All Jazz Guitar Courses

Using the pianist/composer Jovino Santos Neto’s tune “Feire Livre”, John and Mike explore some non-diatonic harmony, specific dominant tensions and resolutions and voice leading. Also covered are extensions of minor tonalities and references to implied V chords in soloing. John and Mike also trade some choruses on “Feire Livre” to demonstrate the concepts they have discussed. Sub-topics: 1 Brazilian Baione rhythms 2 Melodic minor modes and tonalities 3 Internalizing harmonic information Categories: Chord Voicings Harmony Modern Jazz Guitar Soloing Theory Student Outcome: Improved improvisation skills and voice leading concepts. Level: Advanced

Using the standard “Gone With the Wind”, John and Randy trade choruses, reacting to each other’s approach to harmony and soloing. Specific topics of discussion include implied time, displaced rhythms, voice leading and improvised chord melody. Also covered are diads, contrary motion, pianistic and drop 2 voicings and altered dominant chords. John and Randy also alternate choruses of comping to demonstrate accompaniment techniques. Sub-Topics: Importance of the use of space in soloing and comping Moveable shapes used as altered dominant chords Motific development in solos. Categories: Chord Melody Chord Voicings Harmony Modern Jazz Guitar Soloing Expected Outcome: The student will have new ideas regarding variations on standard diatonic progressions and new chord voicings and solo lines. Level: Advanced

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 1, we tackle Melodic Clarity, and the fundamental ability of how soloists can clearly state the harmony in simple melodies, providing a layer on which to build upon to lead to more advanced concepts. 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, as well as some notated examples of ways you can use the suggested exercises in your practice routine. Skill Level: Beginner / Intermediate

Saturday Sessions: Mar. 6, 13, 20, 27, Apr. 3, 10. 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. Intermediate/Advanced players, some music theory knowledge required (intervals, scales, chord construction). PDF materials provided.

Sunday Sessions: Mar. 7, 14, 21, 28, Apr. 4, 11. 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. Intermediate/Advanced players, some music theory knowledge required (intervals, scales, chord construction). PDF materials provided.

This 6-week course is part one of a multi-part exploration into the process of making music, creativity, and some of the tools we can use to play with the 12 notes we are given. This includes a dive into triad pair and slash chord vocabulary, fourth chords and lines, and counterpoint exercises. Voice-leading is the fundamental underlying principle that makes chord progressions. The ability to see the voice leading at work helps decipher the symbols we see in lead sheets, real and fake books. When we recognize some of the linear ‘moves’ that make cadences, it becomes clearer how to create meaningful single note phrases and to improvise with two voices. With these we will make solo guitar arrangements of standards in real time. The choice of standard can be at the students’ request. The chromatic scale comes from the cycle of fifths, or fourths (depending on your perspective). Five perfect fourths in a row give us the pentatonic scale. Seven perfect fourths give us the major scale. Seeing tonalities, scales diatonic and symmetrical, and modes from this perspective opens a world of intervallic lines and ideas for our vocabulary. Triad pairs are a big part of the vocabulary of modern jazz. We will be creating lines from two distinct triads, from diatonic and symmetrical scale sources. We will of course work on concepts of economical fingering that might be new, even to advanced guitarists. Though the concepts may be easy enough to grasp, they might require a new approach to technique. Getting the phrases to breathe and dance has to become part of the practice. The common reference will be standards and jazz tunes. Practical application into a recognizable context makes the information less abstract and more fun to play. Music is love. If it’s not fun you’re doing it wrong.

