Steve Herberman

Continuing our look at creating motion on common chord “grips” we’ll add some new musical maneuvers to enhance your solo playing! The II V I progression is a staple in jazz and other music styles. In part 2 of Contrapuntal II V I’s we focus on both long and short harmonic rhythms using this ubiquitous chord pattern. Soprano voice motion is used at times but bass motion and inner line motion are all addressed in these 8th note-based examples in the key of D minor and G minor (for open string bass options.) At the end of the video masterclass Steve plays an improvised solo version of Duke Ellington’s “Solitude" using some of the principles from this class. Get a fresh look at II V I’s and let counterpoint unlock some new possibilities in your solo playing. Running time: 42 minutes 4 pages of PDF examples in standard notation and TAB

Get some motion going on common chord "grips"and add some new musical maneuvers to enhance your solo playing! The II V I progression is a staple in jazz and other music styles. In part 1 of II V I's employing counterpoint techniques, we will look at both short and long harmonic rhythms using this ubiquitous chord pattern. Soprano voice motion is used at times but bass motion and inner line motion are all addressed in these 8th note-based examples in the key of A (for open string bass options.) In the second half of this class we'll be looking at some chordal walk-ups and walk-downs employing 8th note voice motion in the key of Eb showing ways of dealing with chords with no open strings, easily transposable to other keys. Get a fresh look at II V I's and let counterpoint unlock some new possibilities in your solo playing. Running time: 33 minutes 4 pages of PDF examples in standard notation and TAB

In comping and solo playing the turnaround is an entity that comes up at every turn. Normally these are 2 bar progressions at the end of a section of music. In this class we’ll be looking at how to make these turnarounds more interesting by adding a melodic component to syncopated rhythms. Chromatic melodies, intervallic melodies and blues scale sounds will be played in three basic ways: Bass and melody counterpoint, two note comping below the melody, fuller chords below the melody. These melodies are played on several common progressions such as the I VI II V and the Tadd Dameron “Ladybird” turnaround. In this second part of the series, several other lesser played turnarounds are explored. Putting the focus on interesting approaches to turnarounds will fill in some important gaps for guitarists. Running Time: 70 minutes 5 page PDF TAB 2 page PDF Standard notation (example #1-17 for part 1 & #18-35 for part 2)

In comping and solo playing the turnaround is an entity that comes up at every turn. Normally these are 2 bar progressions at the end of a section of music. In this class we’ll be looking at how to make these turnarounds more interesting by adding a melodic component to syncopated rhythms. Chromatic melodies, intervallic melodies and blues scale sounds will be played in three basic ways: Bass and melody counterpoint, two note comping below the melody, fuller chords below the melody. These melodies are played on several common progressions such as the I VI II V and the Tadd Dameron “Ladybird” turnaround. Putting the focus on interesting approaches to turnarounds will fill in some important gaps for guitarists. Running Time: 62 minutes 5 page TAB PDF 2 page standard notation PDF (example #1-17 for part 1 & #18-35 for part 2)

This 45 minute class is packed with useful and fun II-V-I inner line counterpoint maneuvers in a minor key. The exercises help ingrain in one’s mind and fingers the key concepts in arranging and improvising in a linear, multi-line manner. Steve shows you how to create inner moving lines within 10 th and 13 th intervals. The examples follow close voice-leading principles and will help develop both left and right hand finger independence and dexterity. After a section of 3-note chromatic approach patterns in the inner voice, Steve includes longer phrases with 16ths and 8 th note triplets to add rhythmic variety. Bass syncopation is later added for further rhythmic interest. These basic concepts will help get your arranging and solo guitar improvising and technique to a new and exciting place. Running time: 45 minutes 5 pages of PDF materials (TAB and non-TAB versions with standard notation)

In this class Steve takes you through the process of developing walking bass lines and adding comping chords in an array of specific locations to make the guitar sound like a full rhythm section. The bass lines are shown over a C Blues progression complete with chord substitutions to create more interest and momentum. Next Steve has a challenging “4 to the bar” walking chord line PDF with even more chord substitutions and very useful “walk-ups and walk-downs” that can be used over most common progressions. Gain control over this very important aspect of accompaniment and make your comping swing like never before. PDF materials written for a standard tuned 6 string guitar. Running time: 55 minutes Features 6 pages of PDFs (in both standard notation only and TAB and standard notation.)

