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In this latest class, Randy Johnston instructs how to play the jazz-blues in F while simultaneously outlining the changes closely using approach techniques and chromaticism. If you are looking to sound both bluesy and jazzy at the same time, than this is the course for you. New Release Sale! You can expect to master a full written chorus of the blues with every line and lick explained and demonstrated note for note. In this course you will study: Voice Leading 3rds and 7ths (guide tones) and how to visualize them on the guitar Approach and Enclosure techniques and how to visualize them on the guitar WHEN to play the guide tones rhythmically to perfectly realize the chord changes Intermediate, Advanced Running time: 33 minutes 1 Page PDF Included

In this solo guitar arrangement lesson of In a Mellow Tone, taught by Jake Reichbart, you'll find all you need as a gateway into style of solo guitar, or chord melody, as pioneered by Joe Pass and others. Categories: Chord Melody Chord Voicings Harmony Standards Technique Theory Intermediate / Advanced Running time: 1hr 56minutes

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

By taking the class and practicing the ideas presented, the student will be able to expand on their chord knowledge and learn new voicing's and harmonic movements that are derivative of the piano work of Ravel and Debussy . In this lesson video, Mike shares his findings from exploring a wide variety of different chord voicing’s from the piano works of Claude Debussy and Maurice Ravel. The video breaks down sets of chord voicing’s that can be used for 4 different tonalities taking you through Major, Minor, Dominant 7 and Minor 7b5 chords. After that Mike demonstrates how to utilize these voicings together in a jazz context by demonstrating 18 different chord combinations that can be used for Major and Minor ii V I’s. This is the ideal lesson video for any intermediate to advanced player that wants to further develop their chord repertoire and learn some new voicing’s that are sure to bring them outside of their comfort zone and expose them to new sounds and harmonic territories. Running time: 53 minutes 10 Pages PDFs Included

Olivier Messiaen, a renowned French composer (1908-1992), discovered and compiled the Messiaen Modes, a collection of the only symmetrical series that exists. These modes consist of seven series or scales, including non-chromatic scales such as the Whole-tone Scale (mode 1) and the Diminished Scale (mode 2). The remaining four modes are both chromatic and symmetrical. This video lesson discusses modes 1, 2, and 3, as well as tonal and post-tonal theory. Messiaen was particularly fond of these series because they lack a root note, making the music post-tonal, a term coined by Joseph N. Strauss in his book Introduction to Post-tonal Theory. The seven Messiaen Modes produce an extensive range of chords, arpeggios, sub-modes, and other elements that can be applied to music to refresh one's style. By studying these modes, one can gain a better understanding of 20th-century orchestral music and modern fusion, such as that of Holdsworth and Tim Miller. The lesson covers modes' reharmonization with tertian and quartal triads, tetrads, chromatic chords, trichords, patterns, cadences, voice movement, phrases, and deep theory comprehension. Future video lessons will cover the remaining modes and the modes of the Messien Modes. These fascinating series, scales, or modes offer a captivating new world to explore. Juampy Juarez Advanced Running time: 1 hr 4 minutes 15 Pages PDF Included (Note: Content written in Spanish)

Discover a world of chord melody ideas for the timeless jazz standard "Stella by Starlight" with Mike's Master Classes' online course. In "Chord Melody Ideas for Stella by Starlight: Thoughts on Stella", master jazz guitarist Genil Castro shares his expert insights and techniques to help you create your own stunning chord melody arrangements. In this course, Genil breaks down his approach to "Stella by Starlight" in detail, showing you step-by-step how to create rich harmonies and beautiful melodies on the guitar. You'll learn how to play the melody and harmony simultaneously, how to add chord substitutions and reharmonizations to your arrangements, and how to use various techniques such as harmonics, arpeggios, and chord inversions to create a captivating sound. In addition to the video lessons, the course includes downloadable PDFs of sheet music and tablature, as well as practice soundslice to help you perfect your playing. Including in this lesson: A complete arrangement transcription Harmonic examples of different options for harmonizing the melody with and without Harp Harmonics Technique Genil shows how he came up with ideas for the arrangement inspired on his influences (Gamela, Joe Diorio, Ted Greene and others) Five and six notes voicings from Melodic Minor scale Discussion on the context and origins of the tune Level: Intermediate/Advanced Running time: 41 minutes 7 Pages PDF Included

