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Jazz Phrasing (All Instruments) – Complete [5-part series] | Steve Herberman

$89.00 $69.00

The Complete Jazz Phrasing Series!
3 hours and 21 minutes of video!
38 pages of written material in TAB and Standard Notation!

SKU: SHJazzPhrasingComplete Categories: ,

Description

“SIMPLE ROUTINES THAT WILL TRANSFORM YOUR PLAYING”

“A couple of hours with this course and I sound so much better I can’t believe it. The great thing about rhythm studies is that everything benefits – soloing, melody, comping, everything. Can’t wait for my next gig in a couple of days, thanks Steve.”

~ Ray B.

“WOW REALLY GOOD MATERIAL HERE!!”
“Wow really good material here. I can feel my rhythmic sense changing as I was going through the materials the first time! Really fun stuff to practice 🙂 Also at the end Steve gives us some blues applications and I think the feel of things to come in the 3rd class with 16th notes. Very fun stuff thank you Steve for taking the time to put this material together :))”

~ George C.

Jazz Phrasing Part 1 (For All Instruments) Class Content | Steve Herberman

Part 1 of this single note-based class explores the superimposition of 3/4 rhythms over 4/4 swing commonly called hemiola rhythms. This rhythm is a hallmark of jazz syncopation and can really make your solos and comping swing through it’s “over the bar line” phrasing.

The class begins with one of the most swinging rhythms in jazz from Duke Ellington’s “It Don’t Mean A Thing.” Three different common tone or pedal points are used to phrase over the chord changes to “Sunny Side Of The Street” using Duke’s iconic rhythm.

The next rhythm that is explored is the dotted quarter note, used in the form of guide tone lines and scale patterns. We then move on to harmonized diatonic triads in a modal context employing hemiola rhythms.

Next we apply the same 8th note rhythm of three note groupings to the changes of “Sunny Side” using triads, scalar patterns and enclosures. The practice is then extended to six note patterns.

Finally we explore the classic “Honeysuckle Rose” pattern bending it into a 3/4 rhythm to be used over chord changes in 4/4.

Working on one’s phrasing will bring your playing up to new heights and establish greater rhythmic conviction in your playing.

You’ll be sure to benefit from working this elastic phrasing into your music as it is essentially what will give the lines forward motion and swing.

Expected Outcome from this class: Break down some rhythmic roadblocks and feel rhythm in a freer way. This will give you the ability to phrase over the barline and swing harder!

  • 4 pages of PDF written material notated in standard notation (and TAB for guitarists)
  • Running time: 31 minutes

Sub-Topics:

  • Hemiola Rhythms (3/4 against 4/4)
  • Freeing up one’s rhythmic feel
Part I
Jazz Phrasing Part 1 Class Video 00:31:00

Jazz Phrasing Part 2 (For All Instruments) Class Content | Steve Herberman

Part 2 of this single note-based class explores the various triplet-based rhythms that provide satisfying cross rhythms over 4/4 time. This class is packed with useful information and in-depth demonstration and explanations of the written PDF’s. The class begins with foundational rhythmic exercises using the diatonic chords in D dorian as well as the dorian scale. Emphasis is given on how to count and feel the various triplet rhythms shown.

The second section of the class uses these rhythms over two tunes:

  • There Will Never Be Another You” and
  • a Bb Blues progression.

These triplet rhythms can be major road blocks that often get in the way of developing a great swing feel. Mastering these rhythms will allow the player to phrase over bar lines effortlessly. Being more aware of accents and note groupings will give one’s soloing and comping added conviction, forward motion and swing.

  • 8 pages of PDF written material notated in standard notation (and TAB for guitarists)
  • Running time: 45 minutes

Sub-topics Included

  • Grouping triplets in hemiola rhythms and other cross rhythms against 4/4 time
  • The practice of correctly counting half note and quarter note triplets
  • The ability to successfully play the 8th note triplet in groupings of 2, 4 and 5 notes.

