Juampy Juarez

Discover the fascinating world of the Harmonic Major scale in Juampy Juarez's latest course! Often referred to as the "Artificial Scale," it stands out as one of the least commonly used but most intriguing seven-note scales. With its roots in the augmented tonality, the Harmonic Major combines elements of the major scale and harmonic minor, creating a unique, slightly dark, and exotic sound reminiscent of Middle Eastern or "Arab" tonalities. This scale opens up vast harmonic and melodic possibilities, perfect for composers, improvisers, and arrangers seeking to expand their musical palette. Juampy dives deep into its theoretical foundations, practical applications, and how to harness its rich, colorful textures. Used by legends like Herbie Hancock and Antonio Carlos Jobim, the Harmonic Major scale is a gateway to fresh, sophisticated musical expression. "It looks that was developed in a “laboratory” doing arithmetics, and is the last of four scales with seven notes without chromaticism." ~ Juampy Join Juampy Juarez as he shares his passion for this remarkable scale and unlock new dimensions in your music! Includes 8 PDFs Running time: 62 minutes

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

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

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

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

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

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)

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

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

“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

Bitonalism or Bitonality is a polemic term.It means the use of two different keys at the same time. Looks simple.But some theorists like by example, Paul Hindemith and Milton Babbit, the last one was the creator of the post-tonal nomenclature (Integer notation or pitch class set) posted that Bitonalism doesn't exist. He said that is impossible listen two tonalities at the same time. Beyond Babbit ad Hindemith, many others use to think that Bitonality and Polytonality exists.I'm agree 100% . These ideas exist, and beyond modern classical music, you can listen it in Lithuanian folk, and in some tribes of India.Masters classical composers as Stranisky, Bartok, Aaron Copland , Charles Ives and others used Bitonalism a lot. Someone called Stravisnky the “father of Polytonality”. In Jazz music you can listen Bitonal stuff on the playing of Ornette Coleman (Double Quartet), Jazz group Bad Plus and piano player Richie Beirach.Some Allan Holdsworth 's songs also have some Polytonality. But let's talk about guitar. I have been thinking for a long time if is possible play Bitonal music on guitar(I mean Solo Guitar).And I arrived to the next concept:It's not possible in an instant, in a freezing musical moment, that I called it “Vertical musical moment”, but it's possible in an “horizontal musical moment”, it means wth the passing of time. In a full Bitonal guitar composition or improvisation you will listen two keys or more for sure. So this video lesson shows my ideas on this complex stuff. Now, I have more ideas that I will show in the next video lesson. The sound of Bitonalism is contemporary, dissonant, and we have a big new world for discover.I'm amazed with this stuff on guitar. Hope you can find it interesting and useful. Juampy Juarez Deceber 2019 Politonalidad significa muchas tonalidades, bitonalidad dos tonalidades, tritonalidad tres tonalidades, esto es , a la vez, o al mismo tiempo utilizar mas de una tonalidad. Compositores contemporaneos como Charles Ives, Igor Stravinsky, e incluso Mozart(la llamada”Broma de Mozart”) han incursionado o experimentado con estas sonoridades. En el Jazz tenemos a Ornette Coleman y su doble cuarteto, asi como de tambien a Sun Ra y sus experimentos. Otros ejemplos mas modernos serian los arreglos para el standard “All the things your are” del piansta Richie Beirach, asi como algunas improvisaciones del grupo Bad Plus. En el Jazz existen algunas composiciones de Frank Zappa que tal vez naveguen con estas ideas por el mar de la politonalidad. Algunos teoricos piensan que la politonalidad, sea bitonalidad o tritonalidad no son posibles. Por ejemplo, si usamos dos triadas superpuestas, digamos, E mayor y C-, si bien el sonido es “disonante” o outside, solo estamos replicando el sonido de la tonalidad aumentada de la Escala simetrica aumentada o escala magica. Para poder componer o improvisar musica politonal, necesitamos al menos tres triadas, con dos, no hay manera de que “seamos” politonales. Si usamos tres triadas, vale decir, las triadas mayores de C,F#, y A, aun estamos dentro de la Escala de Bb disminuida, o sea que no es tan sencillo como parece, solo por el hecho de superponer tres triadas no estariamos siendo bitonales.Pero si utlizamos las triadas de C A y Db, Cy A, estarian en Bb disminuida, y Db no, o C y Db estarian en F menor armonica y A no.Ahora si tenemos algo. En cuanto a las escalas, al intervenir mas notas, es mas sencillo. Si utilizamos una escala de nueve notas la cual llamaremos escala nonatonica, formada por las notas C, D Eb,E, F, G,Ab,A y B, tendremos las notas de la Escala de Do Mayor, y dos notas, Eb y Ab, de la Escala de C menor natural.Las triadas, cuatriadas, modos, pentatonicas y demas recursos , pensados como subconjuntos o “subsets” de la escala nonatonica, serviran para que nuestra musica sea bitonal. Es posible tambien llamar a esta escala de nueve notas, y su musica, Bi Modal. Juampy Juarez