In this video Mickylee discusses a method that doesn't necessarily involve thinking solely in terms of scales and arpeggios while improvising, but rather focuses on dealing with pivotal points in the melody, i.e., reaching and leaving them. That is not to say that learning scales and arpeggios is not a necessary skill. Both are very important and, as a matter of fact, they also play a certain role in the system that will be presented, but will be used very sparsely. With "Connecting the Dots" technique, focus is rather on small fragments of the melody and the "Big Picture" is being painted step by step. Improvising over chord changes may be very stressful for the inexperienced player, since a vast number of melodic possibilities over a given chord could be overwhelming. That's why it's important to reduce them as much as possible and systematically explore all the variations within these restrictions. Harmonic progression of Blue Bossa is perfect for demonstration purposes, since it's fairly simple and it consist only of Tonic, Subdominant and Dominant in Cm and Db. Sub-topic 1 Voice Leading Sub-topic 2 Approach Notes Student outcome: improvise in a more thoughtful manner, without relying only on scales, arpeggios and patterns. The solos may become more fluent and the musical phrases better linked to each other. Skill Level: Intermediate Advanced

Pianist Bill Evans' contributions to jazz have inspired and informed countless other musicians. His influence is evident in the work of many guitarists including Jim Hall, Lenny Breau, Ted Greene, John Abercrombie, Ralph Towner, and John McLaughlin. Of all the notable and impactful elements of Evans' playing, it is perhaps his harmonic sense that has most captivated generations of guitarists. In this class, we will explore Evans’ reharmonization of the standard tune “Spring Is Here” beginning with a basic version of the tune as envisioned by composer Richard Rodgers and taking a deep dive into Evans’ reworking of the harmony. We will see how the original harmony of the tune relates to Evans’ new chord progression and find strategies for transferring those sounds to the guitar fretboard. Also included and discussed in detail will be chord voicings from Tom’s arrangement of the tune plus alternate voicings and ways to implement them. In addition, we will investigate Evans’ intriguing intro, interlude, and ending statements that use the concept of constant structure to create lush and dramatic harmonies within these sections. Spring Is Here: Exploring the Harmony of Bill Evans covers: original version of the harmony of “Spring Is Here” with theoretical analysis Bill Evans’ reharmonization of “Spring Is Here” with in-depth harmonic analysis diminished major seven and diminished major seven flat 13 chords transcription of Evans’ intro, interlude, and ending arranged for guitar chord voicings for Tom’s realization of Evans’ arrangement, including contrapuntal moving inner, upper, and lower voices discussion of alternate voicings and extended techniques 92-minute running time includes 9 pages of written examples and exercises Musical examples from the video are provided in music notation, tablature, and chord grid form. This class is based on Bill Evans' recording of "Spring Is Here" from Bill Evans at Town Hall and can be heard here:

This way of improvisation started in the '60s with Coltrane, Evans , Shorter, Hancock , Dolphy and Coleman. On guitar, Martino and some years after him, already in the '70s Holdsworth and Mc Laughlin figured out how to sound as Coltrane on the guitar, then Metheny and a bit late Frisell created their own new jazz guitar schools for ever. Playing in and out have many options, but basically the improviser plays with consonances and dissonances along his/her solo. In this clinic we covered some ideas about it. Primary, when you change one important thing, slowly everything will change. Improvisation changed so harmony too , becoming more modal, with more space and less chords. We can name this music Modal Jazz. Fusion is, harmonically speaking, Modal Jazz with a different orchestration and other rhythms. So if you learn to play inside outside Jazz Improv , you are in the same path to improvise in Fusion music. Some elements that belongs to modern Jazz Improv are long intervals, more than one idea per chord, arpeggios, triads or quartal triads that represents scales, straight eights instead swing, and talking about comping, it will be more like a counterpoint or a dialogue with the soloist. The most used scale in Jazz Improv is the Melodic Minor, then Harmonic Minor. We covered some ideas with these ones and some others with Harmonic Major and Whole Tone scale. Good luck and remember transcribe the masters.Also play with others musicians these ideas the most that you can is a must. Stay safe, Juampy Juarez December 2020 PDFs Included: Coltrane's pattern Harmonic major modes Inside outside improv speech Major triads Diminished scale Major triads Harmonic minor scale Major triads Melodic minor Minor maj7 mix with originals pdf Patterns Phrases #1 minor chords Phrases #2 dominants Phrases #3 maj7 chords Phrases #4 Half diminished and Diminished chords the minor major 7 arpeggio pdf The sym aug scale phrases whole tone scale and chromatic notes