Comparisons are made of the original Berlin changes to the Jim Hall and Bill Evans changes as well as chord substitutions that are commonly used to enhance the harmonic movements from chord to chord. John and Steve demonstrate and discuss universal chord soloing and single note concepts that apply to this great commonly played tune How Deep is the Ocean . Some of those concepts are: Guide tone line architecture as a means to derive clear melodies. Breaking up chords for greater rhythmic interest and textural variation. Viewing harmony as independent lines on the fingerboard. Limiting parts of your solo to the lower 4 strings. Join Steve and John for enjoyable conversations and performances of a rich harmonic gem of a composition. Running time: 66 minutes PDF's include of two versions of the harmony (and melody) that is performed and discussed in the video. A bonus PDF of Steve’s single note line etude over a commonly played set of substitute changes to How Deep Is The Ocean .

John Stowell and Steve Herberman are back together again giving you an in-depth look at comping and self-comping techniques over the Cole Porter classic tune Love For Sale. The class features two recorded play-along for you to solo and comp over. You’ll have the opportunity to solo over their comping and then you can comp over their single note choruses. The class begins with solo performances and then quickly dives into these important universal concepts to be used over any song: Awareness of the top note (soprano voice) while comping Walkdowns and walkups as comping between solo lines Chromatic approaches with chords Implying V7 substitutions over the current chord Comping in a duo or larger group Referencing bass lines in a solo guitar context Using tonic diminished harmony as a chord sub One of Jimmy Wyble’s favorite concepts of breaking up a chord into double stops that often overlap. Being an active listener while reviewing recordings Making sure your comping has good melodic content and flow Holding a soprano voice and steering around inner lines or bass line Call and response techniques Using both long and short lines and fitting in comping around them The balance between legato and staccato chords in comping and chord soloing Divided (spread) voicings with essential tones as its lowest foundation Self-assessment (recording yourself) Metronome practice techniques to develop stronger time Approaches to learning new chord voicings Playing what you hear, quoting other tunes , and more Running time: 73 minutes Included are PDFs of a Love For Sale lead sheet and alternate changes used by John and Steve.

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 5: Jerome Kern’s composition “All The Things You Are” used as a basis for creating counterpoint along with accompanying PDF, contrary motion counterpoint on authentic cadences using 2 and 3 voices, 8th note bass lines below sustained melody, importance of triads using closed and open-voiced triads, close voice-leading concepts, slurring techniques, “walking” chord lines in 10ths, the "8th note flow", contrary motion visualization techniques on the fretboard, figured bass techniques and more. Running time: 90 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 4: IV V I progressions in all keys exercises, Important cycles to create structured progressions while improvising counterpoint, contrary motion devices, descending chromatic bass lines with soprano lines outlining the inferred chords, call and response counterpoint using sustained notes, interval alternation concept to attain contrary motion,“gradual chords” (building chords via single note lines with sustained tones on adjacent strings,) 8th note bass line strategies. Running time: 87 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 3: Jerome Kern’s composition “Yesterdays” used as a basis for creating counterpoint along with accompanying PDF. Contrary motion authentic cadences using 2 voices, inner line concepts using 3 voices, contrary motion cadences with sustained upper pedal, “gradual chords” (building chords via single note lines with sustained tones on adjacent strings,) arpeggiated bass against contrary motion soprano voice, super/sub concept as an inner line, staggering the lines in counterpoint (delayed entrances.) Running time: 79 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 2: Continuation of Manha De Carnival counterpoint etude PDF demonstration/analysis, contrary motion techniques, movement of the 5th on open string voicings, appoggiatura concept, 10th with inner line motion, 16th note rhythms. Running time: 84 minutes

