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Psychology, Philosophy & Methodology for The Jazz Guitarist – 3 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 this 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: • Balancing Energy • One of the Big Secrets To Improvisation • Polarity • Giant Steps • Go To School Without Going To School • Hearing • Improv. Substitutions • Expanding Your Awareness • The Most Important Thing

This class on " Giant Steps " provides a comprehensive study into this elusive jazz classic by John Coltrane. With unique clarity, Jay moves through this master class at a relaxed pace giving ample time to grasp each concept. For example, understanding the intervallic structure of the melody allows one to create on the fly with confidence. In the solo section, Jay demonstrates his key to unlocking the Coltrane Matrix, often talking in artistic terms such as primary colors and impressionism. Many jazz tips are thrown into the mix throughout this master class making this a great learning opportunity. For example, if you learn one tune really well, you will advance your musicianship to another level and take that expertise and expectation to every tune you play. No longer will you tremble when someone calls Giant Steps on a gig. You’ll simply nod your head and say, no problem! Class Includes: General Form Melody Considerations Walking Bass Comping Options Chord Melody Soloing Approach 9 pages of written materials in standard notation and in TAB

“Become a sculptor of sound to create any effect you want ”: Jay Umble states this as the aim of this course. Over 88 minutes Jay provides an arsenal of approaches to achieve this sound-sculpting goal. While minor lines are a recurring theme, he includes information that covering harmonic, melodic and rhythmic ideas. From the onset he discusses viewing the entire fretboard as one chord, using G minor7 as a recurring tonality throughout the video examples. Jay starts by identify the fretboard areas guitarists tend to avoid while soloing over a G minor7. Giving a range of approaches, he builds confidence to create solos seamlessly over the neck. There is an emphasises on targeting chord tones so that ultimately the improviser can play effortlessly both inside and outside, deliberately manipulating the solos with what he terms as “random points of entry”, i.e., starting a solo either diatonically or non-diatonically at will. There is a wealth of information about approaches for note decisions on when to play using either a scalar approach (easier for the listener) or intervallically, ( which the human ear tracks less accurately), which allows the guitarist to take more chances. This is where wilder and more ‘outside’ tonalities can be created. Jay also offers ideas on becoming confident even when playing the occasional ‘avoid’ note and how to get away with it! In this comprehensive course, there is also a wealth of information on ideas about on: approach setups – short and long the use altered dominant ideas how to view chord shapes across the neck for greater fluidity the use of fifths harmony for ultra-modern sounds Single-string soloing ideas Becoming familiar with intervals in relation to the root in every position Gaining control over randomness to build more interesting lines. Jay’s approach is friendly and relaxed and these concepts are presented in a way that players will find easy to adapt to their own style. 10 pages of written materials in Standard Notation and TAB Running time: 83 minutes

Jazz Time Feel- with UK jazz guitarist Jamie Taylor Amazing time and fantastic feel is the constant factor that unites all the jazz greats in history, from Louis Armstrong to Kurt Rosenwinkel. I’m always surprised that it isn’t discussed more often, and there are certainly a lot of myths surrounding the topic, such as “feel can’t be taught”, “jazz quavers are really triplets” (at best, a massive over-simplification!), or the contrasting and equally misleading tenet that “jazz quavers can’t be notated”. Of course, the truth is that feel can be analyzed and worked on just like anything else, and a little bit of focus on this topic can produce really dramatic improvements in your playing in a short time. Sometimes what we need to do as musicians is not to get new things into our playing, but to deliver our existing vocabulary better. That well-worn II-V-I lick you’re so tired of can suddenly sound like a million dollars when you get it right in the middle of the pocket! This lesson includes: • Analysis and demonstration of different kinds of jazz quaver feel • Exercises to develop your relationship with the time – play deliberately behind the beat, then snap back up against the pulse! • “Gear shifting” exercises to improve your rhythmic accuracy. • A wide range of metronome exercises to really benefit your improvisation and comping. • A highly flexible “phrase chart” exercise, that helps you to develop complete variety and control in your phrasing and articulation over familiar forms. • Advice on preparing to play repertoire from either end of the tempo spectrum. • Suggested listening to help you identify the different types of delivery employed by the jazz greats. • Synchronized on-screen captions so that you know exactly what you’re hearing, as you’re hearing it! • Neatly presented written examples of all exercises in PDF format. View a clip from Jamie's class

