Juampy Juarez

Juampy Juarez explores the Harmonic Major scale — sometimes called the "artificial scale" — one of the least commonly used but most intriguing seven-note scales. Combining elements of the major scale and harmonic minor, with roots in the augmented tonality, it produces a unique, slightly dark, exotic sound reminiscent of Middle Eastern tonalities, and has been used by musicians like Herbie Hancock and Antonio Carlos Jobim. What's covered The theoretical foundations of the Harmonic Major scale How it relates to the major scale, harmonic minor, and augmented tonality Practical applications for improvisers, composers, and arrangers Harnessing the scale's rich, colorful harmonic and melodic textures "It looks that was developed in a 'laboratory' doing arithmetics, and is the last of four scales with seven notes without chromaticism." ~ Juampy A focused class for players seeking to expand their harmonic palette with a fresh, sophisticated sound. Includes 8 PDFs. Running time: 62 minutes.

Juampy Juarez teaches the first three Messiaen Modes — the symmetrical scales compiled by French composer Olivier Messiaen (1908-1992) — and the tonal and post-tonal theory behind them. Mode 1 is the whole-tone scale, mode 2 the diminished scale, and mode 3 is one of the chromatic symmetrical series unique to this system. What's covered The seven Messiaen Modes as the only collection of symmetrical series, and why their lack of a root makes the music post-tonal (a term from Joseph N. Straus's Introduction to Post-tonal Theory ) Reharmonization with tertian and quartal triads , tetrads, chromatic chords, and trichords Patterns, cadences, voice movement, and phrases drawn from each mode The chords, arpeggios, and sub-modes these scales generate, and how to apply them to refresh your style How these sounds connect to 20th-century orchestral music and modern fusion players like Allan Holdsworth and Tim Miller An advanced theory class for players drawn to a new harmonic world; future lessons in the series cover the remaining modes. Running time: 1 hr 4 minutes. 15-page PDF included (note: written content is in Spanish).

Guitarist Juampy Juarez teaches economy picking and sweep picking — two of his favorite techniques — and shows how to apply them to jazz playing, including economy picking with three notes per string. As Juampy puts it, practicing technique in jazz was long treated like a sin — teachers didn't teach it, and the subject had a bad reputation. His view: technique is not a goal in itself, but a way to reach new musical standards. If you want to play triplets or sixteenth notes at bright tempos, or handle intricate bebop and fusion melodies with confidence, a solid picking technique lets you play the music you hear in your head and heart — and can even open new possibilities in your own composing. An honest, encouraging technique lesson for intermediate players who want their right hand to keep up with their ideas. The class includes a download. Full video is 1 hour and 4 minutes.

Juampy Juarez teaches quartal harmony — chords built in fourths that are neither major nor minor, with an ambiguous, suspended sound. The lineage runs from Wagner, Debussy, Schoenberg, Stravinsky, and Bela Bartok through jazz pianists McCoy Tyner and Herbie Hancock, while Coltrane and Shorter wrote many melodies based on fourths. On guitar, Joe Diorio is the quartal champion, with Jim Hall, Allan Holdsworth, Pat Metheny, Jonathan Kreisberg, and Frank Gambale all embracing these sounds. What's covered Quartal theory: building diatonic fourths from the major scale and naming the resulting 7sus4 chords Quartal triads and tetrads, with horizontal and vertical inversions across string sets Drop 2 voicings and quintal chords Modal comping: playing all seven quartal triads over a pedal bass for Dorian, Aeolian, Phrygian, and Lydian colors — "the bass rules" Where clusters meet quartals in the post-60s harmony of Coltrane, Bill Evans, and the Miles Davis Quintet Applying the material over both modal and tonal music Beyond the major scale: melodic minor, harmonic minor, and harmonic major For Juampy this is a mandatory subject: once you can use quartal structures with fluidity, you begin to sound contemporary — not only comping, but in composition and chord melody too. "This class is strictly for, by, and about GUITAR. The ideas on unusual chords, such as Melodic Minor #5, are priceless." ~ James S. PDF Included: 32 pages Skill Level: Intermediate Duration: 62 minutes

