Going for Baroque (Complete 3-part Series)

$79.00 $59.00

The Complete Going for Baroque Series with Steve Herberman!
3 hours and 15 minutes of video!
45 pages of written material in TAB and Standard Notation!

SKU: SHJazzPhrasingComplete-1 Categories: ,


“This lesson tied a lot together for me, very generous and well constructed lesson! Probably the best lesson so far, on Mikes Master Classes.”

~ Torkill B.

“This one however (as always with Steve Herberman) has to be the most pragmatic and exhaustive. The staggering amount of examples (both the exercises and the arrangement of ‘All the things you are’) is a goldmine of ideas which take you progressively through levels of complexity.

Far from being an isolated subject, this baroque-style counterpoint approach ties in incredibly well with Steve’s other materials (Inner Lines, Contrpuntal improv, Chord motion etc) and are useful way beyond Jazz Improvisation.

Over the last couple of years these classes have had a profound impact on my playing, writing and arranging and for this reason I’ll be forever grateful to Steve!”

~ Nico S.

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

Going For Baroque, Part Two (Three-Voice Counterpoint) Class Content | Steve Herberman

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!
Full Class + Download
Going for Baroque Pt. II: Three-Voice Counterpoint 01:09:54
Section I
Introduction 00:04:26
Three Part Studies – Ex 1 00:05:16
Three Part Studies – Ex 1a and 2 00:03:27
Three Part Studies – Ex 2a 3 and 3a 00:04:25
Three Part Studies – Ex 4 00:01:49
Three Part Studies – Ex 5 6 and 6a 00:04:01
Section II
Example 7, 7a 00:04:33
Three Part Studies – Ex 8 and 8a 00:04:47
Three Part Studies – Ex 9 9a and 10 00:03:55
Three Part Studies – Ex10a 00:03:14
Section III
Three Part Studies – Ex 11 and 11a 00:04:50
Three Part Studies – Ex11b and 11c 00:04:41
Three Part Studies – Ex12a and 12b 00:06:22
Three Part Studies – Ex13 and 13a 00:07:47
Three Part Studies – Ex 14 and 15 00:02:34
Conclusion and Closing Performance 00:03:42
Example 4 Soundsliced 00:00:20
Example 10a Soundsliced 00:00:44
All Example Available for Practicing 00:15:00

Going For Baroque Part III Class Content | Steve Herberman

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
Full Class + Download
Going For Baroque Part III Full Class + Download 01:01:52

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