Randy Johnston

Randy Johnston shows you how to superimpose the Coltrane "Giant Steps" changes over the standard "Secret Love" — an approach he recorded on his album Somewhere in the Night — and gives you specific patterns and licks to play over these challenging changes. Randy explains how each pattern and phrase was created, so you can build your own lines and apply the same substitution to any II-V-I in any standard. Some of the patterns come straight from Coltrane solos Randy transcribed, and he shares a story from his friend Curtis Fuller about hearing Coltrane practicing these very patterns in his apartment. What's covered The Coltrane cycle explained step by step in Eb: up a minor third, down a fourth, repeated until you land back home (Ebmaj7–F#7–Bmaj7–D7–Gmaj7–Bb7–Eb) How to superimpose the cycle over any II-V-I that lasts four bars — in "Secret Love" and any other standard Analysis of the patterns used to create lines over these substitutions Two complete 4-bar phrases (licks) using these patterns, with explanations of how they were built The standard changes of "Secret Love" alongside the superimposed Coltrane changes in the written materials An advanced class for improvisers ready to add this distinctive sound to their repertoire — Randy recommends learning the tune's melody and regular changes first. Includes a PDF of the transcribed solo and techniques used. Running time: 36 minutes.

Randy Johnston teaches a specific two-chorus solo on Miles Davis' "Solar" , complete with fingerings — then breaks down the techniques used to create it, so you can build your own convincing solos on Solar and apply the same tools to many other jazz progressions. What's covered The full two-chorus solo on Solar, with fingerings Chromatic approach tones and upper/lower neighbor tones Substituting the ii or the V chord for the full ii–V progression Close voice leading and altered dominant chords How to simplify the m7b5 chord Comping and soloing on the tune Includes a PDF of the transcribed solo and the techniques used. Running time: 30 minutes.

Randy Johnston teaches a one-chorus solo on a C minor blues note for note, then takes you through a measure-by-measure analysis of the techniques used to create it. He also teaches the exact chord voicings used to accompany the solo, with an explanation of how those voicings were derived. In this course you will study Voice leading, guide tones, and approach techniques as they apply to minor blues Melodic and harmonic techniques and patterns used to create lines on minor blues, with a measure-by-measure analysis of these ideas Chord voicings and comping applied to minor blues, including how the voicings were built Learning the solo and comping note for note — and understanding the thinking behind them — will help you create your own solos and accompaniment on any minor blues. Best suited to intermediate and advanced players. Running time: 31 minutes. 2 Pages PDF Included.

Randy Johnston teaches how to play the jazz-blues in F while closely outlining the changes using approach techniques and chromaticism. If you're looking to sound both bluesy and jazzy at the same time, this is the class for that exact skill. You'll work through a full written chorus of the blues, with every line and lick explained and demonstrated note for note. What's covered Voice-leading 3rds and 7ths (guide tones) and how to visualize them on the guitar Approach and enclosure techniques and how to see them on the fingerboard When to play the guide tones rhythmically so the chord changes are clearly realized Suited to intermediate and advanced players. Running time: 33 minutes. A 1-page PDF is included.

Randy Johnston teaches how to solo over fast-moving bebop changes using Charlie Parker's "Confirmation" — building lines that are harmonic and melodic at once and nail the changes exactly, without leaning on scales and arpeggios. The class is built around a written-out 16-bar etude on the first two A sections of the tune. What's covered Guide tones — voice leading with 3rds and 7ths, and how to visualize them on the guitar Approach and enclosure techniques, with chromatic variations When to place the guide tones rhythmically — Randy's point that fast changes are as much a matter of when as what The Confirmation A-section harmony: fast descending ii-Vs from F major through B-flat and back Simplifying the harmony by letting the dominant chord "dominate" Making your own solos from the etude's techniques, applicable to any bebop or standard changes Everything is demonstrated on the guitar and written out in the included materials. If you enjoy this approach, Randy covers Giant Steps and rhythm changes the same way in his earlier classes. Running time: 36 minutes. 1-page PDF included.

