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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

In this class, John and Genil use the well known tune “Triste” from Tom Jobim to demonstrate rhythms used in Bossa Nova and Samba . Also covered are voice leading, chord inversions, movable chord shapes, artificial harmonics, double stops and open string voicings. Genil and John demonstrate how chord shapes are also useful as templates on the neck to generate single line ideas for soloing. The modes of the melodic minor are also referenced to introduce tensions/embellishments over dominant, minor and half diminished chords.

Outcome - Improve reading from the treble staff. Q: What do you call two guitarists reading the same line? A: Counterpoint. Q: How do you get a guitarist to turn down? A: Give them the sheet music. …and so on! We’ve all heard the jokes, and it’s true that the guitar can be a difficult instrument to read on. That being said, though, it needn’t be the headache it’s often made out to be, and there’s certainly no reason why a functional level of single-line reading should be any harder for guitarists to acquire than other instrumentalists. It should go without saying that learning to read requires a big pile of sheet music and a fair amount of patience. Some notated material is included here, but you’ll need plenty more - you can’t learn to read from a tutor video alone. Nevertheless, a bit of friendly advice can go a long way to making sure that we’re doing this in a way that’s as effective and efficient as possible - that’s exactly what I’m trying to provide in this class. Over the years, I’ve noticed that some of the existing reading methods for guitar treat the instrument as though it were a trumpet. They seem to reserve the upper registers for advanced study, and prefer to take the student gradually through multiple L.H. positions, from the bottom of the instrument up. In the long term this may well be the right strategy but, to me, it’s always seemed a slightly topsy-turvy way to get started, particularly for electric guitarists looking to eventually play single lines in the jazz style. In this session, therefore, I start by sharing what I’ve found to be the most practical way to look at the instrument, to make the fastest possible progress. From there, we move onto various other aspects of the process. In the full 1 hour and 25 minutes of class, we: Establish an order of priority for learning the fret board, based purely on what is most practical. Identify the best kinds of sheet music for guitarists to seek out. Examine an ingenious method for rhythmic recognition, used for many years in classical music pedagogy. Play a Baroque canon in two different tempos. Examine the difference between guitar pitch and concert pitch, and use this to our advantage. Explore the concept of ‘quick study’, and the various ways that our wider knowledge of the guitar can help us when it comes to reading. Employ different techniques for sharpening up our pitch recognition. Review some of the existing literature on the subject, including some unusual ways to use the classic texts. Reflect generally about the particular challenges of reading on guitar and why it’s worth the effort to tackle them. This time, the class includes a 40-page PDF book, referenced throughout with captions, synchronized on-screen notation, and multiple camera angles during complete performances. In terms of level, if you’re already reading Charlie Parker transcriptions etc. there may not be very much here for you this time. However, if you’ve made start on your reading but are finding it slow going, or if you have always wanted to learn but never got around to it, this material should be of assistance. Sub-topic 1 Creating a 'road map' that prioritizes the most practical areas of the fret board. Sub-topic 2 Learning a technique for recognizing rhythmic shapes. Sub-topic 3 Connecting our wider knowledge of the guitar to the task of reading. Class Categories: Chord Voicings Practicing Rhythm Technique INTERMEDIATE / BEGINNER

Find new ways to negotiate progressions and internalize re-harmonization ideas. In this class, John and Sean initially trade choruses on “Alone Together”, demonstrating pedal points, voice leading, double stops, open string voicings, and re-harmonization ideas on common cadences and turnarounds. Other topics referenced include the importance of melody to internalize song form and as a reference and context for improvisation. Implied time versus obviously stated rhythm is also demonstrated. Sub-topic 1 Different approaches to solo guitar Sub-topic 2 Rhythmic subdivisions and internalizing time and form Sub-topic 3 Importance of space as a creative element of improvising. Categories: Chord Melody Chord Voicings Comping Harmony Modern Jazz Guitar

In this lesson Jake Reichbart demonstrates in the clearest of terms how to invert ANY voicing on the guitar. And why do we use the words "any voicing" rather than "any chord"? Because not any group of notes necessarily spell a chord. A stack of fourths E, A, D and G, for example, played against a C might reasonably be called a C 6/9. But the same exact group of notes can also be played against an F creating an F Major 13, or a G 6/9, or an A7 SUS... Similarly the notes E, Bb, D# and G against a C indeed sound like a C7#9 but can also sound like many other chords if related to different roots. Nevertheless, the precise system demonstrated in this lesson applies to any group of notes, and the lesson progressively moves from the simplest closed voicing triads to open voicing triads to 4 note "drop" chords, on to quartal voicings and beyond. Why invert chords at all? If you found a group of notes (i.e. a voicing) that sound good against a chord symbol you read in a chart and were told you could quadruple your options to express the same notes, every time offering a differently nuanced version, and also making it so you didn't have to play the same voicing over and over, wouldn't you jump at the opportunity? Inversions offer you the opportunity to rotate all the notes in the chord at the top of the voicing, a must have skill if you attempt any chord melodies at all

