Jazz Blues Courses

Unlock the sophisticated bebop language of jazz piano legend Bud Powell, adapted for guitar by Mike Godette. Featuring 12 carefully transcribed licks from Powell's iconic solos, covering essential jazz progressions including six major 2-5-1s, two minor 2-5-1s, plus turnaround licks, chromatic triad patterns, suspended dominant ideas, and intervallic major concepts. Mike breaks down each lick with detailed analysis of the harmonic devices at play—from delayed resolutions and tritone substitutions to the innovative use of Dorian modes a half-step above dominant chords. You'll discover Powell's unique approach to chromaticism, altered tensions, and how to achieve that distinctive pianistic sound on guitar through specific fingerings and articulations. Perfect for intermediate to advanced jazz guitarists looking to expand their bebop vocabulary, this course transforms Powell's keyboard genius into practical guitar applications. Sub Topics Altered scales ii V I licks Soloing Level Intermediate Advanced Course Details: Title: The Improv Style of Bud Powell for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 53 minutes 4 Pages of PDF Included (with TAB)

Mike Godette dives into 12 iconic Joe Pass licks, offering an in-depth breakdown of the intervallic and harmonic concepts behind them, along with insights into Joe’s signature articulation techniques. Covering essential jazz progressions such as Major and Minor ii-V-I lines, the lesson also includes turnaround licks, an altered scale run, and an intervallic major lick. Additionally, some licks incorporate chord soloing—an unmistakable hallmark of Joe Pass's style. Each lick is meticulously analyzed in individual video explanations, running 5-6 minutes each, providing clear demonstrations and practical insights. The course includes detailed PDF transcriptions of every lick, ensuring you can follow along with ease and apply these timeless ideas to your playing. A perfect companion course to those looking to enhance their improvisation skills quickly. Sub Topics Altered scales ii V I licks Articulations Level Intermediate Advanced Course Details: Title: The Improv Style of Joe Pass Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 68 minutes 5 Pages of PDF Included (with TAB)

Join Mike Godette as he delves into the improvisational brilliance of jazz legend Clifford Brown in this detailed guitar lesson. This class provides an in-depth analysis of 12 carefully selected licks originally played by Brown, now meticulously transcribed for guitar. Each lick is presented with both notation and tablature, accompanied by a 4-5 minute video where Mike explores the nuances of fingerings, articulations, and the theory behind each phrase. Students will gain insights into translating complex trumpet lines onto the guitar, exploring diverse articulation techniques that capture the essence of Brown's style. The lesson also offers thorough theoretical explanations, discussing the use of arpeggios, chromatic passages, and voice leading. Additionally, it covers various scales including altered, diminished, and whole tone scales, providing students with a rich toolkit for jazz improvisation. Whether you're looking to enhance your soloing skills or deepen your understanding of jazz theory, this class offers valuable knowledge and techniques that will broaden your musical vocabulary and improve your ability to craft compelling jazz solos on the guitar. Sub Topics Altered scales ii V I licks Articulations Level Intermediate Advanced Course Details: Title: The Improv Style of Clifford Brown for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 52 minutes 5 Pages of PDF Included

