All Courses

Most students first starting out on guitar will become familiar with the names of the six open strings right away. After learning a few “cowboy chords” and simple melodies, the player usually abandons open strings in favor of the higher positions. While this process is a natural and necessary part of a beginning guitarist’s development, it tends to result in a sense that the open strings are only for novices. However, this class shows that creative combinations of open strings and fretted notes can be used to generate a whole musical universe of harmonic and melodic possibilities that would otherwise be difficult or impossible using conventional approaches. Guitarists who play classical, country, blues, or rock have always combined fretted notes and open strings, but this technique has remained relatively unused by many jazz guitarists. This class presents interesting and exciting ways to incorporate open strings not only for chord voicings but also for single-note lines which is an area that remains virtually unexplored in jazz guitar circles. This class offers numerous specific examples, and students are encouraged to use these ideas as inspiration for creating their own unique open-string techniques and concepts. Open String Concepts for Chords and Single-Note Lines covers: Exercises and suggestions for matching the tone, volume, and duration of fretted notes and open strings Brief overview of common jazz chord/scale concepts Large-font reference sheets clearly showing open strings available in all twelve keys for all commonly used scales Systematic exploration of finding chords containing open strings that are difficult or impossible to play using conventional techniques Multiple examples of many different chord types with common color tones voiced imaginatively with various open strings Various voicings of augmented major seventh chords using open strings and the use of these voicings to imply melodic minor-based harmonies Various chord voicings incorporating open strings based on scales such as major, harmonic minor, melodic minor, diminished, harmonic major, whole-tone, and augmented Finding different uses for an open-string voicing with examples Examples of comping over standard chord progressions using open string voicings Multiple single-note line exercises and melodic phrases combining fretted notes and open strings using various scales and harmonies Exercises and examples of contrapuntal movement for chordal phrases juxtaposing moving lines with static open strings Running time: 114 minutes Includes 25 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance in the video is titled and numbered for easy navigation. Backing tracks for written examples and solos are included.

Melodic Minor Complete part 2: Practical Application The ascending, or “jazz”, melodic minor scale is one of the most central and recognizable sounds in jazz. Late 19th and early 20th century composes like Debussy and Stravinsky used this sound in their music, and jazz musicians soon afterward began to adopt this tonal color. Melodic minor has become an essential part of any developing jazz musician’s vocabulary, and mastery of this scale is considered to be mandatory. Because the melodic minor scale is so prevalent and has been in widespread use for so long, there are a multitude of instructional materials available covering the use of this scale in jazz. Many jazz musicians, however, don’t have a thorough or complete understanding of the theory behind the use of the scale, and still more don’t have as extensive a mastery of the structure as they could. This two-part class presents the melodic minor scale in a thorough, complete way, with the goal of giving a total understanding of how it has been, and continues to be, used by master jazz musicians. Part one of the class breaks down the theory, revealing how, why, when, and where to use the scale and providing a clear explanation of the modes and many different techniques to make learning and utilizing them easier. Part one could be used by any jazz musician interested in gaining a more expansive knowledge of the melodic minor scale. Guitar fingerings and tablature are given, but traditional musical notation is also used throughout so that any instrumentalist or vocalist can benefit. Part two of the class, which is more guitar-centric, presents a methodical and comprehensive way to gain mastery over the melodic minor scale, with numerous examples and exercises for increasing fluency. Part two also presents some imaginative and exciting ideas for generating new musical sounds with the scale, both for comping/chordal playing and single-note soloing. Melodic Minor Complete part 2: Practical Application covers: • five different fingering systems for complete mastery of the scale all over the neck • numerous examples of playing intervallic patterns both along two or more strings and by position • many common patterns as well as ideas for generating more unusual and wide-intervallic patterns, with examples • extended arpeggio fingerings with examples of sweep-picking as well as alternate-picking • all diatonic triads up and down the neck, all inversions and string sets • close as well as open triads, played as chords and arpeggios, as well as examples of diatonic cycles to gain fluency with different inversions and voice leading • practical close position diatonic seventh chords and their uses for comping or soloing • complete system covering all drop 2 and drop 3 voicings and inversions diatonic to the melodic minor scale, with explanation of the terms “drop 2,” “drop 3,” and the concept of inversions • color tone replacement chart for spicing up basic four-note seventh chords • explanation of a system for deriving all the possible four-note chords, including many fresh and modern-sounding voicings • demonstration of using the augmented major seventh upper structure concept for comping and soloing • demonstration of using the minor/major seventh upper structure concept for comping and soloing • detailed analysis of the chord changes to the standard “Stella by Starlight” with a breakdown of the melodic minor modes that can be used • etude on the Stella changes demonstrating the concepts from the class, including harmonized melodies, augmented major seventh and minor/major seventh upper structures, wide-interval patterns, use of “Goodrick voicings,” and creative use of open strings • running time: 115 minutes • includes 38 pages of written materials: 25 pages of examples and exercises discussed in the video and, in addition, a 13-page supplemental appendix covering seventh chord arpeggios by position, triads by position, triad pairs, pentatonic concepts, and fingerings for minor pentatonic (natural 6th) and pentatonic flat sixth scales derived from melodic minor • All musical examples from the video are provided in music notation, tablature, and chord grid form. • Each example performance in the video is titled and numbered for easy navigation. • MP3 backing tracks for written examples as well as full length tracks for practice

