Single Note Series II Includes:
Single Note Soloing Concepts on Rhythm Changes Class Content | Steve Herberman
The chord changes to “I Got Rhythm” are required study for any jazz musician. Hundreds of tunes are fashioned after the Gershwin standard as well as the most popular turnarounds using the one-six-two-five progression and its substitutions. In this class I’ll outline many of the useful soloing concepts including reharmonization, guide-tone lines, arpeggio usage, chord scales and motivic development using arpeggios and scales. Other topics will include reducing the changes down to basic cadences such as five to one and four minor to one as well as running the changes playing off of each chord. Learn simple and effective tricks to making the changes and handling up-tempo playing. This will be packed full of information that can be applied quickly. If rhythm changes have always been hard to handle or if you are just in need of some new ideas then this class is for you!
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|Single Note Soloing Concepts on Rhythm Changes|
|Single Note Soloing Concepts on Rhythm Changes||01:37:00|
Exploring the Chord/Single Note Line Connection Class Content | Steve Herberman
Harmonically rich single note lines are embedded in many chord forms!
Certain chord forms can be arpeggiated to yield beautiful single note lines and then connected to make satisfying musical phrases. In this masterclass we’ll examine the shapes that translate best in making interesting single note lines. All string sets will be covered over the entire fretboard using every chord quality. This practice helps the guitarist see the fretboard as “one big position” while giving important visual landmarks for both chordal and single note playing. The deeper a player gets into voice leading chords the easier it is to make strong harmonic connections via single note lines.
The other side of the coin is what I refer to as “Gradual Chords”. “Gradual Chords” often begin as a scalar single note line that builds as string crossing occurs. Each time a new string is employed a note gets added from the previous string. The evolution of the chord begins with single notes becoming two notes sustained below a melody line. Then it becomes three notes sustained below a melody until we run out of fingers! So we arrive at a four note chord beginning modestly as single note run. Open strings can always be added to get further interesting results.
Both of these techniques can dramatically affect the way a guitarist looks at music. The wall comes down between chords and single note lines so that the improviser can move freely and naturally between the two so that they really become one entity. As always there are many pages of written examples that accompany each class.
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|Exploring the Chord/Single Note Line Connection|
|Exploring the Chord/Single Note Line Connection||01:27:00|
Quartal Harmony and Intervallic Soloing Class Content | Steve Herberman
With TAB and standard notation.
Quartal harmony can really spice up ones comping and soloing bringing them into the modern realm. Being well-versed in quartal shapes and appropriate fingering and picking techniques can help intervallic soloing come out naturally in one’s playing.
This class is a continuation of the earlier masterclass “Exploring the Chord/Single Note Connection.” Picking up where that class left off we’ll delve into the world of quartal harmony applied to tunes such as Inner Urge, Freedom Jazz Dance and Maiden Voyage. Memorizing the quartal shapes, practicing them in chord scales and applying them to modal playing as well as denser harmonic changes can unlock interesting comping and soloing possibilities in the modern style. By practicing the fingered exercises that accompany this video class, the mechanisms will be in place for improvising naturally in an intervallic manner. Once the chord shapes are mastered in various keys we’ll add in scale tones and approach note patterns for inside/outside effects through single note soloing. Also included in the written material is an intervallic-style solo on Inner Urge that draws from the quartal voicings and mixes in plenty of chromaticism.
We’ll take a detailed look at left hand fingerings approaches such as finger alternation and finger “rolling.” This will help give the intervallic lines clarity and definition. Right hand techniques will also be addressed to include both pickstyle and fingerstyle technique. Expand your quartal chord knowledge while enhancing your single note vocabulary with this fun and detailed class on intervallic playing!
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|Quartal Harmony and Intervallic Soloing|
|Quartal Harmony and Intervallic Soloing||01:36:00|
The Diminished Scale In Improvisation Class Content | Steve Herberman
The Diminished Scale In Improvisation
The diminished scale is perhaps the most fun and challenging scale used in improvising adding spice and a modern vibe to melodic lines.
