar. What's really great, is that Randy provides a methodology for analyzing the content, he breaks down his solo into logical, 8-bar sections, then specifically addresses what takes place over each chord. His method is instantly transferrable to other tunes. Randy, presents the jazz improviser with new avenues of expression via traditional forms of this standard tune. The power and depth of his compositions (chord melody) has been an inspiration to me both as an improviser and a guitarist. An added benefit is this tune, it introduced me to artist that I haven't spent that much time with: Anita O'Day, Hank Jones and Kenny Barron. Plus musicians that I know very well - played great renditions of this tune: Kenny Burrell, Joe Pass, Bill Evans, etc.. I hope everyone will give Beautiful Love a try, you will not regret it.
Gy MotenAdvanced Jazz Guitar Harmony: 4-Part-4ths
Wow 5I only knew one aspect of 4th voicings coming into this class (what Tom has listed as 2nd inversion drop 2 voicings). I had no idea how much there still was to learn! Like Tom's other classes this one has a tremendous amount of information, very well presented. I think most of us mere mortals will need to come back to this class over a period of many years to get just some of the information presented here burned into our brains. I would suggest learning one particular group of voicings and then go to about 1:30 in the video (page 13 of the handout) to learn how to improve your fluidity with them. Excellent class.
David TardioOpen String Concepts for Chords and Single Note Lines
Really Eye Opening 5I always enjoy Tom's lessons. They are packed full of information (that you will be able to go back to again and again) but still everything is very well explained. I've already utilized several of the ideas he presents here in live situations and it has definitely made my comping much more interesting. I highly recommend this course.
David TardioJazz Phrasing Part 2 (For All Instruments)
Wow really good material here!! 5Wow really good material here. I can feel my rhythmic sense changing as I was going through the materials the first time! Really fun stuff to practice 🙂 Also at the end Steve gives us some blues applications and I think the feel of things to come in the 3rd class with 16th notes. Very fun stuff thank you Steve for taking the time to put this material together :))
George ColeJazz Phrasing Part 3 (For All Instruments)
jazz phrasing pt. 3 5Steve always hits a home run.
James S.Minor Line Concepts
Lyrical, chromatic and flowing lines! 5This is my first Jay Umble master class purchase and I'm extremely impressed and inspired. There's a lot of good stuff here and I particularly like how Jay gives so many musical examples throughout the entire video. There's a lot of interesting concepts that he introduces in between the main points including 'setups' and various ways to add chromatic ideas into the lines. There are also 40 different lines (within funk and swing rhythmic context) that is included in the PDFs that I'll be checking out to understand more about his approach as well. Thank Jay & Mike's Masterclasses for making such an awesome video.
Az SamadBebop Flow: Connecting Harmonic Concepts with the Family of 4
Very Well presented, really useful information 5Great foundation for anyone who wants to learn more about bebop guitar playing. Sheryl does a great job teaching this and there are excellent examples in the pdfs. To me the stuff at the end about using tritone subs in your bebop lines could probably be a separate course all by itself (since learning how to get the tension and resolution right would be so important) but that's just a suggestion, not a complaint.
David TardioJazz Phrasing Part 1 (For All Instruments)
Years of learning packed into another great class from Steve 5This class, just like the contents of every of the several Mike's Masterclasses of Steve's which I have the privilege to own and to be able to study, demonstrates Steve's 100% commitment to revealing his own personal musical devices which he clearly uses in his own playing and performances. All one has to do is watch and listen to some of Steve's YouTube solo guitar performances and group performances on the internet, such as Almost Like Being in Love, with a vocalist and bassist, and you will have proof positive that Steve generous offerings reveal what he has spent years researching and developing in order to create his own singular voice on the guitar. I finally have come to the conclusion that Steve's selfless goal has always been to honestly and generously reveal what he knows best - the music that has made him a singular voice in today's music world, and to share that NOT with the hopes that people will necessarily just copy this material by rote, but rather to help spark an opportunity in others to also create their own polyphonic and poly rhythmic voice on their own instrument. In the July 2006 issue of Down Beat, yes, 2006, there was a transcription of Jimmy Raney solo'. The article's title "Harmonic, Rhythmic Tension Propel Jimmy Raney's 'Motion' Solo." There is a discussion in that article about the precise rhythmic ideas that Jimmy inserted into this solo These rhythmic ideas in Jimmy's solo are the exact same magical rhythmic mechanisms that Lester Young made a career out of and which Steve shared (and made quite understandable) in his MMC titled Jazz Guitar Phrasing, Part 1. In the DownBeat article, discussing this wonderful 3/4 over 4/4 is quoted and described "Players who did not utilize this thinking as being flat-footed." The Mike's Masterclasses which Steve has authored will allow you to not be flat footed. The true impact of Steve's generous offerings on one's development of their own voice is awaiting you in each of his Masterclasses. There is not a clam in the bunch.
Charles M.Jazz Phrasing Part 2 (For All Instruments)
Transformative lessons that will give your playing the authentic feeling 5This follows on from Pt 1 and for me further ingrains the sense of swing and time. Having played several gigs since embarking on the first part I can confirm that the gains translate from the practice room to the stage. Really great stuff.
