All Jazz Guitar Courses

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, 7 th chords, 9 th chords and 11 th 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.

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 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 8 th 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

Technical difficulties means a win for those tuning in live. Although we would have loved to ask questions with Jay live, we instead broadcast his class on Modern Harmony & Harmonic Concepts. Jay joined in the chat room to answer some questions while students watched the class together. It doesn't beat a live Q&A, but this offers some very practical concepts. Jay Umble has studied with world-renowned guitarists Pat Martino and Joe Diorio and has released two recordings which incorporate straight ahead and modern jazz styles. He is currently finishing a recording project with international percussionist, Jamey Haddad from the Paul Simon Group. Jay is on the faculty of Bucknell University and Susquehanna University where he teaches guitar mechanics, harmony, theory and fretboard integration in addition to general guitar playing. He has several instructional books published through Mel Bay Publications with endorsements from such jazz greats as Steve Kahn, Pat Martino, Paul Bollenback, Joe Diorio, Barry Greene, Sid Jacobs and Rene Stefano. Jay's latest book, "Payin' Your Dues With The Blues", is due out in the Fall of 2007. He serves as a jazz guitar clinician for the Central Pennsylvania Friends of Jazz organization and also writes a monthly guitar column for their newsletter. Jay performs throughout Central Pennsylvania with his Jazz Standards Trio, Duo and his modern trio, STRING THEORY. Latest Class Psychology, Philosophy & Methodology for the Jazz Guitarist - I

Upon completing this class, a student will be able to play "Have You Met Miss Jones" both as a solo guitar piece and with a group . Students will be able to improvise on it at a professional level and also will learn harmonic and melodic concepts that they can apply to many other similar songs . Sub Topics Included in this Class: Use of harmonic progressions such as back cycles and contrary motion Development of solo lines using sequence and motive Simplifying the guitar fingerboard using tetrachord shapes Randy takes you step by step how to play the song "Have You Met Miss Jones", the single note melody, chord melody, chord progressions, and he gives students ideas and licks to use in improvisation as well as alternate harmonic progressions which can be applied to many standard songs. Chord diagrams are included. Running time: 2 parts totaling 1 hour 10 minutes.

Master the art of chord-shape soloing with renowned jazz guitarist Paul Bollenback in this comprehensive exploration of Kurt Weill's classic "Speak Low." This intermediate-to-advanced course reveals how professional jazz guitarists navigate complex chord progressions using strategic chord shapes as their roadmap, transforming your approach to improvisation through practical, position-based techniques you can apply immediately. Bollenback demonstrates how to "map" the fretboard using drop-two voicings and essential minor shapes, showing you precisely how scales, arpeggios, and melodic lines emerge naturally from these positions. You'll learn to construct solos that maintain harmonic clarity while exploring the full range of the instrument, using G minor 11, G minor 9, and related voicings as your foundation. The course covers harmonized scale patterns in sevenths, chromatic passing tones that land correctly on strong beats, and position-specific arpeggio exercises that build real facility across the neck. What sets this approach apart is its efficiency—rather than memorizing countless scale patterns, you'll discover how a handful of carefully chosen chord shapes unlock the entire fretboard. Bollenback shares the same systematic approach used by jazz masters from Eddie Lang to Pat Martino, adapted for modern performance contexts. Perfect for experienced players looking to break out of scalar thinking and develop a more sophisticated, chord-conscious soloing style that sounds professional from the first chorus.

