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Unlock the sophisticated bebop language of jazz piano legend Bud Powell, adapted for guitar by Mike Godette. Featuring 12 carefully transcribed licks from Powell's iconic solos, covering essential jazz progressions including six major 2-5-1s, two minor 2-5-1s, plus turnaround licks, chromatic triad patterns, suspended dominant ideas, and intervallic major concepts. Mike breaks down each lick with detailed analysis of the harmonic devices at play—from delayed resolutions and tritone substitutions to the innovative use of Dorian modes a half-step above dominant chords. You'll discover Powell's unique approach to chromaticism, altered tensions, and how to achieve that distinctive pianistic sound on guitar through specific fingerings and articulations. Perfect for intermediate to advanced jazz guitarists looking to expand their bebop vocabulary, this course transforms Powell's keyboard genius into practical guitar applications. Sub Topics Altered scales ii V I licks Soloing Level Intermediate Advanced Course Details: Title: The Improv Style of Bud Powell for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 53 minutes 4 Pages of PDF Included (with TAB)

Just as the major scale is the basic “alphabet” used to construct chords and melodies for music in major keys, the harmonic minor scale is the “alphabet” used to build the harmonies of musical compositions in minor keys, which is how the scale gets its name. Because there exist so many alternate scales and harmonies to express minor key sounds, the harmonic minor scale often gets glossed over quickly by aspiring jazz musicians. While the harmonic minor scale doesn’t correspond quite so simply with minor keys the way the major scale does with major keys, familiarity with harmonic minor is an important step in mastering comping and improvising in minor keys. Additionally, the harmonic minor scale contains several “hidden” sounds that can provide fresh, new, and exciting possibilities for both comping and soloing. Part one of Harmonic Minor Complete breaks down the theory and reveals how, why, when, and where to use the scale in its basic form. It also explores the use of the harmonic minor scale to create more esoteric textures and provides a clear explanation of the modes and various techniques to make learning and utilizing them easier. Part two continues the exploration of ways to gain mastery over melodic and harmonic material for harmonic minor on guitar. This class also offers imaginative and exciting ideas for generating new musical sounds with the scale, both for comping/chordal playing and single-note soloing. Harmonic Minor Scale part 2 covers: Diatonic seventh chords, drop 2 and drop 3 voicings, all string sets and inversions Voice leading drop 2 and drop 3 voicings through other diatonic cycles Voice leading other voicings such as drop 2&3 and drop 2&4 and adding passing tones for contrapuntal variety Using basic seventh chords as substitutions for more colorful harmonies, with examples Exploration of the five different chord families from Mick Goodrick’s voice leading books with easy-to-understand explanation Applying the various chord families to different diatonic cycles for fresh sounds Using “hidden” chords and arpeggios you already know in unexpected ways to express harmonic minor sounds Exploration of three different ways to use these unconventional sounds for both melodic and chordal playing Triad pairs from harmonic minor, as well as thinking of them as hexatonic scales Pentatonic scales derived from harmonic minor, including fingerings and suggested uses Example comping and solo etudes demonstrating both basic and exotic uses of harmonic minor over standard chord progressions Voice leading through diatonic cycles with both open and close triads Course Details 117 minutes in length Includes 28 pages of written examples and exercises Includes backing tracks for musical examples All musical examples from the video are provided in music notation and tablature Each example performance is shown in close-up view and titled and numbered for easy navigation