Randy Johnston breaks down the back cycle — the chain of dominant chords that carries you from the I chord back around to the ii — one of the most important harmonic devices in standard-era jazz and bebop. Building on his earlier class on ii-V-I lines, Randy shows how the back cycle is derived, why it works, and how to use it in both your comping and your soloing. What's covered How the back cycle is derived and why it shows up in so many tunes The diminished-seventh connection: how one diminished chord functions as four different dominant 7♭9 chords Specific written lines to play over the back cycle examples, plus hints for creating your own lines and melodies Applying the back cycle to standards like Have You Met Miss Jones and It Could Happen to You Using it in the blues turnaround, where the I chord cycles back to the ii Chord voicings and lines worked out in two very common keys An intermediate class for players who want their improvising and comping to flow more naturally through the progressions found in almost every standard and bebop tune. Running time: 41 minutes. 2-page PDF included.

Randy Johnston teaches two ways to apply tritone substitutions over ii-V progressions , in the style Wes Montgomery used again and again in tunes like "Four on Six" . Working from a simple ii-V-I in C major, Randy shows how the substitution works, gives you written lines to play, and lays out a method for building your own. What's covered Why the tritone sub works: the shared third and seventh between G7 and Db7, and the bass motion from D to Db to C How substituted chord tones automatically sound like alterations — flat 9, sharp 9, sharp 5, sharp 11 — on the original dominant Two different ways to apply the tritone ii-V substitution, usable in both major and minor keys Specific written lines and phrases to play over the substituted changes Building your own lines from simple motifs repeated in sequence over the progression An intermediate class for players who want their dominant-chord lines to sound like they're slipping in and out of the changes rather than running scales. Running time: 33 minutes. PDF included.

Randy Johnston dives deeper into the Coltrane Cycle , showing how to apply the Giant Steps chord progression to the 12-bar jazz-blues. In 33 minutes, Randy works step by step through specific lines and patterns that bring you closer to spontaneous improvisation on the blues progression in general and the Coltrane Cycle in particular. What's covered Superimposing the Coltrane (Giant Steps) changes over the first 4 measures and the last 4 measures of the blues progression Specific lines and patterns to play over the Coltrane changes Patterns and strategies for constructing your own original lines over these changes This class is a further exploration of the concepts presented in Coltrane Changes Strategies Part 1 and can be used either together with or separately from that class. Specific examples are provided, and you're encouraged to use the strategies to build solos of your own. Running time: 33 minutes. PDF included.

Randy Johnston teaches how to apply the Coltrane (Giant Steps) cycle to traditional I-vi-ii-V and ii-V-I progressions, along with the derivation of the cycle itself. He provides specific lines and ideas for soloing on these changes, plus practical ways to make both comping and soloing flow more easily on the guitar — including lines and examples drawn from Coltrane's iconic tune Giant Steps . In this course, you will learn Specific licks and substitutions for navigating the Coltrane cycle Ways to make comping and soloing less awkward on the guitar for this progression The derivation of the progression and how to apply it to standard progressions Lines and examples for working through Giant Steps itself By the end of Part 1, you'll be better able to navigate the Coltrane-style harmonic cycle from both a comping and a soloing standpoint, with concrete material for getting this difficult progression under your fingers. Suited to intermediate and advanced players. Duration: 29 minutes . PDF included.