Class aims: Learn to internalize songs quickly Learn to lay them out effectively on the guitar Learn to personalize the song on the fly, with a range of substitute progressions that might also generate intros and endings. How is it that some musicians seem to be able to pick up a new tune in no time at all? Even if, initially, they don’t seem all that familiar with a song you’ve called, they only sneak the most cursory glance at the changes, if they even do that. A few moments later, they’re playing the piece with creative flair and total confidence. Not only that, when the time comes, they’re ready to put the perfect intro and ending on it as well. Were they just kidding? Maybe they knew it all along! Perhaps it’s just luck that they have ‘those ears’…? Well, there could be a little of that involved sometimes, but experienced jazz musicians really can internalize tunes incredibly quickly, and that’s because there’s a knack to it. What’s more, it’s the same skill set that allows them to deliver seemingly endless variations that always remain compatible with what everyone else is doing. It’s also knowledge that can boost aural awareness and, finally, from a guitar standpoint, it’s a huge part of what enables us to generate complete sounding renditions of a song by ourselves. In the full 1hr08m class: We break down the original chords and melody of Frank Loesser’s “I’ve Never Been In Love Before ”, so that they’re easy to remember and treat creatively. After going over some essential first principles, we then look closely at a solo guitar rendition, starting with a really simple ‘block-out’ of the basic chords and melody. The basic rendition gradually evolves towards a more complex setting, that includes 12 different harmonic variations within the basic road map of the tune. These also give us some ideas for appropriate intros and endings. Everything we discuss is fully notated and tabbed in the 28-page PDF that accompanies the class. Perfectly synchronized on-screen captions ensure that you can always see exactly what you’re hearing, even on a bar-by-bar basis at the full performance tempo. As usual, I’ve tried to accommodate learners at different levels of experience. Someone relatively new to standard repertoire will learn some very important first principles, and shouldn’t have too much trouble with the basic solo guitar setting of the tune. The fully expanded rendition may be more aspirational at this stage but, even then, the concepts behind it should be easy enough to understand. Meanwhile, experienced players should find themselves able to deliver all the material without too much trouble, but even someone familiar with the general principles involved may well have their eyes and ears opened to new possibilities. For both groups, the over-riding aim is that the student takes away transferrable ideas that will inspire self-directed study in the future.

He's one of those guitarists that amazes with their playing abilities, inspires with their words, and makes you want to get out the guitar and put some practice time in. One of DOWNBEAT MAGAZINE’S 75 Great Guitarists of all time! Howard Alden has been a Concord Jazz recording artist since the late '80s where his prolific recorded output as leader, co-leader, and versatile sideman, has captured an artist of consistently astonishing virtuosity and originality. "He may be the best of his generation," writes Owen Cordle in JazzTimes . George Kanzler of the Newark Star Ledger proclaims that he is "the most impressive and creative member of a new generation of jazz guitarists." And Chip Deffaa of the New York Pos t observed that he is "...one of the very finest young guitarists working today." POSTPONED

Jamie Taylor is a jazz guitarist based in the North of England. He maintains a busy performing schedule, having been privileged to work along the way with some wonderful musicians across a range of styles, such as Baptiste Herbin, Roni Ben-Hur, Tori Freestone, Steve Fishwick, Laura Jurd, Sebastiaan DeKrom, Richard Iles, Alan Barnes, David Lyttle, Tom Harrison, Steve Brown, Neil Yates, Gary Potter, Richard Hawley, The Pigeon Detectives, and members of Cinematic Orchestra. Jamie’s latest project is “ Perpetual Motion Machine “, a jazz-rock six piece featuring Sam Dunn, Riley Stone-Lonergan, Ben Lowman, Garry Jackson, and Steve Hanley. The group completed a 15-date UK tour in September 2017 – you can watch it in action here . FREE FOR MEMBERS

Paul Bollenback's emotionally expressive style and eclectic approach is the result of a wide range of influences, including Carlos Santana, Wes Montgomery, George Benson, Kenny Burrell, Herbie Hancock, Bill Evans, John Coltrane, Wayne Shorter, John McLaughlin, Jimi Hendrix, Johnny Winter and Lenny Breau. FREE FOR MEMBERS

This full Q&A session is currently available to all. Please take a moment to thank Steve with a comment or clicking "like" on youtube, Steve would appreciate it!

