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Hello fellow students, In this video lesson I teach how to improvise with a real modern approach, a style I call Post-Bebop Improv. Post-Bebop was born from the likes of John Coltrane, Miles Davis, Ornette Coleman, Bill Evans, Wayne Shorter, Herbie Hancock and George Russell. Usually when you change one thing in your solos everything begins to change in the band. This time we start talking about solos. Using more augmented sounds belonging to Minor melodic, Minor harmonic and Major harmonic’s modes (these scales have the augmented triad inside widely used in modern Jazz both as solos and chords) and with big intervallic leaps, Post-Bebop became complex and hard to reach. You will learn how to play with this whole new arsenal of colors, mixing them not only for soloing but also for composing . I apply these techniques over popular Jazz and Bossa Nova standards, even in blues progressions. Technical advices are covered, ads well as the theory behind these complex modes. Kaleidoscope phrases will appear, using two or more ideas per chord or per mode. Enjoy! Juampy Juarez

The style of Joe Diorio, Jonathan Kreisberg and Frank Gambale. The time that I listen and try to play these particular arpeggios, I get in love with them. In part because of their modern sound, and because now I can use sequential ideas in my playing. These arpeggios are a bit hard to play; you need big stretches and the use of sweeping technique. For the previous reason these are great for practicing and improving. Masters like Joe Diorio, Jonathan Kreisberg, Frank Gambale and Allan Holdsworth use this device a lot. Perhaps the man that invented or discovered it was Hungarian composer Bela Bartok. You can apply these ideas on soloing, composing intros, endings, adding to chord melody and arranging. In this video lesson you will see these arpeggios over blues, bossa nova, and jazz standards. It’s a simple tool but powerful, and will make a revolution in your style. Juampy Juarez Class includes written materials in standard notation and TAB Running time 61 minutes

Pianists like Bill Evans and Herbie Hancock create amazing sounds by using clusters in their comping, arrangements and improvised passages. For most guitarists, these sounds may seem out of reach (literally!) because of the challenging stretches that it requires in the fretting hand. For some, the sounds may be just too difficult to figure out by ear. Are the sounds really too difficult? Are they too complicated? Maybe you just didn’t have an experienced guide to help you! This master class by Juampy Juarez brings together these captivating voicings in a step by step way. Even if you haven’t tried these before, this master class may be the key to you sounding more modern. Juampy will show you: How to play clusters on major, minor, dominant, minor7b5 chord types How to relate these new sounds to familiar chord shapes (voicing note choices are explained so that you understand what you’re playing) How to combine the voicings in a Bb blues, II-V-Is and jazz standards like Autumn Leaves, Wave, The Days of Wine and Roses & Stella By Starlight Practical ways to visualise, understand and apply these voicings into your playing How to use clusters systematically to create beautiful dissonances in your comping, lines and fills Juampy’s personal guitaristic take on playing clusters (you will be surprised how easy it is to visualise and play some of these clusters once you see Juampy’s approach!) How to use the voicings in your own chord melody arrangements to create richer contemporary sounds and textures Develop your modern pianistic jazz guitar sound today and level up your voicing vocabulary!. This is your first step to sounding like John Stowell, Bill Frisell, Jim Hall and Bill Carrothers. This will be a master class video that you really maximize even in the first viewing. With repeated study, you can even more ideas via the performance examples too! This 2015 master class has now been enhanced with segmented video chapters to help you quickly go to your favorite sections over and over. In addition to the segmented videos, the newly Soundsliced enhanced notated examples provides BONUS examples that go beyond the material already covered in the video, including harmonic minor and melodic minor cluster voicings. For more advanced guitarists, Juampy has also included some challenging clusters for you to try. Get these beautiful clusters in your playing now for your contemporary harmonic palette! 6 Pages of PDF materials in standard notation and tablature. Full video is 1 hour and 1 mins.