Randy Johnston closes out his rhythm changes series with a 36-minute class devoted entirely to the bridge of "I Got Rhythm" changes — the cycle of dominant 7th chords (D7–G7–C7–F7 in Bb) that shows up in countless bebop tunes. Where Parts I and II covered the A sections, this session presents 8 different variations of the bridge, for both comping and soloing, with specific example lines for each. These progressions and lines apply to any cycle-of-dominants or II-V progression, so they carry over to many other jazz tunes. What's covered The basic bridge and straightforward ways to play on it — dominant 7th arpeggios and the Mixolydian mode 8 versions of the " Rhythm Changes " bridge, each demonstrated with a loop to practice along with Specific lines to play over each progression variation Ways to alternate and interchange II-V and dominant 7th progressions The minor-for-dominant shortcut Randy learned from saxophonist Jackie McLean — playing Am7 over D7, Dm7 over G7, and so on through the cycle Studying bebop heads like Charlie Parker's "Anthropology" for ready-made bridge vocabulary For intermediate and advanced players who want more variety and freedom on the bridge of rhythm changes. Written examples are included as a download. Full video is 36 minutes.

Randy Johnston continues his rhythm changes series with a 33-minute class on harmonic substitution over the A section of "I Got Rhythm" changes — material that applies just as well to any II-V-I or cycle-based jazz tune. Building on the chord reductions from Part I, Randy works through a multitude of I-VI-II-V variations, tritone substitutions, and extended back-cycle ideas to make your lines more harmonically colorful. Every concept is demonstrated on the guitar and also notated in the downloadable written materials. What's covered The three-for-one substitution : playing Dm7 over the Bb tonic to open up the first bars I-VI-II-V variations with specific written line examples Tritone substitutions explained and applied — Db7 for G7, B7 for F7 — including descending half-step cycles (Dm7–Db7–Cm7–B7) Simple triad-based lines (5-1-3-5 of each chord) for spelling out the substitute changes Extended back-cycle ideas using secondary dominants for more harmonic variation Practice advice: writing out your own lines and transcribing rhythm changes vocabulary you hear For intermediate and advanced players who want to be more varied and free when improvising on rhythm changes. Written examples are included as a download, and the bridge gets its own treatment in Part III. Full video is 33 minutes.

Randy Johnston teaches a practical approach to improvising on Rhythm Changes with greater ease, confidence, and harmonic and melodic freedom. He presents two basic versions of the Rhythm Changes A section, explains the harmonies in each, and provides specific written phrases to match those harmonies — then shows how to simplify the changes so you can construct your own, more melodic solos. What's covered Rhythm Changes A-section chord changes, in two versions Specific written lines to play over those changes Harmonic reduction to simplify the changes, with examples For intermediate and advanced players who want a clearer path through one of jazz's most-called progressions. The full class video includes a download. Duration: 40 minutes

Randy Johnston teaches simplified, streamlined fingerings for arpeggios starting from the 7th degree of the chord — a method for increasing the speed, sound, and flow of your arpeggios and opening up new soloing ideas. The fingerings cover major 7th, minor 7th, dominant 7th, half-diminished 7th, minor-major 7th, and fully diminished 7th chords, with applications to 9ths, #11 chords, and other substitutions. What's covered A new way of playing 7th-chord arpeggios up to three octaves Applying these fingerings to other chords, including 9th, #11, and blues chords Right- and left-hand techniques — picking, hammer-ons, and pull-offs — for playing these lines with flow and speed An intermediate-to-advanced class for players who want to sweep and flow up and down the neck with arpeggio lines they can put straight to work in their solos. The full class video includes a download. Running time: 30 minutes

Randy Johnston teaches Blues for the New Millennium , his lyrical blues from the 1997 album Somewhere in the Night . Written around the turn of the Y2K era, it's a 12-bar blues built on simple 1-4-5 chords — with a twist in the harmony, including a two-ending form and a D-flat turnaround. Randy shows you the chords, the melody, and his strategy for improvising confidently over a basic blues with a modern flavor. What's covered The chord changes, played slowly and then over a loop, with half-step anticipations for variation The sequential melody — one phrase repeated across the changes — with a written-out chart included The three scales he uses to navigate the changes, starting with the blues scale and the Mixolydian of each chord Adding chromatic passing notes for that Pat Martino sound in your lines The Chuck Berry move that adds a blues sound when you need it A 'false fingering' approach that makes your lines sound even better Thinking from the minor chord to make dominant sounds easier Randy keeps it direct and to the point — no filler, just what he actually plays, straight from his home in Central Virginia. Full video is 31 minutes. 3 Pages PDF Included. See Randy's Full Recorded Performance Free on MMC's All Access TrueFire Channel Channel Members: See Pt. 2 - Form (What's this?)