Transform Your Jazz Guitar Playing with Autumn Leaves 3-Part Lecture Series Are you looking to take your jazz guitar skills to the next level? Look no further than the Autumn Leaves 3-Part Lecture Series with Lorne Lofsky, exclusively available to members of MikesMasterclasses. In this in-depth course, you'll learn from renowned jazz guitarist Lorne Lofsky as he shares his expertise on one of the most iconic jazz standards, "Autumn Leaves". Whether you're a beginner or an experienced player, this 3-part lecture series will give you the skills and knowledge you need to elevate your playing. Here's what you'll learn in the Autumn Leaves 3-Part Lecture Series: Part 1: Lorne Lofsky will guide you through the chords, melody, and harmony of "Autumn Leaves" Part 2: You'll learn advanced techniques for soloing over the chord changes, including a deep dive into various scale and arpeggio options Part 3: You'll get to see Lorne in action as he demonstrates his approach to playing "Autumn Leaves" and provides performance tips This course is taught by Lorne Lofsky, one of the most sought-after jazz guitarists in the world. With his wealth of experience and expertise, he'll provide you with an inside look at how top jazz musicians approach one of the most iconic standards in the genre. Don't miss this opportunity to transform your jazz guitar playing. Sign up for the Autumn Leaves 3-Part Lecture Series today and start your journey to becoming a master jazz guitarist. FREE FOR MEMBERS Song sheets provided. Read more about Lorne Lofsky

Jack Wilkins is back in 2018 with insights for the intermediate and advanced Jazz Guitarist. Jack packs a ton of information about his processes for soloing and comping for the Intermediate and Advanced guitarists! These ideas are demonstrated using various jazz standards. Topics include: Utilizing space in melodies Implied harmony Voice leading ii-V7-I voicings Picking Speed Time Moving along the fingerboard in a relaxed manner

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

Randy Johnston is one of the most widely recorded and prolific guitarists of his generation. He has released 12 albums as a leader for the Muse, Highnote, J Curve, Mel Bay, and Random Act labels and has appeared on dozens of recordings with other top recording artists. FREE FOR MEMBERS In addition to his recording career, Randy has toured and played with some of the most acclaimed names in jazz, including Lionel Hampton, Houston Person and Etta Jones, Lonnie Smith, and has played for 17 years as a regular member of the Lou Donaldson Quartet. He has traveled the world concertizing, both as a bandleader and side musician, performing at the top clubs and festivals all over the United States, Europe, Japan, Thailand, and South America. Already recognized the world over for his guitaristic prowess, Randy's live performances and last two recordings feature him as a vocalist as well, singing his original songs as well as standards and blues standards. His vocals have been favorably compared to those of Ray Charles, and the combination of instrumental and vocal performances make for an extremely varied and entertaining live set. Both his vocal and substantial catalogue of instrumental compositions enjoy frequent airplay, both in the traditional and internet radio formats. Randy has also taught music at New York University, the Hartt School of Music in Hartford Connecticut, the University of Miami in Coral Gables Florida, and several other major American universities of note, in addition to conducting master classes in such diverse locations as Wales UK and Helsinki Finland.

There's no description more apt for Sheryl Bailey than "A sizzling guitar goddess", coined by Elliot Simon of All About Jazz . He's not alone with his superlatives-Adam Levy of Guitar Player Magazine calls Sheryl "One of the most compelling tones of her generation", and Frank Forte of Just Jazz Guitar ranks her "among the best bop guitar players with a fresh approach and something new." FREE FOR MEMBERS Sheryl's playing is unquestionably "sizzling". She has groomed incredible chops and impeccable taste with which she applies them. It's said (by Lee Metcalf, The Villager ) that she can "go from zero to blazing in two beats", but she is continually praised for never sacrificing melody and lyricism for technique. "She balances superior technical skills with a strong lyrical sense and swinging touch..." continues Metcalf, and Joe Taylor of Soundstage says "Bailey combines an astonishing command of the fingerboard with a seemingly endless flow of melodic invention." Sheryl Bailey's Full Bio