Juampy Juarez explores the chromatic concept — superimposing chords over other chords so the soloist plays harmonies that are not in the tune , reharmonizing with lines at the speed of thought. John Coltrane opened this era with Giant Steps (1959) and his modal album Impressions , calling his approach "sheets of sound"; after David Liebman's book A Chromatic Approach to Jazz Harmony and Melody , we can call it the chromatic concept. Coltrane also applied chromaticism to his compositions , as did Evans, Shorter and other masters. What's covered Melodic minor modes over static chords The minor-major 7th arpeggio Applying major relatives, and combining major/minor sounds Minor conversion and changing chord quality Reverse ii-V-I and side-stepping Coltrane changes explained, and Coltrane's cycle over static chords Examples over standards, and more Juampy considers this his best masterclass yet, full of creative insights, ideas and examples for the advanced improviser. The full class comes with a download.

Juampy Juarez teaches II–V–I voicings built from clusters — chords containing at least one 2nd — drawn from the melodic minor, harmonic minor, and harmonic major scales. The core idea is to think in tonality rather than in isolated chords: when "So What" says D-7, think D Dorian , and a whole world beyond D-7 inversions opens up. What's covered Cluster voicings derived from melodic minor, harmonic minor, and harmonic major scales Lots of II–V–I progressions harmonized with these clusters New harmonic structures such as quartal triads over a bass pedal Applying the voicings to comping, auto-comping, chord melody, composing, intros, and arrangements The lineage of the sound: Bill Evans and Herbie Hancock on piano; Allan Holdsworth, John Stowell, and some Jim Hall on guitar; roots in Debussy, Ravel, and Satie Technique benefits — the stretches these chords require will strengthen your hands Clusters are essential to the modern jazz vocabulary, and this class will help you better understand the sound of a modern piano on the guitar. A 12-page PDF is included with the roughly one-hour video.

Juampy Juarez distills more than 33 years of teaching into a step-by-step method for one of the biggest obstacles in jazz and fusion: improvising chord by chord. Instead of running scales, you build a vocabulary of thirds, triads, and arpeggios that describes the harmony as it goes by — the technique jazz players use to develop a vocabulary that involves scales , arpeggios, triads, passing notes, and modes. What's covered The 12-bar blues progression as the starting point — root, subdominant, and dominant functions in C Targeting the third of each chord , the note that defines the harmony, starting from one simple position The bass-and-third exercise, basic comp rhythms, and feeling jazz time on 2 and 4 Mixing thirds with the minor pentatonic and blues scale (including the blue note) Moving from thirds to major triads and arpeggios , played as one- and two-note-per-string patterns Applying the method to major blues, minor blues, and II–V–I , with discussion of swing, blues bebop, and post-bebop Juampy has watched many students become confident in jazz improvisation with this method, and this video lesson puts the whole approach in one place. A 37-page PDF is included (text in Spanish, but it follows the video instruction).

Juampy Juarez teaches his approach to inside/outside improvisation — playing with consonance and dissonance across a solo. The language started in the '60s with Coltrane, Evans, Shorter, Hancock, Dolphy, and Coleman; on guitar, Martino, then Holdsworth and McLaughlin, and later Metheny and Frisell built whole schools on it. Because fusion is, harmonically speaking, modal jazz with different orchestration and rhythms, learning to play in and out puts you on the same path to improvising over fusion. What's covered Playing arpeggios, triads, pentatonics, and quartal triads that represent scales, instead of running scales Superimposing modes over a single chord — e.g. mixing C Ionian with C Lydian sharp 9 over Cmaj7 Ideas from the melodic minor and harmonic minor scales, plus the harmonic major and whole tone scales Elements of modern jazz improv : long intervals, string skipping, more than one idea per chord, straight eighths, counterpoint-style comping A practice method: static chord, then a tune, then transpose, then speed it up How improvisation changed harmony toward modal jazz, and how it connects to chord-by-chord improv Juampy's parting advice: transcribe the masters and play these ideas with other musicians as much as you can. 15 PDFs included , covering Coltrane's pattern, harmonic major modes, major-triad studies on the diminished, harmonic minor, and melodic minor scales, phrase collections for minor, dominant, maj7, and diminished chords, whole tone and symmetric augmented material, and more.