Have you ever wondered why after you learned all the right scales, modes and chords, you still sound uncomfortable in a band setting? The answer is there’s a missing element that sometimes doesn’t get discussed enough. It’s the art of interacting in a rhythm section. You’re not alone. This is a common issue amongst many musicians. There’s often a disconnect between learning to play jazz and actually performing it. But now, you have an opportunity to learn from an amazing trio so that your next performance is even better. In this unique masterclass by Paul Bollenback, Pat Bianchi and Byron "Wookie" Landham, you’ll see them perform and offer in-depth insights into playing as a high level organ trio. This is all about sitting in the rhythm section & going beyond the harmonic ideas. Find out: The different elements to focus on when performing The difference between interacting & not interacting in the band Different ways to interact and lift the performance to another level The effect of displacement and using upbeats in comping Why it’s important to imitate and not replicate How to listen to recordings with intent The difference of improvising using chord tones vs chord scales How to react to the harmony as a drummer, organ player and guitarist This is via demonstrations & discussions on the tune Humpty Dumpty (Chick Corea) as well as an F blues & Bb blues. This is one for musicians who want insights beyond what chords & scales to play on songs. This is what builds a musical performance! Indeed, this is a rare opportunity to find out the finer nuances of jazz performance. A masterclass in ensemble playing - this is a video that will give you a lot of value over repeated viewings. Covered topics: Specific insights and wide ranging observations from each member of this working organ Trio. What to think about and pay attention to when playing in a group. Importance of listening, and how to listen, both on stage and in the practice room. Some sources to draw from for both comping and soloing The importance of listening with intent Specific rhythmic concepts for comping, and the effect they have. PDF included with rhythmic comping ideas. Things to think about when playing in an organ Trio specifically. What is the role of each instrument at any given time. Supportive comping ideas. Harmonic ideas on blues Tunes-Humpty Dumpty(Chick Corea), Blues.

John Stowell and Tom Lippincott play and discuss their approaches to the standard "Out of Nowhere" in a Zoom conversation. Gain a better understanding of applying melodic and harmonic ideas to the song Out of Nowhere which can also be applied to other standards and jazz tunes. Some of the topics covered in this discussion include: • Trading sixteens, eights, and fours improvising solo guitar • Solo guitar melody statement and discussion of the approaches • Comparison and contrast between John’s and Tom’s approaches to the song and to improvising • Breaking down the form of the song • Harmonic analysis of the chord changes with discussion • Taking the melody into account with harmonic and single-note improvisational approaches • Discussion of incorporating open strings in both chord voicing and single-note lines • Discussion of different chord substitutions including tonic diminished and other possibilities using modes of harmonic and melodic minor scales • Taking the song to a different key to demonstrate the importance of thinking of the function and relationships of the melody and harmony • Includes 39 pages of articles and transcriptions from John Stowell • Also includes a three-page PDF put together for this class detailing the harmonic analysis discussed plus a few of the specific chord voicings demonstrated Categories: Chord Melody Chord Voicing Harmony Soloing Standards

In Part 2 of their conversation, John and Jamie use “Nobody Else But Me” (Jerome Kern’s last song) as a context to discuss variations on standard diatonic harmony and the use of the melody as a way to internalize form and create motific solos. Other topics covered include modulations, open string voicings, diminished chords referenced as altered dominant chords, and broader applications of cadences to apply to other tunes. In addition to their interpretations of the melody, John and Jamie also exchange choruses and fours over the changes To “Nobody Else But Me” and discuss the harmony to this beautiful but obscure standard.

In this class, John and Jamie use the familiar chord progression to "Someday My Prince Will Come" to explore the modes of the melodic and harmonic minor. There are specific references to these modes as they apply to altered dominant chords, and tonic diminished as Lydian #9 harmonies. There are also references to triads and right hand technique in John and Jamie's discussion. The harmony covered has broader applications beyond this one song, as portions of the progression occur in many other standards. A PDF of the tune is provided with the class.