Ray BartletJazz Phrasing Part 1 (For All Instruments)
Excellent Class - looking forward to the rest of the series! 5This is very important information for those of us (like me) who tend to just run a stream of eighth notes when they solo. Here Steve starts soloing with just one note, but since he is playing a very interesting rhythm (the hemiola) it sounds much more musical and melodic than you would expect. I really learned a lot from this class and I'm looking forward to the next installment.
David TardioBebop Flow: Connecting Harmonic Concepts with the Family of 4
Useful, clear and precise 5This is a course that I've gone through several times over the years. I've actually also attended Sheryl's live workshop on the topic when I was living in California which was amazing. Experiencing it again now, I can say that this video is a real gem for those interested in getting the "flow". Sheryl Bailey shares her approach to practicing and developing strong sounding bebop lines and gives specific examples to demonstrate the concept. This is a lesson from a real performer so it's real practical application rather than just theory! Some bebop lessons that I've encountered at times tend to be dry and removed from the melodic flow and intensity of the real music. The best part for me is the accompanying PDF files that she uses as the basis for the demonstrations. It really helps me to study the ideas, pausing the video after she plays the examples so I can digest the sound and the fingerings for the lines. Sheryl refers to the handouts and this is helpful in pacing as well as creating a clear format for the class. For anyone interested in developing bebop chops, this is a good investment to help develop your skills.
Az SamadJazz Guitar Harmony Part IV
Fantastic lesson 5This lesson was great! I've played for many years, I picked up this course for some ideas and address some wholes in my playing. Just when you think you know something inside out, Tom comes and turns your perspective upside down. Lots of great exercises and filled with information. Plus Tom is an amazing teacher who explains everything clearly.
Jay MatharuJazz Phrasing Part 1 (For All Instruments)
I love playing with these poly rhythms! 5Very fun to work with! I haven't done this in a while...so I had forgotten about them. This first one 3 against 4 is a good entry point. Can't wait for more to come.
George ColeJazz Phrasing Part 1 (For All Instruments)
Simple routines that will transform your playing 5A couple of hours with this course and I sound so much better I can't believe it. The great thing about rhythm studies is that everything benefits - soloing, melody, comping, everything. Can't wait for my next gig in a couple of days, thanks Steve.
Ray Bartlet8 Sets of Jazz Blues Changes
Very Practical! 5This course is a great way to spend an hour with Randy, virtually! It's pretty much what the description says with Randy going through 8 different Jazz Blues changes from bebop to Coltrane along with tritone subs and a lot of the classic jazz sounds we've heard on records. The changes are notated but the solos and lines are not transcribed so that's up to us to transcribe if we hear something cool. Randy delivers the course in a friendly manner with clear theory explanations when needed too. If you feel like you've been repeating the same subs during your jazz blues solos, check out this video for some ideas to spice things up. To learn, you can just play along with Randy (many times on the same changes if you'd like) to internalise the sounds and time feel too. I've gone through it once so far and can see myself repeating it to get more out of it. Thanks Randy!
Az SamadJazz Phrasing Part 1 (For All Instruments)
Another absolutely great lesson! 5Steve Herberman is an awesome player and excellent teacher. I'm so glad for having taken this course! A bunch of ideas to improve your jazz phrasing! Thanks
Daniel CorzoBlues: A Modern Jazz Guitar Approach – Part II
Part 2 starts where Part 1 left off 5If one is willing to go through all the exercises (preferably in all keys) shown in Part 1, the student can get a very modern sound over the blues progression. Part 2 digs even deeper, the concepts presented are not only fun, great sounding, but also highly suited for the guitar as an instrument. Tom Lippincott once again proves he is an absolute master of the instrument and jazz guitar education. He's doing some incredible work, and I'm always looking forward learning from him.
Ivan ElnA Guitarist’s Approach to the Harmony of Bill Evans
A true gem... 5How this class hasn't been rated yet is unfathomable to me. It's lessons like this that make Mike's such an invaluable resource to musicians. Some folks will want to complain about the sound or picture quality (I think this was one of the earlier lessons on the site) but if you can get beyond that and really listen and play what Jacobs is getting at with regard to Bill Evans and his concepts - you'll be in for a real treat. Jacobs takes something that could easily be bogged down with technical jargon and technique issues, cuts through it all, and presents a thoroughly captivating look into the insights he has gained from studying Evans piano playing. The most important part (of any of Mike's lessons) is that you put in the time playing. There is no hand-holding here... if you want those kind of lessons go elsewhere... these are real lessons for real players.) To be able to spend an hour and a half in the presence of one master teaching the music of another master is a rare treat. To watch and listen to Jacobs think through all of this material is pure gold. Do not hesitate checking out this course. It's the sort of lesson that rewards repeated watching and most importantly, playing through. Your playing will thank you; your bass-player and piano-players will thank you... I just can't say enough great things about this course.
Andrew HughesThe Diminished Scale: A Modern Jazz Guitar Approach – Part 1
A course you can return to many, many times 5I have purchased many of Tom's classes and have been very happy with all of them. It is amazing how much material he can put into one class. And he does it in such an organized way that you can keep going back to different sections to improve or brush up on one particular aspect of the material without having to go looking all over the lesson to find what you need. I particularly like the scale exercises that help you resolve from the diminished scale to a major scale - this is something I have REALLY needed to work on in my own practice (that is, connecting ideas). If you really want to improve your command of a particular concept then you will be very happy with all of Tom's classes (check out his melodic minor series as well for a similar approach).