Using clusters and fourths for a contemporary sound - Post bebop started around 1959, with new records like “Kind of blue” by Miles Davis, “Jazz of space ages” by George Russell, “Giant Steps” by John Coltrane, and one year after “This is our music” by Ornette Coleman. These innovative landmark records contain plenty of modal jazz, quartal chords, clusters, and more. After those great albums, monster musicians like Herbie Hancock and Wayne Shorter, plus Bill Evans and McCoy Tyner, contributed with new chord ideas and new scales, similar to the ones that contemporary classical composers used at the dawn of the 20th century. In an easy way, I’m trying to teach you how to use these modern sounds: chords stacked by fourths with the addition of open strings, quintal chords over thirds chords, plus clusters(formed by seconds), and how to apply to simple blues forms, jazz standards and bossa novas. These are my investigations on these areas, based on my experience playing with many greats over the globe. Today, this material is a must if you want a contemporary , modern sound. No doubt about it. All the best! Juampy Running Time: Just under an hour 6 written pages in standard notation and TAB

Juampy provides a range of tools to help the musician to play solo guitar. Starting with the tune “Autumn Leaves” Juampy offers fundamental performace ideas gradually introducing more approaches. Some of the fundamentals he begins with include: Memorising the melody Memorising the chords Soloing techniques within solo guitar Employing diatonic harmonies as passing phrases. Guide tones to create phrases and develop melodic lines. Generating ideas from the Melodic Minor scale. Developing intros and endings to songs are demonstrated as a way of developing a repertoire. Working within or outside of a harmonic center is one of the applications that can be applied to developing intros/ outros. Juampy describes some of the techniques used especially by guitarists as diverse as Lennie Breau, Chet Atkins, Ralph Towner and Jim hall. He gives examples of their signatures sounds, such as Lennie Beau’s use of harmonics within an arrangement. Juampy also provides a wealth of modern harmony ideas, such as: clusters in the style of Herbie Hancock and / or Bill Evans. quartal harmony dimninished and augmented tonalities. Juampy also spends time exploring a range of voicings, including: inversions Drop-2 voicings rootless voicings and three-note voicings. He shows how to simultaneously play the bass and melody lines. While playing bass / melody lines, he also demonstrates how to provide interesting contrapuntal lines while keeping it swinging. He makes this accessible to anyone willing to do the work. Juampy’s skill is in presenting all of this material in an accessible way that makes you want to try to employ his examples. Within a short time, you will be developing more interesting arrangements which could be the beginning of developing your own repertoire. ( written by Mike Bryant ) In this video lesson for the prestigious educative site mikesmasterclasses.com I show you my investigations, ideas and experiences on solo Jazz guitar from simple to complex, step by step. Take your time in this beautiful genre, and you will gain a lot! New harmonies, chords and guitar harmonic understanding at a minimum, and the best thing of all is the fact that your guitar tone will begin to “resonate” because when you are alone in front of people, your guitar is your only voice, and it shall start to get stronger of course. In the lesson, you will learn new voicings for your chord melodies, 2 line ideas, how to improvise and comp at the same time, autocomping, intros and outros, modern harmony like quartal chords and clusters, and overall concepts and advice for get better in this style. Standards, blues and bossa nova are covered here. Best regards, Juampy Juarez This class if over an hour long and includes 12 pages of written material in standard notation and TAB.

How to play lines and chords at the same time This video lesson is based upon my experience playing in trio, duo and solo settings. In those settings, you need to comp behind yourself, or auto comp, finalize your phrase with a chord, and play improvised chord melodies or arrangements. I show you the techniques behind mastersplayers like Lenny Breau, Ed Bickert, Jim Hall and John Stowell. All of them excel at the art of solo guitar and auto comping. Joe Diorio's innovative II V I will also be covered. Besides those topics, we learn to see the guitar like an orchestra or big band, with no more single lines versus chords. We will try to integrate both of them because there are many things to do with this polyphonic concept. Guide tones, guide chords, comping with a single line, counterpoint, two line, clusters, quartal and quintal harmony, and much more are included. The student will take a look at the harmony of legendary piano players Bill Evans and Mcoy Tyner, the fathers of the modern harmony in jazz. Hope you enjoy this video a lot, All the best! Juampy Juarez