This in-depth look at Baroque style improvisation was recorded live with participants. Steve’s teaching approach and structure is similar to his other MMC videos with addition to short questions sprinkled throughout the classes. Concepts included: Super/sub George Van Eps concepts of movement within chord forms, Independent linear melodies in 2 and 3 voices, Use of appoggiatura, Pedal points, Important cycles to create structured progressions while improvising counterpoint, Contrary motion devices, Popular song progressions that work great as Baroque-style improv vehicles, Harmonized scales, Enclosures (targeting essential tones using upper and lower neighbor tones) “Gradual chords” (building chords via single note lines with sustained tones on adjacent strings) 10th intervals with inner line motion, soprano voice motion and bass motion, Layering 10th intervals to create larger chords, Call and response textures, IV V I progressions in all keys exercises, Inner line motion techniques Descending chromatic bass lines with soprano lines outlining the inferred chords Call and response counterpoint using sustained notes, Interval alternation concept to attain contrary motion, Figured bass techniques, Ornamentation and slurring techniques. Three progressions in which to base the improvisational techniques, in both common time and 3/4, are the bulk of the PDF materials for the class. The other 2 PDF’s are must-know chord forms for both 6 and 7 string guitar with a focus on open-voiced triads and contrary motion counterpoint cadences. Each class runs approximately 90 minutes and 22 pages of PDF material are included in all 5 parts. Here is the approximate class by class breakdown for individual classes: Part 1: Demonstration of super/sub Van Eps concepts, closed positions triads and harmonized scales, open position chords, voice-leading from chord to chord, performance and analysis of PDF of counterpoint etude on Manha De Carnival and more. Running time: 90 minutes

Part 2 Using "The Shadow Of Your Smile" to go over soloing concepts for solo guitar. You'll go phrase by phrase exploring useful contrapuntal and block chord solo guitar textures. Steve uses a 6-string guitar for this 67 minute class, full of useful ideas to expand your chord melody playing. Class Length: 67 min Bundle Part and Part II for $29.95

The next class in Steve's new chord melody series uses the classic tune "The Shadow Of Your Smile" to go over arranging concepts for solo guitar. You'll go phrase by phrase exploring different textures in this first class of two. Steve uses a 6-string guitar for this 76 minute class, full of useful ideas to expand your ability to create melody with chords. In this class, Steve will go phrase by phrase by phrase through the tune to demonstrate how to figure out chords for a melody . One PDF of the contrary line ideas for the arranged sections is included with this class. PDF Included Class Length: 76 min Bundle Part and Part II for $29.95

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

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

One of the most pleasing sounds/techniques available to a guitarist is playing contrary motion counterpoint using concerted rhythms. These are lines that occur simultaneously moving in opposite directions. Unfortunately, it happens to be one of the more difficult things for an improvising guitarist to do on the fly. This class is designed to address how to incorporate these amazing sounds into a practice routine so that they will become second nature, coming out in an improvisational setting as well as in your own written arrangements. A little goes a long way with this technique; just a small dose can be very effective in engaging the listener. These examples sound great as part of intros, endings or interludes or anything along the way. This class consists of 19 short examples of counterpoint lines using II-V-I progressions which are extremely useful over standard tunes. It’s beneficial to limit the number of examples when learning these concepts. Focusing on just one or two exercises per week will lead to better memorization/retention of the material. Each example can be altered rhythmically and melodically to make them your own. A theoretical analysis of each example is provided in the video with an emphasis on memorization techniques. The class is packed full of practical advice in coming up with original phrases and creative brainstorming of this concept in the practice room. The independence required in playing examples like these will quickly be felt in the fretting hand fingers. Not only are these devices useful in improvising but can really spice up one’s solo guitar arrangements as well as ensemble arrangements. Let these short, musical and memorable II-V-I phrases be part of your contrapuntal vocabulary! Running time: 40 minutes 4 pages of PDF material in TAB and standard notation

