Tom Lippincott

Just as the major scale is the basic “alphabet” used to construct chords and melodies for music in major keys, the harmonic minor scale is the “alphabet” used to build the harmonies of musical compositions in minor keys, which is how the scale gets its name. Because there exist so many alternate scales and harmonies to express minor key sounds, the harmonic minor scale often gets glossed over quickly by aspiring jazz musicians. While the harmonic minor scale doesn’t correspond quite so simply with minor keys the way the major scale does with major keys, familiarity with harmonic minor is an important step in mastering comping and improvising in minor keys. Additionally, the harmonic minor scale contains several “hidden” sounds that can provide fresh, new, and exciting possibilities for both comping and soloing. Part one of Harmonic Minor Complete breaks down the theory and reveals how, why, when, and where to use the scale in its basic form. It also explores the use of the harmonic minor scale to create more esoteric textures and provides a clear explanation of the modes and various techniques to make learning and utilizing them easier. Part two continues the exploration of ways to gain mastery over melodic and harmonic material for harmonic minor on guitar. This class also offers imaginative and exciting ideas for generating new musical sounds with the scale, both for comping/chordal playing and single-note soloing. Harmonic Minor Scale part 2 covers: Diatonic seventh chords, drop 2 and drop 3 voicings, all string sets and inversions Voice leading drop 2 and drop 3 voicings through other diatonic cycles Voice leading other voicings such as drop 2&3 and drop 2&4 and adding passing tones for contrapuntal variety Using basic seventh chords as substitutions for more colorful harmonies, with examples Exploration of the five different chord families from Mick Goodrick’s voice leading books with easy-to-understand explanation Applying the various chord families to different diatonic cycles for fresh sounds Using “hidden” chords and arpeggios you already know in unexpected ways to express harmonic minor sounds Exploration of three different ways to use these unconventional sounds for both melodic and chordal playing Triad pairs from harmonic minor, as well as thinking of them as hexatonic scales Pentatonic scales derived from harmonic minor, including fingerings and suggested uses Example comping and solo etudes demonstrating both basic and exotic uses of harmonic minor over standard chord progressions Voice leading through diatonic cycles with both open and close triads Course Details 117 minutes in length Includes 28 pages of written examples and exercises Includes backing tracks for musical examples All musical examples from the video are provided in music notation and tablature Each example performance is shown in close-up view and titled and numbered for easy navigation

Just as the major scale is the basic “alphabet” used to construct chords and melodies for music in major keys, the harmonic minor scale is the “alphabet” used to build the harmonies of musical compositions in minor keys, which is how the scale gets its name. Because there exist so many alternate scales and harmonies to express minor key sounds, the harmonic minor scale often gets glossed over quickly by aspiring jazz musicians. While the harmonic minor scale doesn’t correspond quite so simply with minor keys the way the major scale does with major keys, familiarity with harmonic minor is an important step in mastering comping and improvising in minor keys. Additionally, the harmonic minor scale contains several “hidden” sounds that can provide fresh, new, and exciting possibilities for both comping and soloing. Part one of Harmonic Minor Complete breaks down the theory and reveals how, why, when, and where to use the scale in its basic form. It also explores the use of the harmonic minor scale to create more esoteric textures and provides a clear explanation of the modes and various techniques to make learning and utilizing them easier. Part two continues the exploration of ways to gain mastery over melodic and harmonic material for harmonic minor on guitar. This class also offers imaginative and exciting ideas for generating new musical sounds with the scale, both for comping/chordal playing and single-note soloing. Harmonic Minor Complete part 1 covers: Explanation of the structure of the scale Discussion of the seven modes, with suggested uses, names, and typical chord voicings for each Exploration of harmonies to form the basic chords of most minor-key songs, using both triads and seventh chords Use of harmonic minor to define secondary dominant sounds resolving to diatonic minor chords Using various modes to create new and unusual tonal colors System for quickly remembering which mode to use for which sound Suggested scale fingerings, including 7-positions, CAGED, and symmetrical Exploring contrapuntal playing using different intervals within the scale Intervallic patterns for increasing fluency Exploration of diatonic triads in all inversions, all string sets Open triads Voice leading through diatonic cycles with both open and close triads Root position close seventh chords Course Details 108 minutes in length Includes 23 pages of written examples and exercises Includes backing tracks for musical examples All musical examples from the video are provided in music notation and tablature Each example performance is shown in close-up view and titled and numbered for easy navigation

In most jazz performances, the melody, or head, is the pre-composed section of the song that allows the listener to identify the song. While it can sometimes seem like jazz musicians treat the melody of a song like a mere throwaway prelude to the improvised solos, melodies are an essential part of the experienced player's toolbox. Most of the great jazz musicians are known as much for their interpretations of melodies as they are for their improvised solos. In this class, we will focus on effective ways of learning, performing, and interpreting the melodies of American songbook standards. We will also examine methods for using the melody of a song as a basis for improvised solos. The ability to use thematic content from the melody in a solo can give your improvisations much greater depth and connection to the composition and help you avoid the stereotypical "running changes" which leads to similar-sounding solos on every song. Anatomy of a Melody covers: in-depth analysis of the melody of the standard “Autumn Leaves” the importance of connecting the lyrics with learning, phrasing, and performing the melody instrumentally techniques that jazz musicians use to make an American songbook style melody into a jazz performance transcribed examples of jazz masters Chet Baker and Miles Davis performing “Autumn Leaves” application of Baker’s and Davis’ techniques to your own performance examination of techniques such as rhythmic anticipation, back phrasing, interspersing improvised phrases, using shading devices, and changing melody notes scale exercises across three strings to encourage a more melodic approach to improvised phrases using intervallic and rhythmic motifs from the melody in your improvised phrases use of compositional techniques such as inversion, rhythmic displacement, and rhythmic reversal example etude using the above techniques to improvise a new melody 68 minute running time includes 12 pages of written examples and exercises includes backing tracks for musical examples, plus full-length backing tracks for practice All musical examples from the video are provided in music notation and tablature. Each example performance is shown in close-up view and titled and numbered for easy navigation. Running time: 1hr 8minutes