David TardioAltered Sounds
Lots of great information here 5Steve Herberman is an outstanding musician (I've had the good fortune of seeing him live many times) and an excellent teacher. I really like the way this class is set up: starting with the basics (scales, chords, arpeggios) and then building from there. I like the way the licks he uses incorporates just some of the altered notes at one time (as opposed to throwing everything at you all at once). He also encourages you to use your ears to get used to (for example) adding flat and sharp ninths at first, then moving on from there. The examples are really good but also allow you to build ideas yourself. I am very happy with this course and I think any intermediate jazz guitarist will benefit from it.
David TardioAdvanced Jazz Guitar Harmony: 4-Part-4ths
Another great lesson from Tom! 5I have purchased many of Tom's lessons from the website and have repeatedly found them fruitful and inspiring. I am sure to get more! Thanks Tom!
Marcel BatinSoloing Using Chord Shapes – “Speak Low”
Fabulous and practical lesson! 5From a simple chord mapping of the tune springs much light depth and wisdom! What more could you want! Thanks Paul for sharing your humble humorous approach with Just the right balance of freedom and organization.
Budge SchachteII-V-I Motivic Phrases
Excellent lesson 5Lots of examples and reiterations of examples so you can understand how to develop them and create your own. Excellent pacing throughout the video and very thorough explanations of what he is doing. One of the most valuable insights into this jazz progression I have come across. The ideas are also powerfully simple, tasteful and melodic. 200 rambling, boring, meaningless 251 licks that are tough to remember this isn't. Instead he teaches you how to build melodic phrases by combining theory and the neck of the guitar to makes the lines shift. He shows you the rules to do this, a ton of examples all accurate on PDF, and the rest is your imagination. I cant rate this lesson highly enough!
L FlindallSoloing Using Chord Shapes – “Speak Low”
There is "Gold" in them there hills! 5The last 30 mins of this masterclass is solid gold! Paul lays it out and the stuff he plays is fantastic! Go get yer shovels! 🙂
George Cole“Have You Met Miss Jones?” – Masterclass
Love Randy's Teaching Style 5I love this lesson, as I do ALL of his (I own them ALL!) Randy has a way of teaching that is so easy going and accessible and "real world". His approach to improvisation and teaching it makes me feel and sound like I'm learning jazz right away without overly focusing on "scale scale mode mode" talk. Every time I learn a tune from him I feel I am armed with the approach of a seasoned pro.
Steven MooreAnatomy of a Standard – “I’ve Never Been in Love Before”
HDQ 4Jamie Taylor, is absolutely the best class editor on the site. His videos are HD quality, perfect audio, no dead time, no wives passing through - thanks to a professional media editing. Great class! I hope other will follow with more complex tunes.
marco giussaniModern Jazz Guitar – Part II
5Tom is one of the finest educators/guitarists going. His courses are pure gold and offer a lifetimes worth of study. What an absolute treasure trove.... these lessons are just awesome. The care taken in assembling the copious supplemental material is the icing on the cake. For a self-directed, motivated learner - these lessons are the equivalent of a first class music school education. But there is no hand-holding here: put in the time and you'll get results. But if you're unwilling to do that, don't waste your time. This is serious knowledge for tbe serious student.
Andrew HughesRhythm Changes – Modern Jazz Guitar Approach – Part I
Great.. Very great masterclass! 5If you want to learn to play Rhythm Changes and be thorough, you need to buy this class! This is a GREAT class! Tons of examples for comping and soloing. Tom explains everything very clearly and the whole lesson is very easy to follow. And much of the stuff is applicable to other tunes as well. Thank you Tom for these amazing masterclasses! Each one i've bought are just pure gold! So well organized.
Erno MetsolaJamie Taylor Live Q&A 4/8/18 at 10am EST [Free for Members]
The ear approach 5What makes Jamie Taylor special, is his constant point of view on how to learn things with your ear, more than just with your mind. In this session there are lots of absolutely great insights about practicing with this approach. Thanks Jamie.
marco giussaniBlues: A Modern Jazz Guitar Approach – Part I
No better teacher than Tom 5Tom is not only a very inspiring player, but also a master teacher. The material he presents is very organized, his exercises and examples are rich in musical content and his explanation of the underlying principles of the blues and it's harmonic implications are very easy to grasp for players with a basic understanding of jazz. He not only shows you the door – he opens it as wide as possible. Putting trust in his methods and regular practice will take you right through it.