Does any of this sound familiar? You’re building a repertoire of jazz tunes and you’re starting to feel comfortable playing the heads and getting around the changes when you solo. You know which notes fit over which chords and you’re developing a nice collection of voicings for accompaniment. It’s all working fine, as far as it goes. But there’s just one problem - you’re starting to notice that it sounds a little bit ‘square’. Maybe you’re getting trapped in four-measure phrases, or you feel as though the bar lines have become like a prison? Perhaps you tend to fall into repetitive patterns when comping? If only it all sounded a little bit more ‘hip’ rhythmically… Rest assured - we all know that feeling! Almost all my intermediate to advanced students tell me a version of this story at some stage, and it’s something I’m always trying to work on myself. That’s why this lesson is designed to equip you with a host of exercises and ideas to get your phrasing onto the next level; I hope it also demystifies some of the rhythmic things that we all love on our favorite records. It’s not about playing everything in 5/4 or 7/4 (although I may well explore that in subsequent classes, if people would like me to) – it’s about achieving maximum rhythmic interest and variety in 4/4 and 3/4 time. Although this is a stand-alone lesson in its own right, it builds to some extent on the material covered in my ‘ Jazz Time Feel ’ class; the two are certainly complementary to each other. That lesson was about giving our sense of time a real workout, whereas this one is about being rhythmically creative. The lesson includes: • Exercises to help you start and end phrases anywhere within a 4/4 measure. • Polyrhythmic exercises that superimpose 3/4 against 4/4 time. • Polyrhythmic exercises that superimpose 4/4 against 3/4 time. • Exercises to help you feel 4/4 as 12/8, to open up phrasing possibilities. • Explanation and demonstration of metric modulation. • Exercises that employ uneven melodic and rhythmic groupings against a regular 4/4 pulse. • Synchronized on-screen captions so that you know exactly what you’re hearing, when you’re hearing it. • Neatly presented transcription of all materials in PDF format, cross-referenced with the on-screen captions. View a clip

A ‘Two-Speed’ Approach To Rhythm Changes It’s probably the second most called tune in the repertoire, after the blues, but the famous “ Rhythm Changes ” (i.e. the many variants of Gershwin’s “ I Got Rhythm ”) always presents a challenge to musicians at every level of experience. As we study this tune, we should be aware that it’s simultaneously the most complex and the simplest piece in the book; hence the ‘two-speed’ approach. This lesson has been carefully designed to offer something to everyone: on the one hand, it includes a wide range of chord substitutions, lines and progressions we can add to the basic form, whilst on the other hand, we deconstruct the song and reduce it to its barest essentials. This jazz guitar lesson includes: Advice on creating lines over a static major tonality. Advice on breaking down the difficult A section into a simpler (but still convincing) progression. Simple lines to negotiate the full A section changes, broken down into their component parts, so that you can create similar ones of your own. Thorough discussion and demonstration of several different bridge progressions. Thorough discussion and demonstration of many different harmonic substitutions, including ideas relating to the playing of great saxophonists like Sonny Stitt and John Coltrane. Advice on how to get “outside” the changes in your lines. Clear and detailed PDF containing many written examples. Synchronised on-screen captions, so that you know exactly what you’re hearing at any given moment. Every concept discussed is broken down slowly, and then performed at tempo with rhythm section backing, so you can hear it in a performance context.

