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Maurice Arenas has specially created this series for Mike’s Master Classes targeting the overall player who wishes to comprehend and master many musical genres. In the first video of the series a fusion solo is broken down that contains elements of Jazz, Blues, Shred, Rock and Fusion. This first video was intended for guitarists of many skill levels from Beginning, Intermediate to the Advanced. Each level will receive something on each topic, which enables the student to continue learning more after certain concepts are internalized. The first in this video series covers a variety of concepts used in many genres, including Rock, Shred, Blues, Jazz and Fusion The techniques and concepts shown and explained are: • Chords used in the lesson (including Jazz chords and Slash chords) • Sweep Picking Arpeggios similar to "Frank Gambale" (Level 1 and 2) • Hybrid Picking • Playing Chromatic passing tones – outlining small chords • 3 Octave Scales with a logical approach • Pentatonic Scales with a repeated notes similar to “Allan Holdsworth” and "Paul Gilbert" • Diminished Arpeggios and Applications in Jazz, Blues and Rock • 7 Modes of the Major Scale – 3 notes per string • 5 Pentatonic Boxes – 2 notes per string • Fingerboard Knowledge Overview - Maurice Arenas basic approach to viewing the guitar • Scales on one string, 2 notes per string, 3 notes per string, 3 octaves View clips from this class

In the second of this video series M Arenas covers arpeggios and applications over diatonic progressions (in Major, Harmonic Minor and Jazz melodic Minor), blues progressions as well as minor blues progressions. These arpeggios are all found in a variety of genres in music and are used by great artists such as George Benson, Frank Gambale, Tal Farlow, John Petrucci, Yngwie Malsteen, Shawn Lane, Al DiMeola, Larry Carlton and more. Each section is divided into chapters and the following topics are covered in order. The purpose of this video is to complete knowledge of most arpeggios to the 13th. All the arpeggios given have been formulated for use with Sweep Picking or with Hybrid Picking technique. Chapter 1 Triads - Major and Minor forms in 2 and 3 octaves Chapter2 Major 7, Minor 7, Maj7#5, 7th, Min/Maj7th, Min7b5, Dim7 and Minor 6th in two octaves Chapter 3 Major 9, Minor 9, 9th, Dominant 7(b9), Minor 7b5 (b9) in two octaves Chapter 4 11th, Minor 11, Maj9#11 in two octaves Chapter 5 13th, Major 13#11, Minor 13th in two octaves Chapter 6 Diminished and Augmented arpeggios Chapter 7 Arpeggios found in the Major Scale Arpeggios found in the Harmonic Minor Scale Arpeggios found in the Jazz Melodic Minor Scale Chapter 8 Arpeggio choices and formulas over a G7 Blues Chapter 9 Arpeggios choices and formulas over a C Minor blues (ala "Equinox or Moments Notice") Chapter 10 Conclusion and demonstration over a G7 Fusion blues (ala Larry Carlton)

Jazz Improvisation and the 251 Progression In this instructional video, Maurice Arenas covers the foundations of jazz improvisation and usage of scales, modes, arpeggios and chromatic concepts over the Major 251 and the Minor 251 progression. This 76 minute video comes with a fully detailed 28 page pdf booklet that covers: The Minor 251 Progression Pentatonic possibilities and formulas over every chord Arpeggio possibilities over every chord using the chord extension method The “Chord Stack” method of improvisation Scale and mode choices and formulas over every chord Using Chromatic lines and resolution Practice method and incorporation of techniques listed The Major 251 Progression Pentatonic possibilities and formulas over every chord Arpeggio possibilities over every chord in various modes The Dominant 7 Super arpeggio methodology of improvisation Scale and mode choices and formulas over every chord Using Chromatic lines and resolution Practice method and incorporation of techniques listed This video is intentionally divided in a way for all levels of guitarists to learn concepts and techniques of jazz improvisation. Beginners can work on the basics (pentatonic scales and arpeggios) while intermediate and more advanced players can learn the theory behind altered modes, chromatics and outside playing over the common 251 progression in jazz. Stylistically this video encapsulated many of the traditional jazz players’ lead guitar styles and formulas for scale/mode usage like Wes Montgomery, Pat Martino, George Benson, Grant Green, Tal Farlow, Kenny Burrell, Jimmy Bruno, Herb Ellis, Howard Roberts, Jack Wilkins and Joe Pass. View a clip from this class

