Vic Juris

ニューヨークのジャズギター界に多大な影響を与えた伝説的ギタリスト、ヴィック・ジュリスによる90分近くのマスタークラス（日本語字幕版）。彼の教則本 『Modern Chords』 （Mel Bay出版）のコンセプトを軸に、クリエイティブなコードボイシングとスタンダード曲のリハーモナイゼーションを解説します。従来のストックシェイプから抜け出し、新しいコードとプレイの可能性を広げるためのアイデアが満載です。 学べる内容 All The Things You Are のリハーモナイゼーション — オリジナルのコード進行との比較を交えた詳細な解説 『Modern Chords』に登場するインターヴァリック・ストラクチャーとポリコードの考え方 ピアノレス編成でのコンピングを広げるボイシングのアプローチ ピッキングのテクニック、ダブルストップ、ウォーキングベースライン 練習についてのアドバイスと、ライブ配信参加者からのQ&A Green Dolphin Street 、 Stella by Starlight 、 Alone Together 、 Blue Monk などスタンダード曲のソロ演奏 ビル・エヴァンスの「Time Remembered」やデイヴ・リーブマン、ミック・グッドリックから学んだボイシングの逸話など、長年の現場経験に裏打ちされたエピソードも豊富。コードボキャブラリーを本気で広げたい中級ギタリストにおすすめのレッスンです。

Jazz guitar legend Vic Juris opens up the chord concepts behind his book Modern Chords (Mel Bay), filmed at his home in West Orange, New Jersey. Drawing on years of comping in pianoless groups — including Dave Liebman's band — Vic shows how to move beyond conventional stock shapes into intervallic structures and polychords. What's covered Vic's full reharmonization of All The Things You Are (recorded on his CD Second Look ), played first with the original changes, then broken down chord by chord Building reharmonizations from a moving minor-triad shape, with contrary motion between melody and bass The consecutive minor 7th device Vic learned from Bill Evans' tune Time Remembered A major 7 sharp 5 voicing learned from Dave Liebman, living in the harmonic minor area Polychords and two-triad structures — including the stacked-triad shape Joe Diorio calls a "movie chord" Fresh comping options for static modal harmony, like the D Dorian vamps of Impressions and So What Mick Goodrick's practice idea: running every new voicing through a scale Recorded as a live class with audience questions, this is a chance to learn modern harmony straight from one of its most respected voices. Ideal for players tired of the same grips who want a richer comping palette. Full video is 1 hour and 27 minutes.

Bassist Harvie S and guitarist Vic Juris team up for a master class on the guitar-and-bass duo, performing jazz standards together and breaking down what makes a duo truly interactive. Instead of the usual head–solo–solo–head routine, Harvie lays out concrete techniques for turning a duo gig into a real musical conversation. What's covered Harmonizing the head between bass and guitar — in thirds, sixths, or unison lines Building intensity with a two-feel before moving into a walking bass line Accompaniment options behind a bass solo, from sparse playing to rhythmic patterns to Freddie Green -style comping The call-and-response dynamic that creates a balanced musical partnership How the bass can both support and lead in a duo setting What makes duo playing different from other ensemble settings Performances include "Blue Monk," "Scrapple from the Apple," and "You're Gonna Hear From Me," each used to illustrate the concepts in action. Valuable for guitarists and bassists alike — the ideas here will enhance any duo performance.