ライオネル・ハンプトン、ヒューストン・パーソン、エタ・ジェームス、ロニー・スミスと共演し、17年にわたりルー・ドナルドソンのレギュラーメンバーとして活躍してきたランディー・ジョンストンが、コード進行に沿ったソロの組み立て方を約30分で解説する日本語字幕版マスタークラス。音域を 1オクターブ に限定するというシンプルな練習方法で、アルペジオに頼った繋がりの悪いフレーズから抜け出し、コード感のある一貫したラインを弾けるようになることを目指します。 学べる内容 ガイドトーン （3度と7度）の仕組み — コードサウンドを決定づける音とその見つけ方 キーCの II-V-I 進行を使った、ガイドトーンを軸にしたラインの作り方 1オクターブ内でのソロの実例 — 低音域・中音域それぞれのデモと4つのソロ例 テトラコードの概念の応用とコードメロディへの展開 ジャズスタンダードの定番曲 Stella by Starlight でのデモ演奏 日々の練習に取り入れるためのヒントとまとめ ギターの指板全体に散らばる選択肢を一旦手放し、限られた音域の中でチェンジを表現する——ジャズレジェンドと共演してきた彼ならではの実践的なアドバイスが詰まったレッスンです。 2 Pages of PDF materials in standard notation. Full video is 27 minutes

Randy Johnston teaches his approach to double timing — shifting from eighth-note lines to sixteenth notes while the chords keep moving at the same speed. Players like Pat Martino, Mike Stern, Pat Metheny, Joe Pass, and George Benson are known not just for slow, artistic melodies but for intense double-time lines that weave through the harmony; this class shows you how to build that skill yourself rather than relying on a few pet licks. What's covered What double time actually is, demonstrated over a B blues with a looper — single-time and double-time choruses side by side Why you need twice as much material on every chord, and how to count it through the changes How to practice: slowing sixteenth-note lines way down while keeping the feel of playing fast Using substitute changes (like a tritone substitution before E7) to generate more notes and more color Skating — Randy's term for a bluesy way of playing fast that isn't strict double time Switching back and forth between regular and double-time feel If you can play nice motivic melodies but struggle to create intensity at speed, this class gives you a clear practice method for an essential jazz guitar skill. Full video is 29 minutes.

Randy Johnston applies his tetrachord method to the melodic minor scale and its modes. A tetrachord is half of a scale — and since many scales share the same few four-note shapes, learning tetrachord fingerings makes learning scales far simpler. This is the follow-up to Randy's Tetrachord Scales - Part 1 , which covered the modes of the major scale the same way. What's covered Building the melodic minor scale from a Dorian + Ionian tetrachord , with multiple fingerings to mix and match across the neck The modes of melodic minor, including Lydian b7 (Lydian + Dorian tetrachords), with the chords each scale generates Playing the diminished scale with two logical fingerings, and the whole tone scale , using the same strategy Applying it on a minor blues — which melodic minor to use over min-maj7, half diminished, and altered dominant chords Adjusting fingerings for the guitar's G-to-B major third in standard tuning Newcomers to the concept will get the most from pairing this with Part 1, though the tetrachord written materials are included with both classes. 6 pages of PDF materials in standard notation (chord block diagrams, melodic minor scale fingerings, tetrachords, and essential chord voicings) Full video is 33 minutes

