7 String Courses

In this class Steve takes you through the process of developing walking bass lines and adding comping chords in an array of specific locations to make the guitar sound like a full rhythm section. The bass lines are shown over a C Blues progression complete with chord substitutions to create more interest and momentum. Next Steve has a challenging “4 to the bar” walking chord line PDF with even more chord substitutions and very useful “walk-ups and walk-downs” that can be used over most common progressions. Gain control over this very important aspect of accompaniment and make your comping swing like never before. PDF materials written for a standard tuned 6 string guitar. Running time: 55 minutes Features 6 pages of PDFs (in both standard notation only and TAB and standard notation.)

内容紹介： ダウンビート誌で'’もっとも偉大なギタリスト 75’’の1人にも選ばれ、''現代のマエストロ''と称されるハワード・アルデンが、典型的な4音のジャズギターコードではなく、3弦を使ったストリングトリオ・アプローチを紹介する。3音のシンプルなコードだからこそできる、コードの内声に動きを加える方法や運指を、コードソロや伴奏に大いに活用できる応用例やジャズスタンダード曲のデモ演奏なども交えながら詳しく解説する。伝説的なジャズギタリスト、ジミー・ワイブルとの逸話や7弦ギターを弾く彼ならではのテクニックなど充実の内容。最後にはマイクズ・マスタークラスのマイク・ゲラーが生徒として登場し、直接レッスンを受け、数日間の練習の成果を報告する特典映像付き。 バイオグラフィー： アメリカの名門レーベル、Concord Jazzのレコーディング・アーティストとしてリーダーアルバムを多数発表。ディジー・ガレスピー、ベニー・カーター、クラーク・テリー、ウディー・ハーマン、レッド・ノーヴォ、ジョージ・ヴァン・エプスとも共演してきた現代のジャズギター界の代表するレジェンド。また、ウディー・アレン監督の映画『ギター弾きの恋』ではギターソロをすべて担当し、この作品でアカデミー賞主演男優賞にノミネートされたショーン・ペンには演奏指導もするなど各方面で幅広い活動をしている。

The use of delayed resolutions, often referred to as appoggiatura, is an extremely useful device in improvising, composition and arranging. In this class we'll be looking specifically at using delayed resolutions in single note lines, giving the lines greater melodic tension. These alternative note choices will be occurring mostly on strong beats, especially on the downbeat of each measure of music. The use of enclosures or approach note patterns are helpful in delaying the resolution of the target tones. The written examples use common chord patterns such as the major and minor II- V- I to illustrate the use of appoggiatura. The examples are shown in both long and short meter II-V-I progressions. Another important aspect of this class is the use of jazz phrasing, starting and ending phrases on different parts of the measure. The use of accents combined with syncopation can really make the lines swing. Pairing these rhythmic devices with the use of more interesting note choices occurring on strong beats will invigorate one's single note playing. Getting a firm grip on this seldom-discussed technique will help elevate your single note improvising, providing the player with many new ideas to take from the practice room to the bandstand. Running time: 47 minutes 7 pages of PDF exercises in TAB and standard notation

The goal of this information-packed class is to learn and understand many useful mechanisms that can lead to improvisation in a Baroque style. This time we are going to examine some easier to memorize geometric patterns on the fingerboard making them more directly applicable in improvising. This class will continue our look at 3 part harmony and contains the following topics, techniques, and devices: 8th note bass melodies below a 6th interval Inner lines between 10ths and other intervals Intervallic triad voicings (wide skips between the bass voice and the middle voice) Approach notes into all 3 voices of triads IV V I progression in both major and relative minor chromatic lines in inner and lower voices contrary motion and finger teams staggered voices/delayed entrances secondary dominants rhythmic displacement melodic minor usage brief discussion of the Bach Lute suites and suggested recordings If you've wanted to understand how improvising in a Baroque-inspired style might be possible then this series is for you! It will help the guitarist in broadening their chord-melody technique. 12 pages of PDF material in standard notation and TAB with fingerings

