Rhythm Courses

So called “four to the bar” rhythm guitar is a multi-faceted art. A lot of it has to do with good time-keeping but, besides that, how did players like Freddie Green, Jim Hall, and Bucky Pizzarelli managed to create that fantastic moving counterpoint behind soloists, whilst still swinging like the proverbial barn door? Although there are certainly times when a simpler accompaniment is quite sufficient, one only need listen to Jim Hall’s rhythm work behind Bill Evans on “My Funny Valentine” (from their famous “Undercurrent” duo album) to realise the creative possibilities of the role. A great contemporary exponent of the style, James Chirillo, has said that the role of the rhythm guitar is to supply a tenor part to the line played by the bass player. It’s a description that certainly resonates with me, and so the focus here is more on the harmonic side of things i.e. how to actually generate these more mobile rhythm parts in the first place. Whilst some focused metronome work will probably sort out your timing, how to create and combine the shapes themselves can be a more elusive subject. Perhaps the most significant aspect of all this is knowing how to elaborate a basic progression, and convey the resulting chords on a limited number of strings. If we’re able to do this, then the shapes we use will be easier to grab, and the texture will be light enough to allow other players (including pianists) to work around what we’re doing. In this 50m session: We take two familiar progressions (“Minor Swing” and Autumn Leaves”) and create accompaniments for each using one, then two, and finally four shapes per chord. In the process, we learn how the more elaborate versions are derived from the basic ones. Every chord played in this session is fretted using only the 6th, 4th, and 3rd strings. You can even do without the 6th string in the presence of a bassist. We also discuss some general principles of rhythm guitar. It’s not all about chord shapes; time, sound, and ensemble awareness are just as important. As always, the class is linked via on-screen captions to an accompanying PDF booklet, in which everything heard is transcribed using a combination of notation, tab, and chord diagrams. No music reading is required and there shouldn’t be any need to try and work out where I’m putting my fingers from the screen; virtually everything I play is written out for you. Level-wise, this is potentially a class for all takers, I think. The simple accompaniments we start with should be very accessible for inexperienced players, but it may also appeal to more developed guitarists who perhaps haven’t yet looked at this area in much depth. The elaborate ‘one shape per quarter note’ stuff might be a bit daunting for the less experienced jazz player, but there’s no time like the present for putting the principles in place at least. Basic / Intermediate Running time: 50 minutes 13 Pages PDF Included

By taking the class and practicing the ideas presented, the student will be able to learn how to construct jazz solo lines which are harmonic and melodic at the same time and which realize the chord changes exactly without necessarily using scales and arpeggios. Very simple and direct ideas for voice leading on the guitar are provided along with a 16 bar etude with examples of all the techniques discussed. In this class Randy Johnston presents a 16 bar etude on the first two "A" sections of Charlie Parker's tune "Confirmation" which encompasses techniques that can easily be applied on the guitar and which include voice leading, jazz harmony, chromatic approach and enclosure variations, and exactly WHEN to apply these techniques to fundamentally play fast moving chord changes in a bebop style without necessarily relying on arpeggios or scales. In addition, there is a section at the end which shows how to vary and simplify the harmony by allowing the dominant chord to "dominate". All of these ideas are encompassed in the 16 bar etude and demonstrated in a clear and practical manner on the guitar in addition to being written out. Sub-topic 1: Voice Leading 3rds and 7ths (guide tones) and how to visualize them on the guitar Sub-topic 2 Approach and Enclosure techniques and how to visualize them on the guitar Sub-topic 3 WHEN to play the guide tones rhythmically to perfectly realize the chord changes Categories: Harmony Practicing Rhythm Soloing Theory Intermediate Running time: 36 minutes 1 Page PDF Included