Auto-comping is a neologism that I use for a new technique that I've been developing. Auto-comping is thinking of the guitar in a Polyphonic way, like a pianist, a big band or an orchestra. The auto-comping offers us many artistic possibilities, such as playing very simple lines and then filling in with chords. Very simple lines that remain sounding while dense chords appear. Also, a few notes like guide tones, soloing with chords, chords with voice leading, etc. I think that the first player that used these techniques was the genius Lenny Breau. Other great players that use auto-comping or self-comping are Ed Bickert, Jim Hall, Ron Eschete and Vic Juris. These ideas are useful for trio and solo setting, as well as for composing and improvising. I love the modern Jazz harmony like clusters and quartal chords, but auto- comping can be used in more traditional ways as well. I have included 2-line ideas with this as well. Thanks for listening and watching! Juampy Juarez 13 pages of written material including standard notation and TAB Running time: 55 minutes

Pandiatonic is a name penned by the great theorist and composer Nicolas Slonimsky (1894-1995). This system is based upon the use of every interval, triad, chord, etc. that is inside tonality but has no tonal functions. Another device is using series and melodies or chords with big intervallic leaps. Masters like Stravinsky in classical music and Bill Frisell in Jazz love Pandiatonic. Let’s put our hands to work and try to apply these great ideas to the guitar. There are still many cool resources belonging to modern classical music that are not in use in Jazz, Fusion and Rock guitar. Written materials in standard notation and TAB. Running Time: 58 minutes

Hello Dear Student, In this video lesson I’m teaching my ideas on open string clusters, getting the most that I can from open strings mixed with chords that usually don’t carry open strings. The aural sound that happens is only possible on guitar, so it’s a good tool for comping, composing, chord melody, and finally for improvising. Actually, when you want to play with these shapes, you need take care of your right hand first, trying that the volumes sound the same, and stretching your left hand due the clusters. So these chords are a very good exercise for technique of both hands. I’m in love with these sounds . For me, it’s very exciting to finish a line or melody and add one of these beautiful chords. It sounds like a modern piano player but also a contemporary guitar player. So again we are in the league of post bebop players. In the video lesson you can learn to apply these chords to standards, blues, bossa novas, intros, endings and solos. Hope you enjoy a lot as I did. All the best, Juampy

What is it about really good jazz playing that makes standards sound lyrical, fresh, and interesting? I have found that having very strong basic intrumental skills is essential. I'm referring to excellent tone production, rock solid time, awareness of swing, digital independence and fluency (left hand), adequate right hand coordination and strong aural "visualising" of chord changes. The playing should sound effortless, and this takes time and repetition. But how about the material itself? The good jazz players not only know the melody and the changes thoroughly, they know what progressions can be added in between the regular changes to create interest and drama. These embellishments (or choices) are as vital to the improvising as they are to the comping or chord soloing. Sometimes a new chord, or chords, replaces the original one. However, our emphasis will not primarily be "far out re-harm's" but rather "really getting the tune happening." Harmony books and chord scales are a help, but songs are what we play. In thirty years of professional playing I have performed many standard tunes with accomplished players. The ideas that I will share with you are definitely "field tested;" they are derived from extensive listening to the best pianists, guitarists and orchestrators as well as my own creative experimenting. The purpose of this class is to heighten your musical qualities and creativity . 5 Standard Notation Songs Including: "It's You or No-One" "Move" "It Could Happen to You" "I'll Remember April" "There is No Greater Love" "Manhã de Carnaval" Arranged by Jon Wheatley

John Stowell will share his knowledge and help you embrace inside and outside chord substitions, improvising with triads, harmonic minor and melodic minor scales to access interesting colors. He will also take you through the exploratioin of new chord voicings and using open strings in chord voicings. This Master Class will be broadcast live from the Cadenza Academy in Portland, OR . Other Guitar Lessons from this series include: Thinking Outside the Box part II Thinking Outside the Box part III