In this comprehensive video lesson, Mike Godette guides students through an in-depth exploration of Oscar Peterson’s improvisation style, enhancing their understanding of his unique harmonic and intervallic devices. This lesson is designed to provide a thorough analysis of Peterson’s techniques, specifically focusing on the bluesy double stop licks that are a hallmark of his sound, and how these can be effectively translated to the guitar. Mike Godette meticulously deconstructs 12 distinctive licks taken from various Oscar Peterson solos. Each lick is examined and analyzed in detail, with Mike explaining the specific intervallic and harmonic devices employed in each instance. This step-by-step breakdown not only sheds light on the theoretical aspects of Peterson’s style but also provides practical insights into his bluesy sound. Students will learn how to incorporate these elements into their own playing, significantly enriching their musical vocabulary. Key Focus of Lesson One of the key focuses of this lesson is on double stops, a technique frequently used by Peterson to add a bluesy flavor to his improvisations. Mike demonstrates how these double stop licks can be adapted for the guitar, providing clear examples and practical exercises to help students master this technique. Additionally, the lesson delves into various types of sweep picking techniques, illustrating how these can be used to replicate Peterson’s articulations on the guitar. This approach not only helps in achieving the characteristic sound of Peterson’s solos but also expands the student’s blues playing into new and exciting territories. The lesson covers a range of subtopics essential for mastering Peterson’s style. These include jazz blues licks, which are a crucial element of his improvisational approach, as well as the use of double stops and sweep picking techniques. Each of these topics is explored in detail, with Mike providing valuable insights and tips to help students integrate these techniques into their playing. The lesson also emphasizes the importance of understanding the underlying harmonic structures that Peterson uses, providing a solid theoretical foundation for students to build upon. Categories This video lesson is categorized under Blues, Harmony, Jazz Blues, Soloing, Technique, and Theory, making it a comprehensive resource for guitarists looking to deepen their understanding of jazz blues and enhance their improvisational skills. It is suitable for intermediate to advanced players who are looking to expand their musical horizons and incorporate more complex harmonic and intervallic concepts into their playing. Overall, this lesson offers a unique opportunity to learn from Mike Godette’s extensive knowledge and expertise, providing students with the tools they need to emulate Oscar Peterson’s distinctive sound on the guitar . Whether you are looking to improve your soloing, refine your technique, or gain a deeper understanding of jazz blues harmony, this lesson provides a wealth of valuable information and practical guidance to help you achieve your musical goals. Sub Topics Jazz Blues Licks Double Stops Sweep Picking Level Intermediate Advanced Course Details: Title: The Improv Style of Oscar Peterson for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 57 minutes 4 Pages of PDF Included

In this lesson, Mike takes 12 different licks from a variety of Sonny Stitt solos and he breaks down and analyzes each lick one at a time and explains what sorts of intervallic and harmonic devices are being utilized in each lick. In addition to the theory explanations, these licks also offer a lot of insight into how to take saxophone lines and how to articulate them the most effectively when translating them over to the guitar and a variety of these licks utilize interesting slurs and sweep picking patterns which help to achieve a more saxophone like sound. If you are looking to get more Sonny Stitt sounds into your soloing, this is the lesson video for you! Sub Topics ii V I licks chord substitutions sweep picking Categories: Harmony Jazz Blues Practicing Soloing Standards Technique Theory Course Details: Title: The Improv Style of Cannonball Adderley for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 52 minutes 5 Pages of PDF Included

Mike Godette presents a unique look at the improv style of Cannonball Adderley on Guitar. In this course, you can expect to expand on your improvisational concepts and have a better understanding of some of the devices that Cannonball Adderley uses in his improv through analyzing a variety of different licks from his solos. Mike takes 12 different licks from a variety of Cannonball Adderley solos and he breaks down and analyzes each lick one at a time and explains what sorts of intervallic and harmonic devices are being utilized in each lick. If you are looking to get more Cannonball Adderley sounds into your soloing, this is the lesson video for you! Sub-topic 1: Improvisation Sub-topic 2: ii V I licks Sub-topic 3: Cannonball Adderley Categories: Harmony Jazz Blues Soloing Standards Theory Course Details: Title: The Improv Style of Cannonball Adderley for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 62 minutes 5 Pages PDFs Included

In this latest class, Randy Johnston will teach you a one chorus solo on a C minor blues note for note, and take you through a measure-by-measure analysis of the techniques used to create the solo. Randy will also teach you the exact chord voicings used to accompany the solo, with an analysis of how those voicings were derived. Looking for a fresh Blues Lick to add to your repertoire? Play and Comp to a Randy Johnston Minor Blues solo note for note and also understand the melodic and harmonic techniques used to create the solo, as well as how to play the exact chord voicings used. This will in turn allow you to create your own solos and comping on Minor Blues. In this course you will study: Voice leading, guide tones, and approach techniques as they apply to minor blues Melodic and Harmonic techniques and patterns used to create lines on minor blues, including a measure by measure analysis of these ideas Chord voicings and Comping applied to minor blues, including an explanation of the creation of the voicings used Intermediate, Advanced Running time: 31 minutes 2 Pages PDF Included