In this final class of the Diatonic Triads series, we will explore clusters. Simply stated, a three-note cluster consists of any three consecutive notes from a seven-note scale. We will start with the notes C, D, and E from the C major scale. While some of the inversions of this structure played as a chord may prove difficult or even impossible on some string sets and/or fretboard locations, we will explore all the possibilities with a view toward finding the most practical examples. When this tight structure is inverted and opened up, it can create more playable shapes and also provide surprisingly open-sounding and unique sonorities. Included Documentation The document included entitled "Diatonic Triads Complete - Part 5: Clusters" by Tom Lippincott focuses on the concept of clusters within the context of diatonic triads for guitar. It explains how to construct clusters from any seven-note scale and explores their integration into guitar practice, including various inversions and voicings. The document also includes exercises and examples to demonstrate the practical application of these concepts on the guitar, aiming to enhance harmonic understanding and fretboard navigation. Diatonic Triads Complete part 5: Clusters covers: explanation of clusters “piano style” versus “choir style” inversions on the guitar map of all inversions of 3-note clusters, plus diatonic harmonized scales on all string sets using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations exploration of open clusters substitution of occasional open clusters for impractical close clusters arpeggiating open clusters to create melodic ideas with wide intervallic leaps exploring clusters from the melodic and harmonic minor scales single-note line and chordal phrases over a minor II V I progression and over the chords of “My Romance” to demonstrate real-world applications 74 minute running time includes 13 pages of written examples and exercises includes backing track for II V I musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

In part four, we will explore 7th no 3rd triads. Like 7th no 5th triads, these are derived simply by removing one note from a traditional 7th chord although, in this case, the 3rd is removed. This fascinating structure creates a sound that is both traditional and tonal due to its derivation from 7th chords, and at the same time, open and ambiguous because of its lack of 3rd. In many ways, this configuration provides the best of both worlds. Diatonic Triads Complete part 4: 7th no 3rd covers: explanation of 7th no 3rd chords “piano style” versus “choir style” inversions on the guitar map of all inversions of 7th no 3rd triads, plus diatonic harmonized scales on all string sets using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations exploration of open 7th no 3rd triads arpeggiating 7th no 3rd triads to create melodic ideas exploring 7th no 3rd triads from the melodic and harmonic minor scales single-note line and chordal phrases over major and minor II V I progressions to demonstrate real-world applications 51 minute running time includes 13 pages of written examples and exercises includes backing tracks for major and minor II V I musical examples All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

In this third class, we will explore 7th no 5th triads. This structure is simply a 7th chord with its 5th removed and is often referred to as a “shell voicing.” However, in this class we will be treating these “shell voicings” like three-note triads, which means finding all the inversions, registers, and string sets. This will yield many more uses than just the traditional shell voicing concept provides. 7th no 5th triads can have a more traditional, tonal sound than sus triads but when used imaginatively can also create fresh new sounds. Diatonic Triads Complete part 3: 7th no 5th covers: explanation of 7th no 5th chords and their use as traditional shell voicings “piano style” versus “choir style” inversions on the guitar map of all inversions of 7th no 5th triads, plus diatonic harmonized scales on all string sets using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations exploration of open 7th no 5th triads arpeggiating 7th no 5th triads to create melodic ideas exploring 7th no 5th triads from the melodic and harmonic minor scales example of harmonized melodic line on the changes of “My Romance” utilizing material from the above 56 minute running time includes 13 pages of written examples and exercises includes backing track for “My Romance” musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

In this second class from the diatonic triads series, we will explore suspended triads. These triads can give an impression of openness due to their lack of the 3rd interval. Since the 3rd interval is central to traditional triads and tonal harmony in general, suspended triads are useful for achieving a modal, harmonically nebulous sonority that is associated with more modern sounds. The so-called sus2 triad also falls into this family and will be discussed as well. Diatonic Triads Complete part 2: Suspended Triads covers: introduction to all five types of diatonic triads definition of suspended chords and their history map of all inversions of suspended triads explanation of the concept of diatonic suspended triads, with example exercises using diatonic cycles, including contrapuntal movement, to gain fluency with inversions and voice leading exploration of open suspended triads alternate fingering for open sus triads applying diatonic cycles of open and close triads to the melodic and harmonic minor scales examples of single note musical phrases incorporating all of the above using sus triads derived from melodic minor over a minor II V I progression 54 minute running time includes 11 pages of written examples and exercises includes backing track for minor II V I musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

Mastering the basic major, minor, diminished, and augmented triads is widely acknowledged as a crucial step in the development of any jazz musician. This is particularly important on an instrument like guitar which can be played both melodically and harmonically. Triads form the basic building blocks of more complex harmonies as well as the upper part of these chords. In this series of classes, we will systematically examine all of the traditional triads that are diatonic to the major, melodic minor, and harmonic minor scales and find many unique and creative uses for them, both for chords and for single-note lines. But the fun doesn’t stop at traditional triads; in this five-part class, we will also explore all of the three-note chords that are possible in the above three scales. This includes suspended triads, seventh chords with no fifth, seventh chords with no third, and clusters. By practicing these five structures, guitarists can add many fresh and exciting sounds to their music. One advantage of three-note chords is that they tend to be easier to play and more “portable” than bigger four-, five-, and six-note chords. These shapes work exceptionally well for both comping and for supporting a melodic line with harmony. Arpeggios built from this variety of three-note chords can also generate some interesting new melodic ideas. In the first class, we will explore traditional triads, the roots of the harmonic tree. A command of these structures will be necessary in order to facilitate the exploration of the more exotic sounds in the subsequent classes. Guitarists who have been through my Jazz Guitar Harmony part 2 and Jazz Guitar Harmony part 3 and absorbed the material on triads may find this class unnecessary. However, there are a few new concepts in this class that aren’t covered in the Jazz Guitar Harmony series. Diatonic Triads Complete part 1: Traditional Triads covers: review of the theoretical basis of triads “piano style” versus “choir style” inversion on the guitar map of all inversions of major triads explanation of the concept of diatonic triads, with example exercises using diatonic cycles to gain fluency with inversions and voice leading exploration of open triads applying diatonic cycles of open and close triads to the melodic and harmonic minor scales examples of single note musical phrases incorporating all of the above using triads to harmonize a melodic line 59 minute running time includes 10 pages of written examples and exercises includes backing track for II V I musical example All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

