Chord Melody Masterclass
Art of Solo Guitar - Part III
About this masterclass
Paul Bollenback wraps up his Art of Solo Guitar series with a class devoted to introductions and endings — the parts of a solo performance guitarists most often get stuck on when a bandleader says, "Go ahead, set it up."
What's covered
- What a good introduction needs to establish — and when it pays to be deceptive about the key so the melody arrives as a pleasant surprise
- A worked example on Corcovado by Antonio Carlos Jobim, including reharmonizing the intro with a Db sus instead of the home key
- Why a random figure doesn't set up a tune — and how to turn an intro idea into a recurring vamp that ties an arrangement together
- Building an arsenal of intro and ending approaches you can call on at a gig
- A recap of the series' tools: harmonizing melodies, walking bass lines, chord melody, intervallic and single-note playing
Note: there are no written materials for this class. See the rest of the series:
Lessons in this masterclass
Lessons
- 1Art of Solo Guitar - Part III1h 30m
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About the instructor
Paul Bollenback →
Paul Bollenback is not only a masterful performer, but a down-to-earth instructor. His approach to jazz is both inspiring yet attainable. Guitar master George Benson, a long-time supporter, has described Bollenback’s work as ". . .bona-fide playing, unambiguous, up-front and powerful," calling him “a versatile dynamo on guitar. His approach to jazz and blues has a uniqueness unto itself . . ..”. That comment has special resonance in that Bollenback counts Benson high among his wide range of influences; these also include Carlos Santana, Wes Montgomery, Kenny Burrell, John McLaughlin, Johnny Winter, and Jimi Hendrix (among guitarists), as well as such giants of improvisation and composition as pianists Herbie Hancock and Bill Evans, and saxophonists Wayne Shorter and John Coltrane.