In this latest class, Randy Johnston instructs how to play the jazz-blues in F while simultaneously outlining the changes closely using approach techniques and chromaticism. If you are looking to sound both bluesy and jazzy at the same time, than this is the course for you. New Release Sale! You can expect to master a full written chorus of the blues with every line and lick explained and demonstrated note for note. In this course you will study: Voice Leading 3rds and 7ths (guide tones) and how to visualize them on the guitar Approach and Enclosure techniques and how to visualize them on the guitar WHEN to play the guide tones rhythmically to perfectly realize the chord changes Intermediate, Advanced Running time: 33 minutes 1 Page PDF Included

In this class, Randy dives deeper into the Coltrane Cycle. Randy demonstrates methods to become more fluent in applying the Coltrane Cycle to different applications within the Blues Progression. Randy walks step by step through specific lines and patterns, which will bring the student closer to spontaneous improvisation on both the Blues progression in general and the Coltrane Cycle in particular. This class is a further exploration of the concepts presented in Coltrane Changes Strategies part 1 and can be used either together or separately with the Volume 1 class. In just 33 minutes, Randy teaches how to apply the Coltrane ( Giant Steps ) chord progression both to the first 4 bars and to the last 4 bars of the 12 bar Jazz-Blues progression and discusses strategies for constructing jazz lines over this progression. Specific examples are provided and then the student is encouraged to use his own creativity to create his own solos using the strategies discussed. Categories: Blues Harmony Jazz Blues Modern Jazz Guitar Soloing Sub-topic 1: Superimposing the Coltrane (Giant Steps) changes over the first 4 measures and the last 4 measures of the Blues progression. Sub-topic 2: Specific lines and patterns to play over the Coltrane changes Sub-topic 3: Patterns and strategies for constructing original lines over these changes Running time: 33 minutes PDF Included

Everyone knows the Blues, right? Whether you’re new or continuing your exploration of jazz guitar, you most likely are familiar with the Blues. Mike's Master Classes Founder Mike Gellar presents his first class on using the Blues as a foundation to build on. Mike begins with the most basic, 3-chord, 12-bar blues. Each chorus after another he clearly introduces alternate changes to the Blues, evolving into ii – V – I, I – VI – ii – V and other chord progressions often encountered in playing jazz. Mike teaches you how to Learn and Understand these progressions so they become part of your playing and not something you need to try to memorize. This class is targeted to Beginning and Intermediate players. Sub-topic 1 Multiple chord progressions Sub-topic 2 Pedal Tones Sub-topic 3 Approach Chords Categories: Blues Chord Voicings Harmony Jazz Blues Student Outcome: Understand Chord Numbering System Play the Blues with more variety Develop a mental data base of common chord progressions Transcribe chord changes more easily Skill Level: Beginner Intermediate

Solo guitar gigs can overwhelming and scary. There’s no one there except you and your guitar, on stage or in a corner of a restaurant. You’ve called upon your inner Joe Pass and Tuck Andress but it’s still not enough... Enter the world of guitar looping! By playing a tasteful comp, recorded live (none of that pre-recorded backing track stuff), you can add an edge of energy to your solo sets. Randy Johnston is here to help you. In this latest masterclass, you’ll discover how to get a solid time feel so that your comping is swinging and solid. Swing and groove is everything so if you want to lock into the pocket, this class is for you. Randy will share some very practical real world tips on using a looper for your solo sets (and show you the exact guitar looper of his choice and why he uses that model.) In addition to the practical looper tips, Randy shows you exactly how to practice and develop musical comping chops. People talk about using the metronome but not many will show you how to really practice with it. We all have heard about practicing with the metronome on 2 & 4 but why does Randy also practice with the metronome on all 4 beats? Find out in the class. This is an info-packed, actionable and usable class (just like any of Randy’s videos). No filler material, just a solid 33 minutes of info that you can use immediately in your next practice session. Even if you’re not going to use a looper, this class will help you tune up your rhythmic comping chops. 2 Pages of PDF materials in standard notation (Rhythmic Notation, Chord Chart and Chord Block Diagrams). Full video is 33 minutes

