- Exploring 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 ClarkeSoloing 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.
MiguelSheryl 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 .
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