Single note lines can be given greater depth by using two notes played simultaneously in a variety of interval combinations. These harmonic intervals that can be mixed and matched implying harmony with just two notes weaving in and out of chords and single note lines for interesting textural changes.

Guitarists such as Ed Bickert, Barney Kessel, Johnny Smith and Howard Roberts are just a few who have used double stops extensively in their playing.

The class is divided into two sections:

Part 1, harmonic scale studies (of every interval smaller than an octave) including 10th intervals, a veritable pillar of harmony. Both major and melodic minor scales are shown for each interval. The studies are logically laid out on the fingerboard for ease of memorization and use.

Part 2, II-V-I and minor II-V-I lines in every interval (octaves and smaller.) The lines are great for helping to build a jazz vocabulary and employ good finger mechanics. (Alternating pairs of fingers are used whenever possible.) The 62 separate II-V-I examples (in TAB and standard notation) are in a variety of keys and registers and are a good mixture of scalar and arpeggiated lines. The lines are between two to four bars long, ideal for alternating with phrases of single notes and chords.

Wherever possible an explanation of the lines are given with discussion about chord scales, neighbor tones, and altered sounds over dominant seventh chords.

If you are in a rut using the same kinds of double stop patterns than this class will help give you some new direction and awaken both your fingers and mind with refreshing possibilities.

Prepare for a fun journey with special sounds that reside between single note lines and chords!

Approximately 90 minutes with over 20 pages of written materials in TAB and standard notation.

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Class Content

Double Stops for Jazz Guitar
Double Stops for Jazz Guitar 01:27:00

Course Reviews


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  1. 5

    I 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.

    by james Seaberry
  2. 5

    This is an amazing class! Steve takes you through the process of constructing the kind of hip double stop lines that pepper the playing of Johnny Smith and Barney Kessel, as well as Ed Bickert, covering both lines from the major scale and altered sounds from the melodic minor superimposed over dominant 7th chords. There are a ton of examples and lines, and internalizing this stuff really helps get one’s playing into classic jazz territory. Lots of great material in here that could be directly transplanted into chord solos and comping, too. A terrific repository of awesome sonic resources–and it is very hard to find good info about modern uses of double stops anywhere else. Instant classic master class!

    by Kurt Newman
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