The second E-book by Az Samad, Jazz Guitar Licks and Etudes contains 30 jazz guitar licks and 5 etudes (2 jazz blues single note solo studies, 1 single note solo over 'Blue Bossa' and 2 old school picking etudes to help develop rest stroke technique). You will learn licks that incorporate classic Wes Montgomery and Joe Pass sounds to more modern intervallic phrases inspired by the playing of Julian Lage, John Stowell, Nir Felder and Martin Miller. You will receive a 27 page E-book (PDF File) containing: 30 LICKS 5 Major Scale Jazz Licks 5 Jazz Blues Licks 5 Minor Pentatonic Jazz Rock Licks 5 Double Time Cmin 7 Jazz Licks 5 String Skipping Jazz Licks 5 Sweep Picking Jazz Licks 5 ETUDES Blue Bossa (Solo Etude #1) Jazz Blues Etude #1 Jazz Blues Etude #2 Old School Picking Etude #1 Old School Picking Etude #2 ACCLAIM FOR Az Samad’s JAZZ GUITAR LICKS AND ETUDES "Such a compact book of practical materials for every serious jazz musician, which helps to craft one's musicality as well as creativity." —Mars Siu-Hong Lee, President Of Macau Jazz Promotion Association "Az Samad’s delightful collection of exercises and etudes is a fantastic resource for anybody hoping to develop increased dexterity and character as a guitarist and improviser. Each of these is cleverly and purposefully devised to improve skills across a range of disciplines including finger-work, musical vocabulary, as well as understanding of both fundamental and complex harmony. Playing and studying these masterful compositions also highlights and reveals the author’s truly immense knowledge and love of both his instrument and his craft." —Gabriel Lynch, Singer-Songwriter "It's precise, concise and straight to the point. It would really help those who are trying to get new ideas for their jazz improvisation or those who are trying to learn jazz (newbies)." —Elmer Ho (elmerdraco), Composer "Definitely something new and unique! A huge pool of riffs, licks, and ideas for you to experiment with. For myself, it helped me discover some unpredictable melodic styles and some different fingering approaches. It also made me think about different ways to approach the same lick and branch out from it to create my own ideas. Super handy if you’re stuck or not sure how to get started because you can just start off with any lick and go off on your own personal tangent after that. All in all, a great little book for anyone looking for more insight into some of the stylistic components of jazz and improvisation as well. Oh! And such beautiful etudes too!" —Li Ying - Musician, Artist & Avid Learner "A simple yet effective book from a virtuoso. Az’s musical wisdoms written concisely; and accurately defining jazz in all forms." —Ray Cheong - Musician, Composer, Guitarist & Producer About Az Samad Guitarist-Composer-Educator Az Samad has recorded with Grammy Winners Flaco Jiménez & Max Baca; graduated & taught at the prestigious Berklee College of Music; performed in the United States, Europe & Asia; and appeared on 22 CDs ranging in styles from Tex-Mex, Contemporary Jazz to solo acoustic guitar. His works have been described as “richly textured, poetic and atmospheric”. His first book, Jazz Improvisation Uncovered received critical acclaim from jazz guitarist Julian Lage and Berklee professor Abigail Zocher. An experienced performer, Az has performed with virtuoso violinist Roby Lakatos, former Guns N’ Roses guitarist Bumblefoot, singer-songwriter Zee Avi, funky fingerstyle guitarist Adam Rafferty and percussive fingerstyle guitarist Mike Dawes. Az also frequently performs as part of the Malaysian Philharmonic Orchestra and was the classical guitar soloist for the Distant Worlds: Music from Final Fantasy Kuala Lumpur concert conducted by Arnie Roth. Az has been exploring Malay jazz including the music of P. Ramlee, Jimmy Boyle and most recently Singapore’s Zubir Said. As the musical director and guitarist for A Zubir Said Tribute, Az led 5 shows at Esplanade Outdoor Theatre, Singapore with an 11-piece ensemble performing brand new arrangements he wrote. Previously based in Berkeley, California; Az now lives in Kuala Lumpur. www.azsamad.com

The first installment of the fall season of The Workshop Series at David Gage features the incomparable Carlos Henriquez.