John will present a simple hands-on explanation of melodic minor applications over all chord qualities (major, dominant, minor, half diminished, diminished) and easy ways to apply them immediately in soloing. Applications of these substitutions will get new colors and sounds into your playing and help you think outside of the box. Melodic Minor Applications, taught by renowned jazz guitarist John Stowell, is a comprehensive course designed to help guitarists master the melodic minor scale and its many applications. The course is aimed at intermediate to advanced guitarists who want to develop a deeper understanding of the melodic minor scale and learn how to use it to create dynamic and melodic solos. Throughout the course, John Stowell breaks down key concepts such as the modes of the melodic minor scale, chord progressions, and improvisation techniques, providing detailed explanations and demonstrations of how these concepts can be used to create melodic and harmonically rich solos. The course includes a detailed video lesson. Whether you're an intermediate guitarist looking to develop your understanding of the melodic minor scale or an advanced player looking to take your solos to the next level, Melodic Minor Applications is an essential resource for any guitarist looking to master this essential scale. Note: There are no written materials for this class View clip from this class View John playing How Deep is the Ocean

In this special 2-1/2 hour class held live from the Cadenza Academy in Portland, OR, a select number of developing jazz guitar students will record duets with Jazz Master John Stowell. John discusses an overview of his recording philosophy before the project. Topics covered include: Ideas you should keep in mind during recording sessions arrangements, mic techniques, repertoire and variety (tonal areas, time signatures, tempos, composers and eras, etc.). After the recordings, John will then evaluate the experiment and help the students to plan for the next recording.

In this jam-packed class on Solo Guitar Concepts, John will cover Chord Melody Components: How to Develop Unusual Chords (both wide and close intervals, open string voicings), Creating Cadences with Unusual Voicings, Internal Movement Inside a Chord, Pedal Points, Isolating Individual Notes in a Chord, and Employing Fragments of a Chord to Suggest the Harmony. In addition, he will teach Right Hand Techniques: Demonstration of Pick/Finger Combinations to Isolate Individual Notes in a Chord and Play Double Stops or Triads on Non-Adjacent Strings. Also, John will hold a Disucussion and Demonstration of Note Duration in an Arrangement (staccato vs. legato). Other topics include: Demonstration of Playing in Time, Rubato, Pulse with No Fixed Meter, Combinations of all Three Techniques. Demonstrations of Walking Bass Lines in an Arrangement. Dicussion/Dissection of a Chord Melody Arrangement. Demonstration of Modulations inside and Arrangement. Whew! This class was streamed live from the Cadenza Academy in Portland, OR.

Join John Stowell for another advanced jazz guitar class where he shares his knowledge and helps you embrace inside and outside chord substitutions , improvising with triads, harmonic and melodic minor scales to access interesting colors. This high quality video was recorded by Morgan Curtis. Other Guitar Lessons from this series include: Thinking Outside the Box part I Thinking Outside the Box part III

In this class John demonstrates and explains pianistic devices (isolating/separating notes in the chord, close interval inversions,etc.) and how to apply them to the guitar in the accompaniment role. Also explained and demonstrated are open string voicings, inner voice movement, playing over the bar line, developing a rhythmic vocabulary as it applies to comping. The devices/techniques are played in the context of simple tunes to demonstrate real world applications. Guitarist Mike Pardew performs with John during some of the class.

John Stowell with Ulf Bandgren This is an informal hands-on discussion of different approaches and strategies for the guitar duo format. Among topics covered are conventional solo/accompaniment ideas, simultaneous improvisation and counterpoint, bass lines, chordal ideas, bass lines and pianistic voicings, and some extended harmonic concepts. The dialogue on camera is unscripted and informal, and Ulf and John's different but complimentary approaches to teaching and playing bring many interesting ideas to light. View a clip

In this advanced jazz guitar class, John Stowell illustrates using harmonic and melodic minor substitutions to build new solo lines over major, dominant and minor chords. Included with this class are two original compositions of John's, which comprise these techniques, written in standard notation as well as TAB. Other Guitar Lessons from this series include: Thinking Outside the Box part I Thinking Outside the Box part II

Lecture/demonstration discussing a number of cutting edge techniques necessary to play on the highest level. The focus will be on many of the new and somewhat controversial ideas that need discussion and clarification including: Fingering concepts - replacement fingerings, barred fingerings, shifting vs. string crossings; Intonation - three forms of intonation; Tone production - use of fingers, weight-placement-speed triangle, smooth bow changes; Vibrato - expanding the expressive palette; Practicing - the art of progress; Musicianship - how to bring it all together. Streamed live and recorded at the ISB 2009 Convention at State College, PA.

