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| GUITAR: ADVANCED JAZZ SEMINAR | |||
| This seminar for Advanced Jazz Guitar explores comping with walking bass lines and chords, artificial harmonics, diminished scales, chord melody and concepts of improvisation. The skills learned in this seminar will make you a well-rounded Jazz guitarist. |
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| COURSE | LESSON | TEACHER | DESCRIPTION |
| Jazz Guitar Seminars | Comping with Walking Bass Lines I | Jody Fisher | In this lesson, we're going to begin to learn how to comp with walking bass lines. You'll be using chords and bass notes to accompany yourself and other people. If you've ever heard Lenny Breau, Joe Pass or Ted Greene, you know how effective this technique is. You should know some basic chords and basic scales and have your right and left hand technique pretty much together at this point. This technique is great if your going to accompany other people in a duo setting or accompany yourself playing solo jazz guitar. So, let's get started... This lesson is video only. Animations will be coming soon. |
| Jazz Guitar Seminars | Walking Bass and Minor Chords | Jody Fisher | In the last lesson about walking basslines, we talked about some basic minor triad forms up and down the fingerboard, and we talked about how bass players think approaching chord tones from either a whole or a half step above or below. We will eventually continue with the left hand, but we need to stop and think about the right hand for a minute. There are basically three approaches we are going to be talking about using your right hand, and if you've ever played fingerstyle, you'll find this to be a pretty easy transition. |
| Jazz Guitar Seminars | Walking Bass & Chords III | Jody Fisher | In this lesson, we're going to continue our journey in learning how to comp with a walking bassline. If you've made it this far, then you have learned all of your minor voicings on both sets of strings up and down the fingerboard, and you have been working on your different right hand approaches: 1) Playing notes and chords at the same time 2) Playing the bass note ahead of the chord 3) Playing the chord ahead of the bass note If you can do all that, and do it in all twelve keys, then you're ready for this lesson. We're going to talk about dominant voicings and learning to mix your dominant voicings with your minor voicings. |
| Jazz Guitar Seminars | Walking Bass & Chords IV | Jody Fisher | In this lesson, we're going to talk about adding the major voicings to comping with walking basslines. If you've made it this far with your minor voicings, dominant voicings and all the right and left hand approaches, you really need to be congratulated. Welcome aboard to the walking baseline world! We're going to talk about voicings, we're going to talk about integrating voicings and we're going to talk about actually starting to play songs with walking basslines. |
| Jazz Guitar Seminars | Walking Bass & Chords V | Jody Fisher | In this lesson, we're going to play a real song! You've been working for months on these voicings and approaches, and now it's time to put this to work playing real music. If you're here, you know your minor, your dominant, and your major bass voicings, and your approaches for the bass line. Let's get to work playing some real music. |
| Jazz Guitar Seminars | Artificial Harmonics I | Jody Fisher | In this lesson, we're going to be talking about artificial harmonics. This is a great technique for you to learn to expand the range of the guitar. If you've ever heard people like Lenny Breau or Ted Greene you've heard this before. It's a beautiful, and sometimes startling effect that you can do with the guitar. |
| Jazz Guitar Seminars | Artificial Harmonics II | Jody Fisher | In this lesson, we're going to start talking about cascading harmonics. This will add a real 'wow' factor to your style and your playing. If you've listened to Lenny Breau, he's the one who really made this a popular technique. At this point you should know how to produce an artificial harmonic with both hands, you should be able to follow chord shapes up and down the fingerboard, and your harmonics should sound nice and strong. |
| Jazz Guitar Seminars | Artificial Harmonics III | Jody Fisher | In this lesson, we're going to continue with our harmonics. In the last lesson, we worked on cascading harmonics, and hopefully you've had a great time with those. If you've experimented with other chords, I'm sure you've discovered all kinds of new sounds. Now, if you have the physical skills to do that, you'll be able to do what we'll do in this lesson. We're going to change which notes become harmonics, we're going to add harmonics to chords, and I think you'll find a whole new vocabulary again. |
| Jazz Guitar Seminars | Diminished Scales | Jody Fisher | In this lesson, we're going to be talking about the diminished scale. This is one of my favorite scales, and you'll love the sound as well. When an improvisor is first learning to improvise over altered dominant chords, they tend to be a little more scale-oriented. As you mature in your soloing, you'll rely less on these scales, and work more with arpeggios. But at this stage in the game, you need to become very comfortable with the fingerings and the sound of the diminished scale. So let's get started. |
| Jazz Guitar Seminars | Diminished Scales II | Jody Fisher | Now that you know the formula for the diminished scale, and the kinds of chords you can use it over, we'll talk about some fingerings. In this lesson, I'll show you one fingering, but this one fingering is going to turn into many fingerings. It's not like other scales where there are lots of different fingerings to use. This one's a little more limited but, at the same time, it's going to set you free. |
| Jazz Guitar Seminars | Diminished Scales III | Jody Fisher | In this lesson we're going to continue our discussion of the diminished scale. We're going to talk about its application in the Blues, and we're also going to talk about its application in ii-V-I progressions. Adding diminished scales to ii-V-I progressions will make you sound much jazzier because you're going to be reflecting the flat nine's, the sharp nine's, and the flat five's of the chords that act as five chords. Using the Blues as a background, the diminished scale will make you sound a little bit progressive. If you like players like Robben Ford, you will love this. |
