Maurice Arenas

“What do I play over this chord?” “Man, I’m bored of playing the same old licks…” “I have so many ideas on some chords but zero on others…” If you’ve ever had any of these thoughts, this new master class might just be the cure to your “I-don’t-know-what-to-play-itis”. Maurice Arenas shows you how to navigate through the changes of the jazz classic, Take The A Train in a systematic thorough way. You don’t just learn some licks here. You find out practical chord voicings to comp on the song. Then, you’ll see multiple scale & arpeggio options, carefully curated by Maurice to bring out the character of the song. From classic jazz sounds to more dissonant outside scale choices, you get a lot to experiment with. In addition to discovering Maurice’s personal harmonic approach to the song, you’ll also get to know the exact practice order he would approach each option he presents. You feel like you’re right in front of Maurice as he welcomes you into his mind and get into this song as you never had before. Even if you’re an experienced player, you might get some different perspectives on the tune. For beginners and intermediate guitarists, this class also includes PDF notes with the chord voicings, scales and arpeggios in both standard notation & TAB for easy reference. The included backing tracks helps you hear every cool thing Maurice shares with you. So, if you want to get out of confusion & into some ‘Fusion’, this is ‘A Train’ you want to get on today. 7 Pages of PDF materials in standard notation and TAB Full video is 48 minutes

Maurice Arenas has specially created this series for Mike’s Master Classes targeting the overall player who wishes to comprehend and master many musical genres. In the first video of the series a fusion solo is broken down that contains elements of Jazz, Blues, Shred, Rock and Fusion. This first video was intended for guitarists of many skill levels from Beginning, Intermediate to the Advanced. Each level will receive something on each topic, which enables the student to continue learning more after certain concepts are internalized. The first in this video series covers a variety of concepts used in many genres, including Rock, Shred, Blues, Jazz and Fusion The techniques and concepts shown and explained are: • Chords used in the lesson (including Jazz chords and Slash chords) • Sweep Picking Arpeggios similar to "Frank Gambale" (Level 1 and 2) • Hybrid Picking • Playing Chromatic passing tones – outlining small chords • 3 Octave Scales with a logical approach • Pentatonic Scales with a repeated notes similar to “Allan Holdsworth” and "Paul Gilbert" • Diminished Arpeggios and Applications in Jazz, Blues and Rock • 7 Modes of the Major Scale – 3 notes per string • 5 Pentatonic Boxes – 2 notes per string • Fingerboard Knowledge Overview - Maurice Arenas basic approach to viewing the guitar • Scales on one string, 2 notes per string, 3 notes per string, 3 octaves View clips from this class

In the second of this video series M Arenas covers arpeggios and applications over diatonic progressions (in Major, Harmonic Minor and Jazz melodic Minor), blues progressions as well as minor blues progressions. These arpeggios are all found in a variety of genres in music and are used by great artists such as George Benson, Frank Gambale, Tal Farlow, John Petrucci, Yngwie Malsteen, Shawn Lane, Al DiMeola, Larry Carlton and more. Each section is divided into chapters and the following topics are covered in order. The purpose of this video is to complete knowledge of most arpeggios to the 13th. All the arpeggios given have been formulated for use with Sweep Picking or with Hybrid Picking technique. Chapter 1 Triads - Major and Minor forms in 2 and 3 octaves Chapter2 Major 7, Minor 7, Maj7#5, 7th, Min/Maj7th, Min7b5, Dim7 and Minor 6th in two octaves Chapter 3 Major 9, Minor 9, 9th, Dominant 7(b9), Minor 7b5 (b9) in two octaves Chapter 4 11th, Minor 11, Maj9#11 in two octaves Chapter 5 13th, Major 13#11, Minor 13th in two octaves Chapter 6 Diminished and Augmented arpeggios Chapter 7 Arpeggios found in the Major Scale Arpeggios found in the Harmonic Minor Scale Arpeggios found in the Jazz Melodic Minor Scale Chapter 8 Arpeggio choices and formulas over a G7 Blues Chapter 9 Arpeggios choices and formulas over a C Minor blues (ala "Equinox or Moments Notice") Chapter 10 Conclusion and demonstration over a G7 Fusion blues (ala Larry Carlton)