Unlock the secrets of harmony and take your music to the next level with 'An Introduction to Voice Leading and Plurality: Insights and Tips on Harmony II' – a course designed to transform your understanding of music theory. In this class, you will learn how to use 3 and 4-note rootless extended chords for comping and chord melody. Learn principles of voice leading and plurality utilizing the Major scale chords as the basis for understanding 3 and 4-note rootless extended voicings and their common uses and also utilize chord voice leading to produce melodic lines. Led by acclaimed music educator Genil Castro, this masterclass offers an insightful dive into the art of voice leading, exploring how different voices interact and interconnect to create rich, nuanced harmonies. With Genil's expert guidance, you'll learn how to master the following unique principles of voice leading, from chord inversions and melodic motion to the use of dissonance and consonance. Sub-topic 1 Comping with 3 and 4-note rootless voicings Sub-topic 2 Chord Melody (Satin Doll) utilizing 4-note rootless voicings and voice leading Sub-topic 3 Cycle of 4ths in the Major Scale using voice leading Categories: Chord Melody Chord Voicings Comping Harmony Standards Theory Skill Level: Intermediate Advanced

Everyone knows the Blues, right? Whether you’re new or continuing your exploration of jazz guitar, you most likely are familiar with the Blues. Mike's Master Classes Founder Mike Gellar presents his first class on using the Blues as a foundation to build on. Mike begins with the most basic, 3-chord, 12-bar blues. Each chorus after another he clearly introduces alternate changes to the Blues, evolving into ii – V – I, I – VI – ii – V and other chord progressions often encountered in playing jazz. Mike teaches you how to Learn and Understand these progressions so they become part of your playing and not something you need to try to memorize. This class is targeted to Beginning and Intermediate players. Sub-topic 1 Multiple chord progressions Sub-topic 2 Pedal Tones Sub-topic 3 Approach Chords Categories: Blues Chord Voicings Harmony Jazz Blues Student Outcome: Understand Chord Numbering System Play the Blues with more variety Develop a mental data base of common chord progressions Transcribe chord changes more easily Skill Level: Beginner Intermediate

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. Intermediate/Advanced players, some music theory knowledge required (intervals, scales, chord construction). PDF materials provided.

Using the standard “You and the Night and the Music” as a vehicle, John and Mike demonstrate an arrangement in two keys and discuss the benefits of using modulation as a device to internalize and memorize chord progressions. John and Mike also reference some melodic and harmonic chord voicings to access tensions over major and dominant chords. Sub-Topics: Playing over the bar line to develop asymmetrical phrasing Improvising with a pulse and no fixed meter Chord shapes as templates for single line improvising Categories: Chord Voicings Comping Harmony Modern Jazz Guitar Theory Expected Outcome: Have motivation and skills to create modulations in arrangements and improve memorization and transposing abilities.

In this 4th installment of John and Mike's Reharmonization and Modulation series they break down the Harmonic Minor Scale and how it can be applied to Major tonalities and how they can be applied to chord voicing's and improvisational ideas. Sub-Topics: Utilizing the #9 over Major tonalities Superimposing Triads within the Harmonic Minor Scale over Major tonalities Weaving in and out of Major and Harmonic Minor tonalities Variations within triads to change the sound of the tonality Expected Outcome: To have a new set of sounds and colors to help expand your possibilities of what to play over Major7 tonalities. Improvising with a pulse and no fixed meter Chord shapes as templates for single line improvising Categories: Chord Voicings Comping Harmony Modern Jazz Guitar Theory Expected Outcome: Have motivation and skills to create modulations in arrangements and improve memorization and transposing abilities.

In this 3rd installment of John and Mike's Reharmonization and Modulation series they break down the Harmonic Minor Scale and how it can be applied to Minor 7 and Dominant 7 tonalities and how they can be applied to chord voicing's and improvisational ideas.