Genil Castro continues his deep dive into Beyond Melodic Minor in part II: Going Outside with the Melodic Minor #5. In this advanced jazz lesson, Genil discusses superimposing dominant scales over static minor chords. If you are looking for modern ways to add life to your guitar sound, look no further than Genil’s class. In this class, Genil discusses: Introduction to the Melodic Minor #5 scale and its dominant modes Lydian b7 (#9) and Altered (13): Definition and construction. Strategy for playing outside over static minor chord utilizing Dominant scales Chord-scale relationships: Discussion of the chords that can be derived from the Melodic Minor #5 scale and how they can be used in a Dominant chord progression. Soloing and improvisation: Explanation of how to use the Melodic Minor #5 scale in soloing and improvisation, including the use of enclosures, chromaticism, and approach notes. Applications in different musical genres: Examples of how the Melodic Minor #5 scale is used in different jazz and fusion. Practice techniques: Suggestions for how to practice the Melodic Minor #5 scale, including exercises for fingerings, scales, and phrases and examples. Advanced Running time: 39 minutes 8 Pages PDF & Audio Included

By taking this course with Randy Johnston, you can expect both to improvise and comp more freely and interestingly…with more flow! Sounding much more Jazzy on progressions that are common to almost every Standard and Bebop tune. Randy teaches step-by-step many ways to solo and comp through the Back Cycle progression . Covered in the class are the theory of how the progression(s) were derived, why they are important, examples of tunes they can be applied to, and specific examples of both lines and chord changes to play over these progressions in two very often used keys. Sub-topic 1 Derivation of the Back Cycle and why it is important Sub-topic 2 Specific written lines to play over the numerous Back Cycle examples provided Sub-topic 3 Applications of the Back Cycle to several different standard tunes and to the Blues, in two very common keys Categories: Comping Harmony Soloing Standards Theory Intermediate Running time: 41 minutes 2 Pages PDF Included

By taking this class the student will be able to apply the tritone ii-v substitution in two different ways to many situations in both major and minor keys . The student will learn specific examples of lines to play and also learn how to create his own lines on these progressions. In this class Randy teaches two types of tritone substitutions using ii-v progressions and how to apply them as many jazz musicians of the classic period, notably for guitarists Wes Montgomery, have done. Specific lines are provided to learn and also a method for the student to create their own lines over these progressions is discussed. Sub-topic 1: Tritone substitutions using ii-V progressions in two different wayss Sub-topic 2: Specific written lines to play over the abovementioned changes Sub-topic 3: A method of creating one's own lines over these progressions Categories Chord Voicings Harmony Modern Jazz Guitar Soloing Theory Intermediate Running time: 33 minutes PDF Included

FOUR Full Previous Session of Paul's Ear Training course included Ever have a great idea you want to play, yet when you go to play it, it somehow doesn't come out right? Want to make a better connection between what your ear is hearing and what your hands are doing on the guitar? This course addresses putting the basic building blocks of music into your ears and under your fingers at the same time. Both Melodic and Harmonic hearing and playing will be covered. This system is based on the material taught by Dr. Asher Zlotnik to many great players around the world, and adapted specifically for jazz guitar by Paul Bollenback. Learn the sound, location, uses and construction of all the intervals, scale fragments, triad shape, chromatic approaches and outlines of harmony, ultimately applying the material to improvising on tunes. The classes will be recorded and a link sent after each class for download, so you will be able to review at your leisure, in perpetuity. Intermediate/Advanced players, some music theory knowledge required (intervals, scales, chord construction). 26 PDF files included totaling 55 pages. Aebersold Inerval List Autumn Leaves pivots Pivots on blues Pivot random chords Days of Wine and Roses pivots Ear Training Process Graphic Intervals Graphic singing shapes Graphic Triads Guitar Window Graphic Triads Harmonic hearing basics Harmonic resistance technique Melodic ear trainning locations on guitar intervals Melodic ear training methodology MET locations semitones MET location tetrachords MET location triads Modes of major in tetrachords Modes of melodics minor in tetrachords Paul's associated repertoire Random triads Semitone fragments Tetrachord construction and repertoire Tetrachords Triadic shapes