Ivan ElnComprovisation – The Missing Link
5Jamie, "KNOCKED IT OUT THE PARK" with this Masterclass “Comprovisation” The missing Link, what a great introduction to playing patterns or melodic fragments as Jamie presents them. I am glad Jamie opens up the video explaining that Comprovisation is a word he made up. In short, it is condition (pattern) playing combined with spontaneous expression (improvisation). Jamie is quick to point out that these are not licks, but compositional elements borrowed from other sources. If you have the time, I suggest that you listen to the original source material to fully comprehend the potential of the pattern/fragment. Jamie borrows material for his patterns from the jazz repository: Strong melodic fragment from a well-known standard, melodic fragment(s) from a Jazz icon’s solo that he extended into a pattern(s), Scale fragments and arpeggios. To get the most out of the material, you should probably have a rudimental knowledge of chord progressions and harmony. The value of practicing patterns is understanding the musical situation the pattern fits in. In my opinion, practicing patterns in the wrong place or wrong key can be counter-productive. Jamie helps with this effort by listing the chords for most of the progressions and walks you through his thought process for applying the patterns to common progressions. Specifically, how to work your way into the pattern and how to work your way out of the pattern and resolving to the tonic of the key. This is an excellent way to absorb the jazz language. By continuously practicing this material and constantly adding to the patterns contained in this masterclass; hopefully, you will find that this material will integrate with sounds that you are already familiar with, and become a part of your muscle memory. And ultimately, be improvised and performed effortlessly in the moment. Good luck, and thank you Jamie for another great class.
Gy MotenThe Diminished Scale: A Modern Jazz Guitar Approach – Part 2
Great explanation & great playing 5An icredible broad subject is here boiled down to a good sounding system. A fantastic course of reference and inspiration.
Dave SilhanekFun With 10ths
Fun With 10ths 5As always, Steve shows a bunch of cool stuff to practice, providing a different perspective of the instrument and our approach to it. And he's so right: IT'S FUN!!!
Daniel CorzoBebop Flow: Connecting Harmonic Concepts with the Family of 4
Big Thumbs up! 5Just wanted to add my voice to all the positive reviews of this lesson with Sheryl. This topic is something she has touched on over at Truefire, but the sum of the whole lesson is of great value in teaching this idea of 'Flow', even if you have seen those snippets. The teaching style, the playing, the pace, are all first rate and I can't recommend this lesson highly enough.
Michael HSoloing Over Major ii, V7, I Progressions
Invaluable and Highly recommended 5Jay’s approach to improvising over the ii-V-I progression-the most common chord progression in standard jazz tunes-is very accessible to all levels of experience. Every player must be able to hear and negotiate this chord progression in order to improvise well. Some of the things that I really like about Jay’s masterclass are: 1) Key center approach, taking the well-known major scale and breaking it up rhythmically and melodically to sound musical and always be aware of the resolution to the home chord (G major in this lesson), 2) Efficient hand motion, shifting up one fret (Ab major) towards the home key (G major) to get some really nice alterations/tension on the V chord (D7), 3) Use of arpeggios-to get some really nice inside sounds and “a good way to begin improvising,” 4) Position and Shape based movement on the fretboard-gives you better insight into using chord shapes, intervals and triads to build your improvisation, and 5) Use of chromaticism and fourths-to fill your lines out and sound more modern (respectively). Regardless of your level, Jay’s approach will help you see what you already know a little differently and bring new approaches to improvising into view. More importantly, it will help you understand how to better utilize the fretboard. Even without trying to memorize each lick or pattern, I really enjoyed playing around with the concepts presented in the Masterclass to build my own phrases.
Gy MotenFun With 10ths
Not only ... 10ths 5..but hundreds of examples thoroughly notated and explained. As always Steve is complete and exaustive. (some practice required;-) Marco
marco giussaniPedal Points, Part 1: Lower Pedals
5Quite simply, this is some of the best guitar instruction I have ever seen. Steve Herberman has mastered the art of teaching, and I always feel so inspired and enabled after watching his classes. Incredible value for money on this one - it runs for 2.5 hours - and each example can potentially keep us busy for hours, as we are always encouraged to use them as a starting point for our own explorations. I cannot recommend this highly enough! I want to get the other Pedal Point classes, but the material shown in this first one is going to last me for ages...
Michael HBlues: A Modern Jazz Guitar Approach – Part I
Fantastic Course 5This is the 4th course of Tom's that I have taken. Tom is just as incredible as a teacher as he is a player. His courses contain very well organized pdf's with concise examples that he covers thoroughly during the video. Very easy to follow, and I especially appreciate the included backing tracks. Highly recommended!!
Ken ScottII-V-I Motivic Phrases
Excellent course - easy to jump right in, a pleasure to watch 5I have been so impressed with Steve Herberman's style of teaching. For such an amazing and gifted player, he always comes across as being modest, down to earth, humble. The course is a good length, and no time is wasted: it is all spent demonstrating and discussing the material, which centers around shifting phrases by interval, in a musical way, to match the changing harmony over the basic progression. Even though I am familiar with the basic 'tricks' involved here, I found a lot of the material to be very fresh and it gave me some new angles from the start, Most important - Steve's way of teaching inspires us to go and play this stuff with a sense of freedom and confidence. Full marks from me!
Michael HThe Diminished Scale In Improvisation
5That's it. No more mystery about diminished scale. Steve really put a great effort in this lesson. one word. Fantastic
High quality chord melody ! 5Once again Randy delivers a great lesson in a very warm and significant way. The first part is dedicated to a very melodic chord melody & variations. In the second part of the lesson Randy demonstrates sequential melodic improvisation ideas that are clear enough to motivate the student to develop his/her own melodies. I look forward to studying other essential jazz standards such as All The Things You Are, Just Friends, How High The Moon, Pent Up House and so many more with Randy.