Description: By taking the class and practicing the ideas presented, the student will be able to... Better understand odd meter subdivisions and ways to phrase over the bar line in any meter. In this new class, John and Micky demonstrate subdivisions of odd meters (5/4,7/4,7/8,9/8, etc) and how to apply these meters to any song. Micky uses Macedonian folks melodies and a standard to demonstrate how he subdivides 7/8 and 9/8, and John plays several standards in 5/4 and 7/4 to discuss his concept of phrasing in those meters. John and Micky also demonstrate playing over the bar line to interpret odd meters more freely in soling and interpretation of melodies. Sub-topic 1: Voice leading in odd meter time signatures. Sub-topic 2: Different ways to subdivide phrases in odd meters Sub-topic 3: Benefits of odd meters to create phrases over the bar line in any time signature. Categories: Chord Voicings Mindfulness Modern Jazz Guitar Rhythm Theory Level: Advanced Duration: 56 Minutes

In this series "What Makes A Strong Solo?", we will be addressing the core parts of what strong and dynamic soloists have dialed in with regards to their sound and soloing concept. For Part 2, we tackle Rhythm and Phrasing, specifically talking about how to build a rhythmic vocabulary and some key components behind how to improve your overall phrasing . This course is for beginning improvisers all the way through to more advanced players who wish to review practice techniques that strengthen fundamentals . Included in this course is the recorded video content, and a PDF containing perspectives on the topic, expanding on included video.

In this video Mickylee discusses a method that doesn't necessarily involve thinking solely in terms of scales and arpeggios while improvising, but rather focuses on dealing with pivotal points in the melody, i.e., reaching and leaving them. That is not to say that learning scales and arpeggios is not a necessary skill. Both are very important and, as a matter of fact, they also play a certain role in the system that will be presented, but will be used very sparsely. With "Connecting the Dots" technique, focus is rather on small fragments of the melody and the "Big Picture" is being painted step by step. Improvising over chord changes may be very stressful for the inexperienced player, since a vast number of melodic possibilities over a given chord could be overwhelming. That's why it's important to reduce them as much as possible and systematically explore all the variations within these restrictions. Harmonic progression of Blue Bossa is perfect for demonstration purposes, since it's fairly simple and it consist only of Tonic, Subdominant and Dominant in Cm and Db. Sub-topic 1 Voice Leading Sub-topic 2 Approach Notes Student outcome: improvise in a more thoughtful manner, without relying only on scales, arpeggios and patterns. The solos may become more fluent and the musical phrases better linked to each other. Skill Level: Intermediate Advanced

Master Jazz Guitar Harmony with Genil Castro's Anchor Chord Forms Course Are you looking to deepen your understanding of jazz guitar harmony? Look no further than the Anchor Chord Forms: Smile, Insights and Tips on Harmony course with Genil Castro. In this comprehensive course, you'll learn from renowned jazz guitarist Genil Castro as he shares his expertise on the fundamental concept of anchor chord forms and how to use them to create rich harmonies in your playing. Whether you're a beginner or an experienced player, this course will give you the skills and knowledge you need to take your playing to the next level. Here's what you'll learn in the Anchor Chord Forms: Smile, Insights and Tips on Harmony course: The basics of anchor chord forms and how to apply them to your playing starting with the jazz standard Tune Smile ( Chaplin) Advanced concepts and techniques for creating complex harmonies and sophisticated chord voicings How to use anchor chord forms to add depth and texture to your solos Practice exercises and performance tips to help you integrate anchor chord forms into your comping, Chord Soloing, and Chord Melody You will learn a chord melody version of the Tune Smile by Chaplin utilizing the techniques discussed in the lesson. This course is taught by Genil Castro, one of the most talented and respected jazz guitarists in the world. With his clear and concise teaching style, he'll guide you step-by-step through the world of anchor chord forms, helping you master this powerful tool and take your playing to new heights. Don't miss this opportunity to deepen your understanding of jazz guitar harmony. Enroll in the Anchor Chord Forms: Smile, Insights and Tips on Harmony course today and start your journey to becoming a master jazz guitarist.