By taking this course, you will discover what physical/technical weak points are in your playing. By isolating the movements it will open the door to be expressive in music in ways you weren't capable of before. Too many people, especially yours truly, have gone through technique books, or learned a lick where we could get it about 75% good, but there was either it was sloppy or we just couldn’t get it right. We might try to fix it for a while, but ultimately either accept ineptitude and use it anyway possibly even playing it faster as a mess or just decide it’s not worth the time. Sound familiar? The idea is really this; you want perfect synchronization between your picking hand and your fretting hand, at any speed. This will require getting your fretting hand up to speed, and to fix any inherent problems in your alternate picking prowess. These exercises are what I have found to yield the most return for your time investment. They focus on the simplest variations to nail the problem where it starts. While technique is not music, we still have to address the physical attributes of guitar to perform at our best. Along with exercises, Tim explains many typical stumbling blocks, including an analysis on picking motion (arm vs wrist vs Benson) and how that can be applied to your own playing to free you up. We also dive deep into finger placement, posture, what relaxed really means, swarm method, finger placement and perhaps most importantly, how better technique leads to better time feel, plus much more. While many concepts are employed in the first half of the class, the second half deals with Part 1 of technical exercises meant to improve the synchronization of both hands when dealing with linear picked (alternate picking or finger picking) structures. These technical exercises are meant to be done for 4 weeks, 15 to 25 minutes a day, to see great improvement in muscular movements on the guitar. While this course dives deep into the "purely" technical exercises, future masterclasses will spend time in the more critical musically applied technique, which the bulk of your practice should be geared towards. However, there are physical concerns that must be addressed. Other physical lead technical practices on legato, one note per string, hybrid picking etc... courses will come in the future, that address weaknesses in the same way. Along with the video course included is a book to describe the exercises as well as a sheet to fill out your progress. Soloing Technique Sub-topic 1: Guitar technique Sub-topic 2: Alternate Picking Motion Sub-topic 3: Finger Placement and Tone Running time: 1 hour 19 minutes 16 Pages PDF Included

In this short soundslice lesson, a quick lesson for learning the tune "Maria" from West Side Story. Included with Your Free Account

In this class, Randy dives deeper into the Coltrane Cycle. Randy demonstrates methods to become more fluent in applying the Coltrane Cycle to different applications within the Blues Progression. Randy walks step by step through specific lines and patterns, which will bring the student closer to spontaneous improvisation on both the Blues progression in general and the Coltrane Cycle in particular. This class is a further exploration of the concepts presented in Coltrane Changes Strategies part 1 and can be used either together or separately with the Volume 1 class. In just 33 minutes, Randy teaches how to apply the Coltrane ( Giant Steps ) chord progression both to the first 4 bars and to the last 4 bars of the 12 bar Jazz-Blues progression and discusses strategies for constructing jazz lines over this progression. Specific examples are provided and then the student is encouraged to use his own creativity to create his own solos using the strategies discussed. Categories: Blues Harmony Jazz Blues Modern Jazz Guitar Soloing Sub-topic 1: Superimposing the Coltrane (Giant Steps) changes over the first 4 measures and the last 4 measures of the Blues progression. Sub-topic 2: Specific lines and patterns to play over the Coltrane changes Sub-topic 3: Patterns and strategies for constructing original lines over these changes Running time: 33 minutes PDF Included

There’s no doubt that Stevie Wonder is one of the greatest composers in pop music. And there’s no doubt that his songs are a must-have in any musician’s repertoire. Just imagine playing those beautiful arrangements all by the guitar itself. Well, that’s possible and in this course you can learn how. Jake Reichbart is a solo jazz guitarist holding a remarkable record of a 30 year (and going!) weekly gig at the famous The Earle restaurant in Ann Arbor, performing there every Tuesday, Wednesday and Thursday. He won WEMU-FM’s Emily Remler scholarship for best guitarist. And appears in countless recordings and jingles. While Jake’s musical philosophy is always rooted in jazz, he has realized over the many decades of performing at The Earle and elsewhere that in order to engage an audience and keep their interest, you must perform tunes from a wide variety of repertoires from all eras and styles. Having Stevie’s songs as an obvious choice. In this package of 5 lessons, Mr. Reichbart teaches his arrangements of some of Wonder’s most popular songs. Throughout the course you will learn not only how to play them, but also how they were thought musically and therefore how you can do something similar by yourself! The arrangements are a very close to the original version for fingerstyle playing . You will be playing chord melodies as a translation of the so particular style of Stevie Wonder’s singing. Learning various possibilities to a nice and interesting performance...including many chord variants, melody contrasts and textural possibilities. In addition to that, learn an impressive way to enhance the bass and the melody. Each video will include a presentation of each song with Reichbart demonstrating close up insights to the arrangements. He will analyze the chord progressions, teach how to correctly play the main melody and then how to improvise through the theme. You will learn the importance of rhythm in a performance, for what he will give 3 ideas on rhythm for improvisation. Reichbart teaches us when and why to get close to original. And also, what kind of changes are needed to be made. Besides, you’ll be able to translate to the guitar the unique voicings that Steve used. With a demonstration of the many variations that can be made for the chords that compose the song. Each of these songs have a particular character, with different difficulties which demand different technics. In order to conquer the best of the expressivity of the guitar, it’s important to cover all of its possibilities. Because the approach depends on the very nature of each song. The full performance of each song is included at the end of each video lesson. What will you learn? How to create personalized arrangements. Improvisation with a theme. Improve your fingerstyle playing. Different ways to enhance the bass and the melody Create interest in a performance. Learn how to translate Stevie Wonder’s style to the guitar. Play with flow and rhythm. Learn different colors, effects, and textures. Improvisation with a theme. Tricks with the guitar for interesting sounds. How to sustain the discourse. Songs included: My Cherie Amour You Are the Sunshine of My Life Isn’t She Lovely As Overjoyed Running time: 7 hrs 15 minutes