Melodic Minor Complete part 1: Theory The ascending, or “jazz”, melodic minor scale is one of the most central and recognizable sounds in jazz. Late 19th and early 20th century composes like Debussy and Stravinsky used this sound in their music, and jazz musicians soon afterward began to adopt this tonal color. Melodic minor has become an essential part of any developing jazz musician’s vocabulary, and mastery of this scale is considered to be mandatory. Because the melodic minor scale is so prevalent and has been in widespread use for so long, there are a multitude of instructional materials available covering the use of this scale in jazz. Many jazz musicians, however, don’t have a thorough or complete understanding of the theory behind the use of the scale, and still more don’t have as extensive a mastery of the structure as they could. This two-part class presents the melodic minor scale in a thorough, complete way, with the goal of giving a total understanding of how it has been, and continues to be, used by master jazz musicians. Part one of the class breaks down the theory, revealing how, why, when, and where to use the scale and providing a clear explanation of the modes and many different techniques to make learning and utilizing them easier. Part one could be used by any jazz musician interested in gaining a more expansive knowledge of the melodic minor scale. Guitar fingerings and tablature are given, but traditional musical notation is also used throughout so that any instrumentalist or vocalist can benefit. Part two of the class, which is more guitar-centric, presents a methodical and comprehensive way to gain mastery over the melodic minor scale, with numerous examples and exercises for increasing fluency. Part two also presents some imaginative and exciting ideas for generating new musical sounds with the scale, both for comping/chordal playing and single-note soloing. Melodic Minor Complete part 1: Theory covers: • basic structure and sound of the scale • detailed breakdown of the seven modes, including different common names for each • shortcuts for remembering which melodic minor scale goes with which chord and/or usage • use of the augmented major seventh upper structure for all seven modes, with shortcuts for remembering which chord or arpeggio goes with which usage • tritone substitution and its relationship to the Lydian dominant and altered sounds • the “modal” modes and their uses • the minor IV to I progression and its relationship to the Lydian dominant sound • an alternate, internally-consistent way of conceptualizing the seven modes • real-world examples of each of the uses of the melodic minor modes • three easy fingerings for the augmented major seventh arpeggio that guitarists can use as a quick-start approach to the melodic minor sound • running time: 104 minutes • includes18 pages of written examples and exercises • All musical examples from the video are provided in music notation, and guitar-specific examples are given in tablature and music notation. • Each example performance in the video is titled and numbered for easy navigation. • MP3 backing tracks for written examples