In this instructional video, Maurice covers a plethora of scales and their corresponding modes and also discusses proper playing technique in both the left and right hand. He also in this jam packed video lays out a “game plan” or set of rules and guidelines in order to improve on speed development and ease of playing and learning how to “play” the guitar and not “working” the guitar. Toward the end, M Arenas also explains in detail examples of proper practice habits and regimen for a guitarist who wishes to play faster and more effortlessly in a short amount of time. The scales covered in this video are: Pentatonic Scales Minor Pentatonic Scale – all 5 boxes Blues Scale – all 5 boxes Major Pentatonic Scale – all 5 boxes Minor Pentatonic Natural 6 Scale – all 5 boxes Holdsworth Style Pentatonic Scales 3 Notes Per String Pentatonic Minor Scale (Holdsworth style) – all 5 boxes 3 Octave Pentatonic Scale (Holdsworth style) – all 5 boxes 3 Octave Blues Scales (Holdsworth style)– all 5 boxes The Modes of the Major Scale Mode 1 = Ionian or Major Scale (1 2 3 4 5 6 7) Mode 2 = Dorian (1 2 b3 4 5 6 b7) Mode 3 = Phrygian (1 b2 b3 4 5 b6 b7) Mode 4 = Lydian (1 2 3 #4 5 6 7) Mode 5 = Mixolydian (1 2 3 4 5 6 b7) Mode 6 = Aeolian or Minor Scale (1 2 b3 4 5 b6 b7) Mode 7 = Locrian (1 b2 b3 4 b5 b6 b7) Modes of the Harmonic Minor Mode 1 = Harmonic Minor (1 2 b3 4 5 b6 7) Mode 2 = Locrian Natural 6 (1 b2 b3 4 b5 6 b7) Mode 3 = Ionian Augmented (1 2 3 4 #5 6 7) Mode 4 = Dorian #11 (1 2 b3 #4 5 6 b7) Mode 5 = Phrygian Dominant (1 b2 3 4 5 b6 b7) Mode 6 = Lydian #9 (1 #2 3 #4 5 6 7) Mode 7 = Harmonic Diminished or Harmonic Locrian (1 b2 b3 4 b5 6 b7) Modes of the Melodic Minor Mode 1 = Melodic Minor (1 2 b3 4 5 6 7) Mode 2 = Dorian b9 (1 b2 b3 4 5 6 b7) Mode 3 = Lydian Augmented (1 2 3 +4 +5 6 7) Mode 4 = Lydian b7 (1 2 3 +4 5 6 b7) Mode 5 = Mixolydian b13 (1 2 3 4 5 b6 b7) Mode 6 = Aeolian b5 (1 2 b3 4 b5 b6 b7) Mode 7 = Superlocrian (1 b2 b3 b4 b5 b6 b7) Modes of Harmonic Major Mode 1 = Harmonic Major (1 2 3 4 5 b6 7) Mode 2 = Dorian b5 (1 2 b3 4 b5 6 b7) Mode 3 = Phrygian b11 (1 b2 b3 b4 5 b6 b7) Mode 4 = Jazz Melodic #11 (1 2 b3 #4 5 6 7) Mode 5 = Mixolydian b9 (1 b2 3 4 5 6 b7) Mode 6 = Lydian Augmented #9 (1 #2 3 #4 #5 6 7) Mode 7 = Locrian Diminished (1 b2 b3 4 b5 b6 bb7) Symmetrical Scales The Whole Tone Scale The Diminished Scale The Techniques and Concepts covered and discussed in depth in this video are: Understanding Obstacles in Practicing Left Hand Proper Playing Technique and Left Hand Physical Mechanics Right Hand Proper Playing Technique and Right Hand Physical Mechanics View a clip