Comparisons are made of the original Berlin changes to the Jim Hall and Bill Evans changes as well as chord substitutions that are commonly used to enhance the harmonic movements from chord to chord. John and Steve demonstrate and discuss universal chord soloing and single note concepts that apply to this great commonly played tune How Deep is the Ocean . Some of those concepts are: Guide tone line architecture as a means to derive clear melodies. Breaking up chords for greater rhythmic interest and textural variation. Viewing harmony as independent lines on the fingerboard. Limiting parts of your solo to the lower 4 strings. Join Steve and John for enjoyable conversations and performances of a rich harmonic gem of a composition. Running time: 66 minutes PDF's include of two versions of the harmony (and melody) that is performed and discussed in the video. A bonus PDF of Steve’s single note line etude over a commonly played set of substitute changes to How Deep Is The Ocean .

In this class Randy teaches how to apply the "Coltrane" (Giant Steps) cycle to traditional I-vi-ii-V and ii-V-I progressions and also the derivation of the Coltrane cycle. Specific lines and ideas for soloing on these changes are provided, and also specific ways to make both comping and soloing more easy and flowing on the guitar when dealing with this progression. Randy Johnston tackles specific lines and examples in Coltrane's iconic tune "Giant Steps". In part 1, you can expect an outcome of being much better able to navigate the "Coltrane" style harmonic cycle...both from a comping and soloing standpoint. You will also study various lines and examples with which to more easily navigate this difficult progression both conceptually and on the guitar. If you are looking for a fresh approach to the harmonic cycle in Coltrane's Giant Steps, look no further than Randy Johnston's Coltrane Changes Strategies Part 1! In this course, you will learn: Specific Licks and Substitutions for navigating the Coltrane cycle Ways to make the comping and soloing less awkward on the guitar for this progression Derivation of this progression and application to standard progressions This comprehensive course is designed to help you master the intricate chord progressions of John Coltrane's iconic compositions. With expert instruction from renowned guitarist Randy Johnston, you'll learn the essential techniques and strategies for navigating these challenging changes. Whether you're a seasoned player or just starting out, this course will take your playing to the next level. So why wait? Sign up today and start your journey to becoming a jazz master! Level: Intermediate Advanced Duration: 29 Minutes PDF Included

Hello fellow students, In this new video lesson I'm talking about guitar technique, economy and sweep picking, two of my favorites. For years practice technique on Jazz was like a sin, teachers didn't teach it, even more, it was a subject with bad reputation. In my opinion, it's very important, technique is not a goal in itself, if not a way to reach new musical standards. Imagine that you want to play triplets or sixteen notes at bright tempos, you will need a good technique, so in this way you will be able to play the music that you listen in your head&heart. Now, if a famous bandleader call you, and his music is intricate, with complex melodies, (like bebop or fusion melodies), again with a cool technique you will be more confident and comfortable to play it. And, perhaps, with a great guitar command you can compose music with other possibilities. Hope you find this lesson inspiring and useful. Good luck!! keep going forward. Best, Juampy Juarez June 2022 Level: Intermediate Duration: 1 Hour 4 Minutes