Half diminished (also known as minor 7th flat five) chords are a familiar structure to most jazz guitarists and occur in many, if not most, standards . Even beginning-level players usually know a couple of half diminished voicings to plug in when needed. However, because this sound isn't as common as major, minor, dominant, and even fully diminished chords, jazz guitarists are often not as well-versed with half diminished as with the other sounds. Many players who can otherwise improvise and comp comfortably and effortlessly through a tune might stumble when a half diminished chord comes up. It's understandable that we aren't as familiar with concepts that we don't use as frequently. Diminished vs Half Diminished First, we will find chord voicings and arpeggios all over the neck with exercises and suggestions for improving fluency. Then, we will investigate many different uses of the half diminished sound so that it can be implemented over just about any of the commonly played harmonies in jazz . This class will help you become more comfortable soloing and comping on half diminished chords, and it will also give you new ideas for using half diminished chords and arpeggios superimposed over other harmonies to create new and exciting sonorities. The Half Diminished Sound covers: Basic structure and sound of the chord All voicings on the guitar of the half diminished/minor seventh flat five chord Half diminished arpeggio fingerings, both along individual strings and across the strings by position Exercises for gaining fluency with the chords and arpeggios all over the neck Explanation of different techniques for adding color tones to half diminished chords, with numerous examples Thorough exploration of using half diminished sounds to represent harmonies from the major and melodic minor scales, both as chords and as arpeggios, with multiple example of each • use of half diminished chords to create harmonized melodic minor scales Finding the four half diminished chords contained in the diminished scale and using them as chords and arpeggios to create fresh sounds on diminished chords • single note solo etude demonstrating material from the class on the chord changes to "Upper Manhattan Medical Group" Chordal etude using a harmonized melody utilizing the concepts from the class, also using the chord changes to “UMMG” Running time: 95 minutes Includes 22 pages of written examples and exercises • All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance in the video is titled and numbered for easy navigation. MP3 backing tracks for written examples, as well as full-length tracks for improvisation practice

Utilizing ideas for voice motion and chord substitution inspired by George van Eps, Steve will take the often played "Autumn Leaves" and send out a chord melody arrangement in the Van Eps style. Discussions of techniques used and full explanations of the entire arrangement will be given.As usual all questions will be answered on the spot! To encourage early registration Steve will include a bonus arrangement of "Autumn Leaves" arranged in 2 part counterpoint that will demonstrate soloing above a half note bassline and also a melody line. The former helps deal with the question "After I play the head, now what?" Improvising chord melody can be one of the most gratifying of endeavors. It kept George Van Eps playing steadily into his 80's! View Clips from this class

Breau's use of 2 and 3 note comping chords while he played melodies was a big leap forward for guitarists. Learn the techniques Lenny used to achieve this swinging jazz piano sound and play some of his favorite phrases and comping chords . "I was aware of the idea of voicing partial chords on the lower strings while soloing on the higher strings, but this class really got me started on using his concept RIGHT AWAY! What seemed nearly impossible is now a regular part of my playing style." ~ Lindsey Blair "Another inspiring class from Steve . Packed with clear and musical examples and a practical approach that got me using this technique straight away. The benefits of this approach go well beyond the skill of accompanying yourself, as it is extremely useful for building voicings that, having 3 and 7 at the bottom, will support well any extension. This technique comes up time and time again in Steve's classes (and his playing), for example in his comping in 4/4 class, when he talks about building voicings 'on the fly' by adding to the 3&7 block. Highly recommended!" ~ Nico S. 3 Pages in PDF Class Length is 1hr 35min

Steve Herberman is considered one of the specialists of George van Eps and Lenny Breau. His van Eps courses have received high praises from students all around the world! "I often get requests to demonstrate how Van Eps' triad studies in Harmonic Mechanism's can be applied to comping and soloing as well as chord/melody. " "In this masterclass we'll see how his multi-line triadic approach can add depth and interest to triads and upper structure triads. If you've never worked through Van Eps' books than this class could be a real eye-opener." "If you've checked out Harmonic Mechanisms and need a fresh look at how to put the concepts into practical use over tunes than don't miss this masterclass!" ~ Steve Herberman