Join Jeff Antoniuk during his inDepth Jazz Clinics live from the National Music Center in Washington, DC. From 1 - 1:50 PM Jeff will present Jazz Theory 101. This class will be dealing with concepts like the circle of fourths, II - V - I progressions, and chord scale relationships. YOU DON'T NEED TO KNOW WHAT THIS STUFF IS to take the class! That is what the class is all about. From 2 - 2:50 PM Jeff will follow up with Jazz Theory 201. This class will be dealing with concepts like minor II - V - I progressions, diminished chords, and a few advanced chord scale relationships dealing with altered chords. This is a first-time collaboration promotion where both of these classes will be offered for one price. Read about Jeff and what a wonderful performer and gifted teacher he is on the Masters page or on his site.

Join Jeff Antoniuk during his inDepth Jazz Clinic for How To Practice. While there are some specific techniques for sax and flute, the majority of this class offers excellent advice for all musicians. Included is how to structure your practice time, what to practice, how to practice and even what not to practice! View a clip from this class that applies to all View a clip for sax players about pitch window

Join Jeff Antoniuk and guitarist Geoff Reecer during his inDepth Jazz Clinic on Style and Song Analysis. Two songs, Little Sunflower and Blue Monk are analyzed with regard to structure, harmony and melody, and used as a guide to apply to other songs. This class applies to all instruments.

Guitarist Jay Umble holds his first Mike's Master Class where he conveys his ideas on modern harmony and harmonic concepts. Read more for a detailed outline. 1. Modern Harmonic Systems a. C Dorian Harmonized Scale b. Major and Minor Parallel Chordal Systems 2. Blurring the Harmonic Nature of Chords 3. Bossa Nova Rhythm Concept with application on a Standard Tune 4. Parallel Voicing Concepts for ii - V7 - I Progressions 5. Modern Comping with the Blues a. Using a common tone on top for entire chorus b. Pianistic voicings c. Other voicings - 12 bar example d. Applying the Altered Dominant Matrix System 6. Modern ii - V7 - I Progressions 7. Harmonic Set-Ups View a second clip from this class

Many guitarists find it difficult to operate within the altered dominant world of sound. Jay explains his highly unique approach to improvising over altered dominant chords. This system is conceptual and will instantly unify the entire guitar fretboard. Once this system is understood, it will change your playing forever. This Master Class concept can be applied to any genre! -- The system is comprised of three Alt. Dom. Matrices -- Triad grouping within the systems -- Common Alt. Dom. voicings within the systems -- Less common voicings within the systems -- Repeatable concepts -- Poly-rhythmic concepts -- Playing off the chord concepts -- Sequential concepts -- Random Alt. Dom. concepts As usual, Jay provides tons of material - 12 pages including TAB! View a clip from this class

In this Master Class Jay connects the entire neck from the dominant 7th perspective. He uses the root key of C7 (C7, C9, C11, C13) and covers each position in depth. Improvisational concepts discussed include: - ii minor perspective - major triad up a step - major triad down a step - playing off the chord - importance of intervals - inside / outside ideas - symmetrical ideas

Master the sophisticated art of linear major chord navigation with renowned jazz guitarist Jay Umble, whose innovative approach transforms how advanced players conceptualize the fretboard. This comprehensive exploration reveals Umble's unique system of viewing major 7 chords through interconnected positions rather than isolated shapes, unlocking a more fluid, modern sound that distinguishes professional performers from intermediate players. Dive deep into practical subsystems including fourth intervals, compound tenths, chromatic approaches, and angular one-pick-per-string techniques that create the spacious, contemporary tone heard in today's top jazz venues. Umble methodically demonstrates how each concept translates across five essential neck positions, ensuring you can apply these ideas seamlessly whether comping behind a soloist or taking the lead at your next gig. Learn to harness positive and negative polarity concepts, deliberately moving outside the key center before resolving with authority—a hallmark of mature jazz expression. Beyond typical scale-based approaches, this course emphasizes chord-form visualization and the micro-to-macro thinking that enables whole-neck soloing freedom. You'll discover how to create angular melodic contours using vertical stacks of fourths, implement Jaco-inspired bass line concepts on guitar, and develop the chromatic tension-and-release techniques that separate journeyman players from true artists. Whether you're looking to modernize your sound for contemporary jazz settings or add sophisticated color to standards, these linear concepts provide the framework for a more expansive, professional approach to major harmony.