Just as the major scale is the basic “alphabet” used to construct chords and melodies for music in major keys, the harmonic minor scale is the “alphabet” used to build the harmonies of musical compositions in minor keys, which is how the scale gets its name. Because there exist so many alternate scales and harmonies to express minor key sounds, the harmonic minor scale often gets glossed over quickly by aspiring jazz musicians. While the harmonic minor scale doesn’t correspond quite so simply with minor keys the way the major scale does with major keys, familiarity with harmonic minor is an important step in mastering comping and improvising in minor keys. Additionally, the harmonic minor scale contains several “hidden” sounds that can provide fresh, new, and exciting possibilities for both comping and soloing. Part one of Harmonic Minor Complete breaks down the theory and reveals how, why, when, and where to use the scale in its basic form. It also explores the use of the harmonic minor scale to create more esoteric textures and provides a clear explanation of the modes and various techniques to make learning and utilizing them easier. Part two continues the exploration of ways to gain mastery over melodic and harmonic material for harmonic minor on guitar. This class also offers imaginative and exciting ideas for generating new musical sounds with the scale, both for comping/chordal playing and single-note soloing. Harmonic Minor Complete part 1 covers: Explanation of the structure of the scale Discussion of the seven modes, with suggested uses, names, and typical chord voicings for each Exploration of harmonies to form the basic chords of most minor-key songs, using both triads and seventh chords Use of harmonic minor to define secondary dominant sounds resolving to diatonic minor chords Using various modes to create new and unusual tonal colors System for quickly remembering which mode to use for which sound Suggested scale fingerings, including 7-positions, CAGED, and symmetrical Exploring contrapuntal playing using different intervals within the scale Intervallic patterns for increasing fluency Exploration of diatonic triads in all inversions, all string sets Open triads Voice leading through diatonic cycles with both open and close triads Root position close seventh chords Course Details 108 minutes in length Includes 23 pages of written examples and exercises Includes backing tracks for musical examples All musical examples from the video are provided in music notation and tablature Each example performance is shown in close-up view and titled and numbered for easy navigation

Mike Godette dives into 12 iconic Joe Pass licks, offering an in-depth breakdown of the intervallic and harmonic concepts behind them, along with insights into Joe’s signature articulation techniques. Covering essential jazz progressions such as Major and Minor ii-V-I lines, the lesson also includes turnaround licks, an altered scale run, and an intervallic major lick. Additionally, some licks incorporate chord soloing—an unmistakable hallmark of Joe Pass's style. Each lick is meticulously analyzed in individual video explanations, running 5-6 minutes each, providing clear demonstrations and practical insights. The course includes detailed PDF transcriptions of every lick, ensuring you can follow along with ease and apply these timeless ideas to your playing. A perfect companion course to those looking to enhance their improvisation skills quickly. Sub Topics Altered scales ii V I licks Articulations Level Intermediate Advanced Course Details: Title: The Improv Style of Joe Pass Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 68 minutes 5 Pages of PDF Included (with TAB)

Discover the fascinating world of the Harmonic Major scale in Juampy Juarez's latest course! Often referred to as the "Artificial Scale," it stands out as one of the least commonly used but most intriguing seven-note scales. With its roots in the augmented tonality, the Harmonic Major combines elements of the major scale and harmonic minor, creating a unique, slightly dark, and exotic sound reminiscent of Middle Eastern or "Arab" tonalities. This scale opens up vast harmonic and melodic possibilities, perfect for composers, improvisers, and arrangers seeking to expand their musical palette. Juampy dives deep into its theoretical foundations, practical applications, and how to harness its rich, colorful textures. Used by legends like Herbie Hancock and Antonio Carlos Jobim, the Harmonic Major scale is a gateway to fresh, sophisticated musical expression. "It looks that was developed in a “laboratory” doing arithmetics, and is the last of four scales with seven notes without chromaticism." ~ Juampy Join Juampy Juarez as he shares his passion for this remarkable scale and unlock new dimensions in your music! Includes 8 PDFs Running time: 62 minutes

In this class, master guitarist Randy Johnston teaches you how to superimpose the Coltrane Giant Steps changes over the standard “Once I Had a Secret Love” and also gives you specific patterns and licks to play over these changes. Randy explains how these patterns and phrases were created so that you can create your own lines and also how to superimpose these substitute changes over any standard progression . By taking the class and practicing the ideas presented, you will be able to improvise on Secret Love using the Giant Steps (Coltrane) substitution and apply this same substitution to any ii-V-I progression. Looking to get secret tips for the standard Secret Love, then look no further than Randy’s course. Sub-topic 1: Substituting the Coltrane Giant Steps changes over any standard proression Sub-topic 2: Analysis of patterns used to create lines over these substitutions Sub-topic 3: Two complete 4 bar phrases (licks) using these patterns with explanations of how these phrases were created Categories: Comping Modern Jazz Guitar Soloing Standards Theory Includes a PDF of the Transcribed Solo & Techniques Used Running time: 36 minutes