Triads and seventh chords of the Melodic Minor scale and their practical applications over altered dominants and two-five-ones. Take your comping and chord soloing to the next level by utilizing the harmonized Melodic Minor scale. In this class you'll receive examples to practice resolving altered dominant sounds through the use of these rich chordal textures. Many of these chord forms are familiar to many guitarists though we'll be stringing together chords to create a refreshing chain of altered dominant sounds and lead them to satisfying resolutions. This really breaks a player out of habitual chord patterns and licks to create fresh and interesting new patterns. The goal of this class is to firmly establish this concept in your ears and mind and, most importantly, to get it under your fingers so it becomes second nature!

This class on Contrapuntal Improvisation for pickstyle and fingerstyle guitar was live from the IAJE in NYC. A refreshing alternative to block chord soloing, Steve walks you step-by-step through techniques to expand your playing into 2 and 3 part multi-line improvisation. Written examples begin with the basic principles of contrapuntal music playing and progress towards melding single note lines seamlessly into modern chordal structures. Add these vital and flexible concepts into stream of consciousness improvising . This type of playing sounds great in a bass/ guitar duo or guitar/bass/drums trio. Break out of those chord boxes and let your creativity flow! All contrapuntal improvisation examples are written for 6 string guitar and are easily adaptable to 7 string guitar. "This is a mind-expanding class. There are 6 pages of written examples, many based on the same sample tune approached with different types of counter melodies. Also very helpful and inspiring are the many beautifully improvised and clearly explained examples. Several devices are discussed like improvising against chromatic cliche-lines like Root-7-b7-6 etc or 5-#5-6 and playing arpeggio-based countermelodies against a held note. This class, in conjunction with Steve’s Van Eps-Style classes and the Inner Line class , represented a bit of a breakthrough for me and are revolutionizing the way I play and approach the instrument, from trying to combine chords and melodies, to juggling independent lines inside an organic improvised arrangement. Superb stuff!"

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

George Van Eps used to say that "Guitarists put too damn many notes in their chords." In this class we'll heed the maestro's advice and examine 10th intervals with a moving inner line. Also, we'll look at other intervals such as 6th's and 12th's with inner line motion and apply these to a progression. Exercises outlining these principles will be provided, allowing you to become more familiar with the techniques necessary to play these smoothly. It's a refreshing approach to enhance your chord melody playing.

Joe Pass always talked about the importance of motion as it pertains to solo guitar. In this Master Class, Steve illustrates techniques to create motion using common chord forms. You and he will begin with triads and create lines in parallel and contrary motion while maintaining some common chord tones. After examining many kinds of voice motion within one chord, you'll apply these concepts to a progression. This is in essence what the George Van Eps volumes were all about: looking at chords as several voices forging ahead over time to arrive at familiar destinations along the way. You'll be pleasantly surprised to discover many new shapes getting from one chord form to another by sending the voices in motion. Steve will also show the application of these principles over familiar standard tunes. You will never look at those chord forms the same way! View a clip from this class

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

The chord changes to "I Got Rhythm" are required study for any jazz musician. Hundreds of tunes are fashioned after the Gershwin standard as well as the most popular turnarounds using the one-six-two-five progression and its substitutions. In this class I'll outline many of the useful soloing concepts including reharmonization, guide-tone lines, arpeggio usage, chord scales and motivic development using arpeggios and scales. Other topics will include reducing the changes down to basic cadences such as five to one and four minor to one as well as running the changes playing off of each chord. Learn simple and effective tricks to making the changes and handling up-tempo playing. This will be packed full of information that can be applied quickly. If rhythm changes have always been hard to handle or if you are just in need of some new ideas then this class is for you! View a clip from Steve's Class.

Practicing and Memorizing Tunes: A Systematic Approach For All Levels Steve will take you through the process of learning new tunes with an emphasis on hearing the melody and changes and how they fit together. A step by step method, thorough to the point of reaching a deep understanding of the tune at hand. Transposition will be made much easier after following logical steps including singing, root motion, chord functions, guide tone lines, logical fingerings, a variety of chord/melody concepts and much more. When tunes are internalized in this way, long term memorization will be possible with greater flexibility. Expand your repertoire while maximizing your practice time!