The Secret Weapon of Modern Jazz Improvisation My friend John Stowell showed me this arpeggio many years ago.He has been playing these sounds coming from Melodic Minor scale for decades. I have been in love with this device for the first time that I listened t. Because I love wide intervals its fit perfect to me. Arpeggios are great for avoid scales, if you take a close listen to mostly Jazz and Fusion masters like Allan Holdsworth, Wayne Shorter ,Herbie Hancock, and John Coltrane, they don't use scales.They use arpeggios, triads and other more ceative patterns with wider intervalls than minor or major second. Using only one kind of arpeggio looks weird but it works well.Because the Minor Maj 7 th sound represents not only the Melodic Minor, if not also the Harmonic minor, also the fourth mode of Harmonic major scale, and The Simmetrical augmented scale. In this video lesson I'm tried to explore all the possibilities coming from the previously mentioned scales.Besides that, I teach another devices that I play like string skip's patterns and my invention “the borders of the position's scale” among triads from each scale plus examples using original arpeggios mixed with the new one Minor major 7 th . Have fun! Juampy Juarez January 2019 8 Pages PDF (Standard Notation) Running Time: 59min 45sec Attachments Include: the minor major 7 arpeggio pdf Cmelodic minor #5 patterns Coltrane's pattern Major triads Harmonic minor scale Major triads Melodic minor Minor maj7 mix with originals pdf Patterns (String Skipping)

Juampy explores a scale that few will be readily familiar with, despite its prevalence in jazz and classical music. This scale is the seven-note Melodic minor #5. The sound of the scale is diminished - dark and tense sound with a hint of an eastern flavour. He shows how this can be used in both blues and jazz settings. The seven-note C Melodic minor #5 is spelled C,D,Eb,F, G#,A,B This scale is a subset from the eight-note Diminishedscale: i.e., The C Diminished would be spelled: C.D,Eb,F,F#,G#.A,B. So the Melodic minor omits the sharped 5th note contained in the eight note Diminished scale. (It is identical to the 8-note C Diminished scale without the F# / #4th.) This scale creates new chords that were used a lot by the expressionist composers, like Richard Strauss, Wagner. Jazz composers such as Wayne Shorter andHerbie Hancock employed this scale. Many may be familiar with it from the compositions of Alan Holdsworth. Juampy offers many single-lineand chordal exercises to get familiar with this, cycling through the modes for familiarity with the different offspring. Juampy explores: Application of different chord qualities. This where he goes in depth, playing over different tonalities - minor , major 7, dominant and half-diminished sounds. Blues: He then applies this information with playing over major and minor blues progressions. Jazz: Going even further, he shows you how to apply this information to standards, in particular 2-5-1 applications. Quartal harmony: Of compositional interest is his section on quartile and cluster sounds, where he applies the Melodic minor #5 to quartile harmonies. One of the most satisfying courses on a type of harmony that you will find very little information elsewhere in either books or on the internet. Congratulations to the depth of research and practical examples on this course to Mr. Juarez. Course Description by Mike Bryant Running time: 67 minutes 8 pages of PDF material

The Harp Harmonics extended technique: Years ago I recorded a video clinic for MMC about Harp Harmonics. However, this clinic is quite different. This time I'm trying to adapt this marvelous device to regular playing, I mean for improvising, comping and obviously for composing. I know that my goal is very ambitious but I will not stop with Harp Harmonics and harmonics in general. The guitar has a bigger range and of course a change of tone. The difficult thing is if you use a pick, to hide this between your fingers as I explain in the video. Using Harps, you can play just harmonics or regular notes with harmonics at the same time, including a lower harmonic or higher than the regular note. Also you can play chords with bass and natural harmonics a la Ralph Towner or harps a la Lenny Breau or Ted Greene. You can create original intros, endings, chord melodies, chord sequences , phrases and licks, all with Harp Harmonics. I hope you enjoy these ideas as much as I did creating this class. Juampy Juarez

