All Jazz Guitar Courses

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

After completing this course, you should expect to look at building chords in a different way. Expansion on your chord vocabulary and come up with chord sounds that might not sound as traditional. This lesson focuses on coming up with chord ideas based on interval groupings you like. Dan shows how he does this by building chords from scales used for soloing on a given chord. Categories : Chord Voicings Comping Harmony Sub-topics: Building Chords Comping Fretboard Knowledge 18 Pages PDF Included About Dan Arcamone: Artist Recording Collective artist, Dan Arcamone is a guitarist , composer, and educator hailing from Norwalk, CT. Arcamone’s powerful yet elegant style has been winning over audiences and critics alike. Intricately constructed single-note phrases and rich chordal landscapes mark his highly individualized style. Dan has performed and/or recorded alongside Steve Pruitt, Tony Grey, Panagiotis Andreou, Kenny Grohowski, Sean Nowell, Mark Small, Brad Mason, Jen Allen, Thierry Arpino, Marko Djordjevic, Rich Zurkowski, Matt Dwonszyk, Nathan Peck, Janek Gwizdala, Martin Bejerano, Thomson Kneeland, Horacio “El Negro” Hernandez, Damian Curtis, Zaccai Curtis, and Damon Grant, among others. Arcamone's musical style is hard to pin down with a single term, needless to say it is the result of years of focused study and focused performances. These experiences have culminated in a personalized approach to the guitar that challenges the listener to think outside of their common expectations. As a leader, Dan Arcamone has released several recordings to date: Standards, Vol. 1 (2021), Psalm (2019), X (2018), Evolve (2017), In Colors (2016), In Motion (2010), and Trioisms (2008). In addition to his recordings, Arcamone has also released two books, Melodic Continuity and Counterpoint Exercises on Familiar Chord Progressions, available on his website. Skill Level: Intermediate

2023 Course Now Enrolling Three Full 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

Wednesday Sessions: April 13, 20 & 27. In this three week 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.

Wednesday Sessions: March 23, 30, & April 6. The Brazilian guitar style: Luis Bonfa, Baden Powell, Charlie Byrd. This Brazilian guitar style adds a layer of rhythmic complexity to the standard Johhny Smith-style chord solo. In this style the guitarist is essentially keeping three ‘voices’ happening at once: the bass, ostinato chord pattern, and the melody. Prof.Sher will present several of his arrangements of familiar tunes by Antonios Carlos Jobim. Students will learn some of the basic ‘comping’ patterns and how to apply them in a solo style. this isa three week section.

If you are looking to have more material to use in becoming improvisationally more varied and freer on "I Got Rhythm" changes and all II-V-I and cycle based jazz progressions, look no further than this second session with Randy Johnston. This class teaches a multitude of variations of the I-VI-II-V progressions and back cycle variations using tritone substitutions and secondary dominants to create more harmonically colorful lines on "Rhythm Changes" which can also be applied to other II-V-I based jazz tunes. Specific examples are demonstrated visually and also notated in written form. Sub-topic 1: I-VI-II-V variations with specific examples Sub-topic 2: Tritone substitutions applied to these progressions in various ways with specific examples Sub-topic 3: Extended back cycle ideas for more harmonic variation Categories: Modern Jazz Guitar Practicing Rhythm Changes Soloing Theory Level: Intermediate Advanced Duration: 33 Minutes

Wednesday Sessions: March 2, 9, & 16. Wes completely revolutionized the possibilities harmonically for playing chord in a melodic context. He superimposed moving harmonies into stagnant places harmonically within songs and chord progressions. In this three week course Much of his ideas for doing this can be found in Barry Harris’s approach. In this class Prof. Sher will unravel that, show the specific chord voicing that Wes used, present examples and help students to develop this technique in their own playing. He’ll also present a transcription of Wes playing Round Midnight, which features an almost symphonic eight bar chord solo on the bridge! This is a three week section.

If you are looking to improvise on “ Rhythm Changes ” much more easily and confidently, with greater harmonic and melodic freedom, this is the class for you! Randy teaches 2 basic versions of the Rhythm Changes A section, with explanations of the harmonies contained in them and then I give specific written examples of phrases to match those harmonies. He is able to simplify those harmonies to make it possible for the student to more easily construct his/her own more melodic solos for Rhythm Changes. Sub-topic 1: Rhythm Changes A section chord changes (2 Versions) Sub-topic 2: Specific written lines to play over the above-mentioned changes Sub-topic 3: Harmonic Reduction to simplify the changes, with examples Categories: Harmony Practicing Rhythm Changes Soloing Theory Level: Intermediate Advanced Duration: 40 Minutes