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!

Harmonically rich single note lines are embedded in many chord forms! Certain chord forms can be arpeggiated to yield beautiful single note lines and then connected to make satisfying musical phrases. In this masterclass we'll examine the shapes that translate best in making interesting single note lines. All string sets will be covered over the entire fretboard using every chord quality. This practice helps the guitarist see the fretboard as "one big position" while giving important visual landmarks for both chordal and single note playing. The deeper a player gets into voice leading chords the easier it is to make strong harmonic connections via single note lines. The other side of the coin is what I refer to as "Gradual Chords". "Gradual Chords" often begin as a scalar single note line that builds as string crossing occurs. Each time a new string is employed a note gets added from the previous string. The evolution of the chord begins with single notes becoming two notes sustained below a melody line. Then it becomes three notes sustained below a melody until we run out of fingers! So we arrive at a four note chord beginning modestly as single note run. Open strings can always be added to get further interesting results. Both of these techniques can dramatically affect the way a guitarist looks at music. The wall comes down between chords and single note lines so that the improviser can move freely and naturally between the two so that they really become one entity. As always there are many pages of written examples that accompany each class. View a clip from this class

Wes Montgomery, Johnny Hodges, Ben Webster, and Louis Armstrong were true masters of the art of melodic embellishment. In this class we’ll look at the techniques utilized by these jazz greats and others who excelled at melodic invention on the popular songs of the day. Developing strong skills in melodic embellishment is one of the most important ways to truly connect with a song. It is also very effective as a springboard for improvisation while still maintaining the essence of the song. Topics that will be addressed will be guide tone lines, countermelodies, leading improvised lines into melody notes or chord tones, approach note patterns with target tones and upper and lower neighbor tones, ornamentation, “musical asides”, rhythmic displacement, and more. Common standard tunes will be used with pages of written examples outlining different types of melodic embellishment principles. Many of the techniques discussed in the class are also applicable to improvised single note soloing where target tones or goal notes are employed. At the end of the class these principles will be demonstrated in a polyphonic manner using 2 and 3 note structures where melodic embellishment meets modern harmony.

In this second class on comping we’ll look at ballads and jazz waltzes and the types of comping that work well for each. Tunes will include My Romance, In A Sentimental Mood, Emily and West Coat Blues. On ballads, chordal fills will be demonstrated along with the integration of single notes and double stops in appropriate places backing the melody. Voice leading with usage of upper structure triads and passing chords will be shown using both rootless voicings and conventional drop 2 and drop 3 shapes. On jazz waltzes we’ll add aspects of rhythmic displacement and the use of half notes to create “over the bar line” phrasing. Also we’ll continue with essential tone comping and expanding the voicings to include extra notes. Some of the phrases that are included in the written examples are reminiscent of Ed Bickert and Jim Hall’s comping. Having a clear idea of voice leading through chord changes along with rhythmic diversity and swing, will make comping more effective, creative and fun! View clips from Steve's Class

Improvising in the chord melody style can be taken to new heights when inner lines are employed that are musical and played with finesse. This class deals specifically with inner lines, or lines that are played between a melody note and a bass note. The melody and bass notes are important providing the necessary framework for solo chord melody playing. As an alternative to the common chord form approach to chord soloing this class examines how to make something unique and musical happening between the bass and melody. The inner line concept can be a satisfying way of personalizing one’s chord soloing. Often the success of a good inner line depends upon choosing a good melodic line that resolves well and having a good flexible technique to make the line seamless, maintaining the independence of the two parts. A flexible technique can be achieved by practicing the studies set forth in this class so that true improvisation in this style can happen naturally. Using principles that were inspired by the materials George Van Eps outlines in his harmonic mechanisms books, some of the lines will be given a bebop/hardbop update. I’ll demonstrate the types of fingerings employed to make these lines happen between 2 outside sustained notes. The class makes it possible for the guitar player to improvise more interesting arrangements in the chord melody style. Be prepared for a true left hand finger workout leading to much greater finger independence! "Amazing masterclass! It's full of usefull information. The arrangement on " Stella by Starlight " is breathtakingly beautiful and also plays a lot of different ways to approach it. Also, there is a lot of written examples that you really can use and shows real situations to play them in a context! Anyway you can't miss him playing "Darn that Dream" in al lot of different ways! I've learned a lot from this lesson and there is still a huge lot for me to learn from it. Really useful for the solo guitarist!! The arrangement of "Stella" is already on my repertoire with great success! Don't miss it"