Esta nueva clínica tiene como objetivo expandir los conocimientos enseñados en mi clínica anterior “Dodecafonismo en la Improvisación” Parte I. En esta segunda videoclínica trato de sumar mas ideas originales o variaciones derivadas de conceptos dodecafónicos y series de 12 notas -creados a principios del siglo veinte por Arnold Schonberg y luego expandidos por Alban Berg y Antón Webern-, como acordes atonales, díadas 01, tricordios 012, 016, tetracordios 0123, pentatonics 01234, hexacordios 012345, dispersión de la octava, y otros conceptos innovadores como áreas de sonoridad atonal. Todo es aplicado sobre material estándar de jazz , porque el principal objetivo de mis lecciones es llevar estas ideas a la perfomance, no que queden en un etéreo lugar teórico solamente. Aún queda mucho por hacer respecto al mundo atonal/dodecafónico usado en la improvisación, y se que todo este material hará que el improvisador -no solo de jazz sino de cualquier estilo donde la creatividad y la originalidad son aun estandartes- sea enormemente beneficiado a nivel musical y espiritual. Juampy Juarez This class is in Spanish. The English description follows. Dodecafonism applied to improvisation: Part II In this new class, I’m trying to expand the concepts and topics applied in my first class called “Dodecafonismo en la Improvisación: Parte 1", adding more original ideas and variations on 12 tone row theories, invented by Arnold Schonberg and then renovated by Alban Berg and Anton Webern at the dawn of the twenty century. This time you will learn atonal chords, diads 01, trichords 012, 013, 016, tetrachords 0123, pentatonics 01234, hexachords 012345, octave displacement, plus new concepts like atonal improvisation areas. All of this is played over jazz standards. My first advice here is to bring these original concepts to the musical perfomance. Even there remains great opportunity with regard to the world atonal/dodecafónico used in the improvisation, and this lesson will help that the improviser (not only of jazz but of any style where the creativity and the originality are even banners) greatly benefits in a musical and spiritual level. Juampy Juarez View a clip from this class

En esta clinica o masterclass enseño mis investigaciones acerca de 12 tone row o series de 12 notas sin repetir, un invento de Arnold Schonberg utilizado para la composición clasica contemporanea en los comienzos del siglo veinte y extendido por sus discipulos Antón Webern y Alban Berg. Mi proposito es lograr enseñar formulas sencillas para poder utlizar distintos recursos que generen patrones dodecafonicos, como triadas aumentadas, la escala tonal y la escala aumentada, tricordios 013, 014, 015, 027 , triadas cuartales, desplazamiento de la octava, acordes 23º, y mas. Todo esto aplicado a sencillas progresiones de Blues en F,C,G,C-, y famosos standards como Solar, Stella by Starlight, y progresiones II V I . Estas ideas son el resultado de una búsqueda en el mundo de la musica atonal en conjuncion con la necesidad de usarlas en el estilo del jazz, utlizando distintas tecnicas incluidas las de contrapunto vistas en mi masterclass “Contrapuntal Improvisation” Los fans de Jimmy Wyble tambien encntraran nuevos 2 line licks. Aquí apenas estoy mostrando la punta del iceberg de lo que se puede lograr utlizando recursos dodecafonicos, imagino que en un futuro cercano cada vez sera mas comun escuchar estas ideas en la improvisacion de todos los estilos. This class is in Spanish. Below is the description in English. Dodecafonism applied to improvisation. In this masterclass I’m teaching my investigations about 12 tone row techniques, an Arnold Schonberg’s invention developed for classical composition at the dawn of the twentieth century. These techniques were expanded by his students Alban Berg and Anton Webern.My purpose is try to teach simple formulas for using 12 tone patterns, like augmented triads, 013, 014, 015 and 027 trichords, cuartal triads, octave displacement, 23rd chords, and more. These techniques have been applied to handy progressions like Blues in C, C-, F, G, and famous standards like Stella by Starlight, Solar, plus examples with II V I sequences.These ideas have been founded at the core of Atonal music and on the necessity of playing these ideas in a jazz context, using different techniques included Counterpoint and 2 lines showed in my previous masterclass “Contrapuntal Improvisation”. Jimmy Wyble’s fans could find new 2 line’s licks. I’m showing the tip of the iceberg of these 12 tone techniques and theory. I believe that in a near future more and more players will play and compose with these wonderful devices. View a clip