Pianist Bill Evans' contributions to jazz have inspired and informed countless other musicians. His influence is evident in the work of many guitarists including Jim Hall, Lenny Breau, Ted Greene, John Abercrombie, Ralph Towner, and John McLaughlin. Of all the notable and impactful elements of Evans' playing, it is perhaps his harmonic sense that has most captivated generations of guitarists. In this class, we will explore Evans’ reharmonization of the standard tune “Spring Is Here” beginning with a basic version of the tune as envisioned by composer Richard Rodgers and taking a deep dive into Evans’ reworking of the harmony. We will see how the original harmony of the tune relates to Evans’ new chord progression and find strategies for transferring those sounds to the guitar fretboard. Also included and discussed in detail will be chord voicings from Tom’s arrangement of the tune plus alternate voicings and ways to implement them. In addition, we will investigate Evans’ intriguing intro, interlude, and ending statements that use the concept of constant structure to create lush and dramatic harmonies within these sections. Spring Is Here: Exploring the Harmony of Bill Evans covers: original version of the harmony of “Spring Is Here” with theoretical analysis Bill Evans’ reharmonization of “Spring Is Here” with in-depth harmonic analysis diminished major seven and diminished major seven flat 13 chords transcription of Evans’ intro, interlude, and ending arranged for guitar chord voicings for Tom’s realization of Evans’ arrangement, including contrapuntal moving inner, upper, and lower voices discussion of alternate voicings and extended techniques 92-minute running time includes 9 pages of written examples and exercises Musical examples from the video are provided in music notation, tablature, and chord grid form. This class is based on Bill Evans' recording of "Spring Is Here" from Bill Evans at Town Hall and can be heard here:

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

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

You have learned many new chord voicings, inversions, and string sets and are starting to get some of them under your fingers. But in a performance situation, these new voicings are slow to come out naturally. This class shows how to apply chord voicings to a tune in a practical real-world situation with the goal of making them an organic part of your vocabulary. In this class, we will explore different inversions of drop 2, drop 3, drop 2&3, and drop 2&4 voicings (with some close voicings as well) as applied to chord changes of the A section from the song Body and Soul. This is an intermediate to advanced class which assumes the viewer already has some familiarity with these voicing types, although a brief explanation is provided for anyone needing a refresher. First, we will start with simple voicings that define the basic harmony and then move on to substitute chords that suggest upper extensions and/or different melodic minor modes for more harmonic color. The goal is not merely to have one or two new “grips” to plug in but rather to have a more fully-encompassed command of the new voicings all over the fingerboard so that they may be called upon at will as your musical creativity dictates. Finally, an example etude links the new voicings to a real musical setting with a melodic line and contrapuntal motion. This etude could be used as a rubato intro to Body and Soul. Body and Soul: Putting Chords to Work covers: review of drop 2 voicings and the drop system basic chord changes for the A section of Body and Soul with harmonic analysis exercise for gaining fluency with drop 2 voicings as applied to Body and Soul explanation of the 24 possible ways to arrange the notes in any four-note chord with review of the basics of close, drop 2, drop 3, drop 2&3, and drop 2&4 voicings exercises for gaining fluency with drop 3 and drop 2&3 voicings as applied to Body and Soul chord substitution concepts to generate voicings with more harmonic color chord substitution table for Body and Soul exercise for gaining fluency with substitute chords as applied to Body and Soul chord etude with upper melodic line and contrapuntal movement as an example of real-world musical application of concepts from the class 50 minute running time includes 17 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation. Backing tracks at two different speeds are included for practice.

Virtually all jazz guitarists are accustomed to the idea of staying out of the way of the bassist and/or the pianist in an ensemble setting. However, often in smaller settings, the guitarist must take on the roll of the pianist and bassist. While comping chords with the root in the bass and playing with rhythmic confidence can get the job done, a guitarist who has mastered the art of playing bass lines and comping chords simultaneously can add a whole new dimension to duos with a vocalist, a horn player, another guitarist, or many other configurations that lack a bass player. If you’ve ever wanted to be able to add bass lines and chords to your comping in different jazz settings, or if you have the basics down and want to bring your playing to the next level, this class is for you. Any guitarist attempting to play bass lines must realize the crucial importance of the bass role in an ensemble so we will first make a thorough study of creating bass lines in four different typical jazz styles and grooves: 4/4 walking swing tunes, jazz waltzes, jazz ballads, and bossa novas. We will next explore the addition of chords to each style, using primarily the simple but all-important shell voicings. This class offers a clear, systematic approach, helpful suggestions for gaining fluency with the concepts and the physical techniques, and plenty of examples and exercises for practice. The Art of Bass and Chords for Jazz Guitar covers: five principles for creating strong bass parts three techniques for building walking bass lines techniques for one-chord-per-bar and two-chords-per-bar full length composed bass line on the chord changes of “Autumn Leaves” demonstrating different techniques bass lines on static chords upbeat notes and “chickety gongs” to enhance rhythmic drive and variety bass lines “in two” broken swing bass lines playing walking bass, “in one,” dotted quarters, and broken swing on jazz waltzes lyrical ballad approach basic bossa nova bass lines shell voicings for use with bass lines adding color tones/upper extensions to shell voicings discussion of right hand technique exercises for getting started combining chords and walking bass lines additional techniques for embellishing chord accompaniment to walking bass lines adding chords to bass lines “in two” and broken swing bass parts using half step approach chords and tritone substitute chords to harmonize bass lines using pedal tones with chords two full length real-world examples of walking bass and chord performances on “Autumn Leaves” and an F blues different techniques for adding chords to bass lines on jazz waltzes ballad approach combining bass and chords preliminary exercises for gaining rhythmic fluency and confidence for combining bass and chords on bossa novas full length example of bossa nova comping with bass on the chord changes to “Blue Bossa” additional examples of rhythmic variations for chord accompaniment 123 minute running time includes 30 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