Randy Johnston teaches the fundamentals of swinging jazz comping and shows how to use a looper pedal — recording tasteful comps live, no pre-recorded backing tracks — to add energy to solo guitar gigs. Working over an F blues , he reduces comping to its simplest, most usable elements so your rhythm playing locks into the pocket. What's covered Practical looper tips for solo sets, including the exact pedal Randy uses (the TC Electronic Ditto) and why — and how to hit the loop right on one What good time and swing feel actually mean, and how they differ How to really practice with a metronome: on all four beats, then feeling it on 2 and 4 like a drummer's hi-hat Comping with the thumb vs. the pick, and when to use each What to play: chords on the beat, then adding anticipations and delays , varying long and short articulations The Charleston rhythm and its variations Comping vs. generating the rhythm — why most comping is too much An info-packed, immediately usable class. Even if you never use a looper, it will tune up your rhythmic comping chops. 2 pages of PDF materials in standard notation (rhythmic notation, chord chart and chord block diagrams) Full video is 33 minutes

Randy Johnston teaches a fingerboard method built on tetrachords — four-note patterns that make up half of a scale. Instead of memorizing CAGED shapes or three-note-per-string patterns in every position, you learn how a few simple tetrachord shapes can generate all the modes of the major scale anywhere on the neck. What's covered What a tetrachord is, and how two tetrachords stack to build a full diatonic scale (e.g. the Ionian tetrachord's whole-whole-half pattern) The handful of fingerings you need, and how to combine them up and across the fingerboard Adjusting tetrachord fingerings when crossing the third-to-second string (the major-third tuning gap) Extending the concept to modes of melodic minor, harmonic minor, the diminished scale, and the whole-tone scale Using one fingering concept to learn and transpose melodies all over the neck — demonstrated with the melody of Solar If you've ever learned a melody in one position and felt you had to relearn it in ten others, this method gets you there with far less memorization. Includes 3 pages of PDF materials in standard notation with chord block diagrams. Full video is 27 minutes. This is Part 1 of Randy's tetrachord series. Video of Randy Johnston Trio Live at Smalls

Randy Johnston teaches a deceptively simple practice technique for outlining fast-moving chord changes: limit your soloing range to a single octave. He learned the concept years ago from pianist Vince Maggio at the University of Miami, and it gets guitarists out of running arpeggios up and down — toward the connected, coherent lines of saxophonists and pianists. "Changes are destination oriented." — Randy Johnston What's covered Guide tones explained: why the third is the defining note of a chord, with the seventh passing down into the next chord's third Working the concept through a II-V-I in C major , hitting third-seventh-third on time Locating every guide tone within one octave — and discovering how much of the fingerboard you don't yet know Building lines around the guide tones: scale tones, chromatics, and space between the destinations Four choruses of soloing on Stella By Starlight in B-flat, each in a different octave and position A bonus chord melody version of Stella By Starlight played before the soloing examples Practice tips: record yourself, then ask — is it swinging, and can you hear the changes? If you're looking for a practical way to develop your single-note improvisation, this 27-minute class gives you the basics quickly and a method you can apply in every future practice session. Includes 2 pages of PDF materials in standard notation. Full video is 27 minutes.

Randy Johnston teaches "West Coast Blues" , Wes Montgomery's classic jazz blues in 3/4 (6/8) time, putting his own twist on it rather than attempting a note-for-note Wes copy. You'll learn the chord changes — including how the melody changes and the trickier solo changes differ — plus Randy's personal strategies for soloing on the tune with single notes, octaves, and block chords. What's covered The melody changes vs. the solo changes , including Wes's trademark tritone-substitution ii-Vs and the 1-6-2-5 turnaround with tritone subs Ideas for simplifying ii-V single-note lines , including sequences over the descending ii-Vs Minor vs. dominant vs. blues-scale ideas — and why the blues scale works as a "trump card" over these changes Visualization techniques for Wes-style octave solos , with fingering shapes for each string set (plus Larry Coryell's alternate fingering) Block chord soloing basics : drop-2 voicings, inversions, and replacing chord tones with upper partials (9th for root, 11th for 3rd, 13th for 5th) Which chord fingerings work better on which string sets, and why Two arrangers' techniques — diminished approach and chromatic approach — to imitate the big band sound These are the ideas Randy actually uses when he plays, presented so you can navigate this tune with more confidence at your next gig or jam session. Full video is 1 hour. Includes 3 pages of PDF materials in standard notation.