Over the years, Lorne has taught many clinics on jazz guitar and improvisation. He has been an Instructor at York University in Toronto since the late 70's, and has taught for several years at the University of Toronto. Canadian guitarist Lorne Lofsky is a mainstay of the jazz scene in the Toronto area where he has been performing and teaching since the 70's. He has performed and recorded with Oscar Peterson, Ed Bickert, Ray Brown, Benny Carter, Chet Baker, Johnny Hartman, Bob Brookmeyer and Pat LaBarbara among many others. From 1983 to 1991 Lorne played in a quartet with Ed Bickert which yielded two fine recordings. FREE FOR MEMBERS From '94-'96 Lorne was a member of the Oscar Peterson Quartet. The group performed at Carnegie Hall in New York City, the Montreal Jazz Festival, Sao Paolo, Brazil and numerous concerts throughout Europe. In addition, Lorne was featured on three CDs with Oscar Peterson. Read more about Lorne Lofsky

The study and practice of employing upper pedal points is an extremely valuable technique for the harmonic guitarist. In many tunes melody notes are sustained, often at the end of a phrase. While those melody notes are ringing it's a nice touch to add a chord below it, or play a single note or contrapuntal fill. This class is an in-depth study of the many possibilities and textures a player can employ below an upper pedal. Whether it's melody playing, soloing, comping, composing/arranging or chord melody playing, developing the techniques to improvise below a pedal point is worth its weight in gold. This class features 77 useful exercises over important progressions that cover the many harmonic and melodic scenarios a guitarist faces when incorporating upper pedals. The five chapters of the class include (but are not limited to) these subjects: Tunes Rhythm Changes, Blues and Solar using lower lines played in contrary motion as well as III-VI-II-V-I patterns with bop lines beneath a pedal. Diatonic Cycles using inner line motion below pedal points Open String Pedals on the upper half of the instrument Triad Enclosures: Approach note patterns that resolve into triads beneath an upper pedal Parallel Intervals below sustained melody notes Working with upper pedal points will expand ones chord vocabulary and technique while adding to the player's palette of textures on the guitar. Once the concepts and techniques are in the mind and fingers than true improvisation can transport them to another level, beyond exercises, into art! Running time: 2 hours, 13 min. 21 pages of PDF examples in standard notation and TAB Complete Pedal Points Series from Steve Herberman