Improve right hand technical facility by mastering finger independence, full and sequential planting, verbally counting while playing, and using a metronome. The student will also learn to shape a melody, control dynamics and utilize vibrato. Sub-topic 1 Using a metronome to increase right hand facility and speed Sub-topic 2 Full and Sequential Planting Sub-topic 3 Using a practice mute for increased accuracy of rhythms at fast tempos Topics covered: Verbally Counting Sextuplets Right Hand Planting (Full and Sequential) Using a Metronome Melody Shaping Right Hand Finger Independence Vibrato (demonstration only) Using a Practice Mute Guide Fingers Left Hand Preparation Bar Chords

In this class, John and Genil use the well known tune “Triste” from Tom Jobim to demonstrate rhythms used in Bossa Nova and Samba . Also covered are voice leading, chord inversions, movable chord shapes, artificial harmonics, double stops and open string voicings. Genil and John demonstrate how chord shapes are also useful as templates on the neck to generate single line ideas for soloing. The modes of the melodic minor are also referenced to introduce tensions/embellishments over dominant, minor and half diminished chords.

Outcome - Improve reading from the treble staff. Q: What do you call two guitarists reading the same line? A: Counterpoint. Q: How do you get a guitarist to turn down? A: Give them the sheet music. …and so on! We’ve all heard the jokes, and it’s true that the guitar can be a difficult instrument to read on. That being said, though, it needn’t be the headache it’s often made out to be, and there’s certainly no reason why a functional level of single-line reading should be any harder for guitarists to acquire than other instrumentalists. It should go without saying that learning to read requires a big pile of sheet music and a fair amount of patience. Some notated material is included here, but you’ll need plenty more - you can’t learn to read from a tutor video alone. Nevertheless, a bit of friendly advice can go a long way to making sure that we’re doing this in a way that’s as effective and efficient as possible - that’s exactly what I’m trying to provide in this class. Over the years, I’ve noticed that some of the existing reading methods for guitar treat the instrument as though it were a trumpet. They seem to reserve the upper registers for advanced study, and prefer to take the student gradually through multiple L.H. positions, from the bottom of the instrument up. In the long term this may well be the right strategy but, to me, it’s always seemed a slightly topsy-turvy way to get started, particularly for electric guitarists looking to eventually play single lines in the jazz style. In this session, therefore, I start by sharing what I’ve found to be the most practical way to look at the instrument, to make the fastest possible progress. From there, we move onto various other aspects of the process. In the full 1 hour and 25 minutes of class, we: Establish an order of priority for learning the fret board, based purely on what is most practical. Identify the best kinds of sheet music for guitarists to seek out. Examine an ingenious method for rhythmic recognition, used for many years in classical music pedagogy. Play a Baroque canon in two different tempos. Examine the difference between guitar pitch and concert pitch, and use this to our advantage. Explore the concept of ‘quick study’, and the various ways that our wider knowledge of the guitar can help us when it comes to reading. Employ different techniques for sharpening up our pitch recognition. Review some of the existing literature on the subject, including some unusual ways to use the classic texts. Reflect generally about the particular challenges of reading on guitar and why it’s worth the effort to tackle them. This time, the class includes a 40-page PDF book, referenced throughout with captions, synchronized on-screen notation, and multiple camera angles during complete performances. In terms of level, if you’re already reading Charlie Parker transcriptions etc. there may not be very much here for you this time. However, if you’ve made start on your reading but are finding it slow going, or if you have always wanted to learn but never got around to it, this material should be of assistance. Sub-topic 1 Creating a 'road map' that prioritizes the most practical areas of the fret board. Sub-topic 2 Learning a technique for recognizing rhythmic shapes. Sub-topic 3 Connecting our wider knowledge of the guitar to the task of reading. Class Categories: Chord Voicings Practicing Rhythm Technique INTERMEDIATE / BEGINNER