A Mike’s Masterclass subscriber requested a class on single note melody playing, specifically how to make a melody truly sing like the human voice or a horn. I was happy to put this class together as I feel this is a nice addition to my multi-part class on jazz phrasing. Many considerations go into achieving a horn-like phrasing on the guitar and with this class we will examine the topic using four tunes as examples. The ballads Over The Rainbow and Embraceable You , as well as two tunes often played at medium swing tempos, Gone With The Wind and East Of The Sun . There is a PDF sheet included, filled with concepts to consider and employ to help improve one’s single note expressiveness. Fingerstyle, pickstyle and thumb-style techniques are demonstrated in the video. If you are looking to move away from a typical guitaristic percussive attack to a more vocal-like quality in your single note playing, this class is for you. This is part one of a two part class. Part 2 will deal with the theory involved in choosing intervals to add below a single note melody. Running time: 46 minutes

Learn and play Steve's fingerstyle arrangement of the great 1939 Django Reinhardt tune from the inside out! The class begins with a harmonic analysis of the original basic chord changes and then moves on to an advanced original arrangement with a bar by bar analysis featuring many useful textures and concepts. The arrangement includes many reharmonizations which feature: Lots of inner-line motion 16 th note fills Counterpoint with contrary motion Parallel 3rds and 7ths Lower and upper pedal points Lenny Breau-style essential tones below a melody Whole Tone Harmony Delayed entrances of bass notes and staggered voices in chords Clusters Ascending and descending contiguous II-V's The arrangement includes both fingerings and TAB and also a separate PDF of standard notation only with fingerings. Nuages is a classic jazz tune every guitarist should know and this arrangement is a terrific finger independence/gymnastic workout. It provides the guitarist with important and useful concepts in solo guitar arranging that draw from pianistic and orchestral techniques. Apply these concepts to new arrangements of your own, a welcome departure from the world of guitaristic “block” chordal playing. Running time: 34 minutes 6 pages of PDF material (4 pages of standard notation plus TAB, 2 pages of standard notation only)

The use of delayed resolutions, often referred to as appoggiatura, is an extremely useful device in improvising, composition and arranging. In this class we'll be looking specifically at using delayed resolutions in single note lines, giving the lines greater melodic tension. These alternative note choices will be occurring mostly on strong beats, especially on the downbeat of each measure of music. The use of enclosures or approach note patterns are helpful in delaying the resolution of the target tones. The written examples use common chord patterns such as the major and minor II- V- I to illustrate the use of appoggiatura. The examples are shown in both long and short meter II-V-I progressions. Another important aspect of this class is the use of jazz phrasing, starting and ending phrases on different parts of the measure. The use of accents combined with syncopation can really make the lines swing. Pairing these rhythmic devices with the use of more interesting note choices occurring on strong beats will invigorate one's single note playing. Getting a firm grip on this seldom-discussed technique will help elevate your single note improvising, providing the player with many new ideas to take from the practice room to the bandstand. Running time: 47 minutes 7 pages of PDF exercises in TAB and standard notation

The goal of this information-packed class is to learn and understand many useful mechanisms that can lead to improvisation in a Baroque style. This time we are going to examine some easier to memorize geometric patterns on the fingerboard making them more directly applicable in improvising. This class will continue our look at 3 part harmony and contains the following topics, techniques, and devices: 8th note bass melodies below a 6th interval Inner lines between 10ths and other intervals Intervallic triad voicings (wide skips between the bass voice and the middle voice) Approach notes into all 3 voices of triads IV V I progression in both major and relative minor chromatic lines in inner and lower voices contrary motion and finger teams staggered voices/delayed entrances secondary dominants rhythmic displacement melodic minor usage brief discussion of the Bach Lute suites and suggested recordings If you've wanted to understand how improvising in a Baroque-inspired style might be possible then this series is for you! It will help the guitarist in broadening their chord-melody technique. 12 pages of PDF material in standard notation and TAB with fingerings

