The diminished scale is perhaps the most fun and challenging scale used in improvising adding spice and a modern vibe to melodic lines. 
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Chord-Melody 101/201: Making Great Sounding Arrangements with Block Chords - With TAB and standard notation. You already know a handful of cool sounding voicings but chord-melody arrangements may still be tough. Ever listen to Wes Montgomery’s 
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With TAB and standard notation. Quartal harmony can really spice up ones comping and soloing bringing them into the modern realm. 
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(with TAB!) Often guitarists will reach for chord ‘grips’ that have roots in the bass, sometimes out of habit. 
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Practice is always changing and evolving. One key is to let the actual music be the guide keeping practicing fun, interesting and most importantly, practical. 
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Wes Montgomery, Johnny Hodges, Ben Webster, and Louis Armstrong were true masters of the art of melodic embellishment. In this class we’ll look at the techniques utilized by these jazz greats and others who excelled at melodic invention on the popular s 
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In this second class on comping we’ll look at ballads and jazz waltzes and the types of comping that work well for each. Tunes will include 
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Improvising in the chord melody style can be taken to new heights when inner lines are employed that are musical and played with finesse. This class will deal specifically with inner lines, or lines that are played between a melody note and a bass note. T 
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Playing fingerstyle on an electric guitar or steel string acoustic can be a very different experience than on a classical guitar. 
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Creating memorable melodies can be challenging, especially in the midst of an improvised solo. In this class we’ll examine a wide array of great melodies and see what makes them eminently sing-able and memorable. The makings of a great melody involve t 
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We all know how important fundamentals are. But are they mastered to the point that they can be called upon at any instant during performance? 
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Although utilized for many years in jazz and other styles, odd meters has become an essential part of today’s jazz. 
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In this class standards such as Stella By Starlight, In A Mellotone and Confirmation are used to demonstrate a variety of comping concepts 
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Harmonically rich single note lines are embedded in many chord forms! Certain chord forms can be arpeggiated to yield beautiful 
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Wes Montgomery and Kenny Burrell are two guitarists that loved to imitate a horn section with chordal riff figures. 
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The chord changes to "I Got Rhythm" are required study for any jazz musician. 
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In Practicing and Memorizing Tunes: A Systematic Approach For All Levels, Steve will take you through the process of learning new tunes with an emphasis on hearing the melody and changes and how they fit together. 
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George Van Eps used to say that "Guitarists put too damn many notes in their chords." 
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Joe Pass always talked about the importance of motion as it pertains to solo guitar. 
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Harmonized triads and seventh chords of the Melodic Minor scale and their practical applications over altered dominants and two-five-ones. 
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This Saturday morning class on Contrapuntal Improvisation for pickstyle and fingerstyle guitar will be live from the IAJE in NYC. 
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7-String Jazz Guitar for all levels will cover a wide range of topics for the 7-string player. 
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This 38-minute Guitar Masters Sampler lets you get a glimpse of 8 of Mike's Master Guitarists. 
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Utilizing ideas for voice motion and chord substitution inspired by George van Eps, Steve will take the often played "Autumn Leaves" and send out a chord melody arrangement in the Van Eps style. 
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I often get requests to demonstrate how Van Eps' triad studies in Harmonic Mechanism's can be applied to comping and soloing as well as chord/melody. In this masterclass we'll see how his multi-line triadic approach can add depth and interest to triads 
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Breau's use of 2 and 3 note comping chords while he played melodies was a big leap forward for guitarists. Learn the techniques Lenny used to achieve this swinging jazz piano sound and play some of his favorite phrases and comping chords. 
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