Joel JakubowiczSoloing Over Major ii, V7, I Progressions
Jay Umble II-V-I Masterclass 5First of all, Jay Umble is a name that should be as well known as any in the jazz world. not only is he an open and approachable guy, he is a first-rate musician and teacher. His prior classes and written books are all outstanding. This class is no exception. There is an endless amount of information on the Net about II-V-I approaches by Experts and "experts", all promising a "new" and "novel" way, but Jay's ideas here are ones I can truly say are different and personal. This class, just over an hour of jam-packed info is totally accessible to those of you with modest or growing abilities as well as for those looking to get more jazz influences in their playing coming from other areas. Jay plays all examples over a backing track, giving context to everything, and sets out a simple approach of getting to G Major from A Minor not by fancy scales or convoluted theory, but by simple hand position shifting! This makes all kinds of Altered or "outside" ideas quite simple. That's the basis from which countless ideas flow. Great, great class, and highly recommended for those who are not yet pros but would not mind getting there. Good camera work, great organization, great content.
James S.Randy Johnston Live Q&A 3/1/18 at 8pm EST [Free for Members]
Great Class Randy ! 5Randy Johnston's class was informative , and done clearly and with a friendly and patient vibe. Totally worth it.
Pat KellySoloing Over Major ii, V7, I Progressions
wow 5I make a rule not to write a review because I am not good at both of playing and writing. After this class I am pretty sure I can sound over 2.5.1 without thinking too much. Anyway he has got the system and so do I. Thanks.
Je OuSoloing Over Major ii, V7, I Progressions
Recommended exposure 4Although Jay's original concepts are not necessarily introduced in methodic order and written examples are not always reflecting note for note what's being played, exposure to Jay's visual and sonic elegant flowing phrasing is a must, and will make you play better just after 20 minutes. Marco
marco giussaniRhythm Changes – Modern Jazz Guitar Approach – Part I
I totally agree with what James and Fulvio have said above.
I have previously brought 5 of Tom's lessons and I've found them to be immensely musically enriching. I've never been disappointed.
Thanks Tom, keep up the great work.
Pat LajoieModern Jazz Improvisation-Part 2
5Tom did it again!
This is also a great course - clearly structured, well prepared material - toms of information for years of practice.
Don't hesitate, buy it!
Ein großartiger Kurs - wieder einmal von Tom Lippincourt. Wie auch seine Harmony-Videos ist auch dieses klasse strukturiert mit sehr gutem Material - klare Sache: kaufen!
Ulrich Mueller-RomeikeAltered Sounds
this is the best guitar lesson on altered sounds I have ever seen!!
Your approach is really great and easy fo follow, especially thanks your pdf material provided.
Roberto PagnottaThe Inner Line
5Amazing masterclass! itÂ´s full of usefull information. The arrangement on "Stella by Starlight" is breathtakingly beautiful and also plays a lot of different ways to approach it. Also, there is a lot of written examples that you really can use adn shows real situations to play them in a context!
Anyway you canÂ´t miss him playing "Darn that Dream" in al lot of different ways!
iÂ´ve learn lot from this lesson and there is still a huge lot for me to learn from it. Really useful for the solo guitarist!! The arrangement of "Stella" is already on my repertoire with great success! donÂ´t miss it
Martin BlanesThe Joy of Practicing
5Tom is genius.
I bought this class. It's amazing!
I have all your class and I recomend.
All of best for you Tom!
Roberto Barros from Brazil!
Roberto BarrosThe Harmonic Major Scale
5I purchased Tom's harmonic major lesson a couple of months ago and am still going through it now trying to commit the chords and patterns to memory. His lessons are well thought out and rich in content, I will be purchasing more in the future. Thanks Tom!
Marcel BatinLive Q&A 1/15/18 | Tom Lippincott [Free for Members]
5Every answer to every question has had something interesting in it. A joy.
Pedro MunozComprovisation – The Missing Link
He did it again! 5Not every musician is a good teacher, but Jamie definitely is both. If you are (like myself) well informed, have practised hours, days and years, but your playing is still somehow just about average than I strongly recommend Jamies videos (all of them). He seems to know my questions, shows me exactly what to do or redo or makes me look at well known material from a new and more acessible point of view. I just love it.
Mano FlickJazz Guitar Finger-Style Technique
comprehensive assessment 4As ususal Tom carefully reviewed all the techniques available for those who to certain degree opt for fingerstyle or hybrid picking. Tom wrist is quite flat on the guitar body if compared to classical technique; this renders hybrid picking quite impossible to be used effectively. Gustavo Assis, from Brazil, and Tim Miller, may be resources worthy to be explored, before giving up with hybrid picking. In any case, Tom flowing fingerstyle execution of Milestones, clearly shows that he made the right choices for his playing. A few words may have been said on string gauges and related tension. Very usefull class.
marco giussaniFun With 10ths
This is how it's done , with fun, with 10ths!!!!!! GVE approved 5It is very difficult to define musical instruction in words. We've all heard the axiom that talking about music is like dancing about architecture (or perhaps marine biology). Whatever words I choose to say about this Masterful Steve Herberman Master class, they will never have the richness of the emotion or energy that the materials inside this course contain and may very well help you to convey with your own guitars and fingers. In other words, it is my $0.02 that every note found in this Master class holds the intensity of actual feelings. I almost wish I was the only person in the world who had this Master Class. But alas, I am not. And if you become a person who also checks out this masterclass you will hopefully understand what I am trying to say. Also, if you ever opened up any section of George Van Eps' 3 volume treatise Harmonic Mechanisms for Guitar and perused the sections on 10ths, you'll learn that Steve has clearly learned from Mr. Van Eps, and yet has grown, cultured and nurtured his own voice in 10th land while remaining respectful to GVE. I am only speculating when I say that you may also be able to develop your own voice in 10th land should you take the plunge and get this Masterclass.