If you are looking for a way to add new orchestrations to both arrangements and improvisations using techniques you already have , then this is the course for you. Unlock improvisations that you may already possess. This class is an exploration into different ways to orchestrate our improvisations and arrangements. I like to call these orchestrations “environments”, since they create the musical environment in which our improvisations and arrangements exist. More Insights from this Course In this course, Christopher, a jazz guitarist and educator from Portland, Oregon, discusses the concept of "environments for jazz guitar." He explains how different orchestrations or environments can influence the way musicians improvise and arrange their music. These environments are not just settings but are integral to the musical piece, affecting the improvisation process. Christopher emphasizes the guitar's versatility, highlighting its roles as a rhythm instrument in jazz bands and in other genres like pop and funk, as well as its capability as a lead instrument in styles like blues and bluegrass. He introduces the idea of "self-accompanied guitar," which applies to both solo performances and small ensemble settings, where the guitarist uses various techniques to create a full musical texture. He uses "Autumn Leaves" as a demonstration piece to illustrate his points, given its familiarity and the mix of major and minor chords it contains. Christopher showcases different guitar playing techniques that contribute to creating unique musical environments, such as folk-style picking, emulating the sounds of other instruments or musical styles (e.g., big band shout choruses, Latin rhythms), and employing different feels like stride or shuffle. The overarching theme is the importance of imagination and creativity in jazz, encouraging musicians to draw upon a wide range of influences and techniques to enrich their playing . Christopher advocates for experimenting with different sounds and styles, even those outside traditional jazz guitar, to discover new ways to express musical ideas and create engaging environments for improvisation and arrangement. This course reveals Christopher's approach to teaching and playing jazz guitar, focusing on versatility, experimentation, and the integration of diverse musical elements to craft unique and expressive performances. Sub-topic 1: Using techniques you already possess in new ways Sub-topic 2: Emulation of sounds and styles outside of typical jazz guitar approaches Sub-topic 3: Self accompanying techniques and concepts Categories: Chord Melody Comping Mindfulness Modern Jazz Guitar Soloing Level: Intermediate Advanced Duration: 1 Hour 5 Minutes

Mondays Sessions: June 13, 20 and 27 In this three week continuation section Prof. Sher will delve into some non-linear approaches to harmonizing tunes. Drawing from the chord vocabulary of Wayne Shorter, Jim Hall, and the contrapuntal style of Gene Bertoncini Prof. Sher will help students develop highly personalized chord solos. style. this isa three week section.

In this final class of the Diatonic Triads series, we will explore clusters. Simply stated, a three-note cluster consists of any three consecutive notes from a seven-note scale. We will start with the notes C, D, and E from the C major scale. While some of the inversions of this structure played as a chord may prove difficult or even impossible on some string sets and/or fretboard locations, we will explore all the possibilities with a view toward finding the most practical examples. When this tight structure is inverted and opened up, it can create more playable shapes and also provide surprisingly open-sounding and unique sonorities. Included Documentation The document included entitled "Diatonic Triads Complete - Part 5: Clusters" by Tom Lippincott focuses on the concept of clusters within the context of diatonic triads for guitar. It explains how to construct clusters from any seven-note scale and explores their integration into guitar practice, including various inversions and voicings. The document also includes exercises and examples to demonstrate the practical application of these concepts on the guitar, aiming to enhance harmonic understanding and fretboard navigation. Diatonic Triads Complete part 5: Clusters covers: explanation of clusters “piano style” versus “choir style” inversions on the guitar map of all inversions of 3-note clusters, plus diatonic harmonized scales on all string sets using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations exploration of open clusters substitution of occasional open clusters for impractical close clusters arpeggiating open clusters to create melodic ideas with wide intervallic leaps exploring clusters from the melodic and harmonic minor scales single-note line and chordal phrases over a minor II V I progression and over the chords of “My Romance” to demonstrate real-world applications 74 minute running time includes 13 pages of written examples and exercises includes backing track for II V I musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

In part four, we will explore 7th no 3rd triads. Like 7th no 5th triads, these are derived simply by removing one note from a traditional 7th chord although, in this case, the 3rd is removed. This fascinating structure creates a sound that is both traditional and tonal due to its derivation from 7th chords, and at the same time, open and ambiguous because of its lack of 3rd. In many ways, this configuration provides the best of both worlds. Diatonic Triads Complete part 4: 7th no 3rd covers: explanation of 7th no 3rd chords “piano style” versus “choir style” inversions on the guitar map of all inversions of 7th no 3rd triads, plus diatonic harmonized scales on all string sets using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations exploration of open 7th no 3rd triads arpeggiating 7th no 3rd triads to create melodic ideas exploring 7th no 3rd triads from the melodic and harmonic minor scales single-note line and chordal phrases over major and minor II V I progressions to demonstrate real-world applications 51 minute running time includes 13 pages of written examples and exercises includes backing tracks for major and minor II V I musical examples All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