In this second Baroque class, practical progressions are used to focus on playing three-part harmony on the guitar in a classical style. V-I and IV-V-I cadences are a hallmark of the Baroque period, all of classical music, and music in general. The exercises contained in this class utilize some of the most important concepts in multi-line playing. Pedal points throughout all three voices are heavily represented in the exercises. Important cycles are covered; cycle 4 and cycle 6 using both diatonic target chords and non-diatonic targets. 8th note lines are distributed among the three voices and chord voicings specific to Baroque counterpoint on the guitar are featured throughout the exercises. Both closed voicings and open voicings are utilized, the latter yielding a very full sound, with great separation between bass and upper voices. There is an emphasis on the very important use of secondary dominants, adding a very colorful sound to the examples. Working with the exercises in this class, the guitarist will ideally use his/her mind and fingers to trace the three moving voices while building up valuable dexterity and finger memory. Through detailed harmonic/melodic study, diligent practice and original exercises written by the student, it's possible for guitarists to eventually be able to do what the Baroque masters were so accomplished at: improvising counterpoint! Running time : 70 minutes 12 pages of written material in PDF format in standard notation and TAB Soundslice enhanced examples!

Part 1 of this single note-based class explores the superimposition of 3/4 rhythms over 4/4 swing commonly called hemiola rhythms. This rhythm is a hallmark of jazz syncopation and can really make your solos and comping swing through it's “over the bar line” phrasing. The class begins with one of the most swinging rhythms in jazz from Duke Ellington's “It Don't Mean A Thing.” Three different common tone or pedal points are used to phrase over the chord changes to “Sunny Side Of The Street” using Duke's iconic rhythm. The next rhythm that is explored is the dotted quarter note, used in the form of guide tone lines and scale patterns. We then move on to harmonized diatonic triads in a modal context employing hemiola rhythms. Next we apply the same 8 th note rhythm of three note groupings to the changes of “Sunny Side” using triads, scalar patterns and enclosures. The practice is then extended to six note patterns. Finally we explore the classic “Honeysuckle Rose” pattern bending it into a 3/4 rhythm to be used over chord changes in 4/4. Working on one's phrasing will bring your playing up to new heights and establish greater rhythmic conviction in your playing. You'll be sure to benefit from working this elastic phrasing into your music as it is essentially what will give the lines forward motion and swing. Expected Outcome from this class: Break down some rhythmic roadblocks and feel rhythm in a freer way. This will give you the ability to phrase over the barline and swing harder! 4 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 31 minutes Sub-Topics: Hemiola Rhythms (3/4 against 4/4) Freeing up one's rhythmic feel

