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.
- Melodic Minor Complete – Part I: Theory
A lot of great information 5I'm always really impressed with how much information Tom provides in his classes, and this one is no exception. There is so much depth that you never feel as if you've learned something superficially, and he emphasizes the need to take what you've learned and keep working at it to get a deeper understanding of the material. Really looking forward to part II of this class.
DAVID TARDIOSoloing Using Chord Shapes – “Speak Low”
Doing More With Less 5I really enjoyed this course because Paul took just a few chord shapes and worked his way around "Speak Low" in a very methodical fashion. This class shows you how to play some really good lines without knowing 500 scales and 800 positions on the neck. Highly recommended.
DAVID TARDIOPaul’s Picking Power Secrets
Paul’s Picking Extravaganza! 5Excellent course specifically for the picking hand! I hope there is follow up on this course as far as tempos how to handle them, articulation, slurring, sliding, hammering: when to do (for speed, effect). Thx Paul!
George ColeThe String Trio Approach for Chord Melody & Accompaniment
Class match 5This class matches with the Steve Herberman "Fun with 10th's" because if you take away the 7th of the chord you end up with a 10th interval, so I think they complement each other. Both are wonderful classes
Julio SÃ¡nchezThe Life Vest Arpeggio for Jazzers
Life Vest Arpeggio Master classes 5This series of classes about the "Life Vest Arpeggio" are wonderful classes that match with the Sheryl Bailey's classes "Be Bop Flow" they are the same concept but in this case concentrated in the maj7 arpeggio and its variants.
Julio SÃ¡nchezMotives Maximizer
Az is great! 5I’m really enjoying this course. I’m feeling more confident in my jazz blues lines and overall approach to incorporating motives into my playing. Az’s sophisticated and clear teaching style is great. Mike’s has some of the best courses out there and this is no exception!
James RustadDeveloping a Personal Approach to Chords
Developing a Personal Approach to Chords | by Dan Arcamone 5Even though I was only able to spend a very limited time learning personally from Dan Arcamone before COVID hit, I still consider him my teacher and myself a student of his. I know I am therefore sounding biased when I talk about his playing, but don't take anyone's word for it, just listen to his CDs (he has many of them) of his original music. And I know this will sound like blasphemy to some but I'll take his original compositions over Metheny, Scofield or Martino any day. He sounds like no other and in my humble opinion is probably top 5 in jazz fusion, (or whatever you want to call it) on the planet. This particular lesson is only the tip of the iceberg of what he knows and is capable of playing. I hope you guys at Mike's Masterclasses can get him to do many more lessons. I've seen him rip up and down the fretboard from about a yard away and went home just shaking my head in disbelief.
Anthony SaragiasMelodic Comping
5Blues and ballad with lots of examples of chord choices and approaches; importance of respecting the melody and complimenting the soloist. Great lesson.
Dane ClarkeSid Jacobs Tucson Workshop: Session I
Not nice! 1Full of ridiculous jokes and useless stuff!
Comping Paul Bollenback 4Excellent class lots of info on what and how to practice. Also what to listen for 🙂 I understand it is hard to practice comping you just have to do it and get feed back from other musicians how it feels. I would give it 5 stars but the video quality is pretty poor and hard to see (this is a minor point but would help if Paul had a good video camera).
George ColeSpring Is Here: Exploring the Harmony of Bill Evans
BILL EVANS IS HERE 5Great class, reasoning and applying Evans harmony on the six strings. Hope there will be some more of the kind ... (Monk, Debussy, Nichols, Ravel .. who knows?) Thank you Tom Marco
marco giussaniPracticing the Life-Vest Arpeggio (Days of Wine and Roses)
Jazzy arpeggios 5It's so useful, what a didactic lesson. Thank you Mr Castro. Vc esta de parabéns !
Denis BoutraisComping the Blues part 1: Comping Rhythms
Comping the Blues part 1 5Really helpful and informative for the first time I'm feeling the rhythm correctly . The taping exercises really help cement the feel . He clearly explains everything ! This was a good lesson for me ...would recommend to any jazz beginner
Willie StephensSpring Is Here: Exploring the Harmony of Bill Evans
Spring is Here 5This class is beyond fantastic. I have never gone wrong with any of Tom's lessons, but this one is so clear, so accessible, and so unique, that I am utterly floored. Great.
james seaberryIntervallic Soloing Using 4ths
THANK YOU,MY MASTER JEDI... 5Pure Inspiration...,Sid opens the Door...Amazing....A ''Must have''...for every serious musician...Thank you from the bottom of my Heart...
Emil GemedzhievHarmonic Rhythm
Excellent Concepts! 5Nicely laid out and demonstrated! Phil (I have never heard of him) is an excellent player! Wow what control! I really like his ideas. This video deserves multiple viewings because there is so much info imparted. This class is a must have! Thx Phil!
George ColeHarmonic Rhythm
top 5this is it !!!! thank you very much,
Karel Vijfschaft“Naima” – Exploring Modern Dominant 7ths
Tremendous Course on Tremendous Tune!!!! 5I first heard this tune about 1970. About 20 years later, my teacher helped me develop a chord melody (in E rather than Eb). It was close but she gets it more precisely. I never could figure how to solo after the first chorus. Now I have a number of options. Perhaps THE most important thing for Me is to listen to the chord and play the different scales and arps absorbing the emotional aspects and sounds. And keep doing it to get to the next level. For Me, this course was both Practical, as well as DEEP!!! Thanks Sheryl!!! Hope you'll be coming to Cleveland when some normalacy and safety returns.
