Expanding Your Chord Vocabulary Class Content | Vic Juris
Vic offers a wealth of information as he discusses concepts from his book “Modern Chords”. He shares techniques for reharmonizing songs with examples on All The Things You Are, Green Dolphin Street and Stella By Starlight. He covers comping as well as picking techniques and exercises in response to class questions.
View clips of Vic’s class
Vic Juris’s associated book:
|Expanding Your Chord Vocabulary|
|Expanding Your Chord Vocabulary||01:27:00|
The Art of Fusion Guitar – Part I Class Content | Maurice Arenas
Maurice Arenas has specially created this series for Mike’s Master Classes targeting the overall player who wishes to comprehend and master many musical genres. In the first video of the series a fusion solo is broken down that contains elements of Jazz, Blues, Shred, Rock and Fusion. This first video was intended for guitarists of many skill levels from Beginning, Intermediate to the Advanced. Each level will receive something on each topic, which enables the student to continue learning more after certain concepts are internalized.
The first in this video series covers a variety of concepts used in many genres, including Rock, Shred, Blues, Jazz and Fusion
The techniques and concepts shown and explained are:
• Chords used in the lesson (including Jazz chords and Slash chords)
• Sweep Picking Arpeggios similar to “Frank Gambale” (Level 1 and 2)
• Hybrid Picking
• Playing Chromatic passing tones – outlining small chords
• 3 Octave Scales with a logical approach
• Pentatonic Scales with a repeated notes similar to “Allan Holdsworth” and “Paul Gilbert”
• Diminished Arpeggios and Applications in Jazz, Blues and Rock
• 7 Modes of the Major Scale – 3 notes per string
• 5 Pentatonic Boxes – 2 notes per string
• Fingerboard Knowledge Overview – Maurice Arenas basic approach to viewing the guitar
• Scales on one string, 2 notes per string, 3 notes per string, 3 octaves
View clips from this class
|The Art of Fusion Guitar - Part I|
|The Art of Fusion Guitar – Part I||00:53:00|
Bebop Flow: Connecting Harmonic Concepts with the Family of 4 Class Content | Sheryl Bailey
Learn how to play in any harmonic situation and create long, fluid lines with this concept of applying the Dom7 Be-bop Scale with a group of chord substitutions called “The Family of 4”
Read a review of this class in Guitar International Magazine
|Full Video + Download|
|Bebop Flow: Connecting Harmonic Concepts with the Family of 4||01:22:00|
|MMC Study Suggestion by Az||00:00:00|
|2. Just Friends – Intro Solo||00:02:50|
|3. What is the Flow? Dominant 7 Bebop Scale Example||00:03:44|
|4. F7 Bebop Scale Fingerings From All Chord Tones (3 and 2 octaves)||00:02:03|
|5. How to Use The Flow||00:00:29|
|THE MICRO-COSMIC BEBOP LINE|
|6. The Micro-Cosmic Bebop Line – Intro||00:02:08|
|7. The Micro-Cosmic Bebop Line – The Line||00:00:38|
|8. The Micro-Cosmic Bebop Line – Analysis||00:01:58|
|THE FAMILY OF 4|
|9. The Family of 4 – Intro||00:01:04|
|10. The James Brown Chord and Pluralities||00:02:22|
|11. Am7b5 and Cm6||00:02:30|
|12. The Bebop Scales||00:04:38|
|13. Nice Fingerings for Ebmaj7 and Am7b5 Arpeggios||00:00:50|
|14. How to get a Lydian Sound||00:01:01|
|15. The Flow on Vamps||00:01:01|
|16. Major II-Vs||00:00:41|
|THE FIFTH SOUND|
|17. Minor II-Vs and The Altered Sound||00:02:59|
|LEARNING TO HEAR|
|18. Learning to Hear on Major and Minor II-Vs||00:02:45|
|19. Learning to Hear over Major7||00:01:23|
|20. II-7 V7 with Dom7 Bebop||00:04:34|
|21. Minor II V with Dom7 Bebop||00:01:52|
|22. Family of 4 Bebop Lines||00:07:06|
|23. All The Possible Sounds – F7 Cmin7 Ebmaj7 Cmin7 F7 Amin7 D7b9||00:03:21|
|24. Improvised Solo Example||00:02:54|
|APPLYING THE FLOW - JUST FRIENDS|
|25. Just Friends Ala Bebop – Explanation||00:06:52|
|26. Just Friends Ala Bebop – Solo Example and Thoughts||00:04:17|
|27. Substitute II-Vs||00:03:10|
|28. Light and Dark on C7||00:04:03|
|29. Just Friends (Slower Tempo)||00:03:34|
|THE FLOW UNLEASHED|
|30. Just Friends – Improvised Outro Solo||00:02:09|
How to Improvise with Major Triads Class Content | Juampy Juarez
All the scales covered
A simple tool like the major triad, well known for most jazz players, now becomes a powerful device for improvising and composing, and for a better guitarist’s understanding .