Join Mike Godette as he delves into the improvisational brilliance of jazz legend Clifford Brown in this detailed guitar lesson. This class provides an in-depth analysis of 12 carefully selected licks originally played by Brown, now meticulously transcribed for guitar. Each lick is presented with both notation and tablature, accompanied by a 4-5 minute video where Mike explores the nuances of fingerings, articulations, and the theory behind each phrase. Students will gain insights into translating complex trumpet lines onto the guitar, exploring diverse articulation techniques that capture the essence of Brown's style. The lesson also offers thorough theoretical explanations, discussing the use of arpeggios, chromatic passages, and voice leading. Additionally, it covers various scales including altered, diminished, and whole tone scales, providing students with a rich toolkit for jazz improvisation. Whether you're looking to enhance your soloing skills or deepen your understanding of jazz theory, this class offers valuable knowledge and techniques that will broaden your musical vocabulary and improve your ability to craft compelling jazz solos on the guitar. Sub Topics Altered scales ii V I licks Articulations Level Intermediate Advanced Course Details: Title: The Improv Style of Clifford Brown for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 52 minutes 5 Pages of PDF Included

In comping and solo playing the turnaround is an entity that comes up at every turn. Normally these are 2 bar progressions at the end of a section of music. In this class we’ll be looking at how to make these turnarounds more interesting by adding a melodic component to syncopated rhythms. Chromatic melodies, intervallic melodies and blues scale sounds will be played in three basic ways: Bass and melody counterpoint, two note comping below the melody, fuller chords below the melody. These melodies are played on several common progressions such as the I VI II V and the Tadd Dameron “Ladybird” turnaround. In this second part of the series, several other lesser played turnarounds are explored. Putting the focus on interesting approaches to turnarounds will fill in some important gaps for guitarists. Running Time: 70 minutes 5 page PDF TAB 2 page PDF Standard notation (example #1-17 for part 1 & #18-35 for part 2)

In comping and solo playing the turnaround is an entity that comes up at every turn. Normally these are 2 bar progressions at the end of a section of music. In this class we’ll be looking at how to make these turnarounds more interesting by adding a melodic component to syncopated rhythms. Chromatic melodies, intervallic melodies and blues scale sounds will be played in three basic ways: Bass and melody counterpoint, two note comping below the melody, fuller chords below the melody. These melodies are played on several common progressions such as the I VI II V and the Tadd Dameron “Ladybird” turnaround. Putting the focus on interesting approaches to turnarounds will fill in some important gaps for guitarists. Running Time: 62 minutes 5 page TAB PDF 2 page standard notation PDF (example #1-17 for part 1 & #18-35 for part 2)

In this comprehensive video lesson, Mike Godette guides students through an in-depth exploration of Oscar Peterson’s improvisation style, enhancing their understanding of his unique harmonic and intervallic devices. This lesson is designed to provide a thorough analysis of Peterson’s techniques, specifically focusing on the bluesy double stop licks that are a hallmark of his sound, and how these can be effectively translated to the guitar. Mike Godette meticulously deconstructs 12 distinctive licks taken from various Oscar Peterson solos. Each lick is examined and analyzed in detail, with Mike explaining the specific intervallic and harmonic devices employed in each instance. This step-by-step breakdown not only sheds light on the theoretical aspects of Peterson’s style but also provides practical insights into his bluesy sound. Students will learn how to incorporate these elements into their own playing, significantly enriching their musical vocabulary. Key Focus of Lesson One of the key focuses of this lesson is on double stops, a technique frequently used by Peterson to add a bluesy flavor to his improvisations. Mike demonstrates how these double stop licks can be adapted for the guitar, providing clear examples and practical exercises to help students master this technique. Additionally, the lesson delves into various types of sweep picking techniques, illustrating how these can be used to replicate Peterson’s articulations on the guitar. This approach not only helps in achieving the characteristic sound of Peterson’s solos but also expands the student’s blues playing into new and exciting territories. The lesson covers a range of subtopics essential for mastering Peterson’s style. These include jazz blues licks, which are a crucial element of his improvisational approach, as well as the use of double stops and sweep picking techniques. Each of these topics is explored in detail, with Mike providing valuable insights and tips to help students integrate these techniques into their playing. The lesson also emphasizes the importance of understanding the underlying harmonic structures that Peterson uses, providing a solid theoretical foundation for students to build upon. Categories This video lesson is categorized under Blues, Harmony, Jazz Blues, Soloing, Technique, and Theory, making it a comprehensive resource for guitarists looking to deepen their understanding of jazz blues and enhance their improvisational skills. It is suitable for intermediate to advanced players who are looking to expand their musical horizons and incorporate more complex harmonic and intervallic concepts into their playing. Overall, this lesson offers a unique opportunity to learn from Mike Godette’s extensive knowledge and expertise, providing students with the tools they need to emulate Oscar Peterson’s distinctive sound on the guitar . Whether you are looking to improve your soloing, refine your technique, or gain a deeper understanding of jazz blues harmony, this lesson provides a wealth of valuable information and practical guidance to help you achieve your musical goals. Sub Topics Jazz Blues Licks Double Stops Sweep Picking Level Intermediate Advanced Course Details: Title: The Improv Style of Oscar Peterson for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 57 minutes 4 Pages of PDF Included