Jazz Improvisation and the 251 Progression In this instructional video, Maurice Arenas covers the foundations of jazz improvisation and usage of scales, modes, arpeggios and chromatic concepts over the Major 251 and the Minor 251 progression. This 76 minute video comes with a fully detailed 28 page pdf booklet that covers: The Minor 251 Progression Pentatonic possibilities and formulas over every chord Arpeggio possibilities over every chord using the chord extension method The “Chord Stack” method of improvisation Scale and mode choices and formulas over every chord Using Chromatic lines and resolution Practice method and incorporation of techniques listed The Major 251 Progression Pentatonic possibilities and formulas over every chord Arpeggio possibilities over every chord in various modes The Dominant 7 Super arpeggio methodology of improvisation Scale and mode choices and formulas over every chord Using Chromatic lines and resolution Practice method and incorporation of techniques listed This video is intentionally divided in a way for all levels of guitarists to learn concepts and techniques of jazz improvisation. Beginners can work on the basics (pentatonic scales and arpeggios) while intermediate and more advanced players can learn the theory behind altered modes, chromatics and outside playing over the common 251 progression in jazz. Stylistically this video encapsulated many of the traditional jazz players’ lead guitar styles and formulas for scale/mode usage like Wes Montgomery, Pat Martino, George Benson, Grant Green, Tal Farlow, Kenny Burrell, Jimmy Bruno, Herb Ellis, Howard Roberts, Jack Wilkins and Joe Pass. View a clip from this class

In this instructional video, Maurice covers a plethora of scales and their corresponding modes and also discusses proper playing technique in both the left and right hand. He also in this jam packed video lays out a “game plan” or set of rules and guidelines in order to improve on speed development and ease of playing and learning how to “play” the guitar and not “working” the guitar. Toward the end, M Arenas also explains in detail examples of proper practice habits and regimen for a guitarist who wishes to play faster and more effortlessly in a short amount of time. The scales covered in this video are: Pentatonic Scales Minor Pentatonic Scale – all 5 boxes Blues Scale – all 5 boxes Major Pentatonic Scale – all 5 boxes Minor Pentatonic Natural 6 Scale – all 5 boxes Holdsworth Style Pentatonic Scales 3 Notes Per String Pentatonic Minor Scale (Holdsworth style) – all 5 boxes 3 Octave Pentatonic Scale (Holdsworth style) – all 5 boxes 3 Octave Blues Scales (Holdsworth style)– all 5 boxes The Modes of the Major Scale Mode 1 = Ionian or Major Scale (1 2 3 4 5 6 7) Mode 2 = Dorian (1 2 b3 4 5 6 b7) Mode 3 = Phrygian (1 b2 b3 4 5 b6 b7) Mode 4 = Lydian (1 2 3 #4 5 6 7) Mode 5 = Mixolydian (1 2 3 4 5 6 b7) Mode 6 = Aeolian or Minor Scale (1 2 b3 4 5 b6 b7) Mode 7 = Locrian (1 b2 b3 4 b5 b6 b7) Modes of the Harmonic Minor Mode 1 = Harmonic Minor (1 2 b3 4 5 b6 7) Mode 2 = Locrian Natural 6 (1 b2 b3 4 b5 6 b7) Mode 3 = Ionian Augmented (1 2 3 4 #5 6 7) Mode 4 = Dorian #11 (1 2 b3 #4 5 6 b7) Mode 5 = Phrygian Dominant (1 b2 3 4 5 b6 b7) Mode 6 = Lydian #9 (1 #2 3 #4 5 6 7) Mode 7 = Harmonic Diminished or Harmonic Locrian (1 b2 b3 4 b5 6 b7) Modes of the Melodic Minor Mode 1 = Melodic Minor (1 2 b3 4 5 6 7) Mode 2 = Dorian b9 (1 b2 b3 4 5 6 b7) Mode 3 = Lydian Augmented (1 2 3 +4 +5 6 7) Mode 4 = Lydian b7 (1 2 3 +4 5 6 b7) Mode 5 = Mixolydian b13 (1 2 3 4 5 b6 b7) Mode 6 = Aeolian b5 (1 2 b3 4 b5 b6 b7) Mode 7 = Superlocrian (1 b2 b3 b4 b5 b6 b7) Modes of Harmonic Major Mode 1 = Harmonic Major (1 2 3 4 5 b6 7) Mode 2 = Dorian b5 (1 2 b3 4 b5 6 b7) Mode 3 = Phrygian b11 (1 b2 b3 b4 5 b6 b7) Mode 4 = Jazz Melodic #11 (1 2 b3 #4 5 6 7) Mode 5 = Mixolydian b9 (1 b2 3 4 5 6 b7) Mode 6 = Lydian Augmented #9 (1 #2 3 #4 #5 6 7) Mode 7 = Locrian Diminished (1 b2 b3 4 b5 b6 bb7) Symmetrical Scales The Whole Tone Scale The Diminished Scale The Techniques and Concepts covered and discussed in depth in this video are: Understanding Obstacles in Practicing Left Hand Proper Playing Technique and Left Hand Physical Mechanics Right Hand Proper Playing Technique and Right Hand Physical Mechanics View a clip