Master Jazz Guitar Harmony with Genil Castro's Anchor Chord Forms Course Are you looking to deepen your understanding of jazz guitar harmony? Look no further than the Anchor Chord Forms: Smile, Insights and Tips on Harmony course with Genil Castro. In this comprehensive course, you'll learn from renowned jazz guitarist Genil Castro as he shares his expertise on the fundamental concept of anchor chord forms and how to use them to create rich harmonies in your playing. Whether you're a beginner or an experienced player, this course will give you the skills and knowledge you need to take your playing to the next level. Here's what you'll learn in the Anchor Chord Forms: Smile, Insights and Tips on Harmony course: The basics of anchor chord forms and how to apply them to your playing starting with the jazz standard Tune Smile ( Chaplin) Advanced concepts and techniques for creating complex harmonies and sophisticated chord voicings How to use anchor chord forms to add depth and texture to your solos Practice exercises and performance tips to help you integrate anchor chord forms into your comping, Chord Soloing, and Chord Melody You will learn a chord melody version of the Tune Smile by Chaplin utilizing the techniques discussed in the lesson. This course is taught by Genil Castro, one of the most talented and respected jazz guitarists in the world. With his clear and concise teaching style, he'll guide you step-by-step through the world of anchor chord forms, helping you master this powerful tool and take your playing to new heights. Don't miss this opportunity to deepen your understanding of jazz guitar harmony. Enroll in the Anchor Chord Forms: Smile, Insights and Tips on Harmony course today and start your journey to becoming a master jazz guitarist.

How to practice the solo strategies described in the two previous lessons through harmonic and melodic mapping of the tune Days of Wine and Roses ( Mancini) Complete harmonic and melodic mapping of the tune in five positions (PDF and audio materials included) Tips on practicing, melodic playing, harmonic awareness. Expected Outcome: Ability to play melodically over chord changes utilizing the "life-vest" arpeggio and its variations Sub-topics Include: Single note soloing utilizing arpeggios Harmonic visualization around melodic sources Tips on practicing Categories: Harmony Practicing Soloing Standards Skill Level: Intermediate Advanced

This video is an intermediate master class based on ear development introducing some concepts that, in Steve's opinion, are not emphasized enough in the instructional world. These concepts, although diatonic, will help the jazz player to learn standards harmonically and open up some sensitivities for more interactive playing experiences.

You might wonder, why these two iconic jazz guitarists? Ben explains, “Of course there are many great jazz guitarists to try and copy, but Grant and Pat have one thing in common that’s great for learning: they both play with incredible accuracy and clear rhythmic precision. So, if you really want to learn how to lay down some very well-articulated jazz guitar lines, studying the work of these two masters is incredibly valuable.” To start off, Ben will provide transcriptions for both Grant and Pat in three styles: blues, modal, and be-bop — or straight ahead. Then, in each category there’s the opportunity to learn one or both of the transcriptions. If you're not that advanced, don’t worry. Some of Grant’s stuff is not that hard to play technically, but incredibly valuable in the phrasing. And if you want a challenge? Try playing along with Pat’s “The Great Stream”! Limited to 6 students. Prof. Sher’s Global Jazz Guitar! This is one learning experience that Prof. Sher is really excited to teach! As a recording artist, Ben has played many different styles of jazz and has three recordings of Brazilian Jazz on the BGI Record Label which feature Lucian Souza, DuDuka Da Fonseca, Kenny Barron, and Helio Alves. He has recorded and performed gypsy jazz with his World Jazz Duo, and played many Hammond organ trio gigs! Ben also teaches several courses in the Brazilian Guitar Style at Berklee including a course in Latin Fusion. This class is a preview of the book Ben will release next summer which encapsulates all of these different Latin styles!

Stress Points II is continuation of an improvisation method that Dom came up with in the 60’s and has been teaching it to advance students for over 55 years. Looking for a way to change the way you play and hear music. This may be the answer you are looking for. One-hour video Copy of Stress Points II. 75 pages of challenging ways to improve your knowledge of the neck, speed and ears.

In this class, John and Micky use the well known standard “Have You Met Miss Jones” to demonstrate a number of important concepts regarding comping, soloing and reharmonization of the basic diatonic harmony of the song. Double stops (two note voicings), and voice leading are also demonstrated; in addition, John and Micky discuss the importance of space, compositional intention and the utilization of the melody to internalize the form. Sub-topic 1: Using specific rhythmic values to develop comping skills Sub-topic 2: The use of double stops and counterpoint in comping Sub-topic 3: The importance of space and compositional intention when soloing. Expected outcome from class: Develop new skills in areas of comping, soloing and basic reharmonization of diatonic progressions.