As guitarists, an important part of our learning process is playing arrangements and transcriptions of standards and jazz tunes by great guitarists like Joe Pass, George Van Eps, Barney Kessel, Ted Greene, and many others, and then writing our own arrangements. It’s important to do this to learn about voicings, substitutions, common practice, and simply to feel what it’s like to play great jazz music - hopefully, we’ll continue to do this as part of our learning process, as there’s always something new to discover from them. When it’s time to play, however, jazz gives us the freedom to play the tunes however we feel in the moment, or in any way suggested by our bandmates. To be able to be flexible, and not just play a specific arrangement we’ve either learned or written ourselves, we have to truly internalize the music - know the melody and harmony well enough that we can freely make choices in the moment, while still staying true to the tune. Beyond the Arrangement takes a well known standard and goes through all the steps necessary to have this freedom. We learn how to take the melody from a lead sheet and play it like a jazz musician, with several Soundslice examples to try, examine the harmony in a way that makes it possible to internalize it, learn several ways to accompany the melody, including a Soundslice of an “off the cuff” version that demonstrates several different approaches. We also learn the common practice introduction which often is called for in a playing situation. At the end of the course, there are two complete “off the cuff” performances of the tune, in completely different styles, to demonstrate all the principles learned in the course. Categories: Chord Melody Comping Level: Basic Intermediate Duration: 40+ Minutes

In this course with Randy Johnston, learn to play a convincing solo on the changes to Miles Davis' "Solar". Create your own solo on Solar, and apply the techniques used to create this solo to many other Jazz progressions. By taking this course, you will learn a specific two chorus solo on Solar, complete with fingerings. You will furthermore learn the techniques used to create the solo so that you can create your own similar solos. These techniques include chromatic approach tones, upper and lower neighbor tones, substitution of ii OR V chords for the ii-V progression, close voice leading, altered dominant chords, and how to simplify the -7b5 chord. Chromatic approach and Neighbor tone techniques Substitutions to simplify the ii-V progression and the -7b5 chord Comping and soloing on "Solar" Categories: Comping Harmony Modern Jazz Guitar Soloing Theory Includes a PDF of the Transcribed Solo & Techniques Used Running time: 30 minutes

This 45 minute class is packed with useful and fun II-V-I inner line counterpoint maneuvers in a minor key. The exercises help ingrain in one’s mind and fingers the key concepts in arranging and improvising in a linear, multi-line manner. Steve shows you how to create inner moving lines within 10 th and 13 th intervals. The examples follow close voice-leading principles and will help develop both left and right hand finger independence and dexterity. After a section of 3-note chromatic approach patterns in the inner voice, Steve includes longer phrases with 16ths and 8 th note triplets to add rhythmic variety. Bass syncopation is later added for further rhythmic interest. These basic concepts will help get your arranging and solo guitar improvising and technique to a new and exciting place. Running time: 45 minutes 5 pages of PDF materials (TAB and non-TAB versions with standard notation)

In this lesson, Mike takes 12 different licks from a variety of Sonny Stitt solos and he breaks down and analyzes each lick one at a time and explains what sorts of intervallic and harmonic devices are being utilized in each lick. In addition to the theory explanations, these licks also offer a lot of insight into how to take saxophone lines and how to articulate them the most effectively when translating them over to the guitar and a variety of these licks utilize interesting slurs and sweep picking patterns which help to achieve a more saxophone like sound. If you are looking to get more Sonny Stitt sounds into your soloing, this is the lesson video for you! Sub Topics ii V I licks chord substitutions sweep picking Categories: Harmony Jazz Blues Practicing Soloing Standards Technique Theory Course Details: Title: The Improv Style of Cannonball Adderley for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 52 minutes 5 Pages of PDF Included