Join Tony DeCaprio for a special master class on the blues; jazz/blues. Tony will reveal elements in jazz/blues playing that are often overlooked and sparsely taught; namely the V7 chord coming home to the I7 chord and the VI7 chord going into the secondary dominant before the turnaround. He will also address the turnarounds, offering the player ‘line savvy’ and a sense of cadence as opposed to no more playing stock licks that usually cover the chord changes in a superficial manner. In addition, Tony will show how to go about developing a ‘story’ in blues playing rather than relying on absolute mimicry or simply stringing licks together. Learn how to tell your own story within the blues, in any key desired, using his hands-on approach. Along with an after class video copy, you simply can’t miss! View clip from this class

Jazz Blues - Part II - Minor is a continuation of Tony's first Blues class, with a focus on Minor Blues. Join Tony DeCaprio for a special master class on the blues; jazz/blues. Tony will reveal elements in jazz/blues playing that are often overlooked and sparsely taught; namely the V7 chord coming home to the I7 chord and the VI7 chord going into the secondary dominant before the turnaround. He will also address the turnarounds, offering the player ‘line savvy’ and a sense of cadence as opposed to no more playing stock licks that usually cover the chord changes in a superficial manner. In addition, Tony will show how to go about developing a ‘story’ in blues playing rather than relying on absolute mimicry or simply stringing licks together. Learn how to tell your own story within the blues, in any key desired, using his hands-on approach. Along with an after class video copy, you simply can’t miss!

The Blues: A Modern Jazz Guitar Approach - Part I The twelve-bar blues progression has been a mainstay of the repertoire of every jazz musician since the birth of jazz in the early twentieth century. Over the years, as jazz evolved and sub-styles emerged, the blues form proved itself to be both quintessential and highly adaptable to the varied developments in jazz. In the early twenty-first century, a new generation of jazz musicians has reinvigorated the genre, but the blues continues to be an essential part of the modern style. If you're interested in learning more about how to incorporate modern elements while still maintaining a thread of the tradition when you play over the blues progression, then this class is for you. In this class, the blues form will be explored in detail with the goal of applying modern jazz melodic, harmonic, and rhythmic vocabulary to the progression. First will be a brief survey of the structure and history of the form along with exercises for gaining mastery over the basic harmonies . Then, common mainstream approaches for melodic and harmonic variations on the progression will be outlined. Finally, modern approaches to melody, harmony , and rhythm will be applied to the blues form. "Tom Lippincott is a masterful and innovative guitarist, educator, and performer. His classes are extremely well organized and full of great examples that can inspire players of all levels. These Modern Blues classes in particular are an amazing tool for the contemporary guitarist, even if you have a solid understanding and grasp of the blues. We are grateful that you offer this information at such a modest price Tom, and look forward to your future endeavors!" ~ Ben J. "Another outstanding video set from Tom Lippincott. I bought parts 1 and 2. I highly recommend them both! If you're looking for that elusive 'modern' sound, you'll love these videos. The information is presented in a very accessible manner. Easy to understand and apply. I also bought parts 1 thru 4 of his Modern Jazz Guitar series, which are all fantastic. Tom is an incredible guitarist and teacher. The most 'bang for the buck' you'll find in guitar education." ~ Franklin B. "The Blues Pt.I is another winner, I found it very easy to apply. Tom is a wonderful no-nonsense teacher. Be prepared to spend months utilizing all the material here!" ~ Michael J. The Blues: A Modern Jazz Guitar Approach - Part I covers: Basic jazz blues progressions defined and analyzed, including harmonic function and chord/scale chart Arpeggio and scale studies for Bb and F blues with emphasis on fingerboard mastery and voice leading Discussion of approach notes and target notes and the "bebop scale" with examples Discussion of mixing blues vocabulary with outlining chord changes in improvisations Tri-tone substitution Melodic minor mode substitution Diminished scale use Basic polyrhythm applications for melodic and harmonic improvising; groupings of three Modal approach to the blues, including polytonal side-slipping Applying 3-part-4ths to the blues Running time: 92 minutes 14 pages of written examples (including chord diagrams, standard notation and TAB), exercises, and example solos with close-up views of the performances Each example performance is titled for easy navigation MP3 backing tracks for all written examples and solos Also see part II of this blues jazz lesson . "Tom's classes are so comprehensive that you will never be short of interesting ideas to practice. Of course using the blues as a basis for demonstrating modern sounds means we can all join the party. Thanks Tom." ~ Ray B. "Very thorough and musical! Tom's teaching style is straight forward & easy to apply. The exercises are great etudes that can be applied to blues progressions all across the musical spectrum. There is plenty here to keep one busy--your playing will improve with this course. " ~ Jon E. "Some people are great players, and some are great teachers. Tom is an example of the rare combination of both. His material is presented in a very organized, step-by-step way, and he explains everything in a very clear, concise manner. This is very important for those of us who study independently, since no one is there to answer questions. What I really like in this lesson is that it Tom starts out with basic jazz blues and progresses to the modern style one concept at a time. This shows his deep knowledge, appreciation, and respect for what came before. His other lessons, especially Modern Jazz 1, are similar in that regard. The concept by concept approach helped me identify the things that I need to work on before working on the most modern sounds. For me, this was several lessons in one, as it encompasses so much that it inspired me to create my own exercises to fill in the gaps. I highly recommend this video, it will keep me busy for a very long time. " ~ Stephen B. "Absolutely awesome class, would highly recommend for anyone looking for new ways to approach the blues as well as brush up on some of the fundamentals if needed. This is the fifth class I believe that I have purchased from Tom after viewing some of his modern jazz guitar classes and they certainly do not disappoint. " ~ Anthony R.