Juampy Juarez shows how to improvise with counterpoint — two independent voices moving at once — with a focus on contrary motion, where the lines move in opposite directions. Building on his earlier clinics Contrapuntal Improvisation and Bi-tonal 2line , he turns these ideas into practical, symmetrical two-note figures you can apply to soloing, comping, composing, and chord melody — especially useful for solo jazz guitar. What's covered The four types of counterpoint motion — oblique, parallel, similar, and contrary motion Two-note-per-chord figures over ii–V–I , thought chord by chord Right-hand technique: hybrid picking (pick plus ring finger) or fingers alone Adding chromatic passing tones between the lines Figures for minor, dominant, and major chords with roots on the 6th and 5th strings, plus treble-string versions for trio playing without a bass Working an idea from one chord, to a progression, to real tunes — Tune Up , Stella by Starlight , Days of Wine and Roses , blues, and other standards You'll come away seeing the guitar from a new perspective and hearing a new dimension in your lines. Juampy's micro book “Contrapunto contrario en la improvisacion” is included, plus many of the 2line PDFs.

Juampy Juarez teaches his Bitonal 2line concept: improvising two simultaneous lines on guitar, each in a different tonality. It grows out of Jimmy Wyble's two-line technique, which Juampy learned from Wyble and Sid Jacobs in Buenos Aires around 2007 and expanded in his earlier lesson and book Contrapuntal Improvisation . The approach is deliberately practical rather than theoretical — a device you can use in real time for improvising, composing and comping, with the amount of dissonance left up to you. What's covered How the concept extends Jimmy Wyble's two-line playing toward bitonality — one line inside the key, one outside Choosing effective second tonalities: a semitone above or below, or a tritone away — keys far apart on the circle of fifths Worked examples over a II–V–I (E-7, A7, Dmaj7), pairing lines like E minor against F minor Playing the lines separately, together as intervals, or as two lines inside with the bass outside Hybrid picking — pick and fingers — since this polyphonic material can't be played with the pick alone Mixing bitonal lines with traditional single-note vocabulary Juampy points to Stravinsky as the father of bitonality, Bach as counterpoint's ambassador, and Jimmy Wyble as the player who opened the door to contrapuntal improvisation — and recommends listening to all three. For more on these ideas, see his clinic and book Bitonal Guitar . 16-page PDF included 59 minutes

Juampy Juarez introduces bitonality — using two keys at the same time — and shows how to make it work on jazz guitar. The sound is contemporary and dissonant, and while a few pianists like Richie Beirach and the Bad Plus have explored it in jazz, very few guitarists have. Bitonality is a polemic term: theorists like Paul Hindemith and Milton Babbitt argued it doesn't exist, while composers such as Stravinsky (often called the father of polytonality), Bartók, Copland and Charles Ives used it freely. You can also hear it in Ornette Coleman's double quartet, Sun Ra, and even some Allan Holdsworth. Juampy's key insight for solo guitar: two keys can't be heard in a single frozen "vertical" moment, but they can across a "horizontal" one — as the music unfolds in time. What's covered Bitonal scales: combining two scales that together cover all 12 notes — C major + F# major, C major + B major, or C major + F# major pentatonic Practicing the combined scales as parallel b5 and parallel major-7 intervals, with pick-and-fingers technique Where to use them: over the I chord in a II–V–I , over Lydian and modal vamps, mixed with traditional lines Why two superimposed triads aren't enough to be truly polytonal — and which three-triad combinations are The nine-note nonatonic scale (C major plus Eb and Ab) and its subsets as a bimodal resource Composing short pieces to internalize the sound, then improvising until lines come from the ear, not the brain For players drawn to modern, outside sounds who want a genuinely new harmonic world on the instrument. Juampy continues these ideas in his follow-up lesson, Bitonal 2line . Includes a downloadable PDF.