Charles M.Developing A Personal Practice Routine
4After the lesson I understand it as a way to structure two of the past Steve's lessons, Fundamentals checkpoint an how to learn a tune. The way he is dividing the possible tasks into levels is so brilliant; then the student doesn't have an excuse for being overwhelmed and the only way out is to begin the practice.
sergio jaenMinor Line Concepts
5Another tremendous, info-packed class. Jay Umble takes those students with an already moderate knowledge of the fingerboard through a multitude of ideas for creating your own personal ideas over a simple G minor chord. He breaks the neck down into 5 positions, and by going through ideas such as side-slipping, superimposing ideas from the related dominant chord (C7) and the relative major (Bb ma), adding chromatics resolving to targeted chord tones, related triads over G minor, and many more, Jay gives the advancing student all he can handle. This class is sure to open eyes and ears, and is HIGHLY recommended!!
James S.Open String Concepts for Chords and Single Note Lines
5This lesson is not just about how to build chords or phrasing with open strings : it's a window to new harmonic horizons, from Debussy-esque impressionism to the flavors of brazilian guitarists like Toninho Horta or Joao Bosco. Thanks Mr Lippincott.
denis boutraisII-V-I Motivic Phrases
5This is such a great class! Mr. Herberman is a master, and an incredible human being! He is a true practitioner of what he preaches! The sycopated lines in the pdf echo ideas from the Action:Reaction record, particularly from the track Negev Journey! I recommend for someone who tired of their old, "bag of tricks", as Wes used to say, and really hone the skill of moving ideas in intervals of minor 3rds over a dominant and understanding what a minor 6th pentatonic scale is.
Marco EscobedoRhythm Changes – Modern Jazz Guitar Approach – Part I
A clear and thorough approach to the basics, plus great illustrations of the subs used on diatonic changes that really show where the 'jazz sound' comes from harmonically. I found the single-note exercises very helpful in applying all the information. Nice work Mr. Lippincott, and thank you!
Steve NyeHarp Harmonics
5Once again, Juampy has put out a masterpiece. there is a lot of great information here, and he takes the technique into higher and further areas than other learning material. Highly recommended.
James S.Double Stops for Jazz Guitar
5I know I may be sounding like a Herberman Cheerleader, but honestly, I have NEVER gone wrong with any of his classes. This is no exception. In the last few years, my playing has been nearly completely remodelled, thanks to his work, Sid Jacobs, David Oakes, Jimmy Wyble, and George VanEps. I now nearly never think in terms of one note at a time; always now, I can "converse" with myself in multiple lines, voice movements, etc. If blazing shredding lines is not your thing, take this class and see how much can go on with 2 notes moving together, apart, close, far apart; you'll be amazed at how this helps you grab chords or chord fragments anywhere on the neck at any time. I'm a very slow learner. The videos are great, but I need to ruminate over the printed material over and over. Steve is also very accessible by email. I had a question about the substitutions in one of the lines here, and he answered me in about 20 minutes. Can't beat it.
James S.Lenny Breau Style: How to Comp While Soloing
Lenny Breau: Comping/Solo (Steve Herberman) 5I just worked through this lesson a couple of times. It's terrific. I hear Lenny Breau and think how could anyone do that?! Then you get this lesson from Steve Herberman who is rare in that he can communicate difficult ideas and concepts in clear ways. This does not mean he makes things easy, as this lesson has challenges he notes. Steve is just great at helping to break things up into manageable portions, and then demonstrate possibilities for approachingthe challenging aspects. Once through this, even in a rough way a couple of times, I can hear the beauty in my playing that I associate with Lenny's. That's rewarding in itself, but knowing I can go back and have Steve walk me through wherever I want is what makes this a great lesson—that, and Steve's approach to teaching which I see as guiding the player to find his/her voice, and offering encouragement in the process.
Gregory S JohnsonRhythm Changes – A Two Speed Approach
A note on one of the previous comments: Unless I am forgetting something of past Abersold studies, I find Jamie's approach actually quite different than Abersold, in that it does not so much focus on a chord by chord analysis, but rather goes for the big picture, giving students the barest bones structure, the essence, of Rhythm Changes and then working up from there, gradually adding more sophisticated harmony.
This matches my approach to teaching and studying jazz harmony. I really appreciate how Jamie is able to impart this understanding with less technical jargon, than the usual approach, and still impart something substantial -- as opposed to either getting very abstract and technical (which is a tendency I struggle with when teaching), or on the other hand just giving a bunch of licks to play, a la "50 licks you must learn", which don't necessarily impart a deeper understanding of the music. Well done Jamie! This approach is well worth developing and fleshing out with other standard progressions. I would say go for it!
And thanks so much to Jamie and Mike for making this particular lesson avaIlable for free!