Advanced Jazz Guitar Lesson: A Guide To Practical Comping – Part One: The art of jazz guitar accompaniment , and the study of chords in general, can be daunting topics, especially if you’re new to the style. That’s why this lesson dives straight in with the essentials; it’s full of devices that you can go out and use on your next gig. The focus here isn’t on complicated harmonic theory; it’s all about getting stuck in to the basic changes of well-known standards, and giving them a sprinkling of the magic dust! During almost 90 mins of easily digestible material, we learn all sorts of tips and tricks that the pros use to make their accompaniments sparkle. Even if you’ve never comped a set of jazz chord changes before, this video gives you all the tools you need to emulate greats like Joe Pass, Freddie Green, Bucky Pizzarelli, and Martin Taylor. No need to worry about struggling to keep up either - every concept we cover is broken down slowly and notated fully (including tablature) on the accompanying PDF. There’s plenty to keep the more experienced player occupied too… Topics covered include: Quickly build a rock-solid foundation of basic jazz shapes . Add passing chords to basic progressions to keep them moving. Introduction to moving inner parts. ‘Freddie Green’ style 4-to-the-bar comping. What shapes to use, what technique to use, how to get that sound! Martin Taylor/Joe Pass style bass line comping. The class includes a complete chorus of this over “All The Things You Are”, played slowly and fully tabbed out on the PDF. Voice leading through common progressions – all over the guitar. Combine voicings with scales, to make exciting chord/melody phrases. Finally, the class comes complete with a 13-page PDF booklet (including standard notation and tablature), plus synchronised on-screen captions, so you know exactly where you are at all times.

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

This jazz guitar class builds on the foundations established in Part One of a guide to practical comping , to expand the vocabulary to the point where we can comp with total melodic freedom over any almost any kind of harmonic situation. The advanced player may wish to take this class as a standalone lesson in its own right, but when combined with the first video, it supplies a pretty comprehensive approach to fret board harmony . The main focus here is on combining our chordal repertoire with our knowledge of scales, so that we are able to produce accompaniments that are as varied and interactive as we would want our solo lines to be. During almost 1hr50m of material , we examine a huge range of harmonic possibilities, whilst relating everything back to something familiar. If you've ever had the feeling that you understand the theory but find it difficult to apply, this class might have some practical solutions. Topics covered in this jazz guitar lesson include: Quartal voicings for the major scale and all its modal applications How to apply this to appropriate pieces from repertoire Extended modal voicings to facilitate more complex textures How to see and hear these in the context of something familiar Discussion of simple and more complex triad applications Quartal and modal voicings for the melodic minor scale Specific application of these to appropriate standard repertoire A simple, accessible guide to diminished and whole-tone harmony Specific application again to appropriate standard repertoire Some general practical advice from the bandstand The class comes with a 14-page PDF booklet (including tablature) cross- referenced with a series of synchronized on-screen captions.

Over many years of working with jazz guitar students, I’ve noticed that memorizing, retaining, and delivering standard song melodies is a very common area of weakness. Student players often seem to be in a great hurry to get stuck into their solo, to such an extent that they sometimes haven’t learned the melody at all, or else they are only able to deliver it in a rather stiff fashion, ‘context-locked’ to a particular key or area of the fingerboard. This has a number of detrimental effects – it makes it very difficult to remember tunes, it makes it unlikely that our solos will sound particularly musical, and it can mean that listeners are inclined to draw negative conclusions about our playing before we’ve even begun to improvise. On the other hand, if we take a more careful and thorough approach to learning heads, we can sound convincing from the very first measure, with some of the 20th century’s greatest composers doing most of the work for us! Not only that, but when we then come to improvise, we can continue to follow the melodic signposts that have been left for us in what they wrote. The great Jim Hall once said “I don’t want my solo on All The Things You Are to sound the same as my solo on Stella By Starlight” which seems to suggest that he based his improvisations on the total song, rather than reducing everything down to a series of chord progressions. As for the class itself: • We look at the melodic structure of two very well-known standards, with a view to being able to understand and access them in a flexible way. • We consider how these melodies relate to the underlying chord progressions, with suggestions for how we might see this relationship on the fretboard and also understand it aurally. • We work on a task that combines the written melody with improvisation, to help generate a symbiotic relationship between the two. • We look at an example setting of “Just Friends” which provides strategies for avoiding the rigid ‘chord melody’ approach that tends to compromise the momentum of the music. • We look at a layout of “Solar” which transforms very simple chord shapes into a piano-like interpretation that carries the melody, implies the harmony, and maintains a rhythmic drive. • We engage in a detailed analysis of “Donna Lee”, by way of extending the techniques to cover more complex heads, which are always more difficult. • Finally, we create two “mash-ups” by combining transposed elements of “Donna Lee” with other tunes, to show how these phrases might have a life outside their original context. • Includes a detailed 21 page PDF booklet with analysis, notation, and TAB. • Synchronized on-screen captions. Again, hopefully there’s something there for everyone – look forward to seeing you in class! Jamie Taylor Video is 1hr 10min Includes 22 pages of PDF material