Join time as he answer questions from students. Questions include: "How would you arrange a song like "Emily" into a different time signature?" "Do you have an exercise for improvising over the changes when learning tunes that help you memorize your location in the tune (not losing your place)?" "technique question, Tom. How do you handle a string of eighth notes when playing fingerstyle?" 00:02:48 Mike Gellar clap clap 00:03:02 james How would you arrange a song like "Emily" into a different time signature? 00:03:46 james Yup, its me! 00:14:20 Mike Gellar I see this question from Gy who has been with MMC since the beginning in 2006! 00:14:26 Mike Gellar Do you have an exercise for improvising over the changes when learning tunes that help you memorize your location in the tune (not losing your place)? - Gy 00:15:43 Richard Okkerse hi mike and tom, any chance this will be available for download to review later? im asking because i live in portugal and it very late here and i need to get up early . i start teaching at 8:30... i love toms classes, i pretty sure i have them all and really wanted to view this later on! thanks in advance guys 00:16:27 Mike Gellar Richard, this will be available to view for Members 00:17:06 Mike Gellar Do you have an exercise for improvising over the changes when learning tunes that help you memorize your location in the tune (not losing your place)? - Gy 00:17:32 Richard Okkerse thanks mike, im gonna try to stick around a bit more..to good to miss out haha 00:23:59 Martin Any advice on dealing with the onslaught of guitar tuition available today? I'm embarrassed to admit I'm only just now digging into "The Joy of Practicing", because I spent so long researching the subject! 00:29:20 GLENN technique question, Tom. How do you handle a string of eighth notes when playing fingerstyle? 00:31:46 Ron Memorization is the key to having information immediate enough to use in provisation. But there is so much; cycles 2, 3, 4, 5, 6, 7; dim cycles; keys; scales; melodies; chord progressions; etc. What can be done to reduce the pressure? 00:35:53 Martin Great answer, thanks Tom. 00:41:31 Posido you've seem to have achieved a great deal of mastery with a lot of modern jazz concepts, what do you focus on now or have been focusing on in your practicing these days? 00:41:35 Richard Okkerse any tips on how to approach tunes like Lazy bird and giant steps etc. in a melodic way instead of the typical pattern ish way 00:41:44 james How do you arrange intros for a singer that is somewhat less refined than say, Ella Fitzgerald? 00:52:34 Posido this is really insightful Tom! 00:58:00 Richard Okkerse i once heard Barry Harris in a pure bebop way, quite incredible i must say. he also said he didnt really like the song and didnt understand what all the fuzz was about haha 00:58:34 Richard Okkerse thanks a lot Tom, take and looking forward to you new lesson on mmc 00:59:49 james Fantastic as always!!!!! 00:59:51 Mike Gellar for sure! 00:59:56 Martin Thanks Tom 01:00:11 Posido thanks Tom!! 01:00:22 Martin Thanks Mike for the access to this 01:00:36 Mike Gellar Great! Thanks Tom and everyone who joined - stay on line if you can 01:00:43 james Thank you, Mike and Tom. 01:02:33 Jeremy Thanks and look forward to the next session 01:02:56 Mike Gellar 0k - BTW, Jamie's class is 1 PM 01:03:20 Martin UK 01:03:31 Richard Okkerse portugal 01:03:31 David Canada 01:03:33 sean Bangkok, Thailand 01:03:34 Posido US-Virginia 01:03:35 james Riverside, Rhode Island 01:03:39 Russ Minneapolis 01:03:51 Jeremy Ontario, Canada 01:04:06 Gy Gy-Us Maryland 01:04:10 Richard Okkerse portugal 01:04:55 Ron Atlanta, GA 01:06:02 ZEH Sao Paulo - BRAZIL

Even though most traditional jazz guitar playing tends to be associated with the use of a pick/plectrum, throughout the history of jazz guitar many guitarists have also incorporated finger-style in their playing, from Wes Montgomery's famous use of his right-hand thumb, to such masters of harmony and counterpoint as George VanEps, Lenny Breau, and Ted Greene. In recent years, more and more jazz guitarists are beginning to discover the benefits of either putting down the pick entirely or adding some finger-style technique to their already existing pick-style playing. The jazz finger-style techniques covered in this class encompass everything that a right-handed guitarist would do with the right-hand fingers to assist in the production of music on the guitar. This includes playing with the right-hand fingers only (using nails or bare fingertips), playing with a pick or plectrum in combination with one or more of the right hand fingers for hybrid-picking, and playing with a thumb-pick. If you've ever been curious about delving more deeply into the exciting possibilities and new dimensions that the right-hand fingers can add to your musical universe, then this class is for you whether you’re a guitarist who wants to take the bold step of converting to finger-style entirely, one who simply wants to add a few finger-style techniques to your already-existing pick-style playing, or anything in between. Jazz Guitar Finger-Style Technique covers: Detailed discussion of the advantages and disadvantages of finger-style playing versus pick-style playing to assist each player in deciding what approach works best for him or her Overview of hybrid-picking with basics of the technique and discussion of the advantages and disadvantages Discussion of the classical guitar concept of right-hand planting/preparation to aid in accuracy and precision of right hand fingers Numerous examples of the use of hybrid-picking for chords, single-note lines (including scalar movement, large intervallic leaps/string skipping, and various one-note-per-string arpeggios) and classical guitar-style arpeggios Discussion of the use of thumb-picks and demonstration of an alternate thumb-pick device Comparison of hybrid-picking versus full-on finger-style Demonstration of using finger-style technique for playing examples similar to those in the hybrid-picking discussion Extensive discussion of incorporation of the right-hand pinky in both hybrid-picking and finger-style playing with exercises for gaining strength and independence Detailed discussion of many different finger-style techniques for playing single-note lines with demonstrations and comparison and contrast of the advantages and disadvantages of each one Examples of various real-world musical phrases using hammer-ons and pull-offs combined with right-hand fingers with tips for changing right-hand fingering to solve various technical problems John Lewis’ bebop tune “Milestones (old),” arranged for single-note finger-style guitar incorporating various right-hand fingerings, hammer-ons, pull-offs, and added chord punctuations for technical study and building the mechanics of combined right- and left-hand fingerings for use in improvised jazz lines Discussion of use of fingernails, nail care, and maintenance All examples are shown in right-hand close-up with certain examples shown in multiple views Running time: 114 minutes Includes 13 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. Backing tracks for written examples and solos are included.