With materials taken from my longer class, The Art of Bass and Chords for Jazz Guitar , this class focuses on one specific subject: the technique of playing bass lines and chords together on bossa nova style tunes. Written musical examples and closeup demonstrations of these examples are taken directly from the full-length video, but the majority of the video was rerecorded for this streamlined version. This shorter, lower-priced class is designed for guitarists who may not be ready to dive into exploring all the aspects of Brazilian guitar styles and who just want an introduction to the basics of creating effective, great-sounding bossa nova accompaniment that combines idiomatic chord voicings and comping rhythms with bass parts. If you’ve ever been puzzled by what comping rhythms to play on a bossa or how to get that lovely flowing syncopation that Brazilian guitarists get in their accompaniment parts, this class is for you. Bossa Nova Bass-ics first looks at each of the two concepts separately, then combines them step-by-step in a logical, easily comprehensible way. This class is not recommended if you plan to purchase (or already have purchased) The Art of Bass and Chords for Jazz Guitar because the materials in this class will be redundant. Bossa Nova Bass-ics covers: Basics of creating bossa nova bass lines Shell voicings for use with bass lines Adding color tones/upper extensions to shell voicings Discussion of right hand technique Preliminary exercises for gaining rhythmic fluency and confidence for combining bass and chords on bossa novas Full length example of bossa nova comping with bass on the chord changes to “Blue Bossa” Additional examples of rhythmic variations for chord accompaniment 31 minute running time Includes 7 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

With materials taken from my longer class, The Art of Bass and Chords for Jazz Guitar , this class focuses on one specific subject: the technique of playing bass lines and chords together on medium-tempo 4/4 swing tunes. Written musical examples and closeup demonstrations of these examples are taken directly from the full-length video, but the majority of this video was rerecorded for this streamlined version. This shorter, lower-priced class is designed for guitarists who may not be ready to dive into exploring all the aspects of playing bass and chords together and who just want an introduction to the basics of creating effective, great-sounding walking bass lines with chords added to create the illusion of a bassist and guitarist comping together. This class is not recommended if you plan to purchase (or already have purchased) The Art of Bass and Chords for Jazz Guitar because the materials in this class will be redundant. Walking Bass and Chords Bass-ics covers: five principles for creating strong bass parts three techniques for building walking bass lines techniques for one-chord-per-bar and two-chords-per-bar shell voicings for use with bass lines adding color tones/upper extensions to shell voicings discussion of right hand technique exercises for getting started combining chords and walking bass lines additional techniques for embellishing chord accompaniment to walking bass lines full length real-world example of walking bass and chord performances on “Autumn Leaves” 48 minute running time includes 10 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

This is a follow-up class to The Art of Bass and Chords for Jazz Guitar and picks up where that class left off. The Art of Bass and Chords for Jazz Guitar explained the principles for creating strong bass parts and combining them with chords to create the illusion of a bassist and a guitarist playing together, and Walking Chords for Jazz Guitar continues with a systematic exploration of chord inversions for three-note voicings as well as diatonic passing chords. These additional possibilities will considerably expand the guitarist’s pallet of voicings that are convenient to add to walking bass lines. The three-note voicings are easy to learn and to play and will enable just about any bass note to be harmonized with a chord, giving great freedom and flexibility to the player creating an accompaniment part. Finally, this class explores the concept of adding a chord to every bass note in a walking 4/4 swing bass line. Shorter examples demonstrate the use of inversions and diatonic passing chords in order to fully harmonize a walking bass line. Then, a full-length etude on the chord changes to “Autumn Leaves” is presented as a real-world example of how to put these techniques into practice. It is recommended that guitarists view The Art of Bass and Chords for Jazz Guitar first before tackling Walking Chords, although experienced guitarists who are already skilled at playing chords and bass lines together will benefit from just this more advanced class. Walking Chords for Jazz Guitar covers: review of the shell voicings presented in The Art of Bass and Chords for Jazz Guitar techniques for building inversions of the shell voicings with the bass notes on the sixth as well as the fifth strings tweaks to the inversions to make them easier to play and/or to make them sound more effective hints to make learning the new voicings easier example applying the new inversions to a walking bass line for more flexibility and creativity examples of diatonic chords for use in major and minor keys that can be used to fill in between inversions short examples of applying the diatonic passing chords to create a “walking chords” effect with a chord on every beat full length etude applying the walking chords to the chord changes of “Autumn Leaves” 56 minute running time includes 21 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance is shown in close-up view and titled and numbered for easy navigation.