In this instructional video, M Arenas covers a plethora of Fusion and Jazz Chords and their corresponding relationship to the CAGED System. In addition to his thoroughness with the explanation and demonstration of the CAGED System, he adds some of his favorite Fusion Jazz Chord Voicings and discusses in a bonus footage section the more fine details about proper playing technique in both the left and right hand. M Arenas covers more the kinesiology of playing the guitar in this bonus footage. M Arenas also in this jam packed video lays out a “game plan” or the rules of how the CAGED System works across the entire fingerboard. Toward the end, M Arenas also explains in detail examples of proper practice habits and regimen for a guitarist who wishes to play complex chords and chord progressions and play them more effortlessly in a short amount of practice time. This instructional video comes with pdf booklet The chord forms covered in this video are: CAGED Forms (All 5 forms) Major Minor Augmented Diminished 6th Major 7th Major 9th Major 6/9 Minor 6th Minor 7th Minor 9th Minor 11th Minor 6/9 7th 9th 11th 13th 7th (#9th) 7th (#11th) 7th (b9th) 7th (b13th) Minor 7(b5th) Minor/Major7th M Arenas also covers some of his favorite Fusion Jazz Chord Voicings in this video that includes these forms: Minor 9th Minor 11th Major 9th Major 6/9 13th (b9) 7th (b9) 7th (b13,b9) 7th (b9,#11) 7th (b9,11) 7th (b9,11,b13) 11th 13th These chord voicings are often used in Fusion compositions by Fusion Jazz masters like Holdsworth, McLaughlin, Gambale, Towner, DiMeola and some of the voicings shown were taken straight from pianists voicings like Herbie Hancock and Chick Corea. Listen to a clip

Consists of three chapters - “Little Sunflower” chord progression, "Soloing Concepts" and "Em7 Vamp" "Little Sunflower" Chord Progression Chapter "Little Sunflower" chord progression and demonstration solo in the fusion style (ala Allan Holdsworth, Frank Gambale, Guthrie Govan, etc.) All Pentatonic Scale options and formulas explained over each chord in the progression All Modal Scale options and formulas explained over each chord in the progression All Altered "Outside" Scale options and formulas explained over each chord in the progression Soloing Concepts and Approach This 6th chapter on fusion guitar explains exactly how to build a solo so it sounds more well rounded as well as more well constructed using concepts and approaches that composers have used since the baroque era to the present day. Concepts like voice leading a solo, syncopated playing, extension playing, chord substitution playing and more are explained and illustrated in real time during Maurice's solo over a static chord vamp as well as explained with short improvised examples. "Em7 Vamp" and using "Soloing concepts" as well as playing "outside" This chapter has Maurice playing a solo over a static chord progression and illustrates how these concepts can be used in a solo to bring tension and resolution as well as contrast to keep the listener's interest. This Fusion Guitar Lesson also includes: All Pentatonic Scale options and formulas explained over the vamp in the progression All Modal Scale options and formulas explained over the vamp in the progression All Altered “Outside” Scale options and formulas explained over the vamp in the progression A "second" take of the solo with real time captions showing what Maurice is thinking when he’s improvising over the vamp. This 90 minute video also includes a PDF booklet and 2 jam tracks.