George KormendiExploring the Chord/Single Note Line Connection
5Great Video and a Great Lesson! It's basically a system of organizing great sounding arpeggiated chord shapes over standard progressions. First half focuses on ii V's with some REALLY GREAT voice leading and extensive use of the Altered scale. IT really makes those colors easy to obtain all around the neck and gives you some great chord subs. IT can go even deeper if you look at all the other possible uses of the melodic minor over dominant chords.
Great Extensive PDF files with some great exercises.
The lesson also dives into passing tones based on the shapes and the diminished sound over dominant chords. And something I think sounds like a pedal steel guitar technique...but it is using standard chord shapes and playing in a legato fashion to incorporate single note lines into full ringing chords. Very Frisellian.
Great lesson and better teacher.
Brandon FosterPedal Points Part 3: Inner-Voice Fretted Pedals
5Genius is a much over used term, but Steve Herberman is one of the few who is doubtless worthy of the epithet. His performances and educational materials have made me realize that he is the heir to the throne that George Van Eps left vacant when GVE moved up to heaven. For years I have attempted to plow, though quite futile was my journey till now, a musical furrow in the land of pedals. In other words I thought a pedal was only a sustained note in the bass. Well, I was wrong. Steve has proved to me that pedals provide a way to express a bouquet of contrapuntal ideas. As I began to listen to Steve perform the perfectly transcribed and fingered sounds on the video material I suddenly realized that Steve was revealing, particularly in the open voice triads section the sounds of everything from Ed Bickert's wonderful harmonic concept to Jim Hall's colors to Bach's resounding contrapuntal soundscapes to Joe Pass' flights on his Virtuoso series. Steve has let the cat out of the bag and gives away the store. We all can now be our own chamber music group with just six strings on one instrument. Steve has revealed a way to play that mankind previously thought was only able to be performed by a piano or multiple instruments. This material, while applicable to guitar, is also applicable to arranging, improvising and traditional composing. This class can serve as a lifetime of of ideas about how to make some very real, original honest and beautiful musical statements that others will be glad to listen to. This class will change your musical life. You will be limited only by your imagination when applying this material to everything from the harmonies and melodies of Bach, Bird, Berlin, Gershwin, Paul Simon, Porter, Beatles........
Charles M.Open String Concepts for Chords and Single Note Lines
5Another thorough dive into a too often overlooked aspect of guitar possibilities. Not done with it yet, but it's a very full and interesting package. Thanks again, Tom, for presenting a useful view of the instrument.
Glenn BetcherApplications of Triad Motion Studies Inspired by George Van Eps
5Wonderful lesson. I now see where the study of the Harmonic mechanisms of George Van Eps can lead...very far from the exercises that seem dry at first glance
Lie HaxelOdd Meters
Excellent. Easy to follow. Very well-thought out. The examples given are very good and doable.
N.Teerapenun [ Bangkok, Thailand ]
Nakarin TeerapenunJazz Guitar Harmony Part I
5Tom has a great way of breaking down music theory as it's applied to the guitar in a simplified and systematic manner that anyone can grasp. Definitely gave me a new perspective on some aspects of theory I wasn't aware of and confirmed my uncertainties (I am self taught) of what I did know. Part one primes you for the knowledge you will need to proceed forward on your journey with these jazz lessons. I would highly recommend these lessons to any guitar player looking to advance their musical knowledge and familiarity with the instrument. Thanks again Tom!
Thaddeus FaulknerGreen Dolphin Street – Changes, Voicings and Lines
5Your lessons are so clearly explained. After having I think EVERY one of your cds, I know how well you could easily just "show-off" your p[laying skills and I appreciate how instead you are showing off your teaching skills. Please do more lessons for us!
Steven MoorePandiatonic Guitar
5Tremendous class! Very novel approach, somethings you won't find in any standard learning material, well-presented and easy to follow.
James S.Jazz Guitar Harmony Part I
5The fundamental building blocks of jazz harmony immediately applied to the guitar. If you are a beginner in jazz and don't want to have "holes" in your development these series are for you, and if you're not you can still find some interesting stuff like contrapuntal movement in diads. Also recommended for jazz teachers.
Pedro MunozMajor Linear Concepts
5I would like to tell you about the lessons that I bought from Jay Mikes masterclasses
The first has been .. Major Linear how to play with class and taste of an agreement apparently static and Jay expertly crosses the Ionic with the Lydian mode with a refined timing.
refined. The second Dominant Linear, even here on the timing of the sentences is the master and it starts to go out for the territories.
The third dominant altered. Here. Experts in the field is to decrease tensions and stairs. These three classes in addition to succulent licks, Jay a lesson in how to connect the sentences on the handle.
The last Giant Steps, Jay is correctly emphasized for most of the video on the harmonica, because if you store the symmetries nn nn can be free to improvise with skill.
Waiting for the second part I would like to publicly thank Jay for what he taught me.
Fulvio GarrioneBebop Flow: Connecting Harmonic Concepts with the Family of 4
5This lesson is crucial for everyone who wants to approach and get inside bebop language. Sheryl is an amazing teacher, capable to make all the concept understandable. Reccommended!