1 Hr - Private live video lesson with Drew Gress.

An advanced discussion on improving chord melody, voice leading and reharmonization skills. In this class, Sheryl and John use “Embraceable You” to demonstrate the use of open string voicings, chord melody and voice leading in accompaniment and soloing. Also referenced are diminished chords interpreted as altered dominant chords and importance of melody to create context for improvisation. Sub-topic 1 Use of open string voicings Sub-topic 2 Using chord melody arrangements as a context to develop voice leading Sub-topic 3 The importance of original sheet music to discover harmonic variations. Categories: Chord Melody Chord Voicings Comping Harmony Standards

An advanced discussion for improving comping, voice leading and reharmonization skills. In this class, Sheryl and John use the standard “I Should Care” as a vehicle to explore reharmonization of the basic diatonic cadences of the tune. Also covered are comping concepts, voice leading, and broader applications of variations on diatonic harmony. Sheryl and John also trade solo and comping choruses and 8s to demonstrate the topics discussed. Sub-topic 1 Use of block chords and pianistic concepts in comping Sub-topic 2 Importance of the melody of a tune for create context for soloing and internalizing the form. Sub-topic 3 Mindfulness of context to use appropriate chords and harmony for soloing and comping. Categories: Chord Melody Chord Voicings Comping Harmony Standards

Counterpoint is the first tool that European culture discovered for harmony. After many years with counterpoint, chords in block appeared. Counterpoint is basically two or more voices at the same time, moving melodically. In my previous clinic, “Bi-tonal 2line” and my first one (back ten years ago), “Contrapuntal Improvisation” I experimented and investigated this exciting topic. And now I have found new ideas, using contrary motion or contrary counterpoint in the improvisation. Everything combined (2line, bitonal 2line, and contrary motion) creates a new dimension in my soloing that I apply also to comping, composing, and chord melody. I love playing solo jazz guitar, so those tools are perfect for it. Besides this discovery, you will begin to see the guitar in a new perspective -- expanding your horizon and discovering that a guitar is more capable that we once thought. In this video lesson I cover: ii V I, scales arpeggios triads soloing over various famous standards' progressions My new micro book “Contrapunto contrario en la improvisacion" is included, plus many of 2line's PDFs. Enjoy! Juampy Juarez July 2020

Whenever you hear the phrase “improve your guitar technique” I’m sure that the first image that comes to mind is a guy playing super fast arpeggios and sequence runs. That may be great technique but most of us want to play music and not sequences. So with that in mind I set out to write an ebook that dealt with building technique in order to play the things that you want to play. Good technique does not mean shredding. It means that you have command over your instrument. Some of these exercises got their inspiration from MIT/GIT, Steve Vai’s 10 hour workout and George Lynch’s finger stretching exercises. I was also thinking of ways to improve my sweep picking and transitioning around the fretboard. This course will cover Alternate picking, directional picking, Cross picking, Angular exercises, Finger independence and Stretching. I will also include two short synchronization exercises as well as the Guitar Techniques eBook. We will breakdown the technique of alternate picking into up and down strokes in order to even out the attack and the rhythm. This is will weed out the weaker movements of the right hand which can effect rhythm playing as well as lead playing. The down strokes are the power movement and the upstrokes are the weaker movements. By evening these out it can tighten up your rhythm and single line playing at the same time. This concept carries over to the rest of the exercises as well. Cross string exercises will help you with picking between strings in which there is a crossing over one string to perform a down or upstroke. Transitioning between strings has always been an issue for me as well and with wanting to get better at this technique I started doing these exercises while in college. Angular exercises will help you in getting used to sweep picking and transitioning between string sets. Finger Independence deals with being able to play different finger combinations which are covered with the alternate picking exercises as well as pivot exercises. This practice technique can save time by combining skill sets together to get the most from your practice time. Stretching exercises help with reaching notes and being able to accommodate four notes per string lines. If that’s what you are going for. If not it will help with stretching for sure. The Synchronization pieces are meant to put the ideas into practice in a more musical context. You could also go out and look at Bach pieces for some of the same integration of these techniques as well. So go into this with an open mind and the desire to find new ways to expand your practice routine to improve technique. The goal is for you to start developing and being able to play those ideas that make you your unique self on the instrument. To develop your own musical voice. All Skill Levels Categories: Mindfulness Practicing Technique Sub-topic 1 Examples of alternate, Directional and crosstring picking Sub-topic 2 Angular Exercises and String Skipping Exercises Sub-topic 3 Two Musical Examples uses some of the discussed techniques