My goal in this Jazz Guitar Master Class is to show my own investigations and variations on Jimmy Wyble’s concept , called Two line improvisation or contrapuntal improvisation . In this video you will see Hybrid Picking, Contrapuntal Scales, Chord Fragments, Intervalic Improvisation, Counterpoint Ideas and more. These concepts are applied to jazz blues and famous standards. You will be introduced to an original musical world with plenty of new ideas, really interesting for playing solo jazz guitar or in a jazz combo. Also, you will expand your harmonic vocabulary. The clinic is great for beginning to look at the guitar in a completely new way . This class includes written materials in standard notation and TAB.

"In this new masterclass, I show my original investigations on set theory, this time applied to improvisation. Set theory is based upon mathematical numeric sets that describe the whole possibility about octave's division, based on Integer notation, a new nomenclature that is explained in this clinic. These sets have inside lots of new scales, licks , chords, and more.Imagine the new harmonies and melodies that you could create with it. There are 220 possible sets, and these form the musical language of the last century's classical compositions.Genius like Stravisnky, Bartok, Boulez, Webern, Berg, and Schoenberg among others, used those sets . Atonal music prefers dissonant intervals and wide ,large note jumps. This new stuff will be a new weapon to expand your improvisation's skills. Super sets, subsets, and nested pitch field are some of the new devices shown here, played through simple blues progressions and some other cadences.

In this masterclass I’m teaching my investigations about 12 tone row techniques, an Arnold Schonberg’s invention developed for classical composition at the dawn of the twentieth century. These techniques were expanded by his students Alban Berg and Anton Webern.My purpose is try to teach simple formulas for using 12 tone patterns, like augmented triads, 013, 014, 015 and 027 trichords, cuartal triads, octave displacement, 23rd chords, and more. These techniques have been applied to handy progressions like Blues in C, C-, F, G, and famous standards like Stella by Starlight, Solar, plus examples with II V I sequences. These ideas have been founded at the core of Atonal music and on the necessity of playing these ideas in a jazz context, using different techniques included Counterpoint and 2 lines showed in my previous masterclass “Contrapuntal Improvisation”. Jimmy Wyble’s fans could find new 2 line’s licks. I’m showing the tip of the iceberg of these 12 tone techniques and theory. I believe that in a near future more and more players will play and compose with these wonderful devices. Note: This class was previously released in Spanish. View a clip below

The Augmented tonality arrived a long time ago to Western music, but started heavily with Richard Wagner. The augmented sound is the limit between tonality and atonality, in my opinion, and Classical music's history has confirmed this. The student will find new augmented licks, phrases, scale positions, 2 line licks, and how to use them in popular harmonies like Major and Minor Blues, standards and ii-V-I progressions. Many years ago I began to notice that most improvisers don't take full use of this marvelous whole tone scale , and at this time I started my investigations and own variations with it. I hope that you enjoy this wonderful journey to the Augmented world. View a clip from this class

With written materials in standard notation and TAB. How to become a modern improviser. In this video lesson I teach my investigations on the Symmetrical Augmented Scale, also called The Magic Scale , due to its possiblities for reharmonization. The overall sound is augmented, thus this scale becomes a necessary tool for modern improvisers and composers, because the modern jazz sound starting in the late fifties is augmented . Players like Wayne Shorter and John Coltrane used this fantastic scale a lot. This clinic has many examples with differents positions, licks, and phrases for improvising over chords and rhytmmic tips for understanding the post bebop language, plus derived chords, polychords and triads for intros, outros and compositional ideas. The Augemented tonality is a must in contemporary days, and this clinic shows you how to use it in a serious, professional way. Juampy Juarez

With written materials in standard notation and TAB. In this Master Class I show my ideas about walking bass and comping, with one foot in tradition and one foot on modern jazz,showing that comping is one of the most important tools for duos that exists. When you learn how to play walking bass lines on the guitar, you will comp behind singers, piano players, wind instruments and other guitarists with enough vocabulary and dexterity. The walking is really good for comping at fast tempos and when you have to let space behind the soloists, you will begin to think like a bass player, thinking horizontally and keeping tempo like a madman. Besides that, you will start to think in polyphonic ideas, listening to more than one thing at the same time, bass and chords together, and possibly melody too. Juampy Juarez, april 2012 View a clip