Description: By taking the class and practicing the ideas presented, the student will be able to... Better understand odd meter subdivisions and ways to phrase over the bar line in any meter. In this new class, John and Micky demonstrate subdivisions of odd meters (5/4,7/4,7/8,9/8, etc) and how to apply these meters to any song. Micky uses Macedonian folks melodies and a standard to demonstrate how he subdivides 7/8 and 9/8, and John plays several standards in 5/4 and 7/4 to discuss his concept of phrasing in those meters. John and Micky also demonstrate playing over the bar line to interpret odd meters more freely in soling and interpretation of melodies. Sub-topic 1: Voice leading in odd meter time signatures. Sub-topic 2: Different ways to subdivide phrases in odd meters Sub-topic 3: Benefits of odd meters to create phrases over the bar line in any time signature. Categories: Chord Voicings Mindfulness Modern Jazz Guitar Rhythm Theory Level: Advanced Duration: 56 Minutes

John Stowell and Steve Herberman are back together again giving you an in-depth look at comping and self-comping techniques over the Cole Porter classic tune Love For Sale. The class features two recorded play-along for you to solo and comp over. You’ll have the opportunity to solo over their comping and then you can comp over their single note choruses. The class begins with solo performances and then quickly dives into these important universal concepts to be used over any song: Awareness of the top note (soprano voice) while comping Walkdowns and walkups as comping between solo lines Chromatic approaches with chords Implying V7 substitutions over the current chord Comping in a duo or larger group Referencing bass lines in a solo guitar context Using tonic diminished harmony as a chord sub One of Jimmy Wyble’s favorite concepts of breaking up a chord into double stops that often overlap. Being an active listener while reviewing recordings Making sure your comping has good melodic content and flow Holding a soprano voice and steering around inner lines or bass line Call and response techniques Using both long and short lines and fitting in comping around them The balance between legato and staccato chords in comping and chord soloing Divided (spread) voicings with essential tones as its lowest foundation Self-assessment (recording yourself) Metronome practice techniques to develop stronger time Approaches to learning new chord voicings Playing what you hear, quoting other tunes , and more Running time: 73 minutes Included are PDFs of a Love For Sale lead sheet and alternate changes used by John and Steve.

John Coltrane changes Jazz and started a new era with his 1959's album Giant Steps, and he did it again with his modal album “ Impressions ” on early 60's. Coltrane called his way of playing “Sheets of sounds”. Today after David Liebman's book “A chromatic approach to harmony and melody”(Advance publishing) we can call this “ The Chromatic Concept ”. Complex and vast, Chromatic is based upon over impose chords over others. The soloist play chords that are not in the tune , so he reharmonizes the tune with lines that are based in other harmonies at the speed of thought. Also Coltrane applied Chromatic to his composition , same Evans , Shorter and any other masters. I think that this is my best masterclass ever, and is plenty of creative insights, ideas and examples. A reduced index could be: - Melodic minor modes over static chords - The minor major 7th arpeggio - Applying Major relatives - Major/minor sounds together - Minor conversion - Change chord quality - Reverse ii V I - Side Steps - Coltrane's changes explanation - Coltrane's Cycle over static chords - Examples over standards - and lot more. Hope you can enjoy it and have fun with this concept like I did and do it. Thanks for trust in me, Juampy Juarez November 2021

If you are looking for a class to help you increase speed, sound, and flow of arpeggios leading to new and better soloing ideas, this is the class for you! In this class, you will study with Randy Johnston methods and applications of playing simplified and streamlined fingerings for arpeggios from the 7th degree of the chord, including Major 7th, Minor 7th, Dominant 7th, Half- Diminished 7th, Minor-Major 7th, and fully Diminished 7th chords, and applications to 9th, augmented 11th chords and other chord substitutions. You will also learn methods of picking and hammering on and pulling off for these arpeggios. ** You will sweep and flow up and down the neck like you never thought possible. ** Sub-topic 1: A new way of playing 7th chord arpeggios up to three octaves Sub-topic 2: Applications of these fingerings to other chords including 9th, #11, and Blues chords Sub-topic 3: Techniques (both right and left hand) to play these lines with great flow and speed Skill Level: Intermediate Advanced Categories: Harmony Jazz Blues Modern Jazz Guitar Practicing Soloing Technique Theory Running time: 30 minutes