Join Jake for his first Mike's Master Class, "Making the Changes - Translating the Jazz Language on Guitar". Jake will cover substitute changes, inside/outside playing and chromatics. This class is 2 hours long. Langley discusses several key points: Playing Through Changes : He emphasizes the importance of moving beyond scales and standard licks to play music that feels more improvised and expressive. He suggests breaking down jazz lines into smaller components, like four-note groups, to understand and internalize jazz language better. The Concept of F7 : Langley introduces the idea that F7 is not just a scale or a mode but a "color" or "sound area" that can be approached in various ways. He demonstrates this by playing different versions of F7 chords to illustrate their sound. Connecting Guide Tones and Creating Lines : He talks about connecting guide tones (key chord tones like 3rds and 7ths) using small musical ideas to navigate through the changes in a jazz piece. This involves understanding where you're coming from musically and where you're going, which helps in improvisation. Exercises and Techniques : Langley provides exercises to help break free from repetitive patterns, like playing in four-note groups and resolving them in ways that are inherent to the tonality being played over, such as F7 in this context. Use of Triads, Chromatics, and Other Devices : He also delves into using triads, chromatic approaches, and other devices to create a more varied and rich musical language. Philosophy on Learning Jazz : Langley advocates for learning by assimilating language from jazz greats and breaking down their lines, rather than focusing solely on scales and theory. Practical Advice : He includes practical advice on metronome use, developing right-hand technique, and understanding the importance of time feel in jazz. Equipment and Setup : Towards the end, Langley talks about his guitar setup, string preferences, and amplification to achieve his sound. This masterclass is a deep dive into developing a jazz vocabulary on the guitar, emphasizing listening, learning from the greats, and practical exercises to internalize jazz language and improve improvisational skills.

Join Jake for his second Mike's Master Class, where he will teach 4-part chords, 4th voicings and voice-leading - applying them to progressions and tunes.

Join Jake for Fun With Diminished...Scales, Lines, Tricks and Logic. Topics in this class include the diminished scale, diminished harmony- lines, patterns, and licks from the Jazz vocabulary; Using diminished for tonic dominant resolutions- II-V-I, III-VI-II-V; Diminished lines over V7b9 chords; Added notes to diminished scales; Diminished functions in modern chord progressions; Diminished arpeggios as pivots.

Jake Langley shares his successful methods of how to practice. Topics include organizing your practice routine, time management and how to get what you shed into your playing! Jake covers tonal centers, constructing lines over ii-V-I and ii-V-i changes , chromaticism and poly-rhythms. He demonstrates with Autumn Leaves. Written lines and excercises are inlcuded with this class. View a clip from Jake's class

In "The Making of a Solo Guitar Arrangement", Jake will cover chord melody, rehamonizing, mixing single note lines, harmonizing a melody and voicings.