The Advanced Jazz Guitar Harmony series begins where the Jazz Guitar Harmony series left off. Unlike the first series , which consisted of parts 1-5, and was designed primarily to be worked with in sequential order, each class in the Advanced Jazz Guitar Harmony series is complete unto itself and explores one specific subject in depth. Classes in this series are intended for the intermediate to advanced jazz guitarist who has either completed the five classes of the Jazz Guitar Harmony series or who already has a working command of the basics of typical jazz guitar harmonic vocabulary. The Drop 2&4 and Drop 2&3 Chord Voicings In this class, two specific types of chord voicings, drop 2&4 and drop 2&3 will be examined in detail. The term “voicing” refers to how the notes are arranged in a chord. Many of the typical stock jazz guitar chords are shell voicings, close voicings, drop 2, and drop 3, all of which are explored in clear, systematic detail in the Jazz Guitar Harmony series. Drop 2&4 and drop 2&3 are two other possible chord voicings which are a little more off the beaten track for most jazz guitarists. These voicings have a unique and intriguing sound due to their relatively large spans and, in some cases, unusual intervallic combinations, and yet most of them are just as playable and practical for every day use as the more mainstream types. Usage In Modern Jazz Guitar Until recently, few, if any, of these voicings were in common use among jazz guitarists. Even though the latest generation of modern jazz guitar masters in the early 21st century have begun to make use of them more often, both the drop 2 and 4 and the drop 2 and 3 voicings on guitar remain less utilized than other voicing types. This means that these voicings contain a wealth of new, unexplored possibilities for guitarists looking for fresh sounds to add to their harmonic vocabulary. The basics of drop 2&4 and drop 2&3 voicings were touched upon briefly in part 3 of my Modern Jazz Guitar series , but now we will delve into that sound in detail. This new class provides a logical, systematic step-by-step approach for finding the drop 2&4 and drop 2&3 seventh chord voicings derived from the major scale, the seventh chords unique to the harmonic and melodic minor scales , and the embellishment of these voicings with color tones. Numerous musical examples are demonstrated on the video as well as written out in traditional notation and chord grid form, but the material has been designed to be open-ended enough that you will be encouraged to find your own path and work toward developing your unique musical voice If you are looking for a free download to this course, check out the complete advanced guitar video found here on the Mike's Master Classes youtube channel. Advanced Jazz Guitar Harmony, Drop 2&4, Drop 2&3, covers: review of the basics of the drop system for voicing 7th chords, including examples of conversion of close position chords to commonly played drop 2, drop 3 voicings explanation and demonstration of drop 2&4 and drop 2&3 voicings in depth discussion of the concept of chord inversion, including both “piano” and “choir” methods, and their application to drop 2&4 and drop 2&3 voicings hints to make learning the new voicings easier demonstration with written examples and close-up fingerboard view of all inversions and string sets for drop 2&4 and drop 2&3 voicings discussion of right hand techniques for chordal playing, including pick, pick and fingers combined, and finger style drop 2&4 and drop 2&3 version of the “chord scale exercise” which is a logical and musical presentation of voicings by inversion and string set, covering all the 7th chords diatonic to the major scale, with subtitles on the video that match each exercise to the written example development of additional fluidity with the voicings is explored by taking the voicings through diatonic cycles similar to those included in the Jazz Guitar Harmony series (includes a brief review of the diatonic cycle concept) discussion of method for finding the drop 2&4 and drop 2&3 voicings for harmonies unique to the harmonic and melodic minor scales, with examples and suggestions for practice techniques for adding color tones to the voicings with examples, along with the “color tone replacement chart” from the Jazz Guitar Harmony 5 class comping etude written on the chord changes to the standard tune “The Will Never Be Another You” utilizing the drop 2&4 and drop 2&3 voicings in a musical context, with notated comping rhythms, demonstration of use of color tones, contrapuntal movement, and use of diatonic and melodic minor reharmonization techniques running time: 128 minutes includes 18 pages of written examples and exercises provided in standard notation, tablature, and chord grids Jazz Guitar Harmony Series: Jazz Guitar Harmony Part V Jazz Guitar Harmony Part IV Jazz Guitar Harmony Part III Jazz Guitar Harmony Part II Jazz Guitar Harmony Part I

7-String Jazz Guitar for all levels will cover a wide range of topics for the 7-string player. From foundational exercises in chord playing, to single note solo lines employing the low A-string, to comping and arranging (and even composing on the 7-string.) Exercises will be given that illustrate inner line motion within a 7-string voicing as well as motion from chord to chord. Questions from participants in the masterclass always lead the discussion/demonstration to interesting places and are welcomed at any time during the class! Get the concepts in mind that you'll need to take your 7-string playing to the next level. View clips from this class

This class is an introduction to Baroque-style counterpoint filled with harmonic resources to aid in the ability to compose and improvise within this style . Focusing on contrary motion and the authentic cadence employing secondary dominants, cycles and modulations, the written exercises are designed to help get strong compositional elements in the ears and hands of the player. Once the finger mechanics and harmonic concepts have been practiced, two-line improvisation in this style can occur more easily. We'll be dealing with quick harmonic rhythms, chords lasting one or two beats and played in cycles resulting in music with forward motion that contain interesting modulations . Highlights of the class include: Single note Baroque-style etudes, 2-part exercises in contrary motion, melodic embellishments, conversational bass techniques, cycle 4 and cycle 6 target chords using secondary dominants. IV V I cadences in various keys, chromatic counterpoint in contrary motion, an original arrangement of All cadences in various keys chromatic counterpoint in contrary motion, an original arrangement of All The Things You Are written as a Baroque/Jazz hybrid for 6 string guitar with additional pages included for 7 string guitarists. The class comes with 21 pages of written material in standard notation. Any player wishing to get deeper into composing and improvising in the Baroque style will not want to miss this class! 65 Minutes 21 Pages of PDF materials