Mike Godette presents a unique look at the improv style of Cannonball Adderley on Guitar. In this course, you can expect to expand on your improvisational concepts and have a better understanding of some of the devices that Cannonball Adderley uses in his improv through analyzing a variety of different licks from his solos. Mike takes 12 different licks from a variety of Cannonball Adderley solos and he breaks down and analyzes each lick one at a time and explains what sorts of intervallic and harmonic devices are being utilized in each lick. If you are looking to get more Cannonball Adderley sounds into your soloing, this is the lesson video for you! Sub-topic 1: Improvisation Sub-topic 2: ii V I licks Sub-topic 3: Cannonball Adderley Categories: Harmony Jazz Blues Soloing Standards Theory Course Details: Title: The Improv Style of Cannonball Adderley for Guitar Instructor: Mike Godette Skill Level: Intermediate to Advanced Running time: 62 minutes 5 Pages PDFs Included

One of the most useful skills for a guitarist to acquire is the ability to accompany a single line instrument, such as a horn or a voice, in a duo setting, to “be the band”. “Being the Band” is a course that covers the skills necessary to do an introduction and accompany a melody instrument effectively. It includes 4 intros in Soundslice that you can use as springboards for your own ideas, and a performance example with a top notch horn player. By the time you’ve finished the course you’ll have a basic understanding of how to approach “being the band”, whether you’re accompanying a singer, horn player, violinist, or any single line instrument. These skills are easily transferred to other situations as well. Note: a useful companion piece to this course is Christopher Woitach’s “Environments” , also on Mike’s Masterclasses. Look for upcoming deeper dives on some of the subjects covered here in the future! Categories: Chord Melody Comping Level: Basic Intermediate Duration: 60 Minutes

In this latest class, Randy Johnston will teach you a one chorus solo on a C minor blues note for note, and take you through a measure-by-measure analysis of the techniques used to create the solo. Randy will also teach you the exact chord voicings used to accompany the solo, with an analysis of how those voicings were derived. Looking for a fresh Blues Lick to add to your repertoire? Play and Comp to a Randy Johnston Minor Blues solo note for note and also understand the melodic and harmonic techniques used to create the solo, as well as how to play the exact chord voicings used. This will in turn allow you to create your own solos and comping on Minor Blues. 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, including a measure by measure analysis of these ideas Chord voicings and Comping applied to minor blues, including an explanation of the creation of the voicings used Intermediate, Advanced Running time: 31 minutes 2 Pages PDF Included

Introducing: Unorthodox 7th Chords (Part III) Course By taking this course, students can expect to expand on their knowledge of 7th chords and learn new unorthodox ways of voicing Major 7#11, Major 7#5, Minor (Maj 7), Dominant 7 b5, Dominant 7 #5, Diminished (Maj 7) & Diminished 7 voicings. In addition to that the student will also get a better understanding of how chord scales and Roman Numeral's work in the Harmonic and Melodic Minor Scales. Course Overview In this lesson, Mike takes the formulas that were covered in Unorthodox 7th Chords (Part I) and modifies the notes to cover 7 additional types of 7th chords which are Major 7#11, Major 7#5, Minor (Maj 7), Dominant 7 b5, Dominant 7 #5, Diminished (Maj 7) & Diminished 7 voicings. Mike breaks down each chord quality and demonstrates all of the voicings and inversions within that chord quality and how they function intervallicaly. After going through the 7 different chord qualities Mike then isolates a couple of formulas and demonstrates how to take them through the chord scales of Harmonic & Melodic Minor with 5 different chord scales for each. Course Details: Title: Unorthodox 7th Chords (Part III) Instructor: Mike Godette Skill Level: Intermediate to Advanced Categories: Modern Harmony, Modern Chords, Chord Melody Running time: 42 minutes 11 Pages PDFs Included

