Phil Robson

Phil Robson presents a complete system for generating chords, voicings, and modal scale choices from three foundational scales: the major, harmonic minor, and melodic minor . He opens with an improvised piece built entirely from the C major scale, then unpacks the thinking behind it — how a single scale already contains tension and release, strong and neutral notes, and the cadences an improviser learns to manipulate. What's covered The sound and character of the major, harmonic minor, and melodic minor scales, with practice advice for each Arpeggio practice patterns over two and three octaves Harmonizing the scales in 3rds and 4ths , with many voicing variations and inversions Discussions of modal music, comping, and jazz harmony concepts along the way The diatonic equation itself — a system for finding modal scale alternatives for familiar chord types (minor 7th, half diminished, and more) by treating each chord as a degree of the scale Applying these scale alternatives to both chordal and single-note improvisation A closing improvisation over the form of "So What"/"Impressions" using the sounds discussed Rather than listing every permutation, Phil focuses on the underlying process so you can generate your own voicings, patterns, and sounds — a tool set that opens up a vastly expanded harmonic palette for guitarists and other musicians alike. Running time: 94 minutes. Includes 3 pages of exercises in standard notation and TAB.

Phil Robson tackles harmonic rhythm — where the chords change within the form of a tune — opening with a musical introduction over the changes of Autumn Leaves . He works from simple turnarounds and a standard ii-V-I framework, though the concepts translate to more contemporary material. The central theme is the manipulation of cadences, making this in some ways a continuation of his earlier class The Diatonic Equation , with very different approaches and information. What's covered Dividing and breaking up two-bar and four-bar phrases, with fine detail on creating effects of anticipation and delay — over both major-key and minor-key turnarounds Displacing basic and more complex phrases rhythmically within the bar — the effect of moving a phrase by a quarter note or an 8th note, especially with repetition Motivic development: transposing phrases so melodic and rhythmic ideas are expanded rather than simply duplicated Playing 3/4 dotted rhythms and motivic phrases in a 4/4 context — hearing syncopated patterns that play through the barlines, with references to ragtime, second line, Wes Montgomery, and John Coltrane Rather than teaching licks, Phil explains the concepts in depth so you can apply and explore them on your own; the accompanying written material gives clear examples to learn first. The class closes with a brief up-tempo blues example. 6 pages of written material in TAB and standard notation. Running time: 89 minutes. "Phil Robson is one of New York's most brilliant Jazz Guitarists! You will learn a lot by checking out this class" - Vic Juris