Juampy Juarez explores the minor major 7th arpeggio — a wide-interval device from the melodic minor scale that his friend John Stowell showed him years ago. Arpeggios are a great way to avoid scale-sounding lines: listen closely to masters like Allan Holdsworth, Wayne Shorter, Herbie Hancock, and John Coltrane and you'll hear arpeggios, triads, and patterns built on wider intervals rather than scales. This one arpeggio represents the melodic minor, the harmonic minor, the fourth mode of harmonic major, and the symmetrical augmented scale. What's covered Fingerings for the arpeggio across the neck, and the augmented triad hidden inside it Stacking three minor major 7 arpeggios over a single minor chord — from the melodic minor, Dorian b2, and Locrian natural 2 modes — and mixing them in one "multi-color" phrase Combining the new arpeggio with original arpeggios, triads from each scale, and chromatic connecting notes String-skipping patterns and Juampy's own invention, "the borders of the position's scale" Real-tune applications: Wayne Shorter's Witch Hunt , Equinox in Eb minor, and minor blues Includes an 8-page PDF in standard notation. Running time: 59 minutes 45 seconds. Attachments include The minor major 7 arpeggio PDF C melodic minor #5 patterns Coltrane's pattern Major triads — harmonic minor scale Major triads — melodic minor Minor maj7 mix with originals PDF Patterns (string skipping)

Juampy Juarez teaches the Melodic Minor #5 — a dark, tense seven-note scale from the diminished tonality (C, D, Eb, F, G#, A, B) that few players know, despite its prevalence in jazz and classical music. It's the eight-note diminished scale with the #4 omitted, and it produces chords favored by expressionist composers like Richard Strauss and Wagner, and by jazz writers like Wayne Shorter, Herbie Hancock, and Allan Holdsworth. What's covered All seven modes of the scale, one by one — from Ionian b3#5 through the "magic mode" Mixolydian #2#4 (which works over half-diminished, dominant, and minor sounds) to Altered nat6 Applying the modes over minor, major 7, dominant, and half-diminished chord qualities Blues applications — new colors over both major and minor blues progressions, with demonstrations II-V-I applications for jazz standards Quartal harmony and clusters — applying the scale to fourth-based voicings on dominants Single-line patterns and chordal exercises for each mode, plus intro and outro performances One of the most satisfying courses on a type of harmony you'll find very little information about elsewhere, in books or online. Running time: 67 minutes 8 pages of PDF material

Juampy Juarez explores the harp harmonics extended technique — and how to adapt it to regular playing: improvising, comping, and composing. This is Juampy's second MMC clinic on harp harmonics, and here he extends the device beyond set pieces into everyday licks, phrases, and jazz comping, opening up a bigger range and a change of tone on the guitar. What's covered Juampy's hybrid technique — keeping the pick between thumb and index while using middle, ring, and pinky fingers, so you never have to put the pick down The core harp-harmonic loop: alternating open or fretted notes with octave harmonics across the strings Playing harmonics 12, 7, and 5 frets above the chord shape, and moving the loop with barre chords Applying the loops to minor 7(11), major 7, Lydian, dominant/altered, and half-diminished shapes Combining regular notes with harmonics — including harmonics lower or higher than the regular note Chords with bass and natural harmonics à la Ralph Towner , and harps à la Lenny Breau or Ted Greene A demonstration over the standard Blue in Green Use these ideas to create original intros, endings, chord melodies, chord sequences, phrases, and licks — all with harp harmonics.

En esta segunda parte de su clínica sobre dodecafonismo , el guitarrista Juampy Juarez expande los conceptos enseñados en “Dodecafonismo en la Improvisación: Parte I”, sumando ideas originales y variaciones derivadas de las series de 12 notas creadas a principios del siglo veinte por Arnold Schoenberg y luego expandidas por Alban Berg y Anton Webern. La clase es en castellano (this class is in Spanish). Contenido de la clase Acordes atonales Díadas 01 y tricordios 012, 013, 016 Tetracordios 0123 , pentatónicos 01234 y hexacordios 012345 Dispersión (desplazamiento) de la octava Conceptos innovadores como las áreas de sonoridad atonal Todo aplicado sobre material estándar de jazz, pensado para la performance y no solo la teoría Queda mucho por explorar en el mundo atonal/dodecafónico aplicado a la improvisación. Este material beneficiará al improvisador — no solo de jazz, sino de cualquier estilo donde la creatividad y la originalidad son estandartes — a nivel musical y espiritual. Clase de nivel avanzado.