John Stowell and Steve Herberman pack this class full of useful material, conversation and performances. The bulk of the class relates to reharmonizations on Stella By Starlight using two keys: The standard key of Bb and the 1947 (Frank Sinatra) key of G. John and Steve also discuss some of their favorite voicings that come up over this tune using open strings an/or clusters. Call and response ideas are demonstrated using the melody and counter lines. Harmonic pathways for modulating between the key of Bb and G are touched upon as well as voice leading the progression driven by the stepwise movement of the soprano line. This can be a very powerful tool for providing a rich orchestration while comping and a great source of motivic ideas for chord soloing. Steve and John trade choruses on Stella in the two keys in 4/4 swing and then play a spirited version in G in a Latin 3/4 feel. 55 min 7 pages PDF included

John Stowell and Steve Herberman team up for a class on chordal guitar ideas over the beloved Victor Young standard tune. The focus is on solo guitar with performance clips of the two guitarists alternating ideas followed by interesting discussion. Some areas that are covered in the class are: Solo guitar choruses and trading eights Melody and bass counterpoint Embellished bass lines for use in single note soloing Playing the melody as a bass line with chords above it Using approach notes in the bass in a contrapuntal context Use of cross rhythms in soloing and comping Odd meters over standards Essential tones and other double stops below a melodic line, deconstructing chords from familiar shapes Counter lines beneath a melody

John Stowell and Steve Herberman continue their discussion and performances of chordal guitar ideas over the beloved Victor Young standard tune. The focus is on solo guitar with performance clips of the two guitarists alternating ideas followed by interesting discussion. Some areas that are covered in the class are: Usage of pedal points "Constant structure" chords as a means for re-harmonizing Transposition of tunes to expand open string possibilities Clusters (tight voicing) Locrian #2 melodic minor sounds Chordal soloing on a Latin 3/4 feel Turnarounds for use over most song forms including Coltrane changes, Dameron turnaround and pedal points

Picking up where part 1 left off, part 2 explores a logical and systematic way to create chord voicings on a jazz blues that are rich in color and textural variety. The rootless chords used as the basis of this approach are perfect for playing in situations with a bass player and particularly in groups where the guitarist is the only comping instrument. Many of these voicings are incorporated by the great jazz pianists and guitarists in their comping. If you’ve ever been frustrated by the stock “jazz guitar” voicings and have wondered how some of the legends like Wynton Kelly, Red Garland, Joe Pass, Jim Hall, and others get that lush but funky sound on a jazz blues, then this class is for you. You’ll discover simple ways to incorporate smooth voice-leading, oblique and contrary contrapuntal motion, and an effective melody in the top voice. This approach, while coherently organized, will also encourage you to eventually be able to create your own chord voicings on the fly for even more access to creative playing and following what is happening in the moment rather than being stuck playing the same old “grips.” While these voicings are specially tailored for comping on a blues in a straight-ahead jazz setting, many, if not all, of them can be easily ported over to other standards and jazz tunes and even different styles of music. Comping the Blues part 2: Voicings covers: a few basic common-practice guidelines for adding color tones to the chords on a jazz blues exploration of different color tones on shell voicings covered in class 1 incorporation of both 3-note and 4-note chords with various mixtures of color tones and chord tones discussion of altered color tones on dominant chords: when to use which ones explanation of the “inner 9th” concept used in Jazz Guitar Harmony, with expanded possibilities various chord synonyms that can make learning new voicings easier comping etudes on Bb and F blues incorporating the voicings, rhythms, and techniques from class 1 thorough investigation of various common jazz blues chord substitutions incorporated into examples moving the shell voicing to the lower strings to increase the possibilities for tone color on the upper three strings final two-chorus comping etude presenting a summation of all techniques and ideas explored in both classes 103 minute running time includes 20 pages of written examples and exercises All example performances are titled and numbered for easy navigation. Examples are shown in close-up view where pertinent. MP3 backing tracks are provided for written examples, as well as full-length tracks for comping practice.

For this class, John and Mike cover the four modes of the harmonic minor that generate different combinations of tension over a dominant chord. Harmonic minor chords referenced and used as dominant chords in a V-I setting are also discussed and demonstrated. These applications will give the student access to many new colors and harmonic choices when soloing over the dominant chord and using tensions to create resolution.