Take your harmonic vocabulary to the next level with Jay Umble's advanced exploration of quartal harmony and modern voicing techniques. Building on the foundations of Dorian harmonized scales, this comprehensive course reveals the sophisticated chord voicing methods that separate professional jazz guitarists from intermediate players. You'll master the art of quartal harmony through practical, three-string groupings that unlock the entire fretboard, learning to navigate seamlessly between parallel and chromatic movements. Jay demonstrates how to transform standard progressions like Equinox and Softly As In A Morning Sunrise using spacious, modern voicings that replace predictable seventh chords with sophisticated quartal stacks. These aren't abstract concepts – they're the exact voicings you'll use on the bandstand when you need to add harmonic interest without cluttering the sonic space. The course delves deep into pivotal chord movements, exploring how common tones create smooth voice leading between seemingly unrelated harmonies. You'll discover how to use major 7#5 voicings for unexpected turnarounds, employ strategic chromatic approaches, and develop pianistic comping techniques that add sophistication to static progressions. Jay's systematic approach to harmonic fields teaches you to hear and apply these concepts intuitively, whether you're comping behind a soloist or crafting compelling intros and endings. Perfect for guitarists ready to move beyond conventional jazz harmony and develop a more contemporary, harmonically rich approach to their playing.

Break through creative barriers with a systematic approach to jazz composition that eliminates the waiting game for inspiration. In this comprehensive masterclass, veteran educator Jay Umble reveals his proven compositional techniques that have helped countless musicians develop their writing skills beyond traditional methods. At the heart of this course is the innovative "Alphabetic Junction" technique—a parameter-based system that generates sophisticated chord progressions by mapping musical scales to alphabet letters. You'll learn to construct harmonically rich sequences that flow naturally from one chord to the next, creating the foundation for compelling original compositions. This isn't about following rigid formulas; it's about establishing creative parameters that guide your compositional process while maintaining complete artistic freedom. Through detailed demonstrations using original compositions like "Orange to Grey" and "Infinite Staircase," you'll master Single Tone Variation, Multiple Tone Variation, Single Chord Variation, and Numerical Junction techniques. Each method provides a different pathway to generating fresh harmonic material that would otherwise remain undiscovered in conventional approaches. Perfect for intermediate to advanced players who understand jazz harmony and voicings, this course emphasizes practical application over theory. You'll develop the ability to compose complete tunes—including chord progressions, melodies, intros, and outros—in under two hours. Whether you're writing for your combo, preparing for recording sessions, or expanding your repertoire, these techniques provide reliable tools for on-demand creativity that professional musicians need.

This class addresses psychological performance concepts, methodology (how to) pointers and philosophical concepts relating to the guitar and music in general. Jay shares his insights drawn from 30 years in the music arena. Other topics covered are topics rarely, if ever, discussed. Unlike the standard approach to master classes (i.e., put your finger here and play this chord, etc.) this class series is a discussion about the artistic/philosophical side of music. This class series will have you thinking “why didn’t I know this 20 years ago!” Topics include: • Being professional • Preparing mentally for the gig • Preparing physically for the gig • Finding your own voice • Characteristics of pro players • Believe in what you do • If you want to be a good player • Tightening up jazz standards • How to work with study materials View a clip

This class addresses psychological performance concepts, methodology (how to) pointers and philosophical concepts relating to the guitar and music in general. Jay shares his insights drawn from 30 years in the music arena. Other topics covered are topics rarely, if ever, discussed. Unlike the standard approach to master classes (ie., put your finger here and play this chord, etc.) this class series is a discussion about the artistic/philosophical side of music. This class series will have you thinking “why didn’t I know this 20 years ago!” Topics include: • Right Hand Technique • The Making of a Good Player • Dealing with less than Ideal Circumstances • How To Structure Practice Time • Methodology • Sight Reading • The Journey • Tablature • I Hear Sound • Chord Substitution