El guitarrista Juampy Juarez enseña cómo aplicar el dodecafonismo — las series de 12 notas sin repetir inventadas por Arnold Schoenberg y extendidas por sus discípulos Anton Webern y Alban Berg — a la improvisación de jazz. El objetivo es ofrecer fórmulas sencillas y memorizables para generar patrones dodecafónicos en la guitarra. La clase es en castellano (this class is in Spanish). Contenido de la clase La triada aumentada como recurso simétrico: cuatro triadas aumentadas por semitono generan un 12 tone row sencillo Las cuatro formas básicas de cada patrón: forma original, inversión, retrogradación e inversión retrógrada, más permutaciones La escala tonal y la escala aumentada; tricordios 013, 014, 015 y 027 ; triadas cuartales; desplazamiento de octava; acordes de 23º Visualización de los patrones en distintos juegos de cuerdas y registros del diapasón, con hybrid picking (púa y dedos) Aplicación a progresiones de Blues en F, C, G y C menor , secuencias II-V-I, y standards como Solar y Stella by Starlight Técnicas de contrapunto y 2 lines vistas en su masterclass anterior, “Contrapuntal Improvisation” — los fans de Jimmy Wyble encontrarán nuevos licks a dos voces Estas ideas nacen de la música atonal puesta al servicio del lenguaje del jazz. Juampy muestra apenas la punta del iceberg de lo que se puede lograr con recursos dodecafónicos — una herramienta más, y un color distintivo, para el improvisador.

Juampy Juarez shares his own investigations and variations on Jimmy Wyble's concept of two-line, or contrapuntal, improvisation — playing two independent lines on the guitar at once. He demonstrates everything over a Bb blues and famous standards, explaining each idea after he plays it. What's covered Hybrid picking technique (pick plus ring/middle finger) and why it suits two-line playing better than fingers alone Breaking chords into fragments and intervals — seeing a Bb7 as a perfect 5th, minor 3rd, and flat 5 — and turning those fragments into blues licks Contrapuntal scales : sustaining one note of the blues or major scale while playing melodies around it Pivot-note ideas inspired by country guitar Counterpoint ideas applied to jazz blues and standards, plus balancing the two voices dynamically so it sounds like two guitars Expanding your harmonic vocabulary for solo guitar or combo playing This advanced class opens up a completely new way of looking at the guitar , and includes written materials in standard notation and TAB.

Juampy Juarez presents his original investigations into set theory applied to jazz improvisation — the mathematical system behind the music of Stravinsky, Bartok, Webern, Berg, and Schoenberg, brought onto the guitar and played over blues progressions and familiar cadences. The class starts from the ground up with integer notation , the nomenclature created by Milton Babbitt that describes pitch sets by semitone count rather than note names. From there, Juampy opens up the 220 possible prime forms — each one a source of new scales, licks, and chords for your playing. What's covered Integer notation explained from scratch: dyads, symmetry, and why no note in a set is more important than another Prime forms — the 220 mathematical sets that underlie 20th-century classical language, starting with the 0-1-2 trichord Octave displacement for turning small chromatic sets into wide, dissonant atonal intervals Building a 12-tone row by moving a trichord in minor thirds, in the tradition of Schoenberg Super sets, subsets, and nested pitch fields as improvisational devices Applying these sets to tonal situations — using 0-1-2 over C7 in a simple blues For intermediate and advanced improvisers looking to expand beyond conventional scale-chord vocabulary. Atonal music favors dissonant intervals and wide leaps — this class gives you a structured way to bring those sounds into your own solos. Full video is 1 hour and 11 minutes.