Countless books and videos have been produced on chord voicings that are useful for comping, but the other half (and arguably the more important half) of the equation is rhythm. What rhythms does one use for comping? The typical answer is to listen to recordings of the great jazz pianists and guitarists and copy them. While this can be a useful practice, it can be daunting to figure out where to start. This class takes some of the most common and effective comping rhythms and related techniques and breaks them down in a systematic, step-by-step manner that is logical, straight-forward, and easy to understand and assimilate. In addition, we will also learn to hear these rhythms, feel them, and play them accurately so that they lock in and groove with an experienced rhythm section. The written examples use chord grids, traditional notation, and tablature that show the practical applications of these ideas. While this class applies these comping rhythms and techniques to the blues, they are equally applicable to many other situations. Comping the Blues part 1: Comping Rhythms covers: brief overview of creating basic shell voicings which are used in the class typical jazz blues chord changes in the keys of Bb and F with brief harmonic analysis a few essential comping rhythms with different articulations variation of the basic rhythms using displacement and multiple combinations of eighth- and quarter-notes adding anticipations to create rhythmic drive and excitement half-step approach chords, both with and without anticipations separation of the parts of the chord to provide textural and rhythmic variety incorporation of rootless voicings for playing with a bassist 69 minute running time includes 7 pages of written examples and exercises All example performances are titled and numbered for easy navigation. Examples are shown in close-up where pertinent. MP3 backing tracks are provided for written examples, as well as full-length tracks for comping practice.

Chord Melody is awesome but…what if you could actually sound like 2 guitarists? Imagine your friends wondering how you can play rhythm guitar in time and still play the melody lyrically! Join Master jazz guitarist Howard Alden in this masterclass where you will learn his personal approach, practice techniques and ideas of how to combine 4/4 rhythm playing with an independent melody on top. When we heard Howard playing in this style, we knew that we just had to get him to show us his secrets! Instead of just making this a technique primer, we convinced him to show us how to do this on the beautiful jazz standard, "Georgia on My Mind". For beginners and intermediate guitarists, you’ll get to learn the basic concept demonstrated by Howard and see every move as Howard plays the piece at tempo and with slower examples. We wanted you to get as much time with Howard so we got him to play the piece multiple times at a slower tempo so you can get learn every note. For advanced students, check out his improvisational takes using this technique to get ideas of how you can use this in your next solo or duo gig. If you play seven string guitar, you can even discover how he plays the piece on a seven string guitar. This is a deep dive into this powerful guitar texture that will take your playing, tone and time feel into the next level. 3 pages of PDF written material notated in standard notation, TAB (with Howard’s personal fretting hand fingerings indicated) Soundsliced versions of the transcription (standard notation and TAB with adjustable tempo, looping for effective practice and study) Running time: 30 minutes

The rhythmic and melodic language of music and jazz is not only in the solo lines of your favorite jazz players but also in the melodies of the tunes they play. These could be bebop heads, bossa nova tunes, standard tunes etc. Using these great melodies with their often complex and swinging rhythms we will look at how to apply them to your single note improvising giving your phrasing a fresh new perspective. The great bebop heads for example have great phrasing and articulation which really help give the music forward motion and swing. Borrowing rhythmic and/or melodic motifs (“quoting”) can be a terrific way of learning to utilize better jazz phrasing and articulation. The fun comes into play when we move these motifs around to different pitch levels in order to fit the chord changes. Working on transposing these ideas in numerous ways to fit the chord changes of your favorite tunes is a very important way to practice. It's where theory meets musicality on your instrument! We can change where the phrases begin rhythmically and work with shorter motifs from these tunes becoming experts at moving them around. The examples contained in the class PDF demonstrate these principles over the tunes "Out Of Nowhere" and “Rhythm” Changes. Often these motifs can be disguised by changing either their pitch level or altering their rhythms. Many of the greatest jazz improvisers were master of dropping in quotes in clever ways. Sonny Rollins is perhaps the best example, often fitting in quotes in the most surprising places, adding both humor and a sense of wonderment to his solos. In this class, Steve uses some of his favorite quotes and contrafacts. You simply can't go wrong with well-conceived melodic and rhythmic phrases penned by the masters, replete with crisp articulations and inherent swing. 8 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 45 minutes

This single note-based class is about "putting it all together" to make your lines swing. Through a close look at articulation and pairing varied rhythms utilizing forward motion, the player will feel more confident swinging in the jazz tradition. Whether it’s playing solo guitar or playing with a group, there are concepts presented here that will help give your lines more presence with greater rhythmic confidence. 10 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 48 minutes Concepts Included Articulating phrases to make them “pop” with added presence Bringing out the backbeat (2 & 4) in your lines “Laying back” with 8 th note-based lines Emphasizing off beats with legato and staccato phrasings Playing 3/4 rhythms over 4/4 time Short 16 th note “stabs” Call & response ideas and related dynamics Slurs and other ornamentations Grouping triplets in various ways Outcome from this course: This class will surely get you swinging in some new ways!