Gain a thorough understanding of the diminished scale through 12 pages of exercises and discussion in this in-depth 90-minute masterclass. Harmonizing any of the 3 symmetrical diminished scales will yield 16 different triads, and 16 seventh chords! This class looks at many of these possibilities in close detail.
Jim Hall’s “Careful”
Duke Ellington’s “Caravan” similar to Wes Montgomery’s classic version
Single note and chordal resolution exercises
The dominant/diminished connection
Classic sequences and patterns
Chord/Scale Visualization techniques
Triad usage and arpeggios
Diminished chord functions/substitutions
Fewer scales are as much fun and rewarding as the diminished. Get control of this valuable improvisation tool and enjoy the results!
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|The Diminished Scale In Improvisation|
|The Diminished Scale In Improvisation||01:36:00|
Altered Sounds Class Content | Steve Herberman
In TAB and standard notation, 25 pages of written material
Western music is based on the idea of harmonic cadence, tension and release. It’s easy to balance tension and release once the principles are clearly understood. This in-depth masterclass will have you playing those spicy sounds you hear on recordings by your favorite jazz guitar artists.
Through close examination of the principles and theory necessary to master these sounds including organizing them on the fingerboard, you’ll find it easy to improvise great sounding altered lines. A thorough understanding of altered dominants requires knowledge of raised and lowered fifths and ninths, b5, #5, b9 and #9 from all roots. We’ll use landmarks on the guitar’s fingerboard by way of chord forms and root locations to quickly find all of the altered tones.
Additionally there are simple shortcuts to group these 4 tones together using scales such as the minor pentatonic scales you already know, the dorian mode, super locrian (melodic minor mode) and more. Many examples leave room for you to weave your own line into a written line. We’ll use triad pairs, a special mixolydian pentatonic scale, bebop scales, harmonic major and harmonic minor scales, altered chord fragments/arpeggios, altered chord shapes, diminished sounds and the alignment of scales to make important harmonic connections on the strong beats.
The section on sequential playing makes the altered lines simple to derive by moving the scales you are comfortable with up and down the fingerboard using repetition and structure to your advantage.
This class starts simply and covers a lot of ground making it useful for all levels, beginning to advanced jazz guitar players.
Diminished Sounds with Major Triads Class Content | Steve Herberman
The major triads of the symmetrical diminished scale are a treasure trove of modern sounds used for everything from “outside” improvisation to the Blues and beyond. Equally useful for soloing, comping, chord melody playing and composition, achieving fluency with these triads can elevate your improvising to an exciting new level.
Pairing these spicy melodic sounds with the similarly interesting rhythmic devices shown in this class yields a recipe for exciting improvising and composition. Opportunities in using diminished sounds for jazz improvisation are many since they can be used over both diminished chords and dominant sevenths. This class is an in-depth examination of major triad usage in achieving diminished sounds from the symmetrical diminished scale. You’ll learn many ways to negotiate these sounds using both closed and open voiced major triads in all inversions and most every conceivable combination.
The blueprint is given to compose original exercises of your own and includes practice tips and visualization techniques so these sounds can be accessed more easily while improvising.
The class features an original composition “Blues For 4” based on the blues progression with a melody derived from some of the exercises in the class. “Blues For 4” uses Dom.7 13b9 chords as its harmonic foundation yielding all twelve major triads (four major triads from three tonal areas.) The theory is
explained in-depth with equal weight given to all twelve major triads so that you’ll be better prepared to use these sounds over diminished and dominant seventh chords occurring so often in jazz improvisation.
Take the “Diminished Leap” into an exciting new aural territory and have fun exploring!
- 29 pages of written materials notated in both TAB and standard notation with fingerings.
- Running Time: 133 minutes
|Diminished Sounds with Major Triads|
|Diminished Sounds with Major Triads||02:12:00|