Join time as he answer questions from students. Questions include: "How would you arrange a song like "Emily" into a different time signature?" "Do you have an exercise for improvising over the changes when learning tunes that help you memorize your location in the tune (not losing your place)?" "technique question, Tom. How do you handle a string of eighth notes when playing fingerstyle?" 00:02:48 Mike Gellar clap clap 00:03:02 james How would you arrange a song like "Emily" into a different time signature? 00:03:46 james Yup, its me! 00:14:20 Mike Gellar I see this question from Gy who has been with MMC since the beginning in 2006! 00:14:26 Mike Gellar Do you have an exercise for improvising over the changes when learning tunes that help you memorize your location in the tune (not losing your place)? - Gy 00:15:43 Richard Okkerse hi mike and tom, any chance this will be available for download to review later? im asking because i live in portugal and it very late here and i need to get up early . i start teaching at 8:30... i love toms classes, i pretty sure i have them all and really wanted to view this later on! thanks in advance guys 00:16:27 Mike Gellar Richard, this will be available to view for Members 00:17:06 Mike Gellar Do you have an exercise for improvising over the changes when learning tunes that help you memorize your location in the tune (not losing your place)? - Gy 00:17:32 Richard Okkerse thanks mike, im gonna try to stick around a bit more..to good to miss out haha 00:23:59 Martin Any advice on dealing with the onslaught of guitar tuition available today? I'm embarrassed to admit I'm only just now digging into "The Joy of Practicing", because I spent so long researching the subject! 00:29:20 GLENN technique question, Tom. How do you handle a string of eighth notes when playing fingerstyle? 00:31:46 Ron Memorization is the key to having information immediate enough to use in provisation. But there is so much; cycles 2, 3, 4, 5, 6, 7; dim cycles; keys; scales; melodies; chord progressions; etc. What can be done to reduce the pressure? 00:35:53 Martin Great answer, thanks Tom. 00:41:31 Posido you've seem to have achieved a great deal of mastery with a lot of modern jazz concepts, what do you focus on now or have been focusing on in your practicing these days? 00:41:35 Richard Okkerse any tips on how to approach tunes like Lazy bird and giant steps etc. in a melodic way instead of the typical pattern ish way 00:41:44 james How do you arrange intros for a singer that is somewhat less refined than say, Ella Fitzgerald? 00:52:34 Posido this is really insightful Tom! 00:58:00 Richard Okkerse i once heard Barry Harris in a pure bebop way, quite incredible i must say. he also said he didnt really like the song and didnt understand what all the fuzz was about haha 00:58:34 Richard Okkerse thanks a lot Tom, take and looking forward to you new lesson on mmc 00:59:49 james Fantastic as always!!!!! 00:59:51 Mike Gellar for sure! 00:59:56 Martin Thanks Tom 01:00:11 Posido thanks Tom!! 01:00:22 Martin Thanks Mike for the access to this 01:00:36 Mike Gellar Great! Thanks Tom and everyone who joined - stay on line if you can 01:00:43 james Thank you, Mike and Tom. 01:02:33 Jeremy Thanks and look forward to the next session 01:02:56 Mike Gellar 0k - BTW, Jamie's class is 1 PM 01:03:20 Martin UK 01:03:31 Richard Okkerse portugal 01:03:31 David Canada 01:03:33 sean Bangkok, Thailand 01:03:34 Posido US-Virginia 01:03:35 james Riverside, Rhode Island 01:03:39 Russ Minneapolis 01:03:51 Jeremy Ontario, Canada 01:04:06 Gy Gy-Us Maryland 01:04:10 Richard Okkerse portugal 01:04:55 Ron Atlanta, GA 01:06:02 ZEH Sao Paulo - BRAZIL

Even though most traditional jazz guitar playing tends to be associated with the use of a pick/plectrum, throughout the history of jazz guitar many guitarists have also incorporated finger-style in their playing, from Wes Montgomery's famous use of his right-hand thumb, to such masters of harmony and counterpoint as George VanEps, Lenny Breau, and Ted Greene. In recent years, more and more jazz guitarists are beginning to discover the benefits of either putting down the pick entirely or adding some finger-style technique to their already existing pick-style playing. The jazz finger-style techniques covered in this class encompass everything that a right-handed guitarist would do with the right-hand fingers to assist in the production of music on the guitar. This includes playing with the right-hand fingers only (using nails or bare fingertips), playing with a pick or plectrum in combination with one or more of the right hand fingers for hybrid-picking, and playing with a thumb-pick. If you've ever been curious about delving more deeply into the exciting possibilities and new dimensions that the right-hand fingers can add to your musical universe, then this class is for you whether you’re a guitarist who wants to take the bold step of converting to finger-style entirely, one who simply wants to add a few finger-style techniques to your already-existing pick-style playing, or anything in between. Jazz Guitar Finger-Style Technique covers: Detailed discussion of the advantages and disadvantages of finger-style playing versus pick-style playing to assist each player in deciding what approach works best for him or her Overview of hybrid-picking with basics of the technique and discussion of the advantages and disadvantages Discussion of the classical guitar concept of right-hand planting/preparation to aid in accuracy and precision of right hand fingers Numerous examples of the use of hybrid-picking for chords, single-note lines (including scalar movement, large intervallic leaps/string skipping, and various one-note-per-string arpeggios) and classical guitar-style arpeggios Discussion of the use of thumb-picks and demonstration of an alternate thumb-pick device Comparison of hybrid-picking versus full-on finger-style Demonstration of using finger-style technique for playing examples similar to those in the hybrid-picking discussion Extensive discussion of incorporation of the right-hand pinky in both hybrid-picking and finger-style playing with exercises for gaining strength and independence Detailed discussion of many different finger-style techniques for playing single-note lines with demonstrations and comparison and contrast of the advantages and disadvantages of each one Examples of various real-world musical phrases using hammer-ons and pull-offs combined with right-hand fingers with tips for changing right-hand fingering to solve various technical problems John Lewis’ bebop tune “Milestones (old),” arranged for single-note finger-style guitar incorporating various right-hand fingerings, hammer-ons, pull-offs, and added chord punctuations for technical study and building the mechanics of combined right- and left-hand fingerings for use in improvised jazz lines Discussion of use of fingernails, nail care, and maintenance All examples are shown in right-hand close-up with certain examples shown in multiple views Running time: 114 minutes Includes 13 pages of written examples and exercises All musical examples from the video are provided in music notation, tablature, and chord grid form. Each example performance in the video is titled and numbered for easy navigation. Backing tracks for written examples and solos are included.

