Chordal Arranging, Soloing and Comping Includes:
Contrapuntal Improvisation Class Content | Steve Herberman
This Saturday morning class on Contrapuntal Improvisation for pickstyle and fingerstyle guitar will be live from the IAJE in NYC. A refreshing alternative to block chord soloing, Steve will show you techniques to expand your playing into 2 and 3 part multi-line improvisation. Written examples will begin with the basic principles of contrapuntal playing and progress towards melding single note lines seamlessly into modern chordal structures. Add these vital and flexible concepts into stream of consciousness improvising. This type of playing sounds great in a bass/guitar duo or guitar/bass/drums trio.
Break out of those chord boxes and let your creativity flow! All examples are written for 6 string guitar and are easily adaptable to 7 string guitar.
|Contrapuntal Improvisation 1|
|Contrapuntal Improvisation 1||01:10:00|
The Inner Line Class Content | Steve Herberman
Improvising in the chord melody style can be taken to new heights when inner lines are employed that are musical and played with finesse. This class will deal specifically with inner lines, or lines that are played between a melody note and a bass note. The melody and bass notes are important providing the necessary framework for solo chord melody playing. As an alternative to the common chord form approach to chord soloing we’ll examine how to make something unique and musical happen between the bass and melody. The inner line concept can be a satisfying way of personalizing one’s chord soloing. Often the success of a good inner line depends upon choosing a good melodic line that resolves well and having a good flexible technique to make the line seamless, maintaining the independence of the two parts. A flexible technique can be achieved by practicing the studies set forth in this class so that true improvisation in this style can happen naturally. Using principles that were inspired by the materials George Van Eps outlines in his harmonic mechanisms books, some of the lines will be given a bebop/hardbop update and I’ll demonstrate the types of fingerings employed to make these lines happen between 2 outside sustained notes. The class should make it possible for the player to improvise more interesting arrangements in the chord melody style. Be prepared for a true left hand finger workout leading to much greater finger independence!
View a clip from Steve’s Class.
|The Inner Line|
|The Inner Line||01:29:00|
Going for Baroque Class Content | Steve Herberman
This class is an introduction to Baroque-style counterpoint filled with harmonic resources to aid in the ability to compose and improvise within this style. Focusing on contrary motion and the authentic cadence employing secondary dominants, cycles and modulations, the written exercises are designed to help get strong compositional elements in the ears and hands of the player.
Once the finger mechanics and harmonic concepts have been practiced, two-line improvisation in this style can occur more easily.
We’ll be dealing with quick harmonic rhythms, chords lasting one or two beats and played in cycles resulting in music with forward motion that contain interesting modulations.
Highlights of the class include:
- Single note Baroque-style etudes,
- 2-part exercises in contrary motion,
- melodic embellishments,
- conversational bass techniques,
- cycle 4 and cycle 6 target chords using secondary dominants. IV V I
- cadences in various keys,
- chromatic counterpoint in contrary motion,
- an original arrangement of All cadences in various keys
- chromatic counterpoint in contrary motion,
- an original arrangement of All The Things You Are written as a Baroque/Jazz hybrid for 6 string guitar with additional pages included for 7 string guitarists.
- The class comes with 21 pages of written material in standard notation.
- Any player wishing to get deeper into composing and improvising in the Baroque style will not want to miss this class!
- 65 Minutes
- 21 Pages of PDF materials
|Going for Baroque|
|Going for Baroque||01:05:00|
Contrapuntal Triad Pairs part 1: Close-Voiced Triads Class Content | Steve Herberman
Exercises in standard notation with fingerings, TAB and chord diagram form.
This fun and challenging class combines altered sounds and major and minor triad pairs from melodic minor with loads of counterpoint.
The eight pages of written examples are comprised of ii-V-I examples in several keys that employ low open strings, perfect for solo guitar, comping, and chord soloing. Included is a chord grid page of “visualizations”, a quick way to memorize altered sounds over dominant 7ths using major and minor triad pairs. You won’t hear II-V-I’s the same after working with this class!
In my previous harmonized melodic minor scale class, strings of triads and seventh chords were put together and used for comping and chord soloing. Now we’ll take those chords and give them a thorough workout with all types of line motion utilizing the Van Eps super and sub series in all possible voices. This can really add a lot of interest on top of something that is already harmonically pleasing. And most importantly the sound will get in the ears, and in turn, the hands of the player.
After working with the techniques in this class for a while in practice and performance you’ll be ready to explore open voiced or spread triads in part two of the class. Wrap your fingers around some fun and ear opening sounds used for years by the great pianists.
Running time: 79 minutes
Other Classes from the Jazz Guitar Series:
- Contrapuntal Triad Pairs Part I: Close-Voiced Triads
- Contrapuntal Triad Pairs Part II: Open-Voiced Triads
|Contrapuntal Triad Pairs part 1: Close-Voiced Triads|
|Contrapuntal Triad Pairs part 1: Close-Voiced Triads||01:19:00|
Contrapuntal Triad Pairs part 2: Open-Voiced Triads Class Content | Steve Herberman
This continuation of Contrapuntal Triad Pairs part 1 features open voiced triads played in a conversational chord-melody style. The active eighth note melodies weave in and out of all 3 voices creating musical lines in the upper, middle, and lower voices. Two sets of triad pairs are used over altered dominant seventh harmony in short II-V-I examples and also on longer 8 measure etudes that feature the all important II-V-I progression in both major and minor keys. The two triad pair sets used are two major triads one whole step apart and two minor triads one whole step apart.
For variety the augmented triad is also used in addition to some four part chords. The sets of triad pairs presented here give the player a concrete approach to achieving great sounding altered dominant sounds coupled with the rich sound of open voiced triads, minor sixth chords and minor major seventh harmony.
All of this is explained in the video and outlined in the musical examples. An analysis of the examples are given on this jazz guitar instructional video to help the player understand the material and to encourage the guitarist to compose and improvise in this style.
Throughout the class tips are given to be able to tap into the triad pairs easily without relying on any intermediate steps that can sometimes interfere with creative flow. This fun and challenging class will surely steer the guitarist down some interesting roads with new chordal twists through weaving melodic lines. Fingerstyle or pick and fingers technique is necessary to be able to play most of the examples.
- 13 pages of written materials notated in both TAB and standard notation with fingerings.
- Running Time: 90 minutes
|Contrapuntal Triad Pairs part 2: Open-Voiced Triads|
|Contrapuntal Triad Pairs part 2: Open-Voiced Triads||01:33:00|