Countless books and videos have been produced on chord voicings that are useful for comping, but the other half (and arguably the more important half) of the equation is rhythm. What rhythms does one use for comping? The typical answer is to listen to recordings of the great jazz pianists and guitarists and copy them. While this can be a useful practice, it can be daunting to figure out where to start. This class takes some of the most common and effective comping rhythms and related techniques and breaks them down in a systematic, step-by-step manner that is logical, straight-forward, and easy to understand and assimilate. In addition, we will also learn to hear these rhythms, feel them, and play them accurately so that they lock in and groove with an experienced rhythm section. The written examples use chord grids, traditional notation, and tablature that show the practical applications of these ideas. While this class applies these comping rhythms and techniques to the blues, they are equally applicable to many other situations. Comping the Blues part 1: Comping Rhythms covers: brief overview of creating basic shell voicings which are used in the class typical jazz blues chord changes in the keys of Bb and F with brief harmonic analysis a few essential comping rhythms with different articulations variation of the basic rhythms using displacement and multiple combinations of eighth- and quarter-notes adding anticipations to create rhythmic drive and excitement half-step approach chords, both with and without anticipations separation of the parts of the chord to provide textural and rhythmic variety incorporation of rootless voicings for playing with a bassist 69 minute running time includes 7 pages of written examples and exercises All example performances are titled and numbered for easy navigation. Examples are shown in close-up where pertinent. MP3 backing tracks are provided for written examples, as well as full-length tracks for comping practice.

In this class, John and Mike continue their demonstration of the harmonic minor modes, in this case discussing the tensions created over major, minor and diminished chords with harmonic minor chords and arpeggios combined with basic major, minor and diminished (as altered dominant) harmony. Specific references include the lydian #9 major harmony generated by the 6th mode of the harmonic minor, as well as the various tensions created over minor and major chords. Implied V chords using harmonic minor modes are also referenced, reinforcing material covered in previous classes.

1 Hr - Private live video lesson with Nobuki Takamen.

Jazz Master, Dom Minasi, explains and demonstrates how to use Pentatonics that help you sound like a modern guitarist. 25 min 19 pages of materials included

Prof. Ben Sher presents an organized approach to learning samba and bossa grooves to fit different tempos of both Brazilian tunes and classic Jazz tunes that are generally played in a "Latin style". Ben presents five different patterns, all carefully explained, and discusses chord voicings, and rhythmic phrasing to really get you in the groove! Hear Ben play these grooves in context with assisting artist drummer Steve Langone. 32 min 2 pages pdf included

1 Hr - Private live video lesson with Steve Giordano.

1 Hr - Private live video lesson with Frank Dibussolo.

In this class, John and Kevin discuss and demonstrate their approaches to composing, chord melody and voice leading. In the course of their conversation, John plays several of his original compositions and breaks down the harmony of each piece. Both men emphasize the necessity of learning new chords in the context of an arrangement to be able retain new voicings. Also covered in the discussion are modes of the melodic and harmonic minor as they apply to altered dominant chords and harmony. In their informal conversation and reaction to each other’s playing and examples, John and Kevin provide many pragmatic tools for the student to expand and develop new vocabulary and composing skills. Included in the class is a pdf containing a number of original compositions from John. 21 min 5 pages of pdf

In this class, John and Kevin demonstrate their different but complimentary approaches to the four modes of the melodic minor scale that introduce tensions over a dominant chord. Also covered in the discussion are applications of melodic minor chords as dominant chords and the use of tension/resolution in a II-V-I setting. Included in the class is a 39 page pdf with articles written by John. In their informal conversation, John and Kevin’s examples will give the student access to many hands-on tools for developing and expanding altered dominant vocabulary and sounds. 34 min 39 pages PDF included

For this class, John and Mike continue their conversation of melodic minor modes,; in this session, modes which cover major and minor tonalities are demonstrated, using melodic minor arpeggios and chord voicings as extensions of major and minor harmony. Also covered are applications of melodic minor and dorian minor sounds. This is session II from Mike and John. Mike Godette: Mike Godette is a guitarist out of the New Haven, Connecticut area. In his formative years he studied classic rock and metal and then started gradually getting more and more interested in fusion music. Through fusion his interest in jazz grew more and he enrolled in an arts high school in New Haven called Educational Center For The Arts where he studied for his junior and senior year. After graduating high school he enrolled in Western Connecticut State University and received a degree in Jazz Studies. For the past decade, Mike has had an active teaching and performing schedule. He's toured all over the country with his former progressive jazz metal group Mid Atlantic Title, and he's also performed with jazz artists such as Aaron Goldberg, Myron Walden, Jimmy Greene, Jumaane Smith and Ralph Lalama. Mike is currently on the faculty of the Litchfield Jazz Camp, Fairfield School of Music and Continuo Music. In addition to teaching, Mike is currently working on collaboration lesson videos with other guitarist's as well as maintaining an active youtube channel.