Sixteenth note lines are an important part of jazz phrasing that sometimes gets overlooked. They are an essential part of double-timing, an exciting rhythmic device to employ while soloing, especially when grouped in interesting ways. This masterclass examines the various note groupings of sixteenth notes concentrating on those that are asymmetrical since they tend to be the most rhythmically satisfying. We'll look at groups of 3, 5, 6, and 7 as well as grouping the sixteenth notes as triads, 7 th chords, 9 th chords and 11 th chords. These foundational exercises are given at the beginning of the class using D dorian tonality to see and hear the examples more easily. The minor 6 pentatonic scale is used in several examples to give the examples a hard bop Coltrane-type of feel and sound. The class closes with a 32 bar solo written over the chords to " There Is No Greater Love" that is challenging while addressing this syncopated sixteenth note technique through chord changes. Charlie Parker put this approach on the map in his rhythmically exciting improvisations. Using Bird's approach as a foundation this class delves into some of the more recent developments of odd time cross rhythms over 4/4 time. Rhythmic variety is what the jazz player is most often seeking in their solos. Getting a firm understanding and control of sixteenth note rhythms will definitely take one's playing to a higher level. Running time: 30 minutes 8 pages of PDF material including standard notation and TAB Sub-topics Included 16th note phrasing and articulation of 3, 5, 6, 7 note groups The minor sixth pentatonic scale and diatonic triads and 7th chords Asymmetrical phrasing and articulation of 16th rhythms over "There Is No Greater Love" written solo Outcome from this course: Achieving flexibility and competence with feeling asymmetrical groupings of 16th note rhythms. The guitarist should be more comfortable double-timing on their solos.

Part 2 of this single note-based class explores the various triplet-based rhythms that provide satisfying cross rhythms over 4/4 time. This class is packed with useful information and in-depth demonstration and explanations of the written PDF's. The class begins with foundational rhythmic exercises using the diatonic chords in D dorian as well as the dorian scale. Emphasis is given on how to count and feel the various triplet rhythms shown. The second section of the class uses these rhythms over two tunes: " There Will Never Be Another You" and a Bb Blues progression. These triplet rhythms can be major road blocks that often get in the way of developing a great swing feel. Mastering these rhythms will allow the player to phrase over bar lines effortlessly. Being more aware of accents and note groupings will give one's soloing and comping added conviction, forward motion and swing. 8 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 45 minutes Sub-topics Included Grouping triplets in hemiola rhythms and other cross rhythms against 4/4 time The practice of correctly counting half note and quarter note triplets The ability to successfully play the 8th note triplet in groupings of 2, 4 and 5 notes. Outcome from this course: Flexibility in phrasing with all kinds of triplet rhythms with the ability to group them in various ways for maximum rhythmic tension.

Upon completing this class, a student will be able to play "Have You Met Miss Jones" both as a solo guitar piece and with a group . Students will be able to improvise on it at a professional level and also will learn harmonic and melodic concepts that they can apply to many other similar songs . Sub Topics Included in this Class: Use of harmonic progressions such as back cycles and contrary motion Development of solo lines using sequence and motive Simplifying the guitar fingerboard using tetrachord shapes Randy takes you step by step how to play the song "Have You Met Miss Jones", the single note melody, chord melody, chord progressions, and he gives students ideas and licks to use in improvisation as well as alternate harmonic progressions which can be applied to many standard songs. Chord diagrams are included. Running time: 2 parts totaling 1 hour 10 minutes.