Sometimes jazz and rock musicians need more technique than they think,because every year, heavy metal, fusion, blues and jazz styles increase in complexity and sophistication. In this new lesson, I show many different technique that I learned in the past, not only playing jazz lines, but also Malmsteen , Holdsworth and Jimmy Page’s licks. In my experience, it proves that playing in a variety of styles and contexts and keeping our minds open is better for our musical careers. Techniques like Legato, Economy Picking, Sweep Picking, and Hybrid Picking are covered with many examples and pdf’s . Finally, in this clinic, I expree that Technique is only a door for entry to a new musical world, but never is a goal in itself. With a little practice, you will become a better musician, no doubt about it. Juampy Juarez View a clip

The Melodic Minor scale, often called minor jazz scale, is one of the most used and played scales in jazz. But not everybody knows his modes and his chords, many of them already in many jazz standards. The modes of this scale will get a new sound, inspiring and modern to your improvisations' palette. Immediately after you begin to play this scale in a melodic way, not only to create tension over dominant 7 chords, you begin to recognize many phrases and licks from the jazz masters, players like Pat Martino, John Scofield, John Coltrane, John Stowell, John Abercrombie and many more. If you want to begin to sound modern and understand post-bebop, this clinic will help you a lot. Linear ideas, chords, new concepts and explanations over blues, standards and simple chord vamps will show you the way to learn the melodic minor modes in their whole extension. We start here to listen and think in tonality, not scales or chords divorced from each other. Juampy Juarez View a clip

From the first time that I knew that you could play the guitar imitating harp sounds, I have been researching and looking for new chords and extended techniques with those unique and beautiful guitar colors. In this master class I‘m showing Ted Greene and Lenny Breau’s harp harmonics techniques, plus harmonics and fretted notes in many different forms. Ralph Towner’s chords are inside the video clinic too. Harmonics chord sequences, scales with harmonics and special effects are covered. Your guitar will begin to sound like a waterfall, with plenty of marvelous textures and will expand your harmonic / melodic palette and sonic range. These harp harmonics and Tapp harmonics are great for intros, endings and comping. Hope you enjoy my ideas and become a Harmonics lover like me. Juampy Juarez View a clip

Juampy explores using the whole fretboard in order to break out of strict position playing. He points out that this rapidly develops the player with the ability to create new harmonies and melodies. Most guitarists learn their instrument starting playing the ‘pentatonic box’ positions and never move beyond this approach. Playing horizontally helps the guitarist to move beyond fixed position moves. It enables more of a mastery of the fretboard, by starting lines either at the left on the guitar neck and advancing to the right, or the other way round. Juampy makes learning this approach fun and demonstrates how the possibilities go as far as your imagination will allow you. Along the way, he name drops jazz and avant-garde classical composers who use the techniques and harmonies he demonstrates. He demonstrates different approaches to horizontal playing, using both two- and three-notes per string fingerings. He also shows how interesting lines and harmonies can result from playing on adjacent and non-adjacent strings. In this course Juampy demonstrates: Playing different scales on each single string for the following: Pentatonic single string and harmonies Melodic Minor Diminished Symmetrical (whole-half tone scale). Juampy’s harmonic grasp is impressive. He discusses a range of double stop intervals using symmetrical scales. This alone will introduce many guitarists to new sounds and ideas. As an example of horizontal playing, he improvises on a C7 blues using a whole tone scale. Possibly the first time you may have heard this approach to the blues! He also suggests methods of combining different scales, such as integrating the melodic minor and symmetrical scale. This course will expand your ear and instantly introduce new ideas into your playing. From Juampy Hello students, In this new video lesson I’m trying to organize the so called concept Horizontal Guitar. In my opinion it is a powerful tool for playing more melodically. Break outside the box and change your technique and mindset. It’s very helpful for me, and I saw many great guitarists playing this way, including Allan Holdsworth, John Stowell and John Scofield. This clinic has many examples applied to pentatonic, minor melodic, and symmetrical scales. With many new patterns, licks and intervallic ideas , new chords and phrases belonging to these scales can be used over famous standards and blues. Your improvisation palette will expand a lot. I hope you enjoy this original approach in the same way that I have. I’m happy to share my ideas with you. All the best!! Juampy