In this second Baroque class, practical progressions are used to focus on playing three-part harmony on the guitar in a classical style. V-I and IV-V-I cadences are a hallmark of the Baroque period, all of classical music, and music in general. The exercises contained in this class utilize some of the most important concepts in multi-line playing. Pedal points throughout all three voices are heavily represented in the exercises. Important cycles are covered; cycle 4 and cycle 6 using both diatonic target chords and non-diatonic targets. 8th note lines are distributed among the three voices and chord voicings specific to Baroque counterpoint on the guitar are featured throughout the exercises. Both closed voicings and open voicings are utilized, the latter yielding a very full sound, with great separation between bass and upper voices. There is an emphasis on the very important use of secondary dominants, adding a very colorful sound to the examples. Working with the exercises in this class, the guitarist will ideally use his/her mind and fingers to trace the three moving voices while building up valuable dexterity and finger memory. Through detailed harmonic/melodic study, diligent practice and original exercises written by the student, it's possible for guitarists to eventually be able to do what the Baroque masters were so accomplished at: improvising counterpoint! Running time : 70 minutes 12 pages of written material in PDF format in standard notation and TAB Soundslice enhanced examples!

This class looks at three and four note comping chords played beneath 8 th note-based solo lines often played simultaneously (overlapping harmony and melody.) This adds a very pianistic effect to the guitarist's toolbox associated commonly with bebop piano. Many guitarists think of Lenny Breau's comping beneath his melodies as primarily being two note chords (essential tones.) Lenny often strived to play larger chords (comprised of three to four notes) which added further coloration to his music. The emphasis in this class is on rootless three and four note chordal structures that serve as a method to play with a bassist adding those roots. This puts the guitarist in the shoes of a bebop-style pianist which Lenny originated on the guitar. Balancing comping with soloing, a “two-handed” approach for guitar, will yield new melodic and rhythmic ideas helping the guitarist to edit one's solo lines while making the music swing harder. Some of the examples are in keys that will encourage adding open string bass notes for use in a solo guitar context. The class begins with II-V-I examples in both major and minor keys using the two basic types of harmonic rhythm. We will be adding to the essential tones on string sets 6 and 5 (or 5 and 4) by using 9 ths on both adjacent and non-adjacent strings. This is only half of the equation since melody lines will be moving above these colorful comping chords. We will also look at using triads on adjacent string sets below the moving solo lines. Some of the examples use sustained chords while others employ staccato chords often on the off-beats for added swing. The class ends with a 32-bar written solo over the often played standard tune It Could Happen To You played in the Lenny Breau-style (with three and four note comping chords below a solo line.) Though this style of playing will challenge even the most experienced guitarist, it will be sure to make every guitarist a better overall musician through diligent practice of the material and concepts. Since some of the chords (with melodies on top) will require using all 5 fingers of the right hand simultaneously, this class is aimed at the fingerstyle guitarist who is looking to learn and hone this technique, improving both technique and musical expression. Running time: 64 minutes 8 pages of PDF material in standard notation and TAB Bonus Live Q&A Included: 60 minutes

The rhythmic and melodic language of music and jazz is not only in the solo lines of your favorite jazz players but also in the melodies of the tunes they play. These could be bebop heads, bossa nova tunes, standard tunes etc. Using these great melodies with their often complex and swinging rhythms we will look at how to apply them to your single note improvising giving your phrasing a fresh new perspective. The great bebop heads for example have great phrasing and articulation which really help give the music forward motion and swing. Borrowing rhythmic and/or melodic motifs (“quoting”) can be a terrific way of learning to utilize better jazz phrasing and articulation. The fun comes into play when we move these motifs around to different pitch levels in order to fit the chord changes. Working on transposing these ideas in numerous ways to fit the chord changes of your favorite tunes is a very important way to practice. It's where theory meets musicality on your instrument! We can change where the phrases begin rhythmically and work with shorter motifs from these tunes becoming experts at moving them around. The examples contained in the class PDF demonstrate these principles over the tunes "Out Of Nowhere" and “Rhythm” Changes. Often these motifs can be disguised by changing either their pitch level or altering their rhythms. Many of the greatest jazz improvisers were master of dropping in quotes in clever ways. Sonny Rollins is perhaps the best example, often fitting in quotes in the most surprising places, adding both humor and a sense of wonderment to his solos. In this class, Steve uses some of his favorite quotes and contrafacts. You simply can't go wrong with well-conceived melodic and rhythmic phrases penned by the masters, replete with crisp articulations and inherent swing. 8 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 45 minutes