In this third class, we will explore 7th no 5th triads. This structure is simply a 7th chord with its 5th removed and is often referred to as a “shell voicing.” However, in this class we will be treating these “shell voicings” like three-note triads, which means finding all the inversions, registers, and string sets. This will yield many more uses than just the traditional shell voicing concept provides. 7th no 5th triads can have a more traditional, tonal sound than sus triads but when used imaginatively can also create fresh new sounds. Diatonic Triads Complete part 3: 7th no 5th covers: explanation of 7th no 5th chords and their use as traditional shell voicings “piano style” versus “choir style” inversions on the guitar map of all inversions of 7th no 5th triads, plus diatonic harmonized scales on all string sets using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations exploration of open 7th no 5th triads arpeggiating 7th no 5th triads to create melodic ideas exploring 7th no 5th triads from the melodic and harmonic minor scales example of harmonized melodic line on the changes of “My Romance” utilizing material from the above 56 minute running time includes 13 pages of written examples and exercises includes backing track for “My Romance” musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

In this second class from the diatonic triads series, we will explore suspended triads. These triads can give an impression of openness due to their lack of the 3rd interval. Since the 3rd interval is central to traditional triads and tonal harmony in general, suspended triads are useful for achieving a modal, harmonically nebulous sonority that is associated with more modern sounds. The so-called sus2 triad also falls into this family and will be discussed as well. Diatonic Triads Complete part 2: Suspended Triads covers: introduction to all five types of diatonic triads definition of suspended chords and their history map of all inversions of suspended triads explanation of the concept of diatonic suspended triads, with example exercises using diatonic cycles, including contrapuntal movement, to gain fluency with inversions and voice leading exploration of open suspended triads alternate fingering for open sus triads applying diatonic cycles of open and close triads to the melodic and harmonic minor scales examples of single note musical phrases incorporating all of the above using sus triads derived from melodic minor over a minor II V I progression 54 minute running time includes 11 pages of written examples and exercises includes backing track for minor II V I musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

Mastering the basic major, minor, diminished, and augmented triads is widely acknowledged as a crucial step in the development of any jazz musician. This is particularly important on an instrument like guitar which can be played both melodically and harmonically. Triads form the basic building blocks of more complex harmonies as well as the upper part of these chords. In this series of classes, we will systematically examine all of the traditional triads that are diatonic to the major, melodic minor, and harmonic minor scales and find many unique and creative uses for them, both for chords and for single-note lines. But the fun doesn’t stop at traditional triads; in this five-part class, we will also explore all of the three-note chords that are possible in the above three scales. This includes suspended triads, seventh chords with no fifth, seventh chords with no third, and clusters. By practicing these five structures, guitarists can add many fresh and exciting sounds to their music. One advantage of three-note chords is that they tend to be easier to play and more “portable” than bigger four-, five-, and six-note chords. These shapes work exceptionally well for both comping and for supporting a melodic line with harmony. Arpeggios built from this variety of three-note chords can also generate some interesting new melodic ideas. In the first class, we will explore traditional triads, the roots of the harmonic tree. A command of these structures will be necessary in order to facilitate the exploration of the more exotic sounds in the subsequent classes. Guitarists who have been through my Jazz Guitar Harmony part 2 and Jazz Guitar Harmony part 3 and absorbed the material on triads may find this class unnecessary. However, there are a few new concepts in this class that aren’t covered in the Jazz Guitar Harmony series. Diatonic Triads Complete part 1: Traditional Triads covers: review of the theoretical basis of triads “piano style” versus “choir style” inversion on the guitar map of all inversions of major triads explanation of the concept of diatonic triads, with example exercises using diatonic cycles to gain fluency with inversions and voice leading exploration of open triads applying diatonic cycles of open and close triads to the melodic and harmonic minor scales examples of single note musical phrases incorporating all of the above using triads to harmonize a melodic line 59 minute running time includes 10 pages of written examples and exercises includes backing track for II V I musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

Mas Que Nada, written and originally performed in 1963 by Jorge Ben and later made into a hit by Sérgio Mendes, is one of Brazil's most famous themes of the Bossa Nova era, nearly as recognizable as The Girl From Ipanema , yet not nearly as often performed. In his arrangement, Jake Reichbart takes on this classic and adapts it to the solo jazz guitar format. In the accompanying one hour and 40 minute lesson, Mr. Reichbart not only breaks down the arrangement note for note and shows every chord slowly and in closeup, but he goes in great detail into the right hand technique enabling this to be performed with high energy as shown. Nevertheless, as he emphasizes, the arrangement is playable in any tempo and it's up to the performer to find his/her own feel. In the lesson Mr. Reichbart also takes on the harmony and explores multiple ways to add/insert chord substitutions to create countless variations. Skill Level: Intermediate Duration: 1hr 40 Minutes