This class continues on from Jake's popular first Mike's Master Class "Making the Changes - Translating the Jazz Language on Guitar". Where the first class focused on one tonal center, this one covers connecting melodies through rhythm changes. In This Class: continuing the 4 note cell connection in part one to apply to 2 chords per bar progressions examples and analysis of lines applying diminished chords in the lines follow along and see how Jake spontaneously creates lines with these concepts Running Time: 39:58 min Written Examples: None

Jake Langley covers comping through blues and Stella by Starlight with harmonized melodies, Oldies riffs and blues phrases, making chord melodies for your accompaniment. Follow along with Jake using a soundslice clip of him comping over Stella by Starlight. 1 page in TAB Running Time: 30'58''

Jack Wilkins returns with another exciting class! Jack will share his techniques for playing solo guitar, including chord solos, innervoicings and utilizing arpeggios and scales with chord solos. Jack Wilkins’ Chord Solo Class has some very good, basic instruction on chord soloing and some other exercises for soloing. His demonstrations include the following songs: You Stepped Out of a Dream, Here’s That Rainy Day, Birth of the Blues, The Days of Wine and Roses, The Nearness of You and Polka Dots and Moonbeams. Note: There are no written materials for this class View Sample Clips from this class

In Jack's first Mike's Master Class, he will share his techniques for extending your harmonic reach and developing a pianistic approach on the guitar. Visit with Jack as he broadcasts live from his home in Massachusetts. In this lesson, he'll guide you through specific strategies and techniques that will enable you to visualize and realize the harmonic potential that's residing on your guitar fretboard. Jack will discuss and explain how to expand your harmonic perception as well as how to apply these concepts to a tune.

Jack returns for his second class, the first session of a two-part series on Hybrids - A New Approach to Reharmonization. Jack explains and demonstrates how using hybrids or "slash chords" from a systematic point of view can add an entirely new direction to your harmonic point of view. Jack Pezanelli welcomes everyone to a two-part class focused on the use of hybrid chords as a tool for reharmonization, demonstrating how these structures can create unique and dissonant sounds, especially within the context of tonal music. He starts by explaining the concept of hybrid chords, which are essentially triads over a bass note, often written in music as, for example, F Triad over G, creating chords like G9 sus. Jack introduces a chart that ranks hybrid structures in order of acoustic weight, a term borrowed from the field of acoustics. This chart lists twelve triad structures over a C bass note, arranged by increasing levels of dissonance. The system is based on measurable acoustic properties, rather than subjective musical preferences. The chart uses Arabic numbers to indicate the relative dissonance and Roman numerals to show the interval relationship between the bass note and the triad. As Jack delves into the practical application, he explains that each level of the chart offers three harmonic options based on the position of the triad in relation to the bass note. For instance, to achieve a specific level of texture at the fourth increment, he illustrates how to create a perfect fifth relationship between the triad and the bass note. Jack also demonstrates spread voicings, which involve dropping the middle voice of a chord down an octave to create a wider sound. Using examples, Jack harmonizes a simple C scale melody with different levels of hybrid chords, showing how the texture changes from a warm, James Taylor-like sound at level four to a colder, more dissonant sound at level nine. He emphasizes that these hybrids operate independently of traditional tonal music rules, providing unique textures that can be memorized and applied creatively. Towards the end, Jack explores more advanced hybrid structures, including the most dissonant ones at the higher end of the chart, referencing their use in Stravinsky's compositions. He also discusses the potential of mixing hybrids with conventional chords and reassures students that experimenting within this system can yield consistently interesting results. Jack concludes the session by applying these hybrid structures to the middle section of "My Favorite Things," showing how the approach can transform a familiar tune into something harmonically rich and texturally diverse. He encourages students to explore and adapt these concepts, promising more in-depth exploration in the next lesson.

In this lesson, Jack will continue his presentation of harmony organized from the hybrid or "slash chord" viewpoint and will perform and explain two versions of "Giant Steps" reharmonized in this manner.

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

Master Bassist Harvie S will be holding a Master Class Workshop at David Gage String Instruments in NYC with guitarist Mimi Fox. This is the second in a series of Master Class Workhops produced by David Gage that will be streamed live on Mike's Master Classes. Also, the recordings will be available on line after the workshop.