So called “four to the bar” rhythm guitar is a multi-faceted art. A lot of it has to do with good time-keeping but, besides that, how did players like Freddie Green, Jim Hall, and Bucky Pizzarelli managed to create that fantastic moving counterpoint behind soloists, whilst still swinging like the proverbial barn door? Although there are certainly times when a simpler accompaniment is quite sufficient, one only need listen to Jim Hall’s rhythm work behind Bill Evans on “My Funny Valentine” (from their famous “Undercurrent” duo album) to realise the creative possibilities of the role. A great contemporary exponent of the style, James Chirillo, has said that the role of the rhythm guitar is to supply a tenor part to the line played by the bass player. It’s a description that certainly resonates with me, and so the focus here is more on the harmonic side of things i.e. how to actually generate these more mobile rhythm parts in the first place. Whilst some focused metronome work will probably sort out your timing, how to create and combine the shapes themselves can be a more elusive subject. Perhaps the most significant aspect of all this is knowing how to elaborate a basic progression, and convey the resulting chords on a limited number of strings. If we’re able to do this, then the shapes we use will be easier to grab, and the texture will be light enough to allow other players (including pianists) to work around what we’re doing. In this 50m session: We take two familiar progressions (“Minor Swing” and Autumn Leaves”) and create accompaniments for each using one, then two, and finally four shapes per chord. In the process, we learn how the more elaborate versions are derived from the basic ones. Every chord played in this session is fretted using only the 6th, 4th, and 3rd strings. You can even do without the 6th string in the presence of a bassist. We also discuss some general principles of rhythm guitar. It’s not all about chord shapes; time, sound, and ensemble awareness are just as important. As always, the class is linked via on-screen captions to an accompanying PDF booklet, in which everything heard is transcribed using a combination of notation, tab, and chord diagrams. No music reading is required and there shouldn’t be any need to try and work out where I’m putting my fingers from the screen; virtually everything I play is written out for you. Level-wise, this is potentially a class for all takers, I think. The simple accompaniments we start with should be very accessible for inexperienced players, but it may also appeal to more developed guitarists who perhaps haven’t yet looked at this area in much depth. The elaborate ‘one shape per quarter note’ stuff might be a bit daunting for the less experienced jazz player, but there’s no time like the present for putting the principles in place at least. Basic / Intermediate Running time: 50 minutes 13 Pages PDF Included

Jake Reichbart has produced a brand new solo jazz guitar arrangement of the classic "After You've Gone" . To go with it, he also produced a 75 minute long video lesson teaching every one of the many aspects and techniques he use for this performance; how to execute the melody and "head", chord substitutions, walking bass, improvisation, right hand fingerstyle and so much more. Elevate your jazz guitar prowess today with Jake Reichbart as your mentor. Intermediate / Advanced Running time: 1hr 15minutes

Introducing: Unorthodox 7th Chords (Part II) Course By taking the class and practicing the ideas presented, you can expect to gain a better understanding of 7th chords and how every 7th chord can function in 2-3 different ways by superimposing them over different bass notes. Students will be able to take all of the 7th chords that they know and utilize them in new ways with new harmonic functions. Course Overview Building on the success of " Unorthodox 7th Chords (Part I) ," this course is a deep dive into the world of harmonic innovation. Delve into the art of superimposition, where every 7th chord becomes a versatile tool capable of serving 2-3 distinct functions when placed over different bass notes. This course will revolutionize the way you think about chords and empower you with a unique set of skills that can elevate your playing across various genres. In this lesson, Mike takes all of the 7th chords that he covered in Part I and shows you how you can further expand on every voicing by superimposing them over different bass notes. Major 7 voicing's can also function as Minor 9 and Sus13 chords. Minor 7 voicing's can also function as Major 9 and Sus9 chords. Minor 7b5 voicing's can also function as Dominant 9, Minor 6 and 7#5b9 chords. Dominant 7 voicing's can also function as Dominant 7 b5 b9 a tritone away. After demonstrating each of these categories with the new bass notes underneath each chord, Mike demonstrates how these voicing can be mixed and matched through numerous different examples of Major and Minor ii V I progressions utilizing these chords. Course Details: Title: Unorthodox 7th Chords (Part II) Instructor: Mike Godette Skill Level: Intermediate to Advanced Categories: Chord Melody, Chord Voicings, Comping, Composition, Harmony, Modern Jazz Guitar, Theory Running time: 50 minutes 15 Pages PDFs Included Elevate Your Harmonic Palette Today!

In this class Steve takes you through the process of developing walking bass lines and adding comping chords in an array of specific locations to make the guitar sound like a full rhythm section. The bass lines are shown over a C Blues progression complete with chord substitutions to create more interest and momentum. Next Steve has a challenging “4 to the bar” walking chord line PDF with even more chord substitutions and very useful “walk-ups and walk-downs” that can be used over most common progressions. Gain control over this very important aspect of accompaniment and make your comping swing like never before. PDF materials written for a standard tuned 6 string guitar. Running time: 55 minutes Features 6 pages of PDFs (in both standard notation only and TAB and standard notation.)