This five chapter class explores the very useful and important 10th interval for a wide variety of applications. George Van Eps referred to it as the “Mighty 10th” and when the interval is explored in-depth, harmonically and melodically, you’ll see why. They are perfect for intros, endings, interludes and cadenzas. Once these patterns are internalized they can come out naturally in one’s improvising. Most importantly they are very fun to work with and play and sound full with a great deal of harmonic potential. This class lays it all out for the guitarist with fingerings, standard notation and TAB and covers a wide variety of applications and harmonic situations. The 10ths are often overlapped to become larger chords and are used in both diatonic and more atonal settings. They are applied to two-five-one patterns, diminished patterns, augmented and much more. Contrary motion and counterpoint are common threads throughout the exercises and they will feel terrific on your left hand fingers helping a great deal with finger independence. Hybrid picking and fingerstyle technique will be greatly improved through the use of these exercises. Dig into this in-depth examination of 10ths and they will sure to be a permanent fixture in your playing, composing and arranging! Running Rime: 78 minutes 14 pages of PDF exercises with standard notation and TAB

The Harp Harmonics extended technique: Years ago I recorded a video clinic for MMC about Harp Harmonics. However, this clinic is quite different. This time I'm trying to adapt this marvelous device to regular playing, I mean for improvising, comping and obviously for composing. I know that my goal is very ambitious but I will not stop with Harp Harmonics and harmonics in general. The guitar has a bigger range and of course a change of tone. The difficult thing is if you use a pick, to hide this between your fingers as I explain in the video. Using Harps, you can play just harmonics or regular notes with harmonics at the same time, including a lower harmonic or higher than the regular note. Also you can play chords with bass and natural harmonics a la Ralph Towner or harps a la Lenny Breau or Ted Greene. You can create original intros, endings, chord melodies, chord sequences , phrases and licks, all with Harp Harmonics. I hope you enjoy these ideas as much as I did creating this class. Juampy Juarez

Randy uses “Triste” as the basis for another practical, hands-on class on a standard, with a wealth of information. He starts off with a solo rendition of the song, followed by playing the melody and then improvising over a guitar chord track. Randy then takes you step by step through a chord solo, discussing and showing alternate chord choices and explains the theory behind them. He then moves onto improvisation ideas, including using simple motifs. Chord diagrams are included. Running time: 1 hour