Jazz Guitar Harmony Part 4 covers: • continuation of discussion of shell voicings, including further comping examples • tritone substitution and variations/elaborations • minor harmony • use of shell voicings for solo guitar playing (chord/melody style) • adding color tones to shell voicings • ear training–hearing/singing color tones • examples of shell voicings with color tones using major and minor II V I progressions as well as over a standard progression • examples with and without roots, with one and two color tones • incorporation of shell voicings with single note solos for self-comping • running time: 112 minutes • includes 11 pages of written examples and exercises

Jazz Guitar Harmony Part 3 covers: • diatonic cycles of triads within the major scale • diatonic voice leading with close position triads • ear training • melody harmonization with triads, simple and more complex • theoretical understanding of open position triads • applying open triads to the guitar including different practical fingerings and string sets • diatonic harmonized scales with open triads • contrapuntal voice movement between triads, both close and open • musical application of open triads • moving triad concepts to other keys • working with open and close triads outside the diatonic major scale • running time: 98 minutes • includes 10 pages of written examples and exercises

Jazz Guitar Harmony Part 2 covers: triads: clear and concise system for learning all close position major, minor, diminished, and augmented triads four important uses of triads diatonic harmonized major scales with triads shell voicings: 10 different practical chord shapes that can be used to comp through any tune in the the typical standard repertoire diatonic harmonized major scales with shell voicings, including variations with contrapuntal movement application of shell voicings to comping on tunes examples with comping rhythms, articulations, half step chord approaches, and discussion of swing feel chord symbol interpretation and guide to simplifying more complex chord symbols running time: 111 minutes includes 9 pages of written examples and exercises

Are you confused and overwhelmed by books giving you "1001 and guitar chords"? Do you know some "jazz chords" but are sometimes unsure of where and how to use them? Do you have down the basic "jazz guitar" chord vocabulary but are looking for a way to bring your comping, chord/melody playing, and sense of harmony to the next level? Are you relatively new to playing jazz guitar and looking for a clear, logical, and thorough system for learning about chords and jazz harmony? Are you an intermediate or advanced player wanting to incorporate a more modern sound and/or a more pianistic approach into your chord playing? If your answer to any of the above questions is yes, I believe that this series of classes can help you achieve your goals. This multi-part series covers the application of jazz harmony to the guitar for comping, solo guitar arranging and improvising, and bringing harmonic ideas to soloing within a group context. The classes focus on a detailed and systematic step-by-step approach for building a strong foundation for chordal and contrapuntal playing and will cover everything from the essential basics to more advanced and modern concepts. Numerous musical examples are demonstrated as well as written in traditional notation, tablature, and/or chord grid form, but the material has been designed to be open-ended enough that you will be encouraged to find your own path and work toward developing your unique musical voice. Jazz Guitar Harmony Part 1 covers: basic music theory overview, including intervals and major scale construction learning/reinforcing note names up and down the guitar neck dual nature of the guitar fingerboard all diatonic harmonic (both notes at the same time) intervals up and down neck playing intervals on adjacent versus non-adjacent string sets compound intervals and interval inversions exploration of contrapuntal movement between two voices (melodic lines), including embellishing a melody with a second voice exercises and musical examples to build conceptual knowledge as well as improve technique laying a firm foundation for understanding and playing more complex harmonies, including triads and four-note chords covered in later classes running time: 114 minutes includes 5 pages of written examples and exercises

Modern Jazz Guitar Complete Series The twenty-first century has, so far, been an exciting time for jazz with a flurry of creativity and innovation energized by the newest generation of jazz musicians. The guitar has become a more important instrument in jazz than ever before, and jazz groups featuring guitarists are now the norm rather than the exception. Guitarists with unprecedented virtuosity and originality have driven the instrument’s rise in prominence and have established a new “modern sound” that is becoming part of the jazz vocabulary. Players such as Kurt Rosenwinkel, Ben Monder, Jonathan Kreisberg, John Stowell, Gilad Hekselman, Adam Rogers, Lage Lund, and Nir Felder are inventive, ingenious, and forward-thinking while still managing to maintain a strong connection to the tradition. If you have heard these and other modern jazz guitarists and wondered How do they get that sound?, then this series of classes is for you. The Modern Jazz Guitar series was created for the intermediate to advanced jazz guitarist who already has a basic command of traditional jazz vocabulary including the basics of improvising over chord changes, comping/chord vocabulary, and knowledge of standard chord progressions. This multi-part series examines the modern jazz guitar style in systematic detail and is divided into five classes that cover melody (single note improvisation), harmony (using chords for comping, chord soloing, and self-comping), rhythm, and tone/equipment. An informative introductory class examines the roots of the modern style and includes a discussion of the right and left hand techniques that many of the modern players use. Numerous musical examples, including specific licks, phrases, and chord voicings in the style of several modern jazz guitarists, are demonstrated during the classes and provided in the written materials in traditional notation, tablature, and/or chord grid form, but the lessons have been designed to be open-ended enough that you will be encouraged to find your own path and work toward developing your unique musical voice. Modern Jazz Guitar Part 1 covers: an overview of the roots of the modern jazz guitar style and a discussion of how modern players' styles evolved along a direct line from their predecessors brief surveys of the styles of Charlie Christian, Wes Montgomery, Grant Green, Jim Hall, Pat Metheny, John Scofield, and Bill Frisell analysis of specific elements of the styles of the above players that influenced the modern players discussion of use of single note lines as well as chords/harmony from each player, with examples discussion of technique with emphasis on achieving relaxed and fluid movement from note to note and efficient use of energy overview of the basics of alternate picking, economy picking, and fingerstyle, with examples of each suggestions for exercises using one, two, three, and four notes per string discussion of hammer-ons and pull-offs, with examples and suggestions for practice pick and fingers techniques for playing chords and single note lines backing MP3 play-along tracks used in the video for all examples available for free download at www.tomlippincott.com running time: 106 minutes includes 18 pages of written examples and exercises

Jazz Guitar Harmony Part 5 covers: review of close position seventh chords and tips for practical use explanation of the terms "drop 2" and "drop 3" as they apply to guitar chord voicings the "chord scale exercise" which is a logical and musical presentation of drop 2 and drop 3 voicings by inversion and string set, using the seventh chords diatonic to the major scale additional methods for developing mastery of drop 2 and drop 3 voicings including inversions, II V I progressions, and diatonic cycles applying the basic voicings to comping on tunes, with musical example hints and suggestions for making the learning of new chord voicings easier incorporation of contrapuntal movement and ear training additional 4-note chords and their typical usage applying color tones to the chords for comping on tunes, with musical example chord synonyms–getting more mileage out of the voicings you already know applying the voicings to solo guitar arrangements, with musical example including color tones and contrapuntal movement running time: 124 minutes includes 16 pages of written examples and exercises