Outcome from this course:

Flexibility in phrasing with all kinds of triplet rhythms with the ability to group them in various ways for maximum rhythmic tension.

Part II
Jazz Phrasing Part 2 Class Video 00:45:00

Jazz Phrasing Part 3 (For All Instruments) Class Content | Steve Herberman

Sixteenth note lines are an important part of jazz phrasing that sometimes gets overlooked. They are an essential part of double-timing, an exciting rhythmic device to employ while soloing, especially when grouped in interesting ways.

This masterclass examines the various note groupings of sixteenth notes concentrating on those that are asymmetrical since they tend to be the most rhythmically satisfying. We’ll look at groups of 3, 5, 6, and 7 as well as grouping the sixteenth notes as triads, 7th chords, 9th chords and 11th chords.

These foundational exercises are given at the beginning of the class using D dorian tonality to see and hear the examples more easily. The minor 6 pentatonic scale is used in several examples to give the examples a hard bop Coltrane-type of feel and sound.

The class closes with a 32 bar solo written over the chords to “There Is No Greater Love” that is challenging while addressing this syncopated sixteenth note technique through chord changes. Charlie Parker put this approach on the map in his rhythmically exciting improvisations. Using Bird’s approach as a foundation this class delves into some of the more recent developments of odd time cross rhythms over 4/4 time.

Rhythmic variety is what the jazz player is most often seeking in their solos. Getting a firm understanding and control of sixteenth note rhythms will definitely take one’s playing to a higher level.

  • Running time: 30 minutes
  • 8 pages of PDF material including standard notation and TAB

Sub-topics Included

  • 16th note phrasing and articulation of 3, 5, 6, 7 note groups
  • The minor sixth pentatonic scale and diatonic triads and 7th chords
  • Asymmetrical phrasing and articulation of 16th rhythms over “There Is No Greater Love” written solo

Outcome from this course:

Achieving flexibility and competence with feeling asymmetrical groupings of 16th note rhythms. The guitarist should be more comfortable double-timing on their solos.

Jazz Phrasing Part III
Jazz Phrasing Part 3 Class Video 00:30:00

Jazz Phrasing Part 4: Articulation & Rhythmic Variety (For All Instruments) Class Content | Steve Herberman

This single note-based class is about “putting it all together” to make your lines swing. Through a close look at articulation and pairing varied rhythms utilizing forward motion, the player will feel more confident swinging in the jazz tradition. Whether it’s playing solo guitar or playing with a group, there are concepts presented here that will help give your lines more presence with greater rhythmic confidence.

  • 10 pages of PDF written material notated in standard notation (and TAB for guitarists)
  • Running time: 48 minutes

Concepts Included

  • Articulating phrases to make them “pop” with added presence

  • Bringing out the backbeat (2 & 4) in your lines

  • “Laying back” with 8th note-based lines

  • Emphasizing off beats with legato and staccato phrasings

  • Playing 3/4 rhythms over 4/4 time

  • Short 16th note “stabs”

  • Call & response ideas and related dynamics

  • Slurs and other ornamentations

  • Grouping triplets in various ways

Outcome from this course:

This class will surely get you swinging in some new ways!

Class
Jazz Phrasing 4: Intro 00:03:10
Exercise 1: Lower pedal and guide tone line Bb Blues w/ anticipations 00:03:36
Exercise 2: Bb Blues w/ anticipations 00:03:36
Exercise 3: Bb Blues w/ legato notes on offbeats 00:02:07
Exercise 4: Lines with backbeat on 2 & 4 00:06:37
Exercise 5: Bb Blues w/ short 16ths 00:01:30
Exercise 6: Bb Blues w/ triplet rhythms (lower pedal, upper step-wise line) 00:05:26
Exercise 7: “Laying Back” on a Bb Blues & Call and Response on an Eb Blues 00:06:12
Exercise 8-18: Enclosure, Hemiola, and Various Note Groups 00:12:57
Jazz Phrasing 4: Outro and Solo 00:02:59
Complete Video
Jazz Phrasing 4: Complete Video and Download 00:48:09