Harvie and Vic playing Scrapple from the Apple in this class Bassist Harvie S and Guitarist Vic Juris team up to perform original compositions and jazz standards. They further explain the call and response dynamic that creates an optimum musical partnership. Harvie S addresses the challenges of an innovative and well balanced duo performance. He demonstrates ways that the bass supports and leads with affirmative and demonstrative ease. This Master Class articulates the distinctions between duo and various other settings, and is valuable to guitarists and bassists alike. The concepts revealed will enhance any duo performance. Harvie S shares his personal approaches to preferred guitar accompaniement and his unique approach to phrasing melodies and soloing. Listen to them play "You're Gonna Hear From Me" More playing and discussion

Modern Jazz Guitar Complete Series Modern Jazz Guitar Part 5, Rhythm 2 and Tone/Equipment, covers: exploration of rhythms used in modern jazz, continued from Part 4 examples of ideas for "breaking out of the clave prison" in 7/4 time in order to achieve freedom and rhythmic variety when soloing and comping in that time signature exploration of polyrhythms and odd groupings in 7/4 time, with examples and demonstrations discussion of converting songs written in common time signatures into 5/4 and 7/4, with examples of both short and long form for both meters chord changes to Ben Monder's unique arrangement of "All the Things You Are" with performance example explanation of true polyrhythms and their uses in metric modulations exercises for gaining facility with metric modulations between all different meters in two parts, first tapping out the rhythms, then playing them on the guitar examples of applying different metric modulations to single note lines and comping on a one-chord vamp, as well as on a standard chord progression suggestions for using the MP3 play-along 5/4 and 7/4 vamps for practice advice on playing at fast tempos, with demonstration discussion of equipment used by various modern jazz guitarists , including guitars, picks, amplifiers, and effects, with a guided tour of Tom's pedal board and demonstrations of effective use of each pedal list of suggested representative modern jazz recordings by various guitarists and non-guitarists backing MP3 play-along tracks used in the video for all examples and etudes, as well as 5/4 and 7/4 practice groove tracks running time: 73 minutes includes 6 pages of written examples, exercises, practice tips, and listening lists

Modern Jazz Guitar Complete Series Modern Jazz Guitar Part 4, Rhythm 1, covers: • exploration of rhythms used in modern jazz • discussion of odd groupings of notes in 4/4 time for polyrhythmic effects • examples of odd groupings by interval, by accent, and by articulation • application of odd groupings to melodic patterns from Modern Jazz Guitar Part 2, Melody • discussion of applying the odd grouping concept over chord changes and typical four-bar phrases • in-depth exploration of eighth-note, quarter-note, and half-note triplets, with both melodic and harmonic exercises for gaining proficiency with each of these rhythms • explanation of displaced quarter-note and half-note triplets, with examples and exercises • examples of melodic patterns from the Melody class applied to odd groupings of triplets and displacements for polyrhythmic effects • exploration of the three different combinations of two eighth-note triplets within one beat, with example • examples of odd rhythmic groupings of chords over a standard chord progression for applying the above concepts to comping and chordal phrases • explanation of the basic "claves" for 5/4 and 7/4 time • examples of ideas for "breaking out of the clave prison" in 5/4 time in order to achieve freedom and rhythmic variety when soloing and comping in that time signature • exploration of polyrhythms and odd groupings in 5/4 time, with examples and demonstrations • backing MP3 play-along tracks used in the video for all examples and etudes, as well as 5/4 and 7/4 practice groove tracks • running time: 104 minutes • includes 13 pages of written examples and exercises