Wes Montgomery and Kenny Burrell are two guitarists that loved to imitate a horn section with chordal riff figures. Wes used them in his solos and while he comped, even while a pianist was comping along to a soloist. Often overlooked by guitarists, riff figures are an important part of jazz history rooted in the blues, making the music swing hard. So much of Wes Montgomery's style comes from riffs in octaves and chords sometimes straight from big bands like Basie and Hampton. In this Master Class I'll go over many of these swinging riff figures and shout choruses and adapt them for guitar. These are deceptive animals in that they sound easy but are often very hard to negotiate in a chordal style. For example, many figures are quite syncopated and the chord changes occur in what seem like unusual places. Many times call and response type of motifs are employed to create very interesting solos and comping, with good use of space. This is important work for the jazz guitarist that often gets ignored. For the guitarist who is looking to improve his or her time feel and play compelling chordal motifs created by the swing masters, this class is for you! View clips from this class

Guide Tones lines can be the missing link for many improvisers when soloing over chord changes. Knowing the chord tones of each chord and their possible chord scales are only part of the equation. Using the Charlie Parker tune “Blues For Alice” we'll explore the many benefits achieved from the study and practice of guide tone lines for both soloing and comping. This in-depth class comes with 12 pages of material written in standard notation that accompany the 90 minute video. Each guide tone line (both ascending and descending) is followed by notated solo choruses and/or excerpts that illustrate each line. Various lines are mixed together to create endless possibilities outlining several approaches: Voice-leading triads and 7th chords and upper chordal extensions and voice-leading intervals through a progression. Other highlights of the class include: Rhythmic approaches to soloing with guide tones Bebop phrasing Guide tone lines on turnarounds Mixing common tones with guide tone lines Balancing phrases off one another The use of sequences and repetition If you've wanted your solo phrases to have a more logical flow then manipulating the guide tone lines can give you that needed structure. Solo lines become more sound benefitting from an important compositional approach used by the great composers and songwriters. Good line architecture can greatly strengthen one's soloing abilities. This class offers an enjoyable look at guide tone lines focused on an interesting variation of the 12 bar blues. View a clips from Steve's class