In this instructional video, M Arenas covers a plethora of Fusion and Jazz Chords and their corresponding relationship to the CAGED System. In addition to his thoroughness with the explanation and demonstration of the CAGED System, he adds some of his favorite Fusion Jazz Chord Voicings and discusses in a bonus footage section the more fine details about proper playing technique in both the left and right hand. M Arenas covers more the kinesiology of playing the guitar in this bonus footage. M Arenas also in this jam packed video lays out a “game plan” or the rules of how the CAGED System works across the entire fingerboard. Toward the end, M Arenas also explains in detail examples of proper practice habits and regimen for a guitarist who wishes to play complex chords and chord progressions and play them more effortlessly in a short amount of practice time. This instructional video comes with pdf booklet The chord forms covered in this video are: CAGED Forms (All 5 forms) Major Minor Augmented Diminished 6th Major 7th Major 9th Major 6/9 Minor 6th Minor 7th Minor 9th Minor 11th Minor 6/9 7th 9th 11th 13th 7th (#9th) 7th (#11th) 7th (b9th) 7th (b13th) Minor 7(b5th) Minor/Major7th M Arenas also covers some of his favorite Fusion Jazz Chord Voicings in this video that includes these forms: Minor 9th Minor 11th Major 9th Major 6/9 13th (b9) 7th (b9) 7th (b13,b9) 7th (b9,#11) 7th (b9,11) 7th (b9,11,b13) 11th 13th These chord voicings are often used in Fusion compositions by Fusion Jazz masters like Holdsworth, McLaughlin, Gambale, Towner, DiMeola and some of the voicings shown were taken straight from pianists voicings like Herbie Hancock and Chick Corea. Listen to a clip

Consists of three chapters - “Little Sunflower” chord progression, "Soloing Concepts" and "Em7 Vamp" "Little Sunflower" Chord Progression Chapter "Little Sunflower" chord progression and demonstration solo in the fusion style (ala Allan Holdsworth, Frank Gambale, Guthrie Govan, etc.) All Pentatonic Scale options and formulas explained over each chord in the progression All Modal Scale options and formulas explained over each chord in the progression All Altered "Outside" Scale options and formulas explained over each chord in the progression Soloing Concepts and Approach This 6th chapter on fusion guitar explains exactly how to build a solo so it sounds more well rounded as well as more well constructed using concepts and approaches that composers have used since the baroque era to the present day. Concepts like voice leading a solo, syncopated playing, extension playing, chord substitution playing and more are explained and illustrated in real time during Maurice's solo over a static chord vamp as well as explained with short improvised examples. "Em7 Vamp" and using "Soloing concepts" as well as playing "outside" This chapter has Maurice playing a solo over a static chord progression and illustrates how these concepts can be used in a solo to bring tension and resolution as well as contrast to keep the listener's interest. This Fusion Guitar Lesson also includes: All Pentatonic Scale options and formulas explained over the vamp in the progression All Modal Scale options and formulas explained over the vamp in the progression All Altered “Outside” Scale options and formulas explained over the vamp in the progression A "second" take of the solo with real time captions showing what Maurice is thinking when he’s improvising over the vamp. This 90 minute video also includes a PDF booklet and 2 jam tracks.

Music For Solo Bass - Performed at the New Music Summit at the ISB Convention in State College, PA.

Mark Dresser will present his vocabulary of extended techniques that has grown into a musical language through improvisation, transcription and composition. The overtone series is central to these techniques including two-handed tapping, bitones, harmonic specific flautando, artificial harmonics, multi-nodal harmonics, subharmonics, and multiphonics. The combination of intuition and understanding leads to melody, harmony, rhythm, and sonic possibilities. His use of a custom made pick-up system amplifies and expands the musical potentials. Streamed live and recorded at the ISB 2009 Convention at State College, PA.

Lynn Seaton conducts a clinic on Arco Techniques for Jazz Bass, hosted by David Gage String Instruments. Lynn offers a wealth of information in this class, including Arco techniques and much more! Topics covered include bow speed, pressure, position, right hand techniques, ergonomics, bass setup, practicing, solo arrangements, double stops, fingering, harmonics, articulation, time and harmonic clairty. Lynn also performs arco and pizzicato pieces. See a clip from Lynn's class