By taking the class and practicing the ideas presented, the student will be able to expand on their 7th chord knowledge and learn new ways of voicing 4 different types of 7th chords in ways that will both be beneficial for their comping as well as having new exotic voicings as options for chord melodies. In this lesson, Mike demonstrates some less common ways of voicing 7th chords by combining every possible combination of the 1 3 5 7 formula and seeing which ones can line up on the guitar. This will open up a new set of sounds within 7th chords that giving us voicings that are both spread and close intervalically. The video breaks down mutiple sets of chord voicing’s and presents it in 4 sections by taking you through Major 7, Minor 7, Dominant 7 and Minor 7b5 voicings. Then Mike isolates a couple of specific voicings and shows you how to take them and run them up and down in chord scale’s. After that Mike demonstrates how to utilize these voicings together in a jazz context by demonstrating 18 different chord combinations that can be used for Major and Minor ii V I’s. Sub-topic 1: 7th Chord Inversions Sub-topic 2: Spread Voicing's Sub-topic 3: Harmony Running time: 42 minutes 9 Pages PDFs Included

In most jazz performances, the melody, or head, is the pre-composed section of the song that allows the listener to identify the song. While it can sometimes seem like jazz musicians treat the melody of a song like a mere throwaway prelude to the improvised solos, melodies are an essential part of the experienced player's toolbox. Most of the great jazz musicians are known as much for their interpretations of melodies as they are for their improvised solos. In this class, we will focus on effective ways of learning, performing, and interpreting the melodies of American songbook standards. We will also examine methods for using the melody of a song as a basis for improvised solos. The ability to use thematic content from the melody in a solo can give your improvisations much greater depth and connection to the composition and help you avoid the stereotypical "running changes" which leads to similar-sounding solos on every song. Anatomy of a Melody covers: in-depth analysis of the melody of the standard “Autumn Leaves” the importance of connecting the lyrics with learning, phrasing, and performing the melody instrumentally techniques that jazz musicians use to make an American songbook style melody into a jazz performance transcribed examples of jazz masters Chet Baker and Miles Davis performing “Autumn Leaves” application of Baker’s and Davis’ techniques to your own performance examination of techniques such as rhythmic anticipation, back phrasing, interspersing improvised phrases, using shading devices, and changing melody notes scale exercises across three strings to encourage a more melodic approach to improvised phrases using intervallic and rhythmic motifs from the melody in your improvised phrases use of compositional techniques such as inversion, rhythmic displacement, and rhythmic reversal example etude using the above techniques to improvise a new melody 68 minute running time includes 12 pages of written examples and exercises includes backing tracks for musical examples, plus full-length backing tracks for practice All musical examples from the video are provided in music notation and tablature. Each example performance is shown in close-up view and titled and numbered for easy navigation. Running time: 1hr 8minutes

In this latest class, Randy Johnston instructs how to play the jazz-blues in F while simultaneously outlining the changes closely using approach techniques and chromaticism. If you are looking to sound both bluesy and jazzy at the same time, than this is the course for you. New Release Sale! You can expect to master a full written chorus of the blues with every line and lick explained and demonstrated note for note. In this course you will study: Voice Leading 3rds and 7ths (guide tones) and how to visualize them on the guitar Approach and Enclosure techniques and how to visualize them on the guitar WHEN to play the guide tones rhythmically to perfectly realize the chord changes Intermediate, Advanced Running time: 33 minutes 1 Page PDF Included

In this solo guitar arrangement lesson of In a Mellow Tone, taught by Jake Reichbart, you'll find all you need as a gateway into style of solo guitar, or chord melody, as pioneered by Joe Pass and others. Categories: Chord Melody Chord Voicings Harmony Standards Technique Theory Intermediate / Advanced Running time: 1hr 56minutes