Enjoy an improvised performance of Randy Johnston playing "Santa Claus is Coming to Town".

Randy Johnston breaks down "It Could Happen to You" , the Jimmy Van Heusen and Johnny Burke standard, with a full chord melody arrangement plus reharmonization and single-note soloing ideas. After an opening performance, Randy works through the tune bar by bar, showing both the standard changes and his substitutions so you can navigate the song confidently. What's covered A complete chord melody / chord solo , taught in sections (bars 1-4, 5-8, 9-16, 17-32) with demos Back cycles and front cycles — connecting the I chord to the ii chord with bass motion in fourths and half steps Reharmonized changes for more movement and color, including a Jimmy Raney substitution and an all-purpose intro/ending Harmonic minor vs. diminished sounds over the changes, with Randy's own diminished scale fingering Voice-led lines, sequences, and blues sounds for single-note soloing A pedal point intro for setting up the tempo with a rhythm section A bluesy double-stop organ-trio lick in the style of George Benson and Pat Martino With multiple demos and plenty of Randy's lyrical, flowing lines, you'll come away ready to play this song at your next gig, jam session, or recording. Running time: 57 minutes. Includes a 4-page PDF with the reharmonized changes, chord diagrams for the chord melody version, and 2 notated single-note lines.

Randy Johnston teaches the Rodgers and Hart standard "Have You Met Miss Jones?" from the ground up: the single-note melody, a chord melody arrangement, the harmonic progressions, and single-note soloing ideas you can apply to many other standards. By the end you'll be able to play the tune as a solo guitar piece or with a group, and improvise on it with confidence. What's covered A complete chord solo / chord melody version of the tune, with a lead sheet included Back cycles — inserting chords that move in fourths and half steps to connect the I chord to the ii chord Diminished 7th chords as rootless dominant 7b9 substitutes, and why there are really only three diminished chords Clearing up the tune's famously tricky bridge Building solo lines with digital sequences (5-1-3 triad patterns) and common-tone sequences over the back-cycle changes Using contrary motion and tetrachord shapes to simplify the fingerboard Alternate harmonic progressions you can transfer to other standard songs This class came about by popular vote after Randy's live webinar, and it suits intermediate players who want to take one great standard deep. Chord diagrams are included. Running time: 2 parts totaling 1 hour 10 minutes.

A recorded live Q&A session with jazz guitarist Randy Johnston from March 1, 2018, hosted by Mike. Just back from touring Japan, Randy opens with some rhythm changes and then takes student questions on any aspect of guitar playing and jazz, answering with demonstrations on the guitar. FREE FOR MEMBERS Questions covered include Improving your timing — metronome strategies (clicking on 2 and 4, cut time for fast tempos), playing along with recordings, and the value of playing with a good rhythm section Hearing chord changes on unfamiliar tunes — singing along with chords and targeting the third of each chord on the beat Presenting a melody — learning the lyrics of standard songs for phrasing cues, and shifting octaves for dramatic effect About Randy: he is one of the most widely recorded guitarists of his generation, with 12 albums as a leader on the Muse, Highnote, J Curve, Mel Bay, and Random Act labels. He has toured and played with Lionel Hampton, Houston Person and Etta Jones, and Lonnie Smith, and spent 17 years as a regular member of the Lou Donaldson Quartet. He has also taught at New York University, the Hartt School of Music, the University of Miami, and other major universities, and his vocals have been favorably compared to those of Ray Charles.