The call and response concept is the foundation of the Blues and in this Master Class for all instruments this important concept is examined in-depth. As part of many of the examples there is space for YOU to improvise! Some of the exercises in this class are appropriate for solo guitar and many are perfect to play with a bassist and with a group. Issues such as phrasing, dynamics and articulation are discussed along with the following devices: “Verbatim” repetition and fingerings on different octaves, repetition at different pitch levels, keeping track of target tones, improvising in the spaces between chordal hits, mixing single note lines with octaves, 3rd and 6th intervals, and block chords . There are also contrapuntal examples pedals against 8th note and triplet-based lines and some incorporation of tritone-based comping below melodic lines . Give your blues playing a sense of structure, direction and clarity and get the “big band in your hand” sound together! Running time, 110 Minutes 16 pages of written examples in standard notation and TAB

In this 2006 masterclass, watch Sid Jacobs demonstrate the real depth and importance of guide tones for building strong solo guitar arrangements, counterpoint, comping and improvising melodically strong single note melodies. Sid Jacobs shows the connection between Bach and Charlie Parker’s sense of harmony while taking notes from Bill Evans and Lenny Breau. Discover how to use lush voicings and to get beyond using drop-2 or drop-3 voicings. Sid shares his insights after studying and arranging music over many years so that you too can stop thinking like a human capo. You will see how to start combining a musical view of voicings, guitar friendly counterpoint and a melody chord approach that uses guide tones to create beautiful voicings. This masterclass will provide much food for thought as well as plenty of musical examples that you will able to dig into. There’s a wealth of knowledge from Sid Jacobs in the entire session. This masterclass is well suited for intermediate and advanced jazz guitarists who know about guide tones but may have not fully examined the depth of it all. With the newly segmented videos, you’ll be able to locate specific examples easier for repeated study and analysis when needed. 13 Pages of PDF materials in standard notation and TAB. Notes on Guide Tones for jazz lines, comping and chord melody “Waltz For Debbie” – arranged for guitar by Sid Jacobs “Very Early” – arranged for guitar by Sid Jacobs “My Bells” – arranged for guitar by Sid Jacobs “Frankie and Johnny” – arranged for guitar by Sid Jacobs

Randy Johnston takes you through 8 sets of Jazz Blues Changes and more in this class. One set at a time, he clearly demonstrates the changes and voicings, then plays a chorus with the chords at a medium tempo. Then Randy plays a solo adhering to these changes, while you can comp if you like, and then he comps for a chorus so you can solo to these changes. The changes and voicings for each set are written out including block diagrams. In addition, he explains other variations and substitutions, as well as some example lines he is playing over the changes. While this class is mostly on the changes, the topics related to soloing that Randy touches on include voice leading and tetrachords. Most of Randy’s solos are in eighth-notes at a medium tempo with a very good view of the fingerboard and his finger placement. While they are not transcribed, they are easy to see and transcribe if you like, or just to hear examples and/or get ideas when it comes your turn to solo. Running time: 1 hour 6 Pages of PDF material included.

Join Paul for another informative class where he discusses the Art of Playing Jazz Blues. He combines the roots of blues music along with the expanding harmonic possibilities and varying approaches developed since the 1950's to the present day. Techniques include chords, comping, walking bass lines, soloing, Wes Montgomery chord substitions, modes, pentatonic scales, tritone substitutions and more. View clips from this class

Master the sophisticated art of jazz comping on blues and rhythm changes with renowned guitarist Paul Bollenback in this advanced workshop designed for seasoned players ready to elevate their harmonic vocabulary. This comprehensive course goes beyond basic chord progressions to explore the melodic approach to comping—a technique that transforms your accompaniment from mere harmonic support into a dynamic musical conversation. Paul demonstrates his systematic approach to voice leading on Bb blues, revealing how to create compelling melodic lines within your chord voicings using rootless voicings, shell chords, and strategic tension substitutions. You'll learn to navigate the delicate balance between providing harmonic clarity for soloists while maintaining your own melodic interest through carefully crafted voice movements and common tone connections. The course emphasizes practical performance skills essential for working musicians: how to react and respond to soloists in real-time, when to lead versus follow, and how to adapt your voicings when playing with different rhythm section configurations. Paul breaks down specific voicing options including 13th chords, #9 alterations, and tritone substitutions, showing exactly how to apply each in live playing situations. Whether you're accompanying in a club setting or recording session, these techniques provide the harmonic sophistication and flexibility demanded by professional jazz performance. Perfect for intermediate to advanced guitarists who already understand basic jazz harmony and are ready to develop the nuanced comping style that separates competent players from true jazz artists.