Beyond Melodic Minor ( introducing dominant modes of Melodic Minor (#5) and Harmonic Major (melodic minor #4) scales Part 01 Tonal Context Are you ready to take your jazz playing to the next level? Look no further than Beyond Melodic Minor, the comprehensive online course from Mike’s Master Classes. In this exciting program, you will learn from a world leading jazz musician Genil Castro and discover the secrets of the melodic minor scale. This course is designed for jazz guitarists, from intermediate to advanced. If you are looking to deepen your existing knowledge, Beyond Melodic Minor will provide you with the tools you need to take your playing to the next level. Genil Castro will guide you through every step of the process, demonstrating how to use the melodic minor scale in creative and innovative ways. In this program, you will learn: review of Plurality concept and dominant modes of melodic minor Vertical and Horizontal perspectives of scales Dominant Modes of Melodic Minor #4 Dominant Modes of Melodic Minor #5 Tonal application of the scales in II V context At Mike's Master Classes, we believe in a hands-on approach to learning. That's why Beyond Melodic Minor includes access to exclusive video lessons and sheet music. Our expert instructors will be there to answer your questions and provide personalized feedback, ensuring that you get the most out of your learning experience. So what are you waiting for? Join us today and unlock your creative potential with Beyond Melodic Minor. Sign up now and start your journey towards a deeper understanding of the melodic minor scale and jazz music. PDF Included: 9 Pages Skill Level: Advanced Duration: 43 Minutes

Quartal Harmony consists in chords by fourths.These kind of structures are not major neither minor. The new sound is suspended, and started around 1870 with Wagner, then Debussy, Schoenberg, Stravisnky, and the master of Quartal Harmony: Bela Bartok. In Jazz , piano players McCoy Tyner first, then Herbie Hancock explored and innovated with this stuff a lot.Ambiguety and plurality are two adjectives that are effective over quartal structures . Coltrane and Shorter composed a lot of songs with melodies based on fourths. Guitar has his Quartal Champion, he is the great Joe Diorio, with many books on this topic. Also Jim Hall used lot of quartal triads for comping. Allan Holdsworth, Pat Metheny, Jonathan Kreisberg, Frank Gambale and many others embrace quartal music. In this video lesson we will cover Quartal theory, triads, tetrads, inversions, drop 2, quintal chords, and how to use this material over modal and tonal music. Also, we will talk about not only major scale, also melodic and harmonic minor, and harmonic major . For me, it is a mandatory subject, and when you can use it with fluidity, you will begin to sound contemporary, not only for comping, if not also for composition and chord melody . Juampy Juarez March 2022 "There are plenty of guitarists that are happy to play what they are already comfortable with, keep it smooth and easy; there are others that are looking to push the boundaries of their knowledge and have no fear of reaching. If you are one of the latter, like I am, then Juampy’s classes, especially this one, are for you. Getting away from traditional harmony and building ideas in 4ths and 5ths is not new, having been developed over the past 50 or so years, but it usually derives from piano and horn players. This class is strictly for, by, and about GUITAR. The ideas on unusual chords, such as Melodic Minor #5, are priceless." ~ James S. PDF Included: 32 Pages Skill Level: Intermediate Duration: 62 Minutes

If you are looking for more variations and ideas for improvisation on the bridge to "Rhythm Changes" which will also apply to any cycle of dominant 7th and II-V progressions, then look no further than this class. Randy Johnston provides specific examples, both in terms of progressions and lines. Randy takes you through 8 different variations of how to play the bridge of "Rhythm Changes", both comping and soloing, with specific examples of each. **These progressions and lines can also be used in many other jazz tunes.** Sub-topic 1: 8 versions of the " Rhythm Changes " bridge Sub-topic 2: Specific lines to play over the abovementioned progressions Sub-topic 3: Ways to alternate and interchange II-V and Dominant 7th progressions Skill Level: Intermediate Categories: Comping Harmony Modern Jazz Guitar Rhythm Changes Soloing Theory Level: Intermediate Advanced Duration: 36 Minutes

