Jay Umble – Complete

Guitarist Jay Umble holds his first Mike’s Master Class where he conveys his ideas on modern harmony and harmonic concepts.  Read more for a detailed outline.

1. Modern Harmonic Systems
a. C Dorian Harmonized Scale
b. Major and Minor Parallel Chordal Systems

2. Blurring the Harmonic Nature of Chords

3. Bossa Nova Rhythm Concept with application on a Standard Tune

4. Parallel Voicing Concepts for ii – V7 – I Progressions

5. Modern Comping with the Blues
a. Using a common tone on top for entire chorus
b. Pianistic voicings
c. Other voicings – 12 bar example
d. Applying the Altered Dominant Matrix System

6. Modern ii – V7 – I Progressions

7. Harmonic Set-Ups

View a second clip from this class

In this Master Class Jay connects the entire neck from the dominant 7th perspective.  He uses the root key of C7 (C7, C9, C11, C13) and covers each position in depth.

Improvisational concepts discussed include:

– ii minor perspective
– major triad up a step
– major triad down a step
– playing off the chord
– importance of intervals
– inside / outside ideas
– symmetrical ideas

In this class, Jay Umble explores further expansion of Dorian, Harmonized Scale, and blues applications.

Further Expansion of Dorian
Harmonized Scale (Quartal Harmony)
Blues Applications
Rhythm Changes Applications
Intros
Harmonic Fields Concept

Join acclaimed jazz guitar Master Jay Umble as he discusses his ideas for handling major chords.   Jay’s approach will lead to a spacious/modern sound.

Jay Umble’s unique approach to handling this major linear concept is by looking at the way the chords respond through inversions up and down the neck.

By taking this course, be prepared to see solos and comping in a whole new light!

Discussed in this Lesson:

• The Major Framework
• Connecting the Positions (Framework)
• Systems of Approach within the
• Major Framwork
• Linear Concepts (micro and macro)

Includes exercises in standard notation and TAB.

Video Length: 1 hr 18 min

If you have felt stuck in your ability to write tunes, this composition class will show you an entirely new way to address this process.  No more waiting for that “magical moment” when composition appears.  These techniques are proven to work when you need them to work!

If your writing needs a jump start and you are searching for a fresh approach to composition, this class is for you!

The main point of this Master Class:  Compose a series of chords that sound great from one to the next.  With this chord progression established, all other aspects (tune structure, style, melody, intros and outros) will fall into place.  These techniques demonstrate that through the use of a small parameter (that each chord must contain a particular note), chord progressions become easy to generate!  This small parameter doesn’t dictate the compositional process.  It simply enables you to have a sense of direction.  Without this parameter, the chord progressions (that you develop with these techniques) would forever remain hidden.
The tunes played in this video are meant only to demonstrate the techniques involved.  The important thing to “get” from these tunes is the process that brought about these tunes!
In this Master Class:

•Alphabetic Junction – “Orange To Grey”  (Ballad)
•Single Tone In Variation – “Infinite Staircase” (3/4 Med. Up)
•Multiple Tone In Variation – “Durana” (Samba)
•Single Chord In Variation – “Springs” (Med. Swing)
•Numerical Junction – (only process explained)

View a clip

This class addresses psychological performance concepts, methodology (how to) pointers and philosophical concepts relating to the guitar and music in general.  Jay shares his insights drawn from 30 years in the music arena.  Other topics covered are topics rarely, if ever, discussed.

Unlike the standard approach to master classes (ie., put your finger here and play this chord, etc.) this class series is a discussion about the artistic/philosophical side of music.  This class series will have you thinking “why didn’t I know this 20 years ago!”

Topics include:

• Right Hand Technique
• The Making of a Good Player
• Dealing with less than Ideal Circumstances
• How To Structure Practice Time
• Methodology
• Sight Reading
• The Journey
• Tablature
• I Hear Sound
• Chord Substitution

Psychology, Philosophy & Methodology for
The Jazz Guitarist – 3

This class addresses psychological performance concepts, methodology (how to) pointers and philosophical concepts relating to the guitar and music in general.  Jay shares his insights drawn from 30 years in the music arena.  Other topics covered are topics rarely, if ever, discussed.

Unlike the standard approach to master classes (i.e., put this finger here and play this chord, etc.) this class series is a discussion about the artistic/philosophical side of music.  This class series will have you thinking “why didn’t I know this 20 years ago!”

Topics include:

• Balancing Energy
• One of the Big Secrets To Improvisation
• Polarity
• Giant Steps
• Go To School Without Going To School
• Hearing
• Improv. Substitutions
• Expanding Your Awareness
• The Most Important Thing

“Become a sculptor of sound to create any effect you want”: Jay Umble states this as the  aim of this course. Over 88 minutes Jay provides an arsenal of approaches to achieve this sound-sculpting goal. While minor lines are a recurring theme, he includes information that covering harmonic, melodic and rhythmic ideas.

From the onset he discusses viewing the entire fretboard as one chord,  using G minor7 as a recurring tonality throughout the video examples.

Jay starts by identify the fretboard areas guitarists tend to avoid while soloing over a G minor7.  Giving a range of approaches, he  builds confidence to create solos seamlessly over the neck.

There is an emphasises on targeting chord tones so that ultimately the improviser can play effortlessly both inside and outside, deliberately manipulating the solos with what he terms as “random points of entry”, i.e., starting a solo either diatonically or non-diatonically at will.

There is a wealth of information about approaches for note decisions on when to play using either a scalar approach (easier for the listener) or  intervallically, ( which the human ear tracks less accurately), which allows the guitarist to take more chances.

This is where wilder and more ‘outside’ tonalities can be created.

Jay also offers ideas on becoming confident even when playing the occasional ‘avoid’ note and how to get away with it!

In this comprehensive course, there is also a wealth of information on ideas about on:

• approach setups – short and long
• the use altered dominant ideas
• how to view chord shapes across the neck for greater fluidity
• the use of fifths harmony for ultra-modern sounds
• Single-string soloing ideas
• Becoming familiar with intervals in relation to the root in every position
• Gaining control over randomness to build more interesting lines.

Jay’s approach is friendly and relaxed and these concepts are presented in a way that players will find easy to adapt to their own style.

10 pages of written materials in Standard Notation and TAB 

Running time: 83 minutes 

[Class Description by Mike Bryant]

This Master Class demonstrates Jay’s unique approach to soloing through the classic ii, V7, I chord progression. This class takes a global approach to improvisation, choosing to deal with concepts rather than overly detailed explanations. Working in the key of G Major, Jay shows how easy it is to improvise with confidence over this all-­important progression. This class will bump up your improvisational skill over night!

• Intervallic concepts
• Key center concept
• Simplicity vs, complexity
• Using 4ths
• Gravitational concepts
• Stacking arpeggios
• Ignoring the ii, V7 part of the progression
• Chromaticism