Juampy Juarez shows how to bring twelve-tone row techniques — Arnold Schoenberg's compositional system, expanded by Alban Berg and Anton Webern — into jazz improvisation. Rather than abstract theory, he teaches simple formulas for using 12-tone patterns over familiar progressions and standards. What's covered The four forms of a 12-tone row: prime, inversion, retrograde, and retrograde inversion Trichords and integer notation (013, 014, 015, 027), plus augmented and quartal triads Octave displacement to turn rows into better-sounding lines, and which trichords sit inside or outside a dominant chord Applying these devices to blues in C, C minor, F, and G, plus ii-V-I sequences Examples over standards including "Stella by Starlight" and "Solar" Two-line counterpoint ideas that extend his "Contrapuntal Improvisation" masterclass — Jimmy Wyble fans will find new two-line licks An intermediate class for players curious about atonal devices in a jazz context. As Juampy puts it, this is the tip of the iceberg of 12-tone technique and theory. Note: this class was previously released in Spanish.

Guitarist Juampy Juarez opens his Augmented Tonality series with a deep dive into the whole tone scale — a six-note, fully symmetrical sound that entered Western music with Richard Wagner and sits, in Juampy's view, right at the limit between tonality and atonality. He shares the variations and investigations he developed after noticing that most improvisers never take full advantage of this scale. What's covered How the scale is built (hexatonic and symmetrical — every note works as the root) and why there are really only two whole tone scales Where it works best: over dominant chords , in major and minor blues, standards, and ii-V-I progressions Fretboard positions: three-notes-per-string and two-notes-per-string fingerings that exploit the scale's symmetry New augmented licks, phrases, and two-line ideas The challenge of making the scale melodic , and listening references from Ives, Schoenberg, Bartók, and Berg to Coltrane, Steve Coleman, John Scofield, and Pat Metheny Building chords from the scale, like C7 with a flat five or raised fifth — and why film composers call it the "dream scale" For improvisers who want to add a darker color to their vocabulary and know exactly when to reach for it. Juampy hopes you enjoy the journey to the augmented world.

Juampy Juarez teaches the symmetrical augmented scale — a six-note, hexatonic scale (C, D#, E, G, G#, B) sometimes called the magic scale for its reharmonization possibilities. Introduced by 20th-century classical composers and adopted by jazz players from the late fifties on, it was used heavily by Wayne Shorter (hear Juju ), John Coltrane, Bill Evans, Herbie Hancock, and Chick Corea, and its augmented sound is central to the modern jazz language. What's covered How the scale is built from two augmented triads , and why its symmetry lets you move any lick by major thirds and keep the same notes Positions and fingerings across the neck, with licks and phrases for improvising Main applications: over minor chords (minor, minor 7, minor-major 7) and over dominant 7 chords, where it adds the #5 and b9 Harmonizing the scale: derived chords, polychords, and major and minor triads moving in major thirds "Triadic vision" — building post-bebop lines from triads instead of scale runs, plus vamps over a pedal Rhythmic tips for understanding the post-bebop language, and ideas for intros, outros, and composition Written materials in standard notation and TAB are included. A serious, professional look at an augmented tonality that's a must for the contemporary improviser.

Juampy Juarez teaches walking bass lines on the guitar — one of the most valuable comping tools there is, especially in duos. With one foot in tradition and one in modern jazz, he shows how to accompany singers, piano players, horn players and other guitarists with real vocabulary and dexterity, working from a simple C blues. What's covered Playing in two — half-note bass lines on roots and fifths that leave space behind a soloist, and counting with the metronome on 2 and 4 Moving from "in two" to full walking lines as a solo builds intensity Chromatic passing notes and "mini walkings" to tie chords together Right-hand technique: thumb plus fingers (with or without pick), string muting and vibrato for a more bass-like sound Thinking horizontally like a bass player — staying on the low strings and keeping the line melodic Walking through the C blues changes (C7, F7, A7, Dm7, G7) with roots, thirds and fifths Listening first: why there's no formula — comping is a conversation with the soloist You'll come away thinking polyphonically — hearing bass and chords (and maybe melody) at the same time — and keeping tempo like a madman. Written materials in standard notation and TAB are included.