Playing fingerstyle on an electric guitar or steel string acoustic can be a very different experience than on a classical guitar. If you use nails you need to keep them in prime condition and steel strings can sure be tough on nails! In this class I’ll demonstrate which techniques have personally worked for me though years of experimentation in various playing situations. The material presented is also applicable to acoustic steel string guitarists and the jazz nylon string player. For most guitarists playing single note lines on an electric is frustrating because it’s hard to equal the tone, conviction and swing of an expertly flat-picked line. But it can be done and can often give a fuller sound than a flatpick possibly with more tonal variation and nuances. The class will address many issues: principals in achieving a full sound before plugging into an amp, ideal free stroke angles, muting techniques, all things nail; nail lengths, nail shapes, filing etc, left hand slurs, right hand one finger sweeps, discussion of string gauges and types, alternating index and middle, alternating index and ring, using the same finger to play 2 and 3 consecutive notes between slurs, pattern picking, and more. Written examples accompany the video that further clarify the right hand fingerstyle picking techniques applied to distinct musical phrases. In the examples the left hand notation is also given to show the optimal positions that make the lines swing, project and yield a horn-like phrasing and articulation that can only occur when both hands are in sync and balanced. Fingerstyle guitar can add another dimension to your electric playing by expanding the variety of textures and adding counterpoint much more easily. Join me for a fun and informative class on fingerstyle electric guitar techniques. View clips from this class.

Creating memorable melodies can be challenging, especially in the midst of an improvised solo. In this class we’ll examine a wide array of great melodies and see what makes them eminently sing-able and memorable. The makings of a great melody involve the balancing of the three elements of music: harmony, rhythm and melody. By studying a wide variety of melodies of the master American popular song composers and jazz improvisers, I’ll illustrate the concepts behind what make these phrases work. Once these devices are explored they can translate into the creation of consistently strong and swinging melodies. Concepts will include: weaving guide tone lines into a melody, melodic and rhythmic repetition, scale and arpeggio usage, line contours, rhythmic displacement, phrase length considerations, how to build lines that swing, creating lines from chord extensions and melodic embellishment. Also I’ll demonstrate chord visualization as an aid to see the melodic/harmonic connection on the guitar fingerboard. Using existing melodies as a springboard for your improvisations can be invaluable and there will be written examples of all of these as well as video demonstrations. Get ready for a fun and meaningful study of melody. View clips from this class

We all know how important fundamentals are. But are they mastered to the point that they can be called upon at any instant during performance ? For instance when a guitarist comps, he/she must be able to put any note of their choosing on the top of their voicing quickly and accurately. Without knowing at least the common chord voicings in all of their inversions one’s comping may fall short of the mark. When soloing , having complete command of chord scales and arpeggios in a variety of positions is crucial. Getting serious about really knowing one’s fundamentals allows the musician to focus on the business at hand: music making. I often ask students how well they know triads. The answer I typically receive is “sure I know those.” But can they be played quickly and accurately in all inversions on all adjacent string sets? Very seldom in my teaching experience. It’s an easy enough gap to fill along with possible other deficits in a player’s mastery of the fingerboard. Next we'll review all of the inversions of the "Freddie Greene" voicings of all chord qualities and there will be examples of how to apply them to tunes. Seventh chords on all adjacent string sets will be reviewed and plugged into tunes such as Wes Montgomery's "Cariba" . Other exercises will include minor 6th diminished chord and arpeggio studies a la Barry Harris and will conclude with a chord inversion system featuring many non-adjacent string chords, a more advanced system that show all voicing possibilities of seventh chords. Grand arpeggios (R,3,5,7,9,11,13) studies will also be addressed. All common scales in five positions (Berklee method) including interval exercises and arpeggio studies will be covered. To really know a scale is to be able to play it in any sequence of intervals, for example a C real melodic minor scale in diatonic 5ths . Having one's fundamentals in check will provide a solid foundation needed for improvisation. This class should be helpful for players on all levels, filling in any gaps allowing the player to better play what they hear. This class includes 24 pages of material prepared by Steve! More info on this topic can be viewed by going to my March '08 Modern Guitars column entitled Jazz Scope http://www.modernguitars.com/herberman/