By taking the class and practicing the ideas presented, the student will be able to learn how to construct jazz solo lines which are harmonic and melodic at the same time and which realize the chord changes exactly without necessarily using scales and arpeggios. Very simple and direct ideas for voice leading on the guitar are provided along with a 16 bar etude with examples of all the techniques discussed. In this class Randy Johnston presents a 16 bar etude on the first two "A" sections of Charlie Parker's tune "Confirmation" which encompasses techniques that can easily be applied on the guitar and which include voice leading, jazz harmony, chromatic approach and enclosure variations, and exactly WHEN to apply these techniques to fundamentally play fast moving chord changes in a bebop style without necessarily relying on arpeggios or scales. In addition, there is a section at the end which shows how to vary and simplify the harmony by allowing the dominant chord to "dominate". All of these ideas are encompassed in the 16 bar etude and demonstrated in a clear and practical manner on the guitar in addition to being written out. Sub-topic 1: Voice Leading 3rds and 7ths (guide tones) and how to visualize them on the guitar Sub-topic 2 Approach and Enclosure techniques and how to visualize them on the guitar Sub-topic 3 WHEN to play the guide tones rhythmically to perfectly realize the chord changes Categories: Harmony Practicing Rhythm Soloing Theory Intermediate Running time: 36 minutes 1 Page PDF Included

By taking the class and practicing the ideas presented, the student will be able to expand on their chord knowledge and learn new voicing's and harmonic movements that are derivative of the piano work of Ravel and Debussy . In this lesson video, Mike shares his findings from exploring a wide variety of different chord voicing’s from the piano works of Claude Debussy and Maurice Ravel. The video breaks down sets of chord voicing’s that can be used for 4 different tonalities taking you through Major, Minor, Dominant 7 and Minor 7b5 chords. After that Mike demonstrates how to utilize these voicings together in a jazz context by demonstrating 18 different chord combinations that can be used for Major and Minor ii V I’s. This is the ideal lesson video for any intermediate to advanced player that wants to further develop their chord repertoire and learn some new voicing’s that are sure to bring them outside of their comfort zone and expose them to new sounds and harmonic territories. Running time: 53 minutes 10 Pages PDFs Included

Olivier Messiaen, a renowned French composer (1908-1992), discovered and compiled the Messiaen Modes, a collection of the only symmetrical series that exists. These modes consist of seven series or scales, including non-chromatic scales such as the Whole-tone Scale (mode 1) and the Diminished Scale (mode 2). The remaining four modes are both chromatic and symmetrical. This video lesson discusses modes 1, 2, and 3, as well as tonal and post-tonal theory. Messiaen was particularly fond of these series because they lack a root note, making the music post-tonal, a term coined by Joseph N. Strauss in his book Introduction to Post-tonal Theory. The seven Messiaen Modes produce an extensive range of chords, arpeggios, sub-modes, and other elements that can be applied to music to refresh one's style. By studying these modes, one can gain a better understanding of 20th-century orchestral music and modern fusion, such as that of Holdsworth and Tim Miller. The lesson covers modes' reharmonization with tertian and quartal triads, tetrads, chromatic chords, trichords, patterns, cadences, voice movement, phrases, and deep theory comprehension. Future video lessons will cover the remaining modes and the modes of the Messien Modes. These fascinating series, scales, or modes offer a captivating new world to explore. Juampy Juarez Advanced Running time: 1 hr 4 minutes 15 Pages PDF Included (Note: Content written in Spanish)

Discover a world of chord melody ideas for the timeless jazz standard "Stella by Starlight" with Mike's Master Classes' online course. In "Chord Melody Ideas for Stella by Starlight: Thoughts on Stella", master jazz guitarist Genil Castro shares his expert insights and techniques to help you create your own stunning chord melody arrangements. In this course, Genil breaks down his approach to "Stella by Starlight" in detail, showing you step-by-step how to create rich harmonies and beautiful melodies on the guitar. You'll learn how to play the melody and harmony simultaneously, how to add chord substitutions and reharmonizations to your arrangements, and how to use various techniques such as harmonics, arpeggios, and chord inversions to create a captivating sound. In addition to the video lessons, the course includes downloadable PDFs of sheet music and tablature, as well as practice soundslice to help you perfect your playing. Including in this lesson: A complete arrangement transcription Harmonic examples of different options for harmonizing the melody with and without Harp Harmonics Technique Genil shows how he came up with ideas for the arrangement inspired on his influences (Gamela, Joe Diorio, Ted Greene and others) Five and six notes voicings from Melodic Minor scale Discussion on the context and origins of the tune Level: Intermediate/Advanced Running time: 41 minutes 7 Pages PDF Included