Do you enjoy the sound of jazz pianists like Bill Evans? Would you like to go beyond playing rhythm guitar or just playing single note solos? Want to combine melodic soloing and harmonically rich comping chops? Guitarists like Lenny Breau, John Stowell and Lorne Lofsky have developed unique guitar playing styles by taking inspiration from pianists. In this master class, Canadian jazz master Lorne Lofsky will show you how to start thinking out of the box by taking a pianistic approach to both soloing and comping. You will discover: Voicings tips from how to maximize quartal voicings, use standard shapes, develop unique open string voicings that go beyond typical drop voicings Rhythmic ideas that encourage rhythmic independence and variety (for both solo and comping!) How to create lines from voicings, add chromatic melodic variations and lines that span the fretboard How to develop a personal harmonic vocabulary that goes beyond standard textbook chord shapes Lorne will demonstrate how he uses these sounds on jazz blues progression and standards like All The Things You Are and Autumn Leaves. From explaining his approach to using quartal harmony to giving you a wealth of voicing generating practice strategies, this master class will give you a wealth of ideas to take your playing to the next level. Includes a 1 Page of PDF in standard notation. Full video is 1 hour and 34 mins.

Lorne returns for another informative Master Class - Upper Structure Triads. View a clip from Lorne's class Unleash Your Inner Jazz Virtuoso with Upper Structure Triads Do you want to take your jazz guitar skills to the next level? Introducing the Upper Structure Triads course, designed to help you unlock the full potential of your playing and unleash your inner jazz virtuoso. In this comprehensive course, you'll learn how to master the art of upper structure triads - a powerful tool used by top jazz guitarists and pianists to add rich harmony and sophistication to their 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 Upper Structure Triads course: The fundamentals of upper structure triads and how to apply them to your playing Advanced concepts and techniques for creating complex harmonies and advanced voicings How to use upper structure triads to add depth and texture to your solos Practice exercises and performance tips to help you integrate upper structure triads into your playing This course is taught by Lorne Lofsky, a professional jazz guitarist with years of experience in the music industry. With his clear and concise teaching style, he'll guide you step-by-step through the world of upper structure triads, helping you master this powerful tool and take your playing to new heights. Don't miss this opportunity to unlock your full potential as a jazz guitarist. Enroll in the Upper Structure Triads course today and start your journey to becoming a jazz virtuoso.

Lorne returns for another informative Master Class - Harmonics and their uses. Lorne demonstrates techniques used by Tal Farlow and Lenny Breau and shows how to integrate with single note soloing and chords. View sample clips from this class

A Look at Orchestral Repertoire – Methodology, Philosophy and Auditions for Universities. This Lecture/demonstration addresses the similarities and differences inherent in teaching orchestral repertoire at a conservatory and at a university. The methodology and philosophy of each type of approach are discussed, as well as a comparison of varying orchestral seating audition procedures. Ms. McKnight draws upon her experience teaching orchestral repertoire class at Manhattan School of Music and at Montclair (NJ) State University. Carlos Barriento, double bass student from Manhattan School of Music and Nate White, double bass student from Montclair State University (NJ) perform during this class. Streamed live and recorded at the ISB 2009 Convention at State College, PA.

Experience the revolutionary approach to bass ensemble performance with L'Orchestre de Contrebasses, the pioneering French sextet that has transformed how we think about multiple bass voicing and arrangement. This masterclass reveals the sophisticated techniques behind their signature sound, from classical section writing adapted for six basses to the intricate spiccato bowing patterns that create their distinctive heavy metal-inspired rhythmic drive. Learn how to voice chords across the full spectrum of the bass, understanding why traditional orchestration rules don't apply when writing for bass ensemble. Discover how to exploit the unique harmonic overtones that make dense voicings sound rich rather than muddy, and master the art of comping within a bass-only context where listening and bow control determine the success of the ensemble blend. The workshop demonstrates practical arranging techniques, showing how to adapt classical string quartet voicing to bass sections, when to use unison versus multi-voice textures, and how to create compelling rhythmic patterns using specialized bow techniques. Whether you're interested in ensemble performance, arranging for bass sections, or expanding your technical vocabulary with European bowing styles, this masterclass provides insights from decades of touring and performing at the highest level. Perfect for experienced bassists ready to explore the full potential of their instrument beyond traditional jazz and classical boundaries.