Aural awareness may not be a totally level playing field at the outset but, whilst some people may be born with more natural facility, anyone can develop it with the right methods. Even perfect pitch can be acquired, although its usefulness is probably open to debate. The particular focus of this session is the acquisition of relative pitch , and how this can help you identify the real music that you hear on the bandstand. You may have heard the idea that you can recognize intervals by relating them to famous songs e.g. by equating an augmented 4th to the opening notes of the theme from The Simpsons. However, whilst there’s nothing wrong with that as a way of getting started, it’s unlikely to get you past the first basic steps. That’s because, just as in navigation, measuring a distance between two points doesn’t actually tell you where you are! The augmented 4th in The Simpsons only sounds like it does because of how that interval relates to the overall context. A different augmented 4th in the same context probably wouldn’t invoke Homer and Marge at all. A much better way of learning to recognize intervals and sounds is by considering the natural gravity that pitches are subject to in a piece of tonal music. This class explains that concept, and shows you how you can use it to identify even quite advanced jazz harmonies by ear. "I can't stress this enough though, the importance of those first fundamental steps. If anything in the class feels too challenging at the moment, go back to those major triad inversions. I promise it will bear fruit in the long run." ~ Jamie Taylor Relative Pitch vs Perfect Pitch It is important to distinguish relative pitch versus perfect pitch. Relative pitch is the ability to distinguish the difference in pitch between two notes. Within tonal music, this is especially important. Perfect pitch in contrast is the ability to identify a pitch regardless of its relationship to other notes. The purpose of this course is not to develop the ability to identify a pitch without context. Instead, the ear training within this course will provide a reference tone and then work to improve one's ability to identify intervals, fourths, fifths, sevenths, etc. based off the initial tone. This is one of the most effective forms of playing by ear especially on the bandstand. Developing Relative Pitch for Guitarists Although relative pitch is particularly important for most musical instruments, this course is specially designed to enhance a guitarist's relative pitch capabilities. The step-by-step approach will take you from understanding the tonal gravity implied by intervals to then further recognizing intervals through practice and repetition. In the full 53m class we: Discuss the benefits and limitations of the “famous melody” approach. Identify which pitches exert tonal ‘gravity’ and why. Learn how to recognize these as absolute points, from which distances can be measured. Practice this together with a wide range of on-screen examples that you can use as ear tests. Explore how even complex altered dominant sounds can be recognized with this method. Demonstrate a rigorous relative pitch ‘workout’ exercise, using tonic sol-fa This time, the class includes a 20-page PDF booklet , referenced throughout with captions, and synchronized on-screen notation. In terms of level, this material could be of assistance to players with a wide range of experience. A beginner can benefit from getting into good aural awareness habits early on, and there may well be much more advanced players who wish to explore this area as well. Whether singing or playing, your ability to identify relative pitch will greatly increase upon taking this course. If you’re really confident that in a blindfold test, you’d always know a G7b13 from a G7b9 or a Cmaj7#11 from a Cmaj7#5, then you probably don’t need to take this class. If not, though, let’s get started right away! Aural awareness is not a level playing field. Yes, some people are born with more natural facility, but anyone can acquire aural awareness with the right methods. Even perfect pitch can be acquired, although its usefulness is probably open to debate. The important thing is not to imagine that you aren’t ‘musical’ if you find this a difficult skill to master; the great majority of musician do!Unfortunately, so many people allow fear of ‘failure’ (and its perceived implications) to put them off even attempting to develop it, with predictably self-fulfilling results.

If you’ve been playing guitar for years, but still feel a gap in your playing - this might be what you’re looking for. In “Book One Page One”, Sid Jacobs explores musical fundamentals that seem simple but are powerful. Taking a page from his friend the late great Joe Diorio, “We’re always on Book One, Page One”. You’ll discover in this Masterclass: Two essential voice leading exercises through the circle of fifths (these seem obvious, but the way Sid does it shows you how to hear and see the changes even clearer) The way you can simplify a song into melody & countermelody (and get out from the grip chord trap) See how Sid takes a single Jimmy Wyble Etude phrase & transforms it into a powerful exercise that makes your contrapuntal playing even better Great sounding voicings that you can use that incorporate open strings and fretted notes in “Moon River” More applications of fundamental music concepts in the tune “Two for the Road” by Henry Mancini See how Sid adds moving lines to make his arrangement of the Bill Evans tune, Very Early sound more orchestral (he even explains how you can outright steal certain moves that you can use in your own arrangements!) Why and how the song All The Things You Are can be a perfect vehicle to apply Bach like contrapuntal approaches and good voice leading Secrets to make you can sound more like a contrapuntal pianist rather than a typical chord melody style guitarist This is really a masterclass that will benefit you for years to come! The best part of it all is that every time you watch it, you get even more of the subtle details in Sid Jacob’s masterful playing. And, in addition to the video, you also receive 12 pages of Sid’s personal solo guitar arrangements so you can study closely his contrapuntal & harmonic approach. Ready to allow your guitar playing to level up into an even higher level? Let’s begin now with “Book One Page One”! Class Length: 203 Minutes