Genil explains his reharmonization of the intro to “Dindi”; John and Genil both demonstrate the use of melodic minor chords as dominant chords and the broader applications of this harmony in other contexts. Also covered are some strategies for improvising over non-diatonic progressions and the use of rhythmic motifs in solos.

John and Tim's discuss part 3 of the standard "How Deep is the Ocean?" Master's View on Improvising Gain insight into how professional players approach a standard tune harmonically, rhythmically and conceptually. Topics Include: Chord Melody Chord Voicings Comping Harmony Mindfulness Modern Jazz Guitar Practicing Rhythm Soloing Standards Theory Chord soloing Learning tunes

Discover the Power of Bebop Scales with Mapping a Tune Are you looking to elevate your jazz playing skills to the next level? Mapping a Tune with Bebop Scales is the perfect course for you! In this comprehensive program, you will learn from top jazz guitarist Genil Castro and discover the secrets of using bebop scales to map out a tune. Designed for intermediate to advanced jazz guitarists, Mapping a Tune with Bebop Scales will help you expand your knowledge and techniques in no time. Our expert instructor Genil Castro will guide you through each step, showing you how to use bebop scales to bring your playing to life. It is a study on exploring Bebop Scales through mapping harmonically and scale-wise a tune, in this case, the standard Stella by Starlight, following up on the first Chroma Zone lesson that was an introduction to bebop scales, this one is a study on how to practice and integrate bebop scales into one`s playing by visualizing the harmonic and melodic content of a tune in specific areas on the guitar. In this program, you will learn: Visualizing the melody and harmony of the tune in one area as two sides of the same coin. Mapping out the tune with Bebop scales Dominant(Mixolydian and Myxolidian B9B13) Bebop Scales shapes in 4 positions Practicing Bebop scales starting from the root, third, fifth and flat seventh Technical tips ( sweep picking and legato) on how to play the triplet An introduction to the concepts of syntactical and non-syntactical aspects of music. Why do I call a note Cb? At Mike's Master Classes, we believe in an interactive learning experience. That's why Mapping a Tune with Bebop Scales includes access to an exclusive video lesson & sheet music. Our instructor Genil will be there to answer your questions and provide personalized feedback, ensuring that you get the most out of your learning experience. Join us today and discover the power of bebop scales with Mapping a Tune. Enroll now and start your journey towards a deeper understanding of jazz music and bebop scales. Your musical skills will thank you! Sub-topic 1 Bebop Scales Sub-topic 2 Sweep and Legato for triplets Sub-topic 3 Harmonic Mapping and Melodic Visualization of Stella Class Categories: Practicing Soloing Technique Theory INTERMEDIATE / ADVANCED

Improve right hand technical facility by mastering finger independence, full and sequential planting, verbally counting while playing, and using a metronome. The student will also learn to shape a melody, control dynamics and utilize vibrato. Sub-topic 1 Using a metronome to increase right hand facility and speed Sub-topic 2 Full and Sequential Planting Sub-topic 3 Using a practice mute for increased accuracy of rhythms at fast tempos Topics covered: Verbally Counting Sextuplets Right Hand Planting (Full and Sequential) Using a Metronome Melody Shaping Right Hand Finger Independence Vibrato (demonstration only) Using a Practice Mute Guide Fingers Left Hand Preparation Bar Chords