Excerpt from Steve Herberman's Master Class 7/4/08 on www.mikesmasterclasses.com , where r
Excerpt from Steve Herberman's Master Class 7/4/08 on www.mikesmasterclasses.com , where recorded classes are available. Topics Steve covers in class include:
Achieving a full sound before plugging into an amp, ideal free stroke angles, muting techniques, all things nail; nail lengths, nail shapes, filing etc, left hand slurs, right hand one finger sweeps, discussion of string gauges and types, alternating index and middle, alternating index and ring, using the same finger to play 2 and 3 consecutive notes between slurs, pattern picking, and more. Written examples accompany the video that further clarify the right hand fingerstyle picking techniques applied to distinct musical phrases. In the examples the left hand notation is also given to show the optimal positions that make the lines swing, project and yield a horn-like phrasing and articulation that can only occur when both hands are in sync and balanced. Fingerstyle guitar can add another dimension to your electric playing by expanding the variety of textures and adding counterpoint much more easily.
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Added: 1 week ago
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Excerpts from Steve Herberman's Master Class 6/10/08 on www.mikesmasterclasses.com (record
Excerpts from Steve Herberman's Master Class 6/10/08 on www.mikesmasterclasses.com (recordings availble for download). Steve's description of this class:
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 the balancing of the three elements of music: harmony, rhythm and melody. By studying a wide variety of melodies of the master American popular song composers and jazz improvisers, I'll illustrate the concepts behind what make these phrases work. Once these devices are explored they can translate into the creation of consistently strong and swinging melodies. Concepts will include: weaving guide tone lines into a melody, melodic and rhythmic repetition, scale and arpeggio usage, line contours, rhythmic displacement, phrase length considerations, how to build lines that swing, creating lines from chord extensions and melodic embellishment. Also I'll demonstrate chord visualization as an aid to see the melodic/harmonic connection on the guitar fingerboard. Using existing melodies as a springboard for your improvisations can be invaluable and there will be written examples of all of these as well as video demonstrations. Get ready for a fun and meaningful study of melody.
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Added: 1 month ago
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Excerpts from Steve Herberman's "Fundamentals Checkpoint" Master Class 4/28/08 on www.mike
Excerpts from Steve Herberman's "Fundamentals Checkpoint" Master Class 4/28/08 on www.mikesmasterclasses.com. Steve covers chord voicings, inversions, Freddie Greene voicings, 7th chords on adjacent strings including Wes Montgomery's Cariba, minor 6th diminished chords and arpeggios a la Barry Harris, chord inversions on non-adjacent strings, common scales in 5 positions and much more! This class is available for download at www.mikesmasterclasses.com and includes 24 pages of written material.
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Added: 2 months ago
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Excerpt from Steve Herberman's "Single Note Soloing Concepts on Rhythm Changes" Master Cla
Excerpt from Steve Herberman's "Single Note Soloing Concepts on Rhythm Changes" Master Class held 10/1/07 on www.mikesmasterclasses.com, where the recording is available.
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Added: 3 months ago
Views: 781
Excerpt from Steve Herberman's "Odd Meters" Master Class on 3/17/08 on www.mikesmasterclas
Excerpt from Steve Herberman's "Odd Meters" Master Class on 3/17/08 on www.mikesmasterclasses.com. Although utilized for many years in jazz and other styles, odd meters has become an essential part of today's jazz. The uses of odd meters are many: As a phrasing device enabling a player to solo and comp over the bar line in 4/4 time. As an effect to utilize in one's original compositions and to create fresh arrangements of standards and much more!
Once the 5/4 and 7/4 common rhythmic patterns are examined and practiced, soloing and comping can feel as natural as it does in 4/4.
In this masterclass we'll be looking at the many useful rhythmic patterns in odd meters and applying them to 4/4 tunes as well as standards arranged in 5/4 and 7/4. Pairing these rhythmic concepts with melodic/harmonic concepts will be stressed to enable the musician to more rapidly integrate odd meters on their instrument. An example of this would be arpeggiating diatonic 9th chords in an even stream of 8th notes. The 9th chords contain 5 notes that will give a 5/8 phrasing to the line. Take one triad and its neighboring diatonic7th chord and you have 7 notes that will yield 7/8 phrasing. This is one of many exercises that will be in the written examples accompanying the class. Other examples will include:
Applying odd meters to solo guitar, arranging standards in odd meter, pattern picking odd meters, comping and soloing with odd meters and more.
Take your playing into the future with rhythmic assuredness and confidence!
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Added: 4 months ago
Views: 659
Excerpt from Francois Rabbath's Master Class "Introduction to The New Technique and The Ar
Excerpt from Francois Rabbath's Master Class "Introduction to The New Technique and The Art of The Bow" at David Gage String Instruments in NYC on 3/3/08 on www.mikesmasterclasses.com
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Added: 4 months ago
Views: 4,354
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