This time Juampy is teaching his ideas on polyphonic improvisation. Polyphonic improv is perfect for the solo guitar style, duo with a bass player, or guitar trio. This jazz guitar lesson will discuss why many of the wonderful solo players out there, after they have played their chord melody arrangement on the melody, don’t improvise, or improvise only with lines. In Juampy's opinion, this is not what solo guitar style is about, or at least the music begins to sound weak. Juampy loves solo guitar style. He took ideas from the past masters like George Van Eps , Jimmy Wyble and Ted Greene, but always trying to adapt to his own style. Some of the topics discuss in this polyphonic improvisation jazz guitar lesson are: Triads playing a very important role in polyphonic music. Combining these triads with diatonic lines. All the scales are covered. This information is useful for comping , arranging chord melody and composing. You will have a different view of the scales and overall guitar vocabulary . Examples are applied to jazz standards, blues and II V I sequences.

All the scales covered A simple tool like the major triad, well known for most jazz players, now becomes a powerful device for improvising and composing, and for a better guitarist's understanding . These triads have a very strong sound in itself. For this reason, we can mix them and improvise with many of them together. In this clinic we will learn to use major triads belonging from Melodic minor, Diminished, Harmonic and Augmented, so we are covering all the scales that we use in Western culture. I added two blues of my own, of which the melodies are based upon major triads indeed. Most important of all, we will sound more modern than before, and many new melodies will appear in our sonic palette. Geniuses like John Coltrane, Joe Diorio, Pat Metheny and many more used major triads in their playing. Juampy Juarez

In this Master Class I teach how to comp in a vast array of different group settings, including duos, trios, quartet, solo guitar and auto comping concepts . You will learn guide chords, guide tones, quartal harmony, chords without bass, inversions, and many advices to get better in the art of comping, where listening is the key. There are no formulas for better comping, but you have to know the rules, vocabulary, and tips to begin to be a good comper. Some licks performed in this class belong to greats like Jim Hall, Bill Frisell, Lenny Breau, Ed Bickert, Freddie Greene, Jimmy Wyble and more. I hope you will join me in becoming a better comper . I really enjoy trying to get better in this lost art, where listening and experiencing are a must. Any good player needs be good at comping , not only soloing . The more you know about chordal theory , the more you can use these ideas for composition and arranging. Thanks for listen and watching! Juampy Juarez 9 Pages of PDF Included January 2013

The diminished scale is one of the most useful and versatile tools for jazz improvisers. In this course, Juampy sites its use amongst the more daring jazz guitarists and composers. Regularly used by ‘outre’ composers such as Bela Bartok and guitarists such as Alan Holdsworth, John McLaughlin and Adam Rogers, amongst many others. Juampy starts outlining the construction of the diminished chords and harmonies. He plays in a variety of contexts over a static dominant chord. He then gives many examples of applying the diminished scale over altered dominant chords.There is a wide variety of ideas presented in this course including: Playing a range of triad pairs to get great effects. playing the scale horizontally to produce more melodic results. the use of wide interval playing to create modern jazz sounds. Playing “ascendant lines” (moving only upwards) to create great lines. how to play the diminished scales over the blues. ( Many examples are given.) compositional ideas. Juampy often refers to his courses as “investigations”, and like an enthusiastic researcher / musician he delights in revealing myriad of unexpected applications of this scale. One musical example is his beautiful and unusual soloing over the Jobim bossa nova standard, “How Insensitive”. His fresh approach of using the diminished scale within this song leads the viewer to apply it in a fresh context to other musical contexts. From Juampy: In this Master Class I show my ideas with this marvelous symmetrical scale. The diminished tonality is a big part of modern jazz sound and contemporary classical compositions. The scale has many melodic variations and lots of possible triads and chords that, in modern player’s hands, these tools will become nice colors to add to their music. Besides this, the third minor symmetry that this scale has a spicy taste, a very modern flavor, that the student could hear in the music of Allan Holdsworth, John Coltrane, Igor Stravinsky, Bela Bartok, Adam Rogers, and many more. The Diminished tonality is a must if the student wants to sound like the contemporary improviser . Examples with phrases, licks, both scalar and triadic, applied to easy blues progressions and famous standards, plus II V I are shown in the video. Enjoy! ~ Juampy Juarez