Music consists of three elements: melody, harmony, and rhythm. Of those three, rhythm is the element generally accepted to be the most fundamental and important . Unfortunately, rhythm is also the element that the majority of developing jazz guitarists (and most other instrumentalists) explore the least. Many guitarists have spent years honing the craft of melodic and chordal playing but still have that elusive something missing: the glue that holds everything together as a compelling, coherent musical statement. For many of these players, that missing factor is rhythm. This class will explore rhythm in an in-depth and systematic way. Whether you are a beginning, intermediate, or advanced jazz guitarist, the concepts and exercises presented are designed to supercharge your rhythmic sense and show you how to start thinking about rhythm on the same level that you already think about melody and harmony. In recent years, with jazz musicians incorporating sophisticated polyrhythms , odd and changing meters, and metric modulations into their music, a solid sense of time and a deep understanding of rhythm has become more important than ever for all instrumentalists, not just drummers. While part 4 of my Modern Jazz Guitar series explored the application of some of these advanced rhythmic ideas to modern-style playing, this class starts with some basic but essential concepts that have always been a crucially important part of jazz and builds on those basics to more sophisticated rhythmic skills. Beginning and intermediate jazz guitarists will benefit from Rhythm Workshop, but advanced players and those who have already been through my MJG part 4 materials will also find new and challenging concepts here. Rhythm Workshop covers: Basics of jazz eighth note swing feel and why “eighth note triplets with the first two tied together” is only the tip of the iceberg Learning to hear and feel each downbeat and upbeat as a separate entity in a measure of 4/4 time 256 possible permutations of eighth notes and rests in one measure of 4/4 time, with exercises to get to know specific rhythms in an improvised context Discussion of the use of shading devices, phrasing, and variations in swing feel to bring single note lines to life Exploration of two well-known jazz blues melodies (written in standard notation and tablature with left-hand fingerings, slurs, and shading devices notated) for study of rhythmic motifs, swing feel, and swing feel variations at different tempos Challenging metronome exercises to build a stronger internal clock Explanation and exploration of triplets and triplet-based polyrhythms Polyrhythmic exercises that incorporate playing two rhythms simultaneously Technique-building exercises that address the connection between a strong rhythmic sense and good technique Running time: 138 minutes 14 pages of written examples and exercises with close-up views of the performances Each example performance is titled for easy navigation MP3 backing tracks of jazz blues and one-chord vamps at different tempos for practice of the rhythmic concepts

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.

Although utilized for many years in jazz and other styles, odd meters has become an essential part of today’s jazz. The uses of odd meters are many: As a phrasing device enabling a player to solo and comp over the bar line in 4/4 time. As an effect to utilize in one’s original compositions and to create fresh arrangements of standards and much more! Once the 5/4 and 7/4 common rhythmic patterns are examined and practiced, soloing and comping can feel as natural as it does in 4/4. In this masterclass we’ll be looking at the many useful rhythmic patterns in odd meters and applying them to 4/4 tunes as well as standards arranged in 5/4 and 7/4. Pairing these rhythmic concepts with melodic/harmonic concepts will be stressed to enable the musician to more rapidly integrate odd meters on their instrument. An example of this would be arpeggiating diatonic 9th chords in an even stream of 8th notes. The 9th chords contain 5 notes that will give a 5/8 phrasing to the line. Take one triad and its neighboring diatonic7th chord and you have 7 notes that will yield 7/8 phrasing. This is one of many exercises that will be in the written examples accompanying the class. Other examples will include: Applying odd meters to solo guitar, arranging standards in odd meter, pattern picking odd meters, comping and soloing with odd meters and more. Take your playing into the future with rhythmic assuredness and confidence! View clip from this class

In this class standards such as Stella By Starlight, In A Mellotone and Confirmation are used to demonstrate a variety of comping concepts applied to many different group formats a guitarist will find themselves playing in. Concepts include: Essential tone (shell voicings), guide tone lines, pedal points, muti-use voicings (including rootless voicings), common tone, chromatic and stepwise voice-leading, Freddie Greene style, walking bass/comp, "over the barline" comping thru use of hemiolas , rhythmic "snare drum" comping, leaving space for a soloist while giving the soloist a solid "cushion"and overall techniques to help make a rhythm section swing. Formats that will be discussed include: Guitar/bass duo guitar/voice and even comping for yourself while you are soloing!