These triads have a very strong sound in itself. For this reason, we can mix them and improvise with many of them together.
In this clinic we will learn to use major triads belonging from Melodic minor, Diminished, Harmonic and Augmented, so we are covering all the scales that we use in Western culture.
I added two blues of my own, of which the melodies are based upon major triads indeed.
Most important of all, we will sound more modern than before, and many new melodies will appear in our sonic palette. Geniuses like John Coltrane, Joe Diorio, Pat Metheny and many more used major triads in their playing.
|How to Improvise with Major Triads|
|How to Improvise with Major Triads||01:00:00|
Advanced Harmony for the Jazz Guitarist Class Content | Roni Ben-Hur
Exploring intricate chord voicings based on the Minor 6, Major 6 and the Diminished chords.
11 lessons that will dramatically change your approach to chord voicing, allowing you to add color, texture and harmonic movements to every chord, using the minor 6 and major 6 diminished scales, and the diminished chord. Mastering this information will give you the tools to create sophisticated voice leading, impressionistic chords with beautiful tensions, and raise your chord solo and accompaniment playing to new heights.
All these concepts are clearly explained, and ways to practice them are outlined.
Sheet music and chord diagrams for the material in these lessons is included.
NOTE: These videos and materials were previously released in Roni’s “Chordability” DVD.
|Advanced Harmony for the Jazz Guitarist|
|Advanced Harmony for the Jazz Guitarist||01:17:00|
The Half Diminished Sound Class Content | Tom Lippincott
Half diminished (also known as minor seventh flat five) chords are a familiar structure to most jazz guitarists and occur in many, if not most, standards. Even beginning-level players usually know a couple of half diminished voicings to plug in when needed. However, because this sound isn’t as common as major, minor, dominant, and even fully diminished chords, jazz guitarists are often not as well-versed with half diminished as with the other sounds.
Many players who can otherwise improvise and comp comfortably and effortlessly through a tune might stumble when a half diminished chord comes up. It’s understandable that we aren’t as familiar with concepts that we don’t use as frequently.
This class will focus, in detail, on the often ignored, but beautiful and ethereal-sounding half diminished chord. First, we will find chord voicings and arpeggios all over the neck with exercises and suggestions for improving fluency. Then, we will investigate many different uses of the half diminished sound so that it can be implemented over just about any of the commonly played harmonies in jazz.
This class will help you become more comfortable soloing and comping on half diminished chords, and it will also give you new ideas for using half diminished chords and arpeggios superimposed over other harmonies to create new and exciting sonorities.
The Half Diminished Sound covers:
- Basic structure and sound of the chord
- All voicings on the guitar of the half diminished/minor seventh flat five chord
- Half diminished arpeggio fingerings, both along individual strings and across the strings by position
- Exercises for gaining fluency with the chords and arpeggios all over the neck
- Explanation of different techniques for adding color tones to half diminished chords, with numerous examples
- Thorough exploration of using half diminished sounds to represent harmonies from the major and melodic minor scales, both as chords and as arpeggios, with multiple example of each • use of half diminished chords to create harmonized melodic minor scales
- Finding the four half diminished chords contained in the diminished scale and using them as chords and arpeggios to create fresh sounds on diminished chords • single note solo etude demonstrating material from the class on the chord changes to “Upper Manhattan Medical Group”
- Chordal etude using a harmonized melody utilizing the concepts from the class, also using the chord changes to “UMMG”
- Running time: 95 minutes
- Includes 22 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.
- MP3 backing tracks for written examples, as well as full-length tracks for improvisation practice
|The Half Diminished Sound|
|The Half Diminished Sound||01:35:00|