I often get requests to demonstrate how Van Eps’ triad studies in Harmonic Mechanism’s can be applied to comping and soloing as well as chord/melody. In this masterclass we’ll see how his multi-line  triadic approach can add depth and interest to triads and upper structure triads. If you’ve never worked through Van Eps’ books than this class could be a real eye-opener. If you’ve checked out Harmonic Mechanisms and need a fresh look at how to put the concepts into practical use over tunes than don’t miss this masterclass!
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Class Content
| Applications of Triad Motion Studies Inspired by George Van Eps | |||
| Applications of Triad Motion Studies Inspired by George Van Eps | 01:31:00 | ||
Wonderful 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 Haxel (June 13, 2017)
This masterclass is just awesome. It’s so full of information from the very beginning, Steve thoroughly explains fingerings and voice movement within the triads, over a rhythm and changes chord progression, thankfully, a lot of work to do. There are also some examples from his MelBay column, which make emphasis on chord changes utilizing Van Eps inspired techniques. I have the books and this video is excellent if you’re looking for more ideas. Absolutely recommended !
~ Rolando Lopez (May 6, 2010)
Ufff. What can I say…. Steve is a true master and great teacher. Here you will have a lesson that will keep you busy for months. It´s about rhythm changes, minor IV to I, I VI II V and II V I triad motion ideas. His chord melody on RC is great. Lots of handwritten material. Thanks to Van Eps and of course to Steve. Very inspiring
~ Sandro Norton (October 30, 2009)
Excellent material form Steve once again! The class revolves around a 32 bar study based on I got Rhythm, in which Steve has packed in an incredible amount of Triad motion ideas. Each ‘chord’ has activity in the top, middle and lower lines, open and close triads, interesting chromatic movements pivoted on a single note (once again top, mid or lower). The handouts are rich in examples that still keep me practising, even many weeks after purchasing the class. Any of the triad-motion ‘licks’ contained here can be practised in different inversions, string sets, open and close position and taken through chord progressions, played as single notes… always inspiring new ideas and and strengthening your sense of voiceleading… I finally see the point of those Van Eps books! Thank you Steve.
~ Nico Sabatini (March 21, 2009)