With TAB and standard notation. Quartal harmony can really spice up ones comping and soloing bringing them into the modern realm. Being well-versed in quartal shapes and appropriate fingering and picking techniques can help intervallic soloing come out naturally in one’s playing. This class is a continuation of the earlier masterclass “Exploring the Chord/Single Note Connection.” Picking up where that class left off we’ll delve into the world of quartal harmony applied to tunes such as Inner Urge, Freedom Jazz Dance and Maiden Voyage. Memorizing the quartal shapes, practicing them in chord scales and applying them to modal playing as well as denser harmonic changes can unlock interesting comping and soloing possibilities in the modern style. By practicing the fingered exercises that accompany this video class, the mechanisms will be in place for improvising naturally in an intervallic manner. Once the chord shapes are mastered in various keys we’ll add in scale tones and approach note patterns for inside/outside effects through single note soloing. Also included in the written material is an intervallic-style solo on Inner Urge that draws from the quartal voicings and mixes in plenty of chromaticism. We’ll take a detailed look at left hand fingerings approaches such as finger alternation and finger “rolling.” This will help give the intervallic lines clarity and definition. Right hand techniques will also be addressed to include both pickstyle and fingerstyle technique. Expand your quartal chord knowledge while enhancing your single note vocabulary with this fun and detailed class on intervallic playing! View a clip from this class

Often guitarists will reach for chord ‘grips’ that have roots in the bass, sometimes out of habit. This can be effective when playing without a bass player, playing Freddie Green style rhythm guitar or Latin-style comping. On the other hand, it can be limiting in other contexts when a freer more harmonically rich approach is desired. Rootless chord voicings, voice leading, and chord substitutions over standard tunes and modern jazz compositions will be the focus of this masterclass. Master compers like Jim Hall and Ed Bickert love to play clusters to get a more pianist sound adding interest to their voicings. We’ll examine many multi-use voicings that can get a lot of mileage in comping. Concepts outlined will include adding open strings to voicings, quartal voicings, and a variety of interesting comping rhythms . In order to freely use the upper structures of chords and substitutions, the chord theory has to be solid. We’ll get deep into the theory and discuss the reasoning behind substitutions that work. Also we’ll take a look at bossa comping , polychord reharmonization, and chord expansion techniques . Written examples will include tunes or selected measures from: Come Rain or Come Shine, Windows, Desafinado, What Is This Thing Called Love and Gone With The Wind. TAB is included along with standard notation. Learn to comp creatively and confidently while expanding your chordal vocabulary.

Practice is always changing and evolving. One key is to let the actual music be the guide keeping practicing fun, interesting and most importantly, practical. Different types of tunes (tempos, key signatures, harmonic rhythm, time signatures, etc.) place certain demands on one’s technique, knowledge of theory and aural abilities. With all that there is to practice, often working on a limited practice schedule, it can easily be overwhelming! In this class important core principles are identified and each player, after honest self-evaluation, can “laser in” on areas that are weak or strengths can be identified and built upon. This class is a survey of practical exercises that can be paired down to the essential tools that will benefit a player beginning from where they are presently to any point along their musical journey. From transcribing one phrase at a time of a classic solo to voice-leading arpeggios in 8 th notes this class will be comprehensive in its scope. Learn how to practice away from the instrument using visualization, chord spelling and pitch axis exercises. From working on your time feel to sightreading from a fakebook to basic time management skills this will be an information-packed session that will help you focus on getting more out of your practice time.