Juampy Juarez teaches a practical clinic on building speed and accuracy on the guitar, drawing on techniques he's learned across jazz, rock, fusion, blues, and heavy metal — from jazz lines to Malmsteen , Holdsworth , and Jimmy Page licks. In his experience, playing in a variety of styles and keeping an open mind is good for any musician's career. What's covered Economy picking — Juampy's favorite technique for playing fast and fluid, with scale exercises in A natural minor, back-and-forth patterns, and three-notes-per-string fingerings Alternate picking exercises for speed, moved across string sets, positions, and stretches Legato, sweep picking, and hybrid picking , with many examples How to adapt each exercise to any scale, key, or fingering Warm-up routines and practice habits — including keeping a guitar in your hands while you watch TV so no time goes to waste Listening pointers, like Frank Gambale as a model for economy picking Downloadable PDFs accompany the examples. As Juampy says, technique is only a door into a new musical world — never a goal in itself. With a little practice, you will become a better musician, no doubt about it.

Juampy Juarez explores the modes of the melodic minor scale — often called the jazz minor — one of the most used scales in jazz and fusion since the 1960s. The clinic goes beyond using it for tension over dominant 7 chords: Juampy treats each mode as a melodic and chordal sound in its own right. What's covered The melodic minor formula (1, 2, b3, 4, 5, 6, 7) and playing it across the whole neck The seven modes of the scale, starting with melodic minor itself over minor-major 7 chords Signature chords inside the mode — the "Henry Mancini chord" (min-maj9) and the min-maj chord with an added 6th, sounds used by Bill Evans, Herbie Hancock, and McCoy Tyner Thinking in tonality — connecting chords, modes, triads, and arpeggios instead of scales and chords divorced from each other Linear ideas and chords applied over blues, standards, and simple vamps, with a demonstration on Stella by Starlight Recognizing this sound in players like Pat Martino, John Scofield, John Coltrane, John Stowell, and John Abercrombie For players who want to understand post-bebop harmony and start sounding modern — learning the melodic minor modes in their whole extension, by ear and on the fretboard.

Juampy Juarez teaches the harp-like world of guitar harmonics, sharing the techniques of Ted Greene and Lenny Breau along with chordal ideas in the spirit of Ralph Towner . Ever since discovering that the guitar could imitate harp sounds, Juampy has been researching new chords and extended techniques built on these colors — and this masterclass collects what he's found. What's covered Natural harmonics — where they live on the 12th, 7th, 5th, 19th, and 24th frets, and why Harp harmonics — combining fretted notes with harmonics, starting from an Em7(11) loop you can play back and forth Octave, tap, and touch harmonics , combined with fretted notes, scales, and chords Transposing harp-harmonic loops with barre chords to any key Harmonics chord sequences, scales with harmonics, and special effects — including koto-like textures Putting it to work in intros, endings, and comping Your guitar will begin to sound like a waterfall, with textures that expand your harmonic, melodic, and sonic range. As Juampy puts it: hope you enjoy these ideas and become a harmonics lover too.

Juampy Juarez explores using the whole fretboard to break out of strict position playing. Most guitarists learn the instrument through 'pentatonic box' positions and never move beyond them; playing horizontally — running lines along single strings, up and down the neck — develops fretboard mastery and lets melodic ideas flow. Juampy points to great players who work this way, including Allan Holdsworth, John Stowell , and John Scofield. What's covered Playing scales horizontally on each single string: pentatonic , melodic minor , diminished , and the symmetrical (whole-half tone) scale Two- and three-notes-per-string fingerings for horizontal playing New intervals and double stops from adjacent and non-adjacent strings — major thirds, fourths, sixths, and minor sevenths hiding inside the pentatonic Finding chords inside the pentatonic (sus2 and minor shapes) for intros, endings, solos, and chord melodies Left-hand technique for the wide stretches horizontal playing demands Improvising on a C7 blues with a whole tone scale — possibly the first time you've heard this approach to the blues Combining scales, such as integrating the melodic minor with the symmetrical scale In Juampy's words: it's a powerful tool for playing more melodically — break outside the box and change your technique and mindset. With many new patterns, licks and intervallic ideas , plus new chords and phrases to use over famous standards and blues, your improvisation palette will expand a lot.