This class takes an in-depth look into accompanying (comping) other musicians in playing jazz. The goal of this class is to free the player up and broaden the common view of comping from role playing/responsibility, to an interactive, creative experience. The concepts here are not just limited to guitarists, as they are applicable to any instrument. Some of the topics covered are: the use of space over time, voice leading, dynamics, implication, tempo variety, harmonic choices, and texturing. Included also is a duo performance exemplifying these concepts. The class runs 72 minutes. View a clip

" My seventh master class offering, I cover many guitar rhythms that I have developed over my years of playing various genres of music using my own personal right hand guitar techniques that combine the use of a pick and/or fingers. This 104 minute video is broken up into multiple segments – each focusing on a particular style of playing. Each segment begins with a short melodic improvisation over a particular style, followed by a detailed explanation of the rhythmic technique used. The segment listing are as follows: 1) Introduction 2) Jazz Waltz 3) Basic Samba 4) Up Tempo Swing 5) Slow Samba 6) Medium Swing 7) Fast Samba 8) Funky Swing 9) Ballad The following tunes are used to demonstrate techniques: "When Sonny Gets Blue" "Triste" "Satin Doll" "Estate" "Walkin' the Dos" "Blusette" "Along Came Betty" by Benny Golson The materials included are: 1) MP3 loops of each example to practice with or solo over 2) PDF files of all the chord changes used in this video

Join Sheryl and her great friend and guitarist Chris Bergson. The two of them have a special duo collaboration. They will get into the different rhythm styles, comping, voicings and playing lines, feeling time, etc. Chris is also an incredible down-home blues player, so expect them to do some jammin' on the blues, too. View clips from this class

Randy uses “Beautiful Love” as the basis for another practical, hands-on class on a standard, with a wealth of information. He starts off with a solo rendition of the song. Then, he focuses on the melody, including demonstrating techniques for changing positions. That is followed by a chord solo. Randy takes you step by step, discussing and showing alternate chord choices and explains the theory behind them. He helps simplify the half-diminished chord and shows choices for the i chord in a minor key. Randy shows ideas for constructing solo lines. Chords and solos are covered in 3 positions. Chord diagrams are included. Running time: 1 hour

Randy takes you step by step through his thought process to select chord changes and voicings and construct solo lines on Green Dolphin Street. Concepts include tetrachords, triton substitutions and back-cycling. In addition to demonstrating various chord options for comping, Randy also presents the melody with chords. Then he takes a measure or two at a time and shows different approaches to soloing. This is a very hands-on, practical class that you can apply the concepts of right away. Chord Block Diagrams included. Running time 1 hour.

Join Paul where he will impart his concepts and experiences in Comping in a trio, with a piano player, with a horn player and with a singer. Vocalist Chris McNulty and guitarist Martin Carle will join Paul for demonstrations.

Master the art of jazz guitar accompaniment and solo performance with renowned guitarist Paul Bollenback in this intimate masterclass recorded live at the IAJE Conference. Drawing from decades of professional experience performing with jazz luminaries like Gary Thomas and vocalist Chris McNulty, Bollenback reveals the essential techniques that separate working professionals from ambitious amateurs. Learn the Joe Pass approach to continuous motion in solo guitar, keeping your performances engaging through seamless transitions between chord voicings, walking bass lines, and single-note passages. Bollenback demonstrates how to maintain rock-solid time while playing unaccompanied, addressing common timing pitfalls that plague even experienced players. You'll discover practical polyrhythmic techniques including dotted quarter triplets and 5/16 displacements that add sophistication to your turnarounds without losing the audience. This course emphasizes real-world flexibility over rigid arrangements. Instead of memorizing fixed chord-melody arrangements, you'll develop the spontaneous skills needed for professional situations—whether you're suddenly asked to play solo at a gig, accompanying a vocalist in duo settings, or adapting to diverse musical contexts. Bollenback shares specific metronome exercises for locking in your time feel across quarter notes, eighth notes, triplets, and sixteenth notes, ensuring your swing feel remains consistent at any tempo. Perfect for intermediate to advanced players who want to strengthen their solo guitar capabilities and develop the versatility demanded by today's jazz performance opportunities. Transform your approach from merely playing changes to creating compelling, swinging musical statements that stand alone.