Jazz Phrasing Part 5: “Quoting” Bebop Heads and Standard Tunes (For All Instruments) Class Content | Steve Herberman

The rhythmic and melodic language of music and jazz is not only in the solo lines of your favorite jazz players but also in the melodies of the tunes they play. These could be bebop heads, bossa nova tunes, standard tunes etc. Using these great melodies with their often complex and swinging rhythms we will look at how to apply them to your single note improvising giving your phrasing a fresh new perspective. The great bebop heads for example have great phrasing and articulation which really help give the music forward motion and swing. Borrowing rhythmic and/or melodic motifs (“quoting”) can be a terrific way of learning to utilize better jazz phrasing and articulation. The fun comes into play when we move these motifs around to different pitch levels in order to fit the chord changes. Working on transposing these ideas in numerous ways to fit the chord changes of your favorite tunes is a very important way to practice. It’s where theory meets musicality on your instrument! We can change where the phrases begin rhythmically and work with shorter motifs from these tunes becoming experts at moving them around.

The examples contained in the class PDF demonstrate these principles over the tunes “Out Of Nowhere” and “Rhythm” Changes. Often these motifs can be disguised by changing either their pitch level or altering their rhythms. Many of the greatest jazz improvisers were master of dropping in quotes in clever ways. Sonny Rollins is perhaps the best example, often fitting in quotes in the most surprising places, adding both humor and a sense of wonderment to his solos.

In this class, Steve uses some of his favorite quotes and contrafacts. You simply can’t go wrong with well-conceived melodic and rhythmic phrases penned by the masters, replete with crisp articulations and inherent swing.

  • 8 pages of PDF written material notated in standard notation (and TAB for guitarists)
  • Running time: 45 minutes
Full Video + Download
Jazz Phrasing 5 Complete + Download 00:46:49
Class
Jazz Phrasing 5: Intro 00:03:44
Jazz Phrasing 5 : The Concept 00:00:58
Jazz Phrasing 5: Hi Fly by Randy Weston 00:01:28
Jazz Phrasing 5: Like Sonny – John Coltrane 00:00:38
Jazz Phrasing 5: Hot House – Tadd Dameron 00:00:43
Jazz Phrasing 5: Ceora – Lee Morgan 00:00:35
Jazz Phrasing 5: Other Songs and Artists 00:02:11
Exercise 1: Out of Nowhere using Pent Up House Phrase 00:00:30
Exercise 2a: Out of Nowhere using Robbins Nest 00:00:44
Exercise 2b: Out of Nowhere using Robbins Nest – alt rhythm 00:01:02
Exercise 2b: Different pitch level and slightly alt rhythm 00:01:19
Jazz Phrasing 5: Bill Evans Story 00:01:56
Jazz Phrasing 5: Sonny Rollins Story 00:02:07
Exercise 3a: Out of Nowhere using Cool Blues 00:00:27
Exercise 3b: Different Pitch Level 00:01:07
Exercise 4a: Out of Nowhere using Parisian Thoroughfare 00:01:01
Exercise 4b: Different Pitch Level 00:00:57
Exercise 5a: Nostalgia Fats Navarro 00:02:44
Exercise 5b: Nostalgia – Different Pitch Level 00:01:04
Exercise 6a 6b 6c: Star Trek over Out of Nowhere 00:02:02
Jazz Phrasing 5: 7 Quotes on Rhythm Changes 00:04:24
Jazz Phrasing 5: 7 Explanation 1st chorus AA 00:02:56
Jazz Phrasing 5: 7 Explanation 1st chorus BA 00:03:07
Jazz Phrasing 5: 7 Explanation 2nd Chorus AA 00:03:31
Jazz Phrasing 5: 7 Explanation 2nd Chorus BA 00:01:55
Jazz Phrasing 5: Outro and Solo 00:03:56

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