Harvie imparts his methods for getting the most out of the bass with the least amount of effort and injury to the body. Topics include holding the bass, right and left hand and arm techniques, playing fast tempos, varying volume. practicing and more. Harvie conludes the class with a wonderful solo rendition of Chelsea Bridge. This class is valuable for those playing acoustic bass for a long time as well as those new to theinstrument. View clips from Harvie's class

Harvie discusses and demonstrates valuable basics including time, rhythm, harmony, intonation, practicing and more. Perfect for the new bassist and bass guitarist moving to acoustic bass. The class starts off with a wonderful rendition of Beautiful Love. Introduction and Performance Harvie S begins by performing a jazz piece titled "Beautiful Love," which he plays solo on the bass. He emphasizes that he did not rehearse this performance in advance, highlighting the improvisational nature of jazz. The performance includes playing the melody, a walking bass line, and a variation of the melody. Educational Focus on Bass Fundamentals The primary educational content of the lecture focuses on the fundamentals of bass playing, which Harvie S argues are crucial and timeless despite changes in musical styles over time. He uses his teaching experiences at Manhattan School to discuss these fundamentals, particularly the importance of understanding chord structures from a bassist's perspective. Chord Fundamentals Harvie S poses a question to his students about the most important notes in a four-note chord (e.g., C major 7, which consists of C, E, G, and B). He explains why the root and fifth are the most critical notes for bass players, as they provide the foundation and strength to the harmonic structure of the music. He also discusses the role of the third and seventh notes in determining the chord's quality (major or minor) and color. Practical Applications and Techniques Harvie S provides insights into practical playing techniques, such as how to effectively use a metronome to improve timing, which is essential for playing in both live and studio settings. He emphasizes playing with a metronome set at a very slow tempo to fully control timing and dynamics. Philosophical and Historical Insights Harvie S offers philosophical thoughts on music and jazz, describing music as a language that expresses emotions and tells stories. He also delves into the historical development of jazz, describing it as a blend of African rhythms and European harmonic structures. He discusses the role of African rhythms in shaping the musical landscape of the Americas, including jazz. Advanced Playing Concepts Harvie S discusses more advanced concepts like playing over changes, creating tension with diminished chords, and the impact of rhythmic choices on the feel of a performance. He encourages students to experiment with these concepts to develop their unique voice on the instrument. Conclusion and Future Lessons Towards the end of the lecture, Harvie S hints at future classes that will focus on physical aspects of playing the bass, such as posture and hand positioning, to prevent injury and improve performance longevity. Overall, the lecture is designed to deepen understanding of the bass's role in jazz and improve technical proficiency while encouraging an appreciation of the bass as a versatile and expressive instrument in various musical contexts. Harvie S's approach combines technical instruction with historical insights and philosophical reflections on music, making it a comprehensive resource for aspiring bassists.

Recent advancements in contemporary double bass techniques: harmonics and multiphonics. This lecture focus on showing the development of harmonic techniques created by Stefano Scodanibbio. Since 1980 Scodanibbio has been a central force within the European art music scene, through his own compositions, collaboration with many leading composers, and through the development of novel playing techniques. Further I will demonstrate how I have applied these techniques in some of my own works for solo double bass. The use of multiphonics on the double bass is a new and generally unknown phenomenon. I will talk briefly about this subject and demonstrate some musical examples. The lecture is based upon the work I do as a Fellow in the Arts at the Norwegian Academy of Music. For more information, please visit www.thelin.no Streamed live and recorded at the ISB 2009 Convention at State College, PA.

Master Class with Frank Proto. Streamed live and recorded at the ISB 2009 Convention at State College, PA.

Join guitarist Frank DiBussolo for his first Mike's Master Class, "The General Tonal Center Concept for Improvisation". This is a concise system for processing complex chord progressions making improvising a simpler thought process. It will free the player to create musical ideas rather than concentraing on playing the "right notes".

Join guitarist Frank DiBussolo as he continues his series "The General Tonal Center Concept for Improvisation". This is a concise system for processing complex chord progressions making improvising a simpler thought process. It will free the player to create musical ideas rather than concentraing on playing the "right notes".

Join guitarist Frank DiBussolo as he continues his series "The General Tonal Center Concept for Improvisation". This class is "The General Tonal Center Concept applied to Secondary Dominate Chords " or " I Got ( a better way to play over ) Rhythm.