Esta nueva clínica tiene como objetivo expandir los conocimientos enseñados en mi clínica anterior “Dodecafonismo en la Improvisación” Parte I. En esta segunda videoclínica trato de sumar mas ideas originales o variaciones derivadas de conceptos dodecafónicos y series de 12 notas -creados a principios del siglo veinte por Arnold Schonberg y luego expandidos por Alban Berg y Antón Webern-, como acordes atonales, díadas 01, tricordios 012, 016, tetracordios 0123, pentatonics 01234, hexacordios 012345, dispersión de la octava, y otros conceptos innovadores como áreas de sonoridad atonal. Todo es aplicado sobre material estándar de jazz , porque el principal objetivo de mis lecciones es llevar estas ideas a la perfomance, no que queden en un etéreo lugar teórico solamente. Aún queda mucho por hacer respecto al mundo atonal/dodecafónico usado en la improvisación, y se que todo este material hará que el improvisador -no solo de jazz sino de cualquier estilo donde la creatividad y la originalidad son aun estandartes- sea enormemente beneficiado a nivel musical y espiritual. Juampy Juarez This class is in Spanish. The English description follows. Dodecafonism applied to improvisation: Part II In this new class, I’m trying to expand the concepts and topics applied in my first class called “Dodecafonismo en la Improvisación: Parte 1", adding more original ideas and variations on 12 tone row theories, invented by Arnold Schonberg and then renovated by Alban Berg and Anton Webern at the dawn of the twenty century. This time you will learn atonal chords, diads 01, trichords 012, 013, 016, tetrachords 0123, pentatonics 01234, hexachords 012345, octave displacement, plus new concepts like atonal improvisation areas. All of this is played over jazz standards. My first advice here is to bring these original concepts to the musical perfomance. Even there remains great opportunity with regard to the world atonal/dodecafónico used in the improvisation, and this lesson will help that the improviser (not only of jazz but of any style where the creativity and the originality are even banners) greatly benefits in a musical and spiritual level. Juampy Juarez View a clip from this class

En esta clinica o masterclass enseño mis investigaciones acerca de 12 tone row o series de 12 notas sin repetir, un invento de Arnold Schonberg utilizado para la composición clasica contemporanea en los comienzos del siglo veinte y extendido por sus discipulos Antón Webern y Alban Berg. Mi proposito es lograr enseñar formulas sencillas para poder utlizar distintos recursos que generen patrones dodecafonicos, como triadas aumentadas, la escala tonal y la escala aumentada, tricordios 013, 014, 015, 027 , triadas cuartales, desplazamiento de la octava, acordes 23º, y mas. Todo esto aplicado a sencillas progresiones de Blues en F,C,G,C-, y famosos standards como Solar, Stella by Starlight, y progresiones II V I . Estas ideas son el resultado de una búsqueda en el mundo de la musica atonal en conjuncion con la necesidad de usarlas en el estilo del jazz, utlizando distintas tecnicas incluidas las de contrapunto vistas en mi masterclass “Contrapuntal Improvisation” Los fans de Jimmy Wyble tambien encntraran nuevos 2 line licks. Aquí apenas estoy mostrando la punta del iceberg de lo que se puede lograr utlizando recursos dodecafonicos, imagino que en un futuro cercano cada vez sera mas comun escuchar estas ideas en la improvisacion de todos los estilos. This class is in Spanish. Below is the description in English. Dodecafonism applied to improvisation. In this masterclass I’m teaching my investigations about 12 tone row techniques, an Arnold Schonberg’s invention developed for classical composition at the dawn of the twentieth century. These techniques were expanded by his students Alban Berg and Anton Webern.My purpose is try to teach simple formulas for using 12 tone patterns, like augmented triads, 013, 014, 015 and 027 trichords, cuartal triads, octave displacement, 23rd chords, and more. These techniques have been applied to handy progressions like Blues in C, C-, F, G, and famous standards like Stella by Starlight, Solar, plus examples with II V I sequences.These ideas have been founded at the core of Atonal music and on the necessity of playing these ideas in a jazz context, using different techniques included Counterpoint and 2 lines showed in my previous masterclass “Contrapuntal Improvisation”. Jimmy Wyble’s fans could find new 2 line’s licks. I’m showing the tip of the iceberg of these 12 tone techniques and theory. I believe that in a near future more and more players will play and compose with these wonderful devices. View a clip

My goal in this Jazz Guitar Master Class is to show my own investigations and variations on Jimmy Wyble’s concept , called Two line improvisation or contrapuntal improvisation . In this video you will see Hybrid Picking, Contrapuntal Scales, Chord Fragments, Intervalic Improvisation, Counterpoint Ideas and more. These concepts are applied to jazz blues and famous standards. You will be introduced to an original musical world with plenty of new ideas, really interesting for playing solo jazz guitar or in a jazz combo. Also, you will expand your harmonic vocabulary. The clinic is great for beginning to look at the guitar in a completely new way . This class includes written materials in standard notation and TAB.