This single note-based class is about "putting it all together" to make your lines swing. Through a close look at articulation and pairing varied rhythms utilizing forward motion, the player will feel more confident swinging in the jazz tradition. Whether it’s playing solo guitar or playing with a group, there are concepts presented here that will help give your lines more presence with greater rhythmic confidence. 10 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 48 minutes Concepts Included Articulating phrases to make them “pop” with added presence Bringing out the backbeat (2 & 4) in your lines “Laying back” with 8 th note-based lines Emphasizing off beats with legato and staccato phrasings Playing 3/4 rhythms over 4/4 time Short 16 th note “stabs” Call & response ideas and related dynamics Slurs and other ornamentations Grouping triplets in various ways Outcome from this course: This class will surely get you swinging in some new ways!

Sixteenth note lines are an important part of jazz phrasing that sometimes gets overlooked. They are an essential part of double-timing, an exciting rhythmic device to employ while soloing, especially when grouped in interesting ways. This masterclass examines the various note groupings of sixteenth notes concentrating on those that are asymmetrical since they tend to be the most rhythmically satisfying. We'll look at groups of 3, 5, 6, and 7 as well as grouping the sixteenth notes as triads, 7 th chords, 9 th chords and 11 th chords. These foundational exercises are given at the beginning of the class using D dorian tonality to see and hear the examples more easily. The minor 6 pentatonic scale is used in several examples to give the examples a hard bop Coltrane-type of feel and sound. The class closes with a 32 bar solo written over the chords to " There Is No Greater Love" that is challenging while addressing this syncopated sixteenth note technique through chord changes. Charlie Parker put this approach on the map in his rhythmically exciting improvisations. Using Bird's approach as a foundation this class delves into some of the more recent developments of odd time cross rhythms over 4/4 time. Rhythmic variety is what the jazz player is most often seeking in their solos. Getting a firm understanding and control of sixteenth note rhythms will definitely take one's playing to a higher level. Running time: 30 minutes 8 pages of PDF material including standard notation and TAB Sub-topics Included 16th note phrasing and articulation of 3, 5, 6, 7 note groups The minor sixth pentatonic scale and diatonic triads and 7th chords Asymmetrical phrasing and articulation of 16th rhythms over "There Is No Greater Love" written solo Outcome from this course: Achieving flexibility and competence with feeling asymmetrical groupings of 16th note rhythms. The guitarist should be more comfortable double-timing on their solos.

Part 2 of this single note-based class explores the various triplet-based rhythms that provide satisfying cross rhythms over 4/4 time. This class is packed with useful information and in-depth demonstration and explanations of the written PDF's. The class begins with foundational rhythmic exercises using the diatonic chords in D dorian as well as the dorian scale. Emphasis is given on how to count and feel the various triplet rhythms shown. The second section of the class uses these rhythms over two tunes: " There Will Never Be Another You" and a Bb Blues progression. These triplet rhythms can be major road blocks that often get in the way of developing a great swing feel. Mastering these rhythms will allow the player to phrase over bar lines effortlessly. Being more aware of accents and note groupings will give one's soloing and comping added conviction, forward motion and swing. 8 pages of PDF written material notated in standard notation (and TAB for guitarists) Running time: 45 minutes Sub-topics Included Grouping triplets in hemiola rhythms and other cross rhythms against 4/4 time The practice of correctly counting half note and quarter note triplets The ability to successfully play the 8th note triplet in groupings of 2, 4 and 5 notes. Outcome from this course: Flexibility in phrasing with all kinds of triplet rhythms with the ability to group them in various ways for maximum rhythmic tension.