Looking for an in-depth course covering new vocabulary available for playing over a major chord? Included are harmony references: Lydian, Lydian #9, and augmented-major chords. John and Juan use the bridge to “ Little Sunflower ” to demonstrate extensions of basic diatonic harmony in the keys of Eb and D major. In addition to modes of the melodic and harmonic minor that reference harmonic information for major chords, chord inversions and voice-leading are also demonstrated. Part 1: https://mikesmasterclasses.com/course/concepts-for-modal-playing-with-john-stowell-and-juan-dhas-part-1/ Sub-topic 1: Implied V chords Sub-topic 2: The use of chord inversions and shapes as templates for generating single-line solo ideas. Sub-topic 3: Comping strategies and voice leading ideas. CATEGORIES: Chord Voicings Harmony Modern Jazz Guitar Soloing Theory Level: Advanced

In this follow-up to his " The Girl From Ipanema " lesson, Jake Reichbart next dives into a gorgeous but also one of the most misunderstood Bossa Nova standards : " Waters of March "! While we all love this great tune, it is one that is rarely played in casual gigs and settings as the form has eluded most of us... With his arrangement and near 90 minute lesson, Jake demonstrates how he breaks down the tune's components into several logical 4-measure units to create a "head" while moving on to demonstrate how to use these units to create chord substitutions and improvisation, thus enabling us, finally to include this tune in our setlist! In the dedicated 20 minute introduction Jake Reichbart discusses the right hand and rhythm, demonstrating his 3 main pillars of solo guitar arranging 1- the bass and melody only method 2- rhythmic chord arpeggiation and 3- the right hand “backbeat” which you can choose to incorporate or leave out. As these three pillars are applicable to all solo guitar arranging, and since the lesson includes countless ideas and techniques that apply to all music, you will come away from this lesson having learned much more than just one arrangement! Running time: 90 minutes

In this class, John and Juan begin with some embellishments and triads derived from the Dorian mode played over a single minor chord. They then reference/demonstrate additional harmony that can be applied in a modal context. Some of the harmony covered is: major triads, melodic minor, implied V chords, the use of tension and release, and simple progressions/turnarounds superimposed over a single minor chord. Sub-topic 1 - Chord voicings as templates for single-line playing. Sub-topic 2 - Open string voicings Sub-topic 3 - Specific tension/release strategies. Categories: Chord Voicings Harmony Modern Jazz Guitar Soloing Advanced Duration: 43 Minute 28 Seconds

Hi folks, In this new video lesson for mikesmasterclasses.com , I show you my new harmonic ideas based on clusters(chords with at least one 2nd )with a melodic and harmonic minor, and also harmonic major scales. I believe that thinking in tonality is better than in isolated chords. It means, by example, that when the song “So what” by Miles Davis says D-7, we have to think in D Dorian. In this way, you go beyond D-7 inversions, and you can create new harmonic structures like quartal triads with bass pedal, clusters, and more. For this class, I teach you lots of II V I with clusters but based on the scales that I mentioned. And also the way to use it, not only for comping, if not for auto-comping, chord melody, and more. You can compose with these chords, or make intros, arrangements. Clusters are essential in the modern jazz vocabulary. You will start to understand better the sound of a modern piano. Also, your technique will improve, because you have to make stretches for these chords. Bill Evans and then H. Hancock started using this material, on guitar Holdsworth and my friend John Stowell, some Jim Hall. Originally, these sound were developed by Debussy, Ravel, and Satie, french composers from the late XIX century. Hope you enjoyed my new lesson, Stay safe! 12 Pages PDF Included Juampy Juarez July 2021

In addition to being a beautiful and sophisticated tune, it is also among the most requested, if not THE most requested on the gig, so you'll want to have this on your set list! In this solo guitar arrangement, the version of which you can view in full at the beginning of this nearly 2-hour lesson, Jake Reichbart covers everything: A full-sounding chord melody with multiple variations on the melody, countless chord substitutions, bebop improvisation and it's lesser-known "sister", filling (or as Mr. Reichbart calls it "micro improvisation") and much more. In the dedicated 20 minute introduction Jake Reichbart discusses the right hand and rhythm, demonstrating his 3 main pillars of solo guitar arranging the bass and melody only method rhythmic chord arpeggiation and the right hand "backbeat" which you can choose to incorporate or leave out. As these three pillars are applicable to all solo guitar arranging, and since the lesson includes countless ideas and techniques that apply to all music , you will come away from this lesson having learned much more than just one arrangement ! Running time: 1 hour 52 minutes

In this series "What Makes A Strong Solo?", we will be addressing the core parts of what strong and dynamic soloists have dialed in with regards to their sound and soloing concept. For Part 2, we tackle Rhythm and Phrasing, specifically talking about how to build a rhythmic vocabulary and some key components behind how to improve your overall phrasing . This course is for beginning improvisers all the way through to more advanced players who wish to review practice techniques that strengthen fundamentals . Included in this course is the recorded video content, and a PDF containing perspectives on the topic, expanding on included video.