"In this new masterclass, I show my original investigations on set theory, this time applied to improvisation. Set theory is based upon mathematical numeric sets that describe the whole possibility about octave's division, based on Integer notation, a new nomenclature that is explained in this clinic. These sets have inside lots of new scales, licks , chords, and more.Imagine the new harmonies and melodies that you could create with it. There are 220 possible sets, and these form the musical language of the last century's classical compositions.Genius like Stravisnky, Bartok, Boulez, Webern, Berg, and Schoenberg among others, used those sets . Atonal music prefers dissonant intervals and wide ,large note jumps. This new stuff will be a new weapon to expand your improvisation's skills. Super sets, subsets, and nested pitch field are some of the new devices shown here, played through simple blues progressions and some other cadences.

In this masterclass I’m teaching my investigations about 12 tone row techniques, an Arnold Schonberg’s invention developed for classical composition at the dawn of the twentieth century. These techniques were expanded by his students Alban Berg and Anton Webern.My purpose is try to teach simple formulas for using 12 tone patterns, like augmented triads, 013, 014, 015 and 027 trichords, cuartal triads, octave displacement, 23rd chords, and more. These techniques have been applied to handy progressions like Blues in C, C-, F, G, and famous standards like Stella by Starlight, Solar, plus examples with II V I sequences. These ideas have been founded at the core of Atonal music and on the necessity of playing these ideas in a jazz context, using different techniques included Counterpoint and 2 lines showed in my previous masterclass “Contrapuntal Improvisation”. Jimmy Wyble’s fans could find new 2 line’s licks. I’m showing the tip of the iceberg of these 12 tone techniques and theory. I believe that in a near future more and more players will play and compose with these wonderful devices. Note: This class was previously released in Spanish. View a clip below

The Augmented tonality arrived a long time ago to Western music, but started heavily with Richard Wagner. The augmented sound is the limit between tonality and atonality, in my opinion, and Classical music's history has confirmed this. The student will find new augmented licks, phrases, scale positions, 2 line licks, and how to use them in popular harmonies like Major and Minor Blues, standards and ii-V-I progressions. Many years ago I began to notice that most improvisers don't take full use of this marvelous whole tone scale , and at this time I started my investigations and own variations with it. I hope that you enjoy this wonderful journey to the Augmented world. View a clip from this class

With written materials in standard notation and TAB. How to become a modern improviser. In this video lesson I teach my investigations on the Symmetrical Augmented Scale, also called The Magic Scale , due to its possiblities for reharmonization. The overall sound is augmented, thus this scale becomes a necessary tool for modern improvisers and composers, because the modern jazz sound starting in the late fifties is augmented . Players like Wayne Shorter and John Coltrane used this fantastic scale a lot. This clinic has many examples with differents positions, licks, and phrases for improvising over chords and rhytmmic tips for understanding the post bebop language, plus derived chords, polychords and triads for intros, outros and compositional ideas. The Augemented tonality is a must in contemporary days, and this clinic shows you how to use it in a serious, professional way. Juampy Juarez

With written materials in standard notation and TAB. In this Master Class I show my ideas about walking bass and comping, with one foot in tradition and one foot on modern jazz,showing that comping is one of the most important tools for duos that exists. When you learn how to play walking bass lines on the guitar, you will comp behind singers, piano players, wind instruments and other guitarists with enough vocabulary and dexterity. The walking is really good for comping at fast tempos and when you have to let space behind the soloists, you will begin to think like a bass player, thinking horizontally and keeping tempo like a madman. Besides that, you will start to think in polyphonic ideas, listening to more than one thing at the same time, bass and chords together, and possibly melody too. Juampy Juarez, april 2012 View a clip