Mike MillerImprove Your Right Hand, A Classical Guitar Approach
Somewhat helpful 5There was some helpful info on improving right hand dexterity. NO pdf of Etude. No discussion of using pinky. He seemed to have a fancy metronome, that I'm unaware of, that you can set for triplets, etc. I will work on exercises, as well as finding the piece he used to show case these exercises. Addendum - Victor Responded VERY Quickly! He sent me pdfs of Etude. He also provided additional info - pinky not used much in classical music and his metronome is called "pro metronome." THANKS VERY MUCH Victor!!!
Mike MillerBebop Flow Part 2: Combining Families for Altered II V’s
5Very interesting course, very well complemented with the pdf. It is mandatory to have some write information and Sheryl knows that us so good teacher as she is . Thanks a lot
Miguel BurguenoAnchor Chord Forms/Smile Insights and Tips on Harmony
Quick wins 5This is the a very nice lesson in harmony and chord melody. Deceptively simple it is unlocking a lot of doors. Recommended.
Ray BartletSolo Guitar Arranging Techniques
1Very poor class
Miguel BurguenoBody and Soul: Putting Chords to Work
More than information 5This course contains a lot of very useful material. Maybe more importantly, it gives you ways to apply that material, and not just to Body and Soul. You get a very full palette of chord voicings and inversions and substitutions, but also exercises to really get them under your fingers as quickly and securely as possible. Probably the most useful course I've taken on MMC.
John PopeBebop Flow: Connecting Harmonic Concepts with the Family of 4
Baileys Bebop flow 5I found this course to be very insightful. The family of 4 concept is great and provides the player multiple melodic options. Sheryl's 8 Bebop lines are very cool and I'm having fun working them into Just Friends. So glad I took this course.
Robert BlaggOut of Nowhere: Solo Guitar, Harmonic, and Melodic Approaches
out of nowhere 5Two of the nicest, most generous, most talented musicians I have ever met and been lucky enough to play with, and lucky enough to get all this great information and insights.
james seaberryChordal Strategies to Stella By Starlight Pt. 3
stella #3 5Outstanding class; lots of new material and ideas.
james seaberryJazz Phrasing Part 2 (For All Instruments)
Jazz Phrasing part 2 5This introduction to triplet rhythms and other asymmetrical patterns shows the student a way to build lines that float over the chord changes. The course uses There Will Never Be Another You as a vehicle to demonstrate these concepts. Steve's examples flow over the chord changes and I found myself presented with a whole new way to think about soloing. The examples are tabbed out and broken down into 4 and 8 bar sections to facilitate learning. Steve puts all the sections together at the end and the result is a beautiful etude that shows the concepts perfectly. I'm already experimenting with these concepts on other songs and beginning to see the unlimited possibilities of playing more freely using these rhythmic concepts. Thanks Steve for an insight into this very cool way of phrasing.
Robert BlaggA Guide to Practical Comping – Part 1
Connect the islands of your knowledge of applied jazz theory 5Jamie’s course is a tour de force of pedagogical brilliance. He focuses upon the harmonic aspects of jazz guitar comping (not much about rhythm here) which he approaches from a good number of interrelated angles. Some or many of these angles may already be familiar to the student. What is so magnificent in this course is Jamie’s insightful explanation and reasoning about basic matters, and then his exciting demonstration of techniques for extending and interconnecting the basic principles of the topics that he covers. Those topics include: shell voicings, different voicing strategies according to whether a bass player is involved, bass line comping (on guitar), chord cognates (same fingering yielding different chords depending on choice of root), drop 2 voicings, the chameleon nature of diminished and half diminished chord voicings and how they can be leveraged to form chord substitutions in an applied context, basics of chord melody and voice leading. You have likely visited and possibly concentrated upon a good many of these topics. But Jamie’s masterful presentation is bound to get your harmonic thinking and feeling flowing in new ways; new synapses will form, islands of familiarity will become connected by new causeways, and your archipelago of knowledge and skills risks becoming... a continent. Thank you, Jamie, for this treasure chest!
John BennettThe Life-Vest Arpeggio Part II
Insightful is an understatement!!!! 5If you are having trouble organizing your sound options when soloing over the standards, and have "had it" with learning a hundred scalar variations, this course will solve your problems. Sr. Castro is frankly one of the best teachers I have seen and his work in his series on the "lifeboat arpeggio" will give you a new way of thinking, a new system of organizing, and a revolutionary new insight into the fretboard that will make approaching even the most difficult standard understandable. Moreover, his insight enables you to do this "on the fly," while you are performing a tune. I wish that I had the opportunity to study with this amazing player and teacher when I was a young man, but at least I have found his insights so helpful even after over 40 years of playing jazz. Thank you, Sr., Castro, for your insight and flawless teaching style!
John DuncanMapping a Tune with Bebop Scales (Chroma Zone 02)
Mapping a Tune with Bebop Scales (Chroma Zone 02) | by Genil Castro 5Excellent. Gives great insight into how the melody of a tune can be conveyed by the appropriate chord scale while being faithful to the melody.