A "Two-Speed" Approach to Blues Following on from a customer suggestion (thanks Ray!), this class utilizes the two-speed approach previously applied to Rhythm Changes , to deal with another essential jazz progression , from first principles through to advanced variants. Players at all levels should find something beneficial amongst nearly 1hr 50mins of detailed material. Class features: Discussion of the essential blues vocabulary . Forget the so-called "blues scale" – there’s much more to the sound than that! Demonstration of the classic "Kenny Burrell" sound, over a simple I, IV, V chord progression. Learn how the standard " jazz blues " changes differ from this, and how to bring out the crucial changes in your solo lines. Learn how to use a variety of harmonic techniques to get “outside” the changes and create real tension in your blues lines. Analysis of ten different variant blues progressions, as recorded by the jazz blues greats. A close look at two brand new blues-based compositions, which show how the essential format can still be manipulated into an infinite range of variations. Synchronized on-screen captions. Detailed PDF, including transcribed examples and lots more. Running Time: 1hr 50min

In jazz, the approach to the twelve bar blues form is progressive. The player is free to incorporate harmonic and melodic concepts and devices that might not be considered stylistically "bona fide" in more traditional approaches such as folk or electric blues. In this lesson, Jack will discuss and demonstrate some of these components, including options and techniques for developing the harmony as well as ways to develop an expanded, horn-like linear approach. View a clip from this class

Techniques and concepts for expanding the supportive role of the bass in ensemble music. Streamed live and recorded at the ISB 2009 Convention in State College, PA.

"Blues and Pentatonics – Part I" - Pentatonic Box Possibilities - Major and Minor 12 Bar Blues - This lesson is aimed at the guitarist who is relatively new to improvisation (though others may benefit here as well). The most basic 12 bar blues form has three primary chords: the major 12 bar blues is I IV V, (the UPPERcase roman numerals means these are major chords) and the minor 12 bar blues is i, iv, v (the lowercase means these are minor chords.) There are a number of scale options, the primary one being the minor pentatonic scale position, or simply "the box." Many approaches to this scale along with common other "start frets" for the box will be discussed, including: the "diatonic" approach, using appropriate major pentatonics over each chord, using appropriate minor pentatonics over each chord, suspended sounds which highlight the 9th and 11th, altered sounds for transitioning, and free chromatic connection. In addition to the minor pentatonic, other scales and modes will be introduced, explained, and explored. My method of "highlighting/aiming" for scale degrees is discussed in depth so that each new position will sound convincing from the first time you try it. Common turnarounds will be discussed as well. These ideas are basic and fundamental to improvisation. View a clip from this class

The CAGED system is the answer to finding chords and scales anywhere on the fretboard. Using the five open shapes C, A, G, E, and D, the guitarist can take the first step in playing any chord and soloing in each of the five positions which cover the entire fretboard. In this lesson, which is a second part in a series on blues and pentatonics, we are going to take a step-by-step approach to playing every position of the pentatonic scale in every key. First, we assign scale degrees to the notes in the positions. Second, an in-depth discussion on playing each of the five barre chord shapes and the general method behind finding where they are on the fretboard. Next, is a discussion on how to play the scale and visualize it within the chord shape. Each of the five positions is given a name which makes them easier to remember, along with tips on how to use each position. We are also going to explore the five possibilities of changing between the three chords of the twelve bar blues in the same position. If you've ever wondered how the CAGED system works and how to apply it, this is the lesson for you. 7 pages of written materials including fretboard diagrams and TAB come with this class. View a clip from this class