This masterclass explores the inner (or middle voice) pedal point designated to fretted notes. Most often pedal points are employed either in the lowest or highest voice of a chord or chord progression. The use of inner pedals in one’s chordal playing adds a unique and very satisfying sound sometimes with an abstract harmonic underpinning. Working with inner pedals are great for building left hand technique and coordination between left and right hands. These exercises can be used as intros/interludes and endings but also as compositional textures for original music. Once the concepts are studied it will be easy to create your own inner voice fretted pedals. The examples range in styles and consonance/dissonance. Some of the harmonies are purposely ambiguous yet harmonically interesting. There are a wide variety of pedals used in the examples, many are pedal 5 and pedal 1 but you'll notice pedal 2 (or 9) and more. Many of the PDF examples in this class feature contrary motion between the outer two voices in the three-part harmony, a most satisfying sound. There are also chapters on diminished and whole tone exercises, as well as examples of minor blues and dominant blues progressions. Some examples demonstrate finger gymnastics of the fretting hand. The exercises will do wonders for left hand finger dexterity and right and left hand coordination. The use of inner pedals can open up a whole other realm in one's playing. Learn a very useful concept that will inspire creativity and offer some new and exciting textures. 14 pages of PDF examples with TAB and standard notion Running time: 80 minutes

Composition + Improvisation = ‘Comprovisation’! Over the years as a teacher, the question I’ve probably been asked more than any other is: “What can I do to get more vocabulary into my solos?”. Meanwhile, another very common enquiry is: “What’s the most efficient way to go about transcribing?”, which implies a similar sort of overall aim. Even students who know their theory (and are already engaging in transcription tasks) sometimes express frustrations like “it still doesn’t sound like jazz when I do it” or perhaps “it takes so long for any of it to actually come out in my own playing”. There’s no magic wand, of course, but nevertheless I do think there are ways to speed all this up, so that we can quickly assimilate the sounds we hear, and avoid wasting time. After all, it’s perfectly possible to spend weeks transcribing a long solo, only to look back a year later and realize that virtually nothing has stuck. The advice I generally give is that, if we want “vocabulary” to appear in our improvised solos, we have to spend time consciously creating it in the practise room. However many scales we know, and however many solos we’ve transcribed, the things we’re hoping to hear aren’t just going to fall out of our instruments. Instead, we may need to think a little bit more like composers, and consider the musical architecture of the ideas we’re going to play; whether these are of our own making, or taken from a recorded source. How is the new phrase structured? How could we develop the idea, and where might it fit in with our existing ones? If it’s someone else’s, how can we make it feel like it’s ours? None of this is to say that we want our solos to consist entirely of pre-meditated licks or that we shouldn’t aspire to hear spontaneous melodies in the moment of delivery. It’s just that our musical engine needs more specific fuel than a bunch of scales and arpeggios (even the really clever ones) can provide. In the full 1h15m class: • We look at nine different melodic ideas from diverse sources such as Oscar Peterson, Joe Henderson, Dizzy Gillespie, and John Coltrane. The ideas reference both mainstream and contemporary styles; some are also taken from famous composed melodies. • We analyze the structure of each one and consider how it might be expanded beyond its original context. • Using well-known tunes as “test beds” for the resulting vocabulary, I demonstrate how I might end up employing the ideas, in contexts that may be quite different from the original source. • A selection of the resulting lines are then transcribed (and tabbed out) in the accompanying PDF booklet. • Synchronized on-screen captions and timecodes mean that you can always cross-reference between the video and the written materials.

This masterclass will explore the inner (or middle voice) pedal point designated to open strings. Most often pedal points are employed either in the lowest or highest voice of a chord or chord progression. The use of open pedals will not only give the guitarist an “extra finger” but can often create clusters and other interesting effects when used inside of a chord. These exercises can be used as intros/interludes and endings but also as compositional textures for original music. Once the concepts are studied it will be easy to create your own inner open string pedals . The examples range in styles and consonance/dissonance. Contrary motion never gets old! The PDF examples included with the class lean heavily on contrary motion concepts. Paired with contrary motion are diminished and whole tone exercises and also some parallel motion examples. A blues etude is included as well as George Gershwin's “I Got Rhythm” served up with a variety of open string inner pedals. Triad pairs paired with inner pedals are included as well as altered scale (melodic minor) over altered dominants and odd meter examples. This lesson will offer a great creative charge in working with inner open string pedal points. The next class on this subject ( Pedal Points part 3 ) will continue along this road only with fretted notes, allowing us to explore different keys, fingerings and textures. Dig into inner pedals and learn a useful concept that will inspire creativity and offer some new and exciting textures. 16 pages of PDF examples with TAB and standard notion Running time: 67 minutes

The first installment of the fall season of The Workshop Series at David Gage features the incomparable Carlos Henriquez.