The Diminished Scale In Improvisation The diminished scale is perhaps the most fun and challenging scale used in improvising adding spice and a modern vibe to melodic lines. Gain a thorough understanding of the diminished scale through 12 pages of exercises and discussion in this in-depth 90-minute masterclass. Harmonizing any of the 3 symmetrical diminished scales will yield 16 different triads, and 16 seventh chords! This class looks at many of these possibilities in close detail. Highlights include: Jim Hall’s “Careful” Duke Ellington’s “Caravan” similar to Wes Montgomery’s classic version Single note and chordal resolution exercises Intervallic studies The dominant/diminished connection Classic sequences and patterns Chord/Scale Visualization techniques Triad usage and arpeggios Diminished chord functions/substitutions Memorization techniques Fewer scales are as much fun and rewarding as the diminished. Get control of this valuable improvisation tool and enjoy the results!

Chord-Melody 101/201: Making Great Sounding Arrangements with Block Chords With TAB and standard notation. You already know a handful of cool sounding voicings but chord-melody arrangements may still be tough . Ever listen to Wes Montgomery’s few unaccompanied chord solos and marvel at how beautiful they are in their simplicity yet they sound so incredible? You may recognize every chord shape Wes is playing, (mostly drop 2 and drop 3 inversions) but how did he arrange it to be so musically satisfying? I’ll offer my insight to this important question and others, recorded live so that questions can be asked at anytime during the recording! Using the tunes “The Days Of Wine and Roses” and Horace Silver’s “Peace” we’ll compare a variety of choruses on my arrangements included in the class materials (in TAB and/or chord diagram form as well as standard notation.) We’ll look deeply into arranging chord solos that use common chord forms but incorporate some very important musical devices and theory/harmonic principles. Some of these include phrasing (rubato and tempo), the many types of chord substitution principles; introducing color tones or extensions to common chord shapes, changing chord qualities, approach chords, tritone subs, line clichés, and more. Simple yet effective harmonic devices will be shared, the ones you hear the greats use; stock chordal phrases and the more creative ones, along with the theory behind what makes them work. Often simple chromatic motion within a chord form can go a long way in creating interest when the melody is at rest. At times the music may call for dense chords, or inversely, sustained chords with melody notes played over top. We’ll also examine some simple types of single note fills that can be incorporated into an arrangement. If arranging chord-melody has been slow going, I hope you’ll join me for an insightful look into what makes a simple chord solo work.

Using chord voicings that feature open strings can help create a rich and complex atmosphere for comping, chord-melody playing and soloing. They are a perfect way to enhance a composition with textural nuance and are adaptable to fit any style of music. While many guitarists know a handful of useful open string voicings there always seems to be new ones waiting to be discovered. This unique class deals with the principles and theory involved with building these voicings, using them in a standard progression (ii-v-iii-vi) with chord substitutions in all major and minor keys. Most every chord quality is addressed with hundreds of useful voicings shown in progressions in all 12 keys as well as several sample sheets devoted to inversions of specific chords. Moveable diminished/dominant seventh voicings using open strings are shown alongside specific chord shapes that work for each of the three diminished families. This class comes with 12 pages of written material that feature rich, open string voicings often with clusters imbedded in the chords. Everything from big, expansive chords to smaller voicing types. Though the emphasis is on larger chords with low roots (often useful for solo guitar and comping without a bassist) many inversions are included. The progressions shown exhibit melodic continuity, and where possible, close voice-leading that help the voicings gel as a whole. Each written example is recorded on the video with either an even eighth note feel, swing feel, ballad etc. Every guitarist is sure to benefit from this detailed look at open string voicings. 90 minutes, with written examples notated in chord diagram form for 6 string guitar in standard tuning.