Randy Johnston teaches the Antonio Carlos Jobim bossa nova standard "Triste" in this practical, hands-on class. He opens with a solo rendition, then works through the melody, a full chord solo, and improvisation ideas over a guitar chord track. What's covered Why the real book chart is in B flat, and how to move it down to the original guitar-friendly key of A to take advantage of open strings Three ways to play the opening A minor 7 - D7 vamp, including an open-string A minor 9 voicing and a minor line cliché variation A complete chord solo, taken step by step, with alternate chord choices and the theory behind them Improvisation approaches, including scale choices and building lines from simple motifs Playing the arrangement with a pick or fingerstyle A solid intermediate class for getting a Brazilian standard under your fingers as both a chord-melody piece and an improvisation vehicle. Chord diagrams are included. Running time: 1 hour.

Randy Johnston's first Mike's Master Class is all about making jazz guitar more manageable. Randy shares practical tools for simplifying the instrument, covering technique, fingering, scales and tetrachords, chord voicings, and improvisation — and he opens the class with some solo guitar playing. What's covered Technique and fingering approaches that simplify the fretboard Learning scales and tetrachords with workable fingerings Chord voicings for comping Improvisation tools, including playing over ii min7b5 – V7 – i (the minor two-five-one) Solo guitar playing to open the class A good fit for players who feel overwhelmed by jazz guitar and want a clearer, simpler path into scales, voicings, and soloing. Note: there are no written materials for this class.

Randy Johnston takes you through 8 sets of jazz blues changes in the key of B-flat, from a basic jazz blues to richer bebop variations. One set at a time, he clearly demonstrates the changes and voicings, plays a chorus of chords at a medium tempo, solos over the changes, and then comps a few choruses so you can practice soloing yourself. What's covered A basic jazz blues with the ii-V into the IV chord, the diminished 7th in bar six, and the V-of-ii move Bebop-era variations with extra diminished chords, in the style of Charlie Parker, Barney Kessel, and Oscar Peterson A "Bird blues" set built on descending ii-Vs, like Parker's "Blues for Alice" Turnbacks and back cycles — dominant 7ths walking down in half steps Chord-quality substitutions: when B-flat can be a 6, 7, 13, or major 7 Soloing touches along the way, including voice leading and tetrachords The changes and voicings for each set are written out, including block chord diagrams, and you're welcome to steal any licks from Randy's solos. Most of his solos are eighth-note lines at medium tempo with a very good view of the fingerboard and finger placement — easy to transcribe or simply mine for ideas. A great foundation class for beginners getting into jazz blues. Running time: 1 hour. 6 pages of PDF material included.

Randy Johnston uses the standard "Beautiful Love" as the basis for a practical, hands-on class, opening with a solo rendition and then taking the tune apart step by step. It's a 32-bar minor tune that people call easy — Randy makes the case that it isn't, and shows you how to handle it on the guitar. What's covered The melody, with position-shifting techniques — including why sliding with the third finger beats the little finger A chord solo version with several variations, covered step by step Alternate chord choices and the theory behind them Demystifying the half-diminished (m7b5) chord that opens the tune Choices for the i chord in a minor key The minor scales in play — harmonic minor, Dorian, and melodic minor — with a scale chart Constructing solo lines, with chords and solos covered in 3 positions Chord diagrams, a scale chart, and the lead sheet are included. Running time: 1 hour. A natural follow-up to Randy's classes on Stella by Starlight and Green Dolphin Street.

Randy Johnston takes you step by step through his thought process for choosing chord changes and voicings and constructing solo lines on On Green Dolphin Street , the standard made famous by the Miles Davis Quintet. Randy teaches it in C (rather than the also-common E flat) because the melody flows better on guitar there, and the devices transfer to any key. What's covered A full chord melody chorus, broken down chord by chord — including when not to harmonize every melody note Chord voicing choices and fingerings that flow from one chord to the next Back-cycling (cycles of dominants), plus tetrachords and tritone substitutions Various chord options for comping Soloing ideas worked through a measure or two at a time, using the tune's 8-bar and 4-bar phrase structure This is a hands-on, practical class with concepts you can apply right away. A lead sheet, chord melody chord sheet, and chord block diagrams are included. Running time 1 hour.