In this class, John and Mike demonstrate how the melodic minor modes over dominant chords can be applied to create tension/resolution in a V-I setting. Also discussed are melodic minor chords referenced as dominant altered chords and implied V chords as a reharmonization device. Some pianistic chord voicings for the guitar are also demonstrated. This is Session I from Mike and John. Mike Godett: Mike Godette is a guitarist out of the New Haven, Connecticut area. In his formative years he studied classic rock and metal and then started gradually getting more and more interested in fusion music. Through fusion his interest in jazz grew more and he enrolled in an arts high school in New Haven called Educational Center For The Arts where he studied for his junior and senior year. After graduating high school he enrolled in Western Connecticut State University and received a degree in Jazz Studies. For the past decade, Mike has had an active teaching and performing schedule. He’s toured all over the country with his former progressive jazz metal group Mid Atlantic Title, and he’s also performed with jazz artists such as Aaron Goldberg, Myron Walden, Jimmy Greene, Jumaane Smith and Ralph Lalama. Mike is currently on the faculty of the Litchfield Jazz Camp, Fairfield School of Music and Continuo Music. In addition to teaching, Mike is currently working on collaboration lesson videos with other guitarist’s as well as maintaining an active youtube channel.

“Bitonal 2line” is my new lesson that mix Jimmy Wyble's concept that I learned from him and Sid Jacobs, when I met them back in Buenos Aires circa 2007. Few months after that, I came with original ideas that expanded Jimmy's techniques.You can take a look on my first video lesson for mikesmasterclasses.com called “Contrapuntal Improvisation” and my first book also that bears the same name. Because I love “dissonace”(a polemic word and concept indeed) I started at the same time to research 12 tone techniques, then bitonal ideas, pandiatonicism, set theory, and more. I wrote books , articles, recorded albums and video lessons with those systems. Suddenly, one year ago, I started to listen in my mind contrapuntal music , with lots of dissonance. I begun to put down on guitar those sounds, and I arrived to this new concept that I called “Bitonal 2line” that start with one note in one tonality and one note in some other. If you think in only one interval, you can not go bitonal.But along the musical sequence, you will do it.In this class I will teach you this new concept, that open new possibilities on guitar, for improvisation, composing and comping. For further readings and more ideas on it, you can purchase my clinic “Bitonal guitar” and my book with the same title. Finally, Stravinsky is the father of “Bitonalism”, Bach the counterpoint's ambassador. Jimmy Wyble was the guy that opened the door for contrapuntal improvisation.Listen their music is a must. Juampy Juarez 16 pages pdf included 59 Min

Continuing our look into the powerful device of contrary motion counterpoint, we turn our focus towards varying the rhythms in the upper and lower lines. This approach can create a very rich tapestry that is unpredictable and exciting. Not only are these concepts great for solo guitar arranging/improvising, but for composition in general. This style will greatly help with finger independence and harmonic creativity, helping the guitarist to break from the confines of block chord playing. This class consists of 20 examples of contrary motion counterpoint lines using II-V-I progressions (both with short and long harmonic rhythm.) They are extremely useful for use over standard tunes and jazz classics, really any style. Both 4/4 and 3/4 meters are covered in a couple of different keys and in different registers. The material is written for 6 string guitar though a couple of the examples are extended in the video to satisfy the 7 string player. Each example can be altered rhythmically and melodically to make them your own. Several examples cover hemiola rhythms (or cross rhythms) to make the lines swing, giving them greater rhythmic forward motion. A theoretical analysis of each example is provided in the video which helps to further memorize the concepts and lines. The class is packed full of practical advice in coming up with original phrases and creative brainstorming of this concept in the practice room. Let these short, musical and memorable II-V-I phrases be part of your contrapuntal vocabulary! Running time: 42 minutes 5 pages of PDF material in TAB and standard notation

Paul Bollenback uses false harmonics in this unique soloing technique. This short power course will bring a unique sound to your solos. False harmonics are a technique used on the guitar where the player lightly touches a string at a specific point (usually 12 frets above the fretted note) while simultaneously fretting the note at a lower fret. This creates a harmonic note that is an octave higher than the fretted note. It is called "false" because it is not a true harmonic (created by plucking a string at a specific point) but rather an artificial one created by the combination of the fretted note and the touched note. It can take some practice to get the technique down, but once mastered it can add a unique and interesting sound to the guitar.