Sometimes jazz and rock musicians need more technique than they think,because every year, heavy metal, fusion, blues and jazz styles increase in complexity and sophistication. In this new lesson, I show many different technique that I learned in the past, not only playing jazz lines, but also Malmsteen , Holdsworth and Jimmy Page’s licks. In my experience, it proves that playing in a variety of styles and contexts and keeping our minds open is better for our musical careers. Techniques like Legato, Economy Picking, Sweep Picking, and Hybrid Picking are covered with many examples and pdf’s . Finally, in this clinic, I expree that Technique is only a door for entry to a new musical world, but never is a goal in itself. With a little practice, you will become a better musician, no doubt about it. Juampy Juarez View a clip

The Melodic Minor scale, often called minor jazz scale, is one of the most used and played scales in jazz. But not everybody knows his modes and his chords, many of them already in many jazz standards. The modes of this scale will get a new sound, inspiring and modern to your improvisations' palette. Immediately after you begin to play this scale in a melodic way, not only to create tension over dominant 7 chords, you begin to recognize many phrases and licks from the jazz masters, players like Pat Martino, John Scofield, John Coltrane, John Stowell, John Abercrombie and many more. If you want to begin to sound modern and understand post-bebop, this clinic will help you a lot. Linear ideas, chords, new concepts and explanations over blues, standards and simple chord vamps will show you the way to learn the melodic minor modes in their whole extension. We start here to listen and think in tonality, not scales or chords divorced from each other. Juampy Juarez View a clip

From the first time that I knew that you could play the guitar imitating harp sounds, I have been researching and looking for new chords and extended techniques with those unique and beautiful guitar colors. In this master class I‘m showing Ted Greene and Lenny Breau’s harp harmonics techniques, plus harmonics and fretted notes in many different forms. Ralph Towner’s chords are inside the video clinic too. Harmonics chord sequences, scales with harmonics and special effects are covered. Your guitar will begin to sound like a waterfall, with plenty of marvelous textures and will expand your harmonic / melodic palette and sonic range. These harp harmonics and Tapp harmonics are great for intros, endings and comping. Hope you enjoy my ideas and become a Harmonics lover like me. Juampy Juarez View a clip

Juampy explores using the whole fretboard in order to break out of strict position playing. He points out that this rapidly develops the player with the ability to create new harmonies and melodies. Most guitarists learn their instrument starting playing the ‘pentatonic box’ positions and never move beyond this approach. Playing horizontally helps the guitarist to move beyond fixed position moves. It enables more of a mastery of the fretboard, by starting lines either at the left on the guitar neck and advancing to the right, or the other way round. Juampy makes learning this approach fun and demonstrates how the possibilities go as far as your imagination will allow you. Along the way, he name drops jazz and avant-garde classical composers who use the techniques and harmonies he demonstrates. He demonstrates different approaches to horizontal playing, using both two- and three-notes per string fingerings. He also shows how interesting lines and harmonies can result from playing on adjacent and non-adjacent strings. In this course Juampy demonstrates: Playing different scales on each single string for the following: Pentatonic single string and harmonies Melodic Minor Diminished Symmetrical (whole-half tone scale). Juampy’s harmonic grasp is impressive. He discusses a range of double stop intervals using symmetrical scales. This alone will introduce many guitarists to new sounds and ideas. As an example of horizontal playing, he improvises on a C7 blues using a whole tone scale. Possibly the first time you may have heard this approach to the blues! He also suggests methods of combining different scales, such as integrating the melodic minor and symmetrical scale. This course will expand your ear and instantly introduce new ideas into your playing. From Juampy Hello students, In this new video lesson I’m trying to organize the so called concept Horizontal Guitar. In my opinion it is a powerful tool for playing more melodically. Break outside the box and change your technique and mindset. It’s very helpful for me, and I saw many great guitarists playing this way, including Allan Holdsworth, John Stowell and John Scofield. This clinic has many examples applied to pentatonic, minor melodic, and symmetrical scales. With many new patterns, licks and intervallic ideas , new chords and phrases belonging to these scales can be used over famous standards and blues. Your improvisation palette will expand a lot. I hope you enjoy this original approach in the same way that I have. I’m happy to share my ideas with you. All the best!! Juampy