In this advanced jazz guitar class, 4-part-4th, or quartal-based, chords and harmonies will be examined in detail. This interesting sound, which draws on harmonies explored by early twentieth century classical composers such as Debussy, Ravel, and Stravinsky, was introduced to the jazz world in the 1960s by such musicians as Miles Davis, Bill Evans, John Coltrane, and McCoy Tyner, and has ever since been an important part of the vocabulary of modern jazz players . A new generation of jazz musicians including guitarists such as Kurt Rosenwinkel, Ben Monder, Jonathan Kreisberg, Lage Lund, and many others, have begun to explore even more of the possibilities with these exciting sounds and are creating a new harmonic vocabulary with the 4-part-4th chords as a central component. The 4-part-4th sound was touched upon briefly in part 3 of my Modern Jazz Guitar series, but now we will delve into that sound in detail, leaving no stone unturned (or chord un-played). This new class provides a logical, systematic step-by-step approach for finding the 4-part-4th harmonies derived from the major and melodic minor scales using guitar-friendly drop 2 and drop 3 voicings . Numerous musical examples are demonstrated on the video as well as written out in traditional notation and chord grid form, but the material has been designed to be open-ended enough that you will be encouraged to find your own path and work toward developing your unique musical voice. Advanced Jazz Guitar Harmony, 4-part-4ths, covers: explanation of the difference between tertian and quartal harmony, and discussion of the modal approach versus the functional approach to harmony explanation and exploration of 3-part-4th chords, usually called suspended triads, including harmonization of the major scale with "sus chords." brief review of major and melodic minor scale seventh chord harmony, with example voicings in close root position explanation of the term 4-part-4th and its relation to suspended seventh chords, with examples applied to the major and melodic minor scales with close position voicings brief review of the terms "drop 2" and "drop 3" with example chord voicings using traditional seventh chords the "chord scale exercise" which is a logical and musical presentation of drop 2 and drop 3 voicings by inversion and string set, using the 4-part-4th chords diatonic to both the major scale and the melodic minor scale, with subtitles on the video that match each exercise to the written example additional methods for developing mastery of the above voicings including inversions and diatonic cycles (including a brief review of the diatonic cycle concept) examples of using 4-part-4ths for comping on II V I chord progressions, including varying degrees of "in" and "out" sounds, and melodic minor scale harmonies etude/chord-melody harmonization combining all of the 4-part-4th concepts in a musical context, using the standard tune "Invitation" running time: 128 minutes includes 22 pages of written examples and exercises

Modern Jazz Guitar Complete Series Modern Jazz Guitar Part 5, Rhythm 2 and Tone/Equipment, covers: exploration of rhythms used in modern jazz, continued from Part 4 examples of ideas for "breaking out of the clave prison" in 7/4 time in order to achieve freedom and rhythmic variety when soloing and comping in that time signature exploration of polyrhythms and odd groupings in 7/4 time, with examples and demonstrations discussion of converting songs written in common time signatures into 5/4 and 7/4, with examples of both short and long form for both meters chord changes to Ben Monder's unique arrangement of "All the Things You Are" with performance example explanation of true polyrhythms and their uses in metric modulations exercises for gaining facility with metric modulations between all different meters in two parts, first tapping out the rhythms, then playing them on the guitar examples of applying different metric modulations to single note lines and comping on a one-chord vamp, as well as on a standard chord progression suggestions for using the MP3 play-along 5/4 and 7/4 vamps for practice advice on playing at fast tempos, with demonstration discussion of equipment used by various modern jazz guitarists , including guitars, picks, amplifiers, and effects, with a guided tour of Tom's pedal board and demonstrations of effective use of each pedal list of suggested representative modern jazz recordings by various guitarists and non-guitarists backing MP3 play-along tracks used in the video for all examples and etudes, as well as 5/4 and 7/4 practice groove tracks running time: 73 minutes includes 6 pages of written examples, exercises, practice tips, and listening lists

Modern Jazz Guitar Complete Series Modern Jazz Guitar Part 4, Rhythm 1, covers: • exploration of rhythms used in modern jazz • discussion of odd groupings of notes in 4/4 time for polyrhythmic effects • examples of odd groupings by interval, by accent, and by articulation • application of odd groupings to melodic patterns from Modern Jazz Guitar Part 2, Melody • discussion of applying the odd grouping concept over chord changes and typical four-bar phrases • in-depth exploration of eighth-note, quarter-note, and half-note triplets, with both melodic and harmonic exercises for gaining proficiency with each of these rhythms • explanation of displaced quarter-note and half-note triplets, with examples and exercises • examples of melodic patterns from the Melody class applied to odd groupings of triplets and displacements for polyrhythmic effects • exploration of the three different combinations of two eighth-note triplets within one beat, with example • examples of odd rhythmic groupings of chords over a standard chord progression for applying the above concepts to comping and chordal phrases • explanation of the basic "claves" for 5/4 and 7/4 time • examples of ideas for "breaking out of the clave prison" in 5/4 time in order to achieve freedom and rhythmic variety when soloing and comping in that time signature • exploration of polyrhythms and odd groupings in 5/4 time, with examples and demonstrations • backing MP3 play-along tracks used in the video for all examples and etudes, as well as 5/4 and 7/4 practice groove tracks • running time: 104 minutes • includes 13 pages of written examples and exercises