FABIO RAMACCIHarmonic Rhythm
5Great video the handout alone to see his voice leading changes from the video. So many ideas to work on in the video from begging to end. I hope he does more videos for Mike's Master Classes.
Steve BarnetteThe Joy of Practicing
5Very inspiring course on a subject that some find difficult to deal with. Tom's enthusiasm and love for the instrument are in abundance - offering practical advice and unique insight into the guitar and its nature. My go-to when I need a boost in my practice routine.
Andrew HughesThe Diminished Scale: A Modern Jazz Guitar Approach – Part 2
5Tom's Diminished Course provides all you need to know about subject. Look no further. This 3 volume series covers it all.
Andrew HughesThe Diminished Scale: A Modern Jazz Guitar Approach – Part 1
5Tom's classes are the best instructional videos on the net. Consistently outstanding instruction from a monster player. Buy all his videos without fear... these videos will provide a lifetime of inspiration.
Andrew HughesHeads, You Win!
5I believe I have downloaded all of Jamie's classes now. His lessons are practical and applicable to the jazz genre. With this new addition "Heads, You Win!" you now have the tools to interpret and embellish the Jazz repertoire with confidence. Along with Jamie's other lessons and dedicated practice, you can develop a credible performance repertoire to gig with. After studying this music and attending gigs, the most important thing that I have learned is that the Jazz Fan is astute in how the standards should be performed (they know these tunes-Trust me!); as a musician you can't cheat it.
Gy MotenA Guide to Practical Comping – Part II
5Another excellent master class. There is a major amount of material for study in both Comping 1 and 2. Jamie Taylor really opens the door into alternate ways of thinking musically. I'm an intermediate player who has worked hard for a long time and these classes are an inspiration.
Paul BrookeBlues – A Two Speed Approach
5I bought Jamie's Blues video right after Rhythm Changes. It's just as great. The basic foundations of the blues, and the chart examples and variations that he demonstrates, are excellent in every way. My knowledge base and musical understanding has just been given a tremendous boost. I'm working my way through all his videos one by one, will try comping next.
Paul BrookeRhythm Changes – A Two Speed Approach
5For me, the Rhythm Changes "Two Speed" video is the best I've ever seen on the subject. I've looked at lots of other books and videos and never had things explained so clearly, simply and effectively. Jamie Taylor gets my vote as being one of the very best guitar/music teachers ever. Great teachers are great communicators, who know how to break their subject down to its basic foundations in a way that makes things fascinating and easy to understand. In addition to his superb teaching skills, Jamie really knows how to play. That's a rare combination. He's someone you want to emulate. His extremely clear and organized explanations have really opened up my eyes and ears. I'm on to his Blues video next and I have no doubt I will buy all his lessons, they are that good.
Paul BrookeMelodic Minor Complete – Part I: Theory
5First class of Tom's for me, I really enjoy his style. Very informative, clarified a lot of concepts. I'm looking forward to picking up some follow-on classes.
Glenn BetcherModern Jazz Guitar – Part I
5After having gone through quite a few of his classes, Tom's thoroughness and commitment to teaching comes as no surprise but this installment has the icing on the cake of specific examples by specific players. I was delighted to see Metheny's, Scofield's and Frisell's renditions of Lonely Woman, Secret Love and Days of Wine and Roses respectively. A fun one.
Pedro Munoz“Naima” – Exploring Modern Dominant 7ths
4Really interisting and complete approach of the B part !I like the artistic way sheryll illustrates dominant seven extensions. The A part is a little less complete, for exemple the third measure of the A could me more detailled. More Pdf would be welcome too ! But i really liked this class anyway!
laurent GILHODESMelodic Minor Complete – Part II: Practical Application
5Tom has incredible teaching and tackles subjects very clearly on the complex subjects, I recommend any of the classes.
Congratulations Tom and team site!
ISAAC NEGRENEMelodic Minor Complete – Part I: Theory
5Not knowing more then just a basic melodic minor scale i got this lesson. At first when looking at the material i was a bit let down that some of the stuff i was hoping for was in the second class. Well it was not without reason. In this class tom talks about the theory of the MM scale and gives shortcuts for getting started with the scale. Its just perfect and so well tought of. It really is the best way to aprouch this for me, cant wait to have this under my belt and start with the second class. If you really want more out of this scale both classes are a must, i bet i will get as much freedom with the MM scale as with the major scale when knowing and understanding both classes. Knowledge is power...... i want more 😉
Robert GajadharModern Jazz Improvisation-Part 1
5Modern Jazz Improvisation-Part 1 is some really good class! It contains many kinds of approaching of imrovisation methods so it is very inventive and varied. It is also very well constructed and thoroughly thought-out. The explanations are detailed and clear. Very helpful are the written notes and the provided backingtracks making practising more effective. It is some serious and thoughtful stuff from a great musician who exactly knows what it is to learn and to really know something.
Csaba BÃ©keRhythm Changes – Modern Jazz Guitar Approach – Part II
5I had and still have a lot of pleasure to study the first part! This part opens a lots of new way to play the rythm changes and go deeper in it in surprising directions!! Thank u tom great work!
laurent GILHODESRhythm Changes – Modern Jazz Guitar Approach – Part I
5A really complete lesson on the rythm changes. With this class u ll study it from the beginning to the more complex forms and learn great substitution ideas really effective!