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 5: Jerome Kern’s composition “All The Things You Are” used as a basis for creating counterpoint along with accompanying PDF, contrary motion counterpoint on authentic cadences using 2 and 3 voices, 8th note bass lines below sustained melody, importance of triads using closed and open-voiced triads, close voice-leading concepts, slurring techniques, “walking” chord lines in 10ths, the "8th note flow", contrary motion visualization techniques on the fretboard, figured bass techniques and more. Running time: 90 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 4: IV V I progressions in all keys exercises, Important cycles to create structured progressions while improvising counterpoint, contrary motion devices, descending chromatic bass lines with soprano lines outlining the inferred chords, call and response counterpoint using sustained notes, interval alternation concept to attain contrary motion,“gradual chords” (building chords via single note lines with sustained tones on adjacent strings,) 8th note bass line strategies. Running time: 87 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 3: Jerome Kern’s composition “Yesterdays” used as a basis for creating counterpoint along with accompanying PDF. Contrary motion authentic cadences using 2 voices, inner line concepts using 3 voices, contrary motion cadences with sustained upper pedal, “gradual chords” (building chords via single note lines with sustained tones on adjacent strings,) arpeggiated bass against contrary motion soprano voice, super/sub concept as an inner line, staggering the lines in counterpoint (delayed entrances.) Running time: 79 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 2: Continuation of Manha De Carnival counterpoint etude PDF demonstration/analysis, contrary motion techniques, movement of the 5th on open string voicings, appoggiatura concept, 10th with inner line motion, 16th note rhythms. Running time: 84 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 1: Demonstration of super/sub Van Eps concepts, closed positions triads and harmonized scales, open position chords, voice-leading from chord to chord, performance and analysis of PDF of counterpoint etude on Manha De Carnival and more. Running time: 90 minutes

Part 2 Using "The Shadow Of Your Smile" to go over soloing concepts for solo guitar. You'll go phrase by phrase exploring useful contrapuntal and block chord solo guitar textures. Steve uses a 6-string guitar for this 67 minute class, full of useful ideas to expand your chord melody playing. Class Length: 67 min Bundle Part and Part II for $29.95

The next class in Steve's new chord melody series uses the classic tune "The Shadow Of Your Smile" to go over arranging concepts for solo guitar. You'll go phrase by phrase exploring different textures in this first class of two. Steve uses a 6-string guitar for this 76 minute class, full of useful ideas to expand your ability to create melody with chords. In this class, Steve will go phrase by phrase by phrase through the tune to demonstrate how to figure out chords for a melody . One PDF of the contrary line ideas for the arranged sections is included with this class. PDF Included Class Length: 76 min Bundle Part and Part II for $29.95

Follow along with Sid Jacobs as he presents ways to increase and enhance improvisation vocabulary of melodic lines in modal playing using the double-harmonic scale. This sound is a useful addition to your harmonic awareness. Though it may be foreign to some, it is a common sound in Persian and Indian music. It is also called the Byzantine scale. If you are looking to expand your harmonic sound, this class is for you. Full Class: 45 min 7 sec Sub Topics: Scale structure Fingerings Patterns Categories: Chord Voicings Harmony Modern Jazz Guitar Practicing Soloing Technique Theory

I have been teaching for 33 years in a row, and finally I've arrived to a step to step lesson that could help to my students to learn how to improvise chord by chord. This is one of the biggest obstacles in Jazz and Fusion, 'cause in other styles there is no improvisation at all (players compose the solo in advance) or just exist improvisation over one static chord using a blues scale. Jazz's harmony involves a lot of chords, from simple to complex, from diatonic triads to exotic clusters. And is almost mandatory that the soloist has to describe the song's harmony, and for it the improviser has to develop a big vocabulary that involves scales , arpeggios, triads, passing notes and modes. In this video lesson, student will learn how to improvise first with thirds, the most important note of the chord, then with triads, then arpeggios, and so on, because in Jazz scales are no so much in use, so the student needs another kind of technique for playing with one or two note per string patterns. I start with major blues and minor blues, then I moved to II V I, talking about swing, blues bebop and post bebop. Utilizing this method, I saw how many students became confidents in Jazz's improv , so I hope you too. Juampy Juarez May 2021 37 Pages PDF Included (Text in Spanish, but goes along with video instruction)

Sunday Sessions: May 23, 30, June 6, 13, 27, July 11. New Bonus Now Included: With your purchase, now receive Paul's previous 6-week session immediately. 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

Masters Ben Sher and John Stowell present a webinar, playing and discussing their ideas on the blues: everything from blues scales to basic bebop substitutions to modal McCoy Tyner style harmonies, and of course each of these two guitarists unique styles as applied to blues changes. This should be a great encyclopedic exploration! Level: Intermediate