Discover revolutionary chord voicings and reharmonization techniques that transformed jazz guitar legend Vic Juris's approach to comping and solo performance. Drawing from his acclaimed book "Modern Chords" and years of experience with Dave Liebman's group, Vic reveals the intervallic structures and polychord concepts that free you from conventional stock shapes and unlock a modern harmonic palette. Through detailed demonstrations on jazz standards like "All The Things You Are" and "Stella By Starlight," you'll learn to construct sophisticated reharmonizations using consecutive minor sevenths inspired by Bill Evans, diminished major voicings learned from John Abercrombie, and Liebman's harmonic minor applications. Vic meticulously breaks down his signature intervallic structures—fourth-and-sixth combinations that create rich modal colors when comping over static harmony, perfect for tunes like Coltrane's "Impressions" or Miles Davis's "So What." The course emphasizes practical application for working musicians, showing how to implement these voicings in pianoless trio settings where harmonic responsibility falls squarely on your shoulders. You'll explore Phrygian modal approaches, jazz melodic minor applications, and multi-triad polychords that add sophisticated color to any performance. Vic also demonstrates essential picking techniques, including his four basic articulations for executing these complex voicings cleanly. Whether you're comping at jam sessions, arranging for your own trio, or seeking fresh approaches to tired progressions, these techniques provide immediately applicable tools for expanding your harmonic vocabulary. Ideal for experienced players ready to move beyond conventional voicings into the modern jazz guitar lexicon.

Harvie and Vic playing Scrapple from the Apple in this class Bassist Harvie S and Guitarist Vic Juris team up to perform original compositions and jazz standards. They further explain the call and response dynamic that creates an optimum musical partnership. Harvie S addresses the challenges of an innovative and well balanced duo performance. He demonstrates ways that the bass supports and leads with affirmative and demonstrative ease. This Master Class articulates the distinctions between duo and various other settings, and is valuable to guitarists and bassists alike. The concepts revealed will enhance any duo performance. Harvie S shares his personal approaches to preferred guitar accompaniement and his unique approach to phrasing melodies and soloing. Listen to them play "You're Gonna Hear From Me" More playing and discussion

Break free from conventional jazz improvisation patterns and discover Tony DeCaprio's revolutionary tetrachord-based approach to creating authentic, personal musical statements. This comprehensive 2.5-hour masterclass reveals DeCaprio's unique "units with an attitude" system—sophisticated tetrachord combinations that unlock parallel scale relationships and inside/outside playing concepts rarely taught elsewhere. Through detailed demonstrations on standards like "All the Things You Are," you'll learn to navigate chord changes using mediant and submediant relationships, apply modal interchange borrowing from Phrygian and Lydian harmonies, and construct meaningful melodic motifs that transcend mere chord-scale running. DeCaprio shows you exactly how to identify resolution points within tunes, strategically place fills and phrases, and develop cohesive solos that maintain melodic integrity while exploring advanced harmonic territory. The course emphasizes practical application through DeCaprio's Arpeggiated Cyclic Progression Activities, teaching you to hear and execute smooth voice-leading between seemingly unrelated chords like D major 7 and Bb minor 7. You'll master the art of using fourth intervals musically rather than mechanically, understand flat-two substitutions in context, and learn to seamlessly blend inside and outside playing without losing the listener. Perfect for intermediate to advanced players tired of sounding derivative, this course equips you with a systematic approach to developing your own voice. DeCaprio's method moves beyond mimicry, providing the theoretical understanding and practical tools to express your unique musical personality in any jazz setting.