Juampy Juarez teaches polyphonic improvisation — soloing with lines and chords together — for the solo guitar style, duo with a bass player, or guitar trio. Many fine solo players finish their chord melody arrangement and then improvise only with single-note lines; in Juampy's view that's where the music starts to sound weak. His approach draws on past masters like George Van Eps , Jimmy Wyble, and Ted Greene, adapted to his own style. What's covered A full polyphonic solo demonstration over Stella By Starlight , then the tips behind it Triads as the core tool: combining diatonic triads with lines through every degree of the scale Adding 9ths and 6ths to the triads for richer colors, then mixing the two Playing triads horizontally and vertically across the fingerboard, plus chromatic expansion of the lines All the scales are covered — a different view of the scales and your overall guitar vocabulary Right-hand technique: fingers or pick-and-fingers for the polyphonic material Examples applied to jazz standards, blues, and II-V-I sequences Useful well beyond soloing — the same material feeds comping, chord melody arranging, and composing.

Juampy Juarez shows how the humble major triad becomes a powerful device for improvising and composing. Because major triads exist inside every heptatonic scale we use in Western music — plus the symmetrical scales — you can mix them to build triadic lines that sound very different from scalar playing, an approach heard in players like John Coltrane, Joe Diorio, and Pat Metheny. What's covered Whole-step triad pairs (F and G) drawn from the melodic minor scale , and why major triads work better for lines than minor, diminished, or augmented triads Moving a triadic pattern through inversions and positions across the neck, horizontally and vertically Mixing scalar lines with triadic lines over a static minor vamp Stacking three melodic minor scales over one minor chord (including Locrian natural 2 and Dorian flat 2 modes) and the major triads inside each Major triads from the diminished, harmonic, and augmented scales — covering all the scales used in Western music Two of Juampy's own blues compositions whose melodies are built entirely from major triads By the end you'll be able to weave triadic melodies into your soloing for a more modern sound, with many new lines appearing in your sonic palette.

Juampy Juarez teaches the art of comping in a vast array of group settings — duo, trio, quartet, and solo guitar — along with rootless comping concepts . There are no formulas for better comping, but there are rules, vocabulary, and tips to get you started, and Juampy lays them out here — with listening always as the key. What's covered Three-note guide chords and guide tones — why small chords work better than big ones behind a soloist, with movable shapes demonstrated over a C blues and a C minor blues Rootless voicings, inversions, quartal harmony, and chords without bass Rhythm fundamentals: putting the metronome on beats 2 and 4 to internalize the backbeat, and quarter-note Freddie Green-style comping Combining three-note chords with bass lines to hold the tempo when there's no bassist Adapting your comping to different instruments — bass, trumpet, sax, guitar, voice Licks and vocabulary from greats like Jim Hall , Bill Frisell , Lenny Breau , Ed Bickert , Freddie Green , and Jimmy Wyble Any good player needs to be good at comping , not only soloing — and the more you know about chordal theory , the more these ideas feed your composing and arranging. Juampy invites you to join him in becoming a better comper . 9 pages of PDF included.

Juampy Juarez explores the diminished scale — the symmetrical, eight-note scale heard in the music of Igor Stravinsky, Bela Bartok, John Coltrane, Allan Holdsworth, John McLaughlin, and Adam Rogers — and shows how to put it to work in your own improvising. He begins with the construction of the scale and diminished harmony, demonstrates its one movable zigzag fingering (the same shape every minor third up the neck), and then applies it over static and altered dominant chords in many contexts. What's covered The scale's symmetrical structure: two modes, four roots, and why only three diminished scales exist The classic starting point — playing the scale a half step above a dominant chord for tension, resolving through a II-V-I Triad pairs from inside the scale for striking modern effects Playing the scale horizontally for more melodic results Wide-interval playing and "ascendant lines" (moving only upwards) for contemporary jazz sounds Using the diminished scale over the blues , with many examples — because, as Juampy says, jazz always needs a foot in tradition Compositional ideas, plus an unusual diminished-based solo over Jobim's bossa nova standard "How Insensitive" Juampy calls his courses "investigations," and this one reveals a wide range of unexpected applications for the scale. The diminished tonality is a must for any student who wants to sound like a contemporary improviser — phrases and licks, both scalar and triadic, are applied to easy blues progressions, famous standards, and II-V-I progressions throughout the video.