| Jazz Guitar Seminars | The Whole Tone Scale | Jody Fisher | In this lesson we'll be discussing the whole-tone scale. Like the diminished scale, the whole-tone scale is a symmetrical scale; but, unlike the diminished scale, the whole-tone has far fewer applications. Also, the whole-tone scale tends to have a tricky fingering, or fingerings, but I've got a few tricks up my sleeve to make this a little easier for you. You can use these over altered dominant chords in ii-V-I progressions, and a few other applications as well. Let's get started. |
| Jazz Guitar Seminars | Chord Melody I | Jody Fisher | In this lesson, we're going to talk about some of the things you need to be thinking about before you start putting together a chord melody arrangement for solo guitar. Some players like to create an arrangement and always play it the same way. It's my attitude that, to really have a great jazz feel, you should learn a skeletal arrangement of any song, so that you can play it differently every time you play it. In this lesson we're going to talk about learning melodies and analyzing melodies. We're also going to talk about deciding on a key. So if you want a challenge, stick with me now. |
| Jazz Guitar Seminars | Chord Melody II | Jody Fisher | In this lesson, we're going to be moving on to the next stage of developing chord melody arranging, and improvising the whole process. At this point, you can play melodies all over the fingerboard and you know your chord voicings all over the fingerboard. Now we're going to talk about some ways to make your arrangements a little different and more interesting each time you play them. So, we will be talking about different levels of harmonization; from very dense harmonization to sparse harmonization to abstract harmonization. |
| Jazz Guitar Seminars | Improvising and Arranging the Harmonization of Melodies | Jody Fisher | Once again we're talking about harmonization of melodies, chord melody, and being able to play solo guitar in a completely improvised manner. Now in order to do this obviously you need to know the melody and the chords all over the fingerboard, but you also need a whole collection of arranging techniques that you know so well that you can apply them to any song at any time. Stick around for the next segment, I think you'll learn a lot. |
| Jazz Guitar Seminars | Improvising Melodies Without Full Chords | Jody Fisher | A lot of students get so preoccupied with learning their chords, and lots of voicings for their chords, and learning their melodies, that they forget that there are a lot of other guitaristic things that work well while improvising in a chord melody or solo guitar arrangement. So in this lesson we're going to be talking about different ways to handle single notes without full chords. Stick around, I think you'll learn a lot. |
| Jazz Guitar Seminars | Ways To Vary Your Sound When Playing Solo Jazz Guitar | Jody Fisher | In this lesson we're going to continue talking about ways to vary your sound while playing solo jazz guitar. I'm sure you've been concentrating on chords and single notes, and different ways of harmonization, but let's think about the right hand for a minute, because this can give you lots of different flavors. In this lesson we will be talking about playing with the pick, plucking chords fingerstyle, as well as learning to play single-note lines fingerstyle, which is a problem for many players. Stick around and find out how. |
| Jazz Guitar Seminars | Solo Guitar Improvisation | Jody Fisher | In this lesson we'll be discussing ways you can improvise in a solo guitar setting. Now if you've played in jazz groups before where there's keyboard player, a bass player, and a drummer behind you comping chords and you're soloing with single-note lines, you know how fun that can be. Well everything you can do in a group you can do solo. You'll need to learn a few new techniques, and maybe start to look at the fingerboard in a little different way. But this lesson is about getting you started in that direction. |
| Jazz Guitar Seminars | A Cool Way To Think About Major Scales and Improvisation | Jody Fisher | In this lesson I'm going to show you a cool way to think about major scales and improvisation. You're probably thinking 'major scales again, boy, I've had my fill of those.' Well, maybe so, but this system will allow you to play and improvise in eleven keys without moving your hand, and it doesn't matter where you're play on the fingerboard. First we'll learn some major scale fingerings within a system, and then I'll show you how to practice this. |
| Jazz Guitar Seminars | Jazz Blues | Jody Fisher | No doubt about it, it's really fun to play the blues. There's lots of different kinds of blues, of course. You have the down-home style blues, which would include the Chicago Blues, the Delta Blues, Urban Blues, Texas Blues, you know, all of those things, and then you jump into Jazz Blues, and Jazz Blues gets quite complicated very quickly; however, there are some players that have been able to maintain some of the more basic blues ideas and apply them to the jazz form. So this is a fun lesson, I'm just going to show you some really cool double-stop blues licks. |
| Jazz Guitar Seminars | Playing Songs With Walking Bass Lines | Jody Fisher | In this lesson we're going to talk about adding the major voicings to comping with walking bass lines. If you've made it this far with your minor voicings and your dominant voicings and all the right and left hand approaches, you really need to be congratulated. Welcome aboard to the walking bass line world. We're going to talk about voicings, we're going to talk about integrating voicings, and we're going to talk about actually starting to play songs with walking bass lines. So, see you in the next segment. |
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