This time Juampy is teaching his ideas on polyphonic improvisation. Polyphonic improv is perfect for the solo guitar style, duo with a bass player, or guitar trio. This jazz guitar lesson will discuss why many of the wonderful solo players out there, after they have played their chord melody arrangement on the melody, don’t improvise, or improvise only with lines. In Juampy's opinion, this is not what solo guitar style is about, or at least the music begins to sound weak. Juampy loves solo guitar style. He took ideas from the past masters like George Van Eps , Jimmy Wyble and Ted Greene, but always trying to adapt to his own style. Some of the topics discuss in this polyphonic improvisation jazz guitar lesson are: Triads playing a very important role in polyphonic music. Combining these triads with diatonic lines. All the scales are covered. This information is useful for comping , arranging chord melody and composing. You will have a different view of the scales and overall guitar vocabulary . Examples are applied to jazz standards, blues and II V I sequences.

All the scales covered A simple tool like the major triad, well known for most jazz players, now becomes a powerful device for improvising and composing, and for a better guitarist's understanding . These triads have a very strong sound in itself. For this reason, we can mix them and improvise with many of them together. In this clinic we will learn to use major triads belonging from Melodic minor, Diminished, Harmonic and Augmented, so we are covering all the scales that we use in Western culture. I added two blues of my own, of which the melodies are based upon major triads indeed. Most important of all, we will sound more modern than before, and many new melodies will appear in our sonic palette. Geniuses like John Coltrane, Joe Diorio, Pat Metheny and many more used major triads in their playing. Juampy Juarez

In this Master Class I teach how to comp in a vast array of different group settings, including duos, trios, quartet, solo guitar and auto comping concepts . You will learn guide chords, guide tones, quartal harmony, chords without bass, inversions, and many advices to get better in the art of comping, where listening is the key. There are no formulas for better comping, but you have to know the rules, vocabulary, and tips to begin to be a good comper. Some licks performed in this class belong to greats like Jim Hall, Bill Frisell, Lenny Breau, Ed Bickert, Freddie Greene, Jimmy Wyble and more. I hope you will join me in becoming a better comper . I really enjoy trying to get better in this lost art, where listening and experiencing are a must. Any good player needs be good at comping , not only soloing . The more you know about chordal theory , the more you can use these ideas for composition and arranging. Thanks for listen and watching! Juampy Juarez 9 Pages of PDF Included January 2013

The diminished scale is one of the most useful and versatile tools for jazz improvisers. In this course, Juampy sites its use amongst the more daring jazz guitarists and composers. Regularly used by ‘outre’ composers such as Bela Bartok and guitarists such as Alan Holdsworth, John McLaughlin and Adam Rogers, amongst many others. Juampy starts outlining the construction of the diminished chords and harmonies. He plays in a variety of contexts over a static dominant chord. He then gives many examples of applying the diminished scale over altered dominant chords.There is a wide variety of ideas presented in this course including: Playing a range of triad pairs to get great effects. playing the scale horizontally to produce more melodic results. the use of wide interval playing to create modern jazz sounds. Playing “ascendant lines” (moving only upwards) to create great lines. how to play the diminished scales over the blues. ( Many examples are given.) compositional ideas. Juampy often refers to his courses as “investigations”, and like an enthusiastic researcher / musician he delights in revealing myriad of unexpected applications of this scale. One musical example is his beautiful and unusual soloing over the Jobim bossa nova standard, “How Insensitive”. His fresh approach of using the diminished scale within this song leads the viewer to apply it in a fresh context to other musical contexts. From Juampy: In this Master Class I show my ideas with this marvelous symmetrical scale. The diminished tonality is a big part of modern jazz sound and contemporary classical compositions. The scale has many melodic variations and lots of possible triads and chords that, in modern player’s hands, these tools will become nice colors to add to their music. Besides this, the third minor symmetry that this scale has a spicy taste, a very modern flavor, that the student could hear in the music of Allan Holdsworth, John Coltrane, Igor Stravinsky, Bela Bartok, Adam Rogers, and many more. The Diminished tonality is a must if the student wants to sound like the contemporary improviser . Examples with phrases, licks, both scalar and triadic, applied to easy blues progressions and famous standards, plus II V I are shown in the video. Enjoy! ~ Juampy Juarez