Modern Jazz Guitar Complete Series Modern Jazz Guitar Part 3, Chord Voicing & Harmony, covers: survey of modern jazz guitar chord voicings and harmony discussion of three different approaches to harmony: tonal, modal, and polytonal ways to use some of the basic major-scale-derived voicings you may already know to get a more modern sound, with example voicings examples of melodic minor-derived drop 2 and drop 3 voicings and ideas for reharmonizing basic chord progressions with them, including a brief overview of the modes of melodic minor use of four-part-4th or 7sus4 chord structures for generating new harmonic material, either as substitute chords in a tonal context or in a modal context, with systematic presentation of voicings overview of the five possible four-note chord types contained within any seven-note scale, with an explanation and discussion of each, with examples examples of creating new voicings of the above chord types based on changing one or two notes of commonly known basic 7th chord shapes explanation of drop 2&4 and drop 2&3 voicings , with examples and discussions of each ideas for generating new voicings based on the above chords exploration of unusual, more dissonant, or "wrong" color tones added to basic shell voicings, with examples discussion of two- and three-note chords derived from four-note voicings, with examples using modern harmonic vocabulary for self-comping during a single note solo application of polytonality to playing over standard chord progressions, with both quartal and third-based chord voicings examples of chord voicings and chordal phrases in the style of several modern jazz guitarists including Kurt Rosenwinkel, Jonathan Kreisberg, Ben Monder, John Stowell , and Lage Lund backing MP3 play-along tracks used in the video for all examples and etudes running time: 107 minutes includes 18 pages of written examples and exercises Other videos from this Modern Jazz Guitar Instructional series : Modern Jazz Guitar part I: Overview and Roots Modern Jazz Guitar part II: In Depth Examination Modern Jazz Guitar part III: Chord Voicing & Harmony Modern Jazz Guitar part IV: Rhythm Exploration Modern Jazz Guitar part V: Rhythm Exploration Cont.

Modern Jazz Guitar Complete Series "Well-structured, detailed course with many inspiring examples. Lots of material to chew on, including many concepts I hadn’t seen covered in any other guitar instructional videos. I recommend it!" "These classes are loaded with useful concepts that can open up new doors in a musicians development." Modern Jazz Guitar Part 2, Melody, covers: in-depth analysis of modern jazz guitar single-note soloing techniques examination of a standard chord progression (chord changes from "All the Things You Are") and brief overview of basic chord/scale analysis techniques and common substitute sounds practical 2-notes-per-string arpeggio fingerings for increased range when outlining chord tones and substitute sounds use of three-part-4th or suspended triad structures for generating new melodic material, with exercises for gaining fluency use of four-part-4th or 7sus4 chord structures for generating new melodic material, with exercises for gaining fluency other multiple interval structures, with exercises applied to major, melodic minor, and diminished scales, plus ideas for generating your own licks and patterns from the material arpeggio and melodic patterns using odd-numbered groupings of notes, with exercises for gaining fluency taken diatonically through the major scale examples of triad pairs and discussion of uses in-depth exploration of the augmented scale, including scale fingerings and intervallic patterns for gaining fluency discussion of three-note and four-note chords contained within the augmented scale with examples of licks generated from these structures, as well as ideas for generating your own material in-depth discussion of the harmonic major scale , with examples of the basic harmonies with their upper extensions and the harmonies they create multiple exercises that take material from previous examples and convert them to harmonic major, with ideas and suggestions for musical application discussion of pentatonic scales, including major, minor (1,2,b3,5,6), and pentatonic b6, with suggestions for ways to use them multiple etudes using "All the Things" chord changes that demonstrate the musical application of all the material discussed examples of licks and patterns in the style of several modern jazz guitarists including Kurt Rosenwinkel, Jonathan Kreisberg, Ben Monder, and John Stowell backing MP3 play-along tracks used in the video for all examples and etudes included running time: 119 minutes includes 28 pages of written examples and exercises

Music consists of three elements: melody, harmony, and rhythm. Of those three, rhythm is the element generally accepted to be the most fundamental and important . Unfortunately, rhythm is also the element that the majority of developing jazz guitarists (and most other instrumentalists) explore the least. Many guitarists have spent years honing the craft of melodic and chordal playing but still have that elusive something missing: the glue that holds everything together as a compelling, coherent musical statement. For many of these players, that missing factor is rhythm. This class will explore rhythm in an in-depth and systematic way. Whether you are a beginning, intermediate, or advanced jazz guitarist, the concepts and exercises presented are designed to supercharge your rhythmic sense and show you how to start thinking about rhythm on the same level that you already think about melody and harmony. In recent years, with jazz musicians incorporating sophisticated polyrhythms , odd and changing meters, and metric modulations into their music, a solid sense of time and a deep understanding of rhythm has become more important than ever for all instrumentalists, not just drummers. While part 4 of my Modern Jazz Guitar series explored the application of some of these advanced rhythmic ideas to modern-style playing, this class starts with some basic but essential concepts that have always been a crucially important part of jazz and builds on those basics to more sophisticated rhythmic skills. Beginning and intermediate jazz guitarists will benefit from Rhythm Workshop, but advanced players and those who have already been through my MJG part 4 materials will also find new and challenging concepts here. Rhythm Workshop covers: Basics of jazz eighth note swing feel and why “eighth note triplets with the first two tied together” is only the tip of the iceberg Learning to hear and feel each downbeat and upbeat as a separate entity in a measure of 4/4 time 256 possible permutations of eighth notes and rests in one measure of 4/4 time, with exercises to get to know specific rhythms in an improvised context Discussion of the use of shading devices, phrasing, and variations in swing feel to bring single note lines to life Exploration of two well-known jazz blues melodies (written in standard notation and tablature with left-hand fingerings, slurs, and shading devices notated) for study of rhythmic motifs, swing feel, and swing feel variations at different tempos Challenging metronome exercises to build a stronger internal clock Explanation and exploration of triplets and triplet-based polyrhythms Polyrhythmic exercises that incorporate playing two rhythms simultaneously Technique-building exercises that address the connection between a strong rhythmic sense and good technique Running time: 138 minutes 14 pages of written examples and exercises with close-up views of the performances Each example performance is titled for easy navigation MP3 backing tracks of jazz blues and one-chord vamps at different tempos for practice of the rhythmic concepts