Higher Studies in music

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Jazz Guitar Certificate Program

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Start Date:
Duration: 60-90 per session
Lectures: 24

Certificate course in Jazz guitar 12 weeks twice a week

Minimum 10 Aspirants required

Session 1: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Funk-Jazz piece ‘Sunny’ by Bobby Hebb and to look at harmonic and melodic analyses in order to choose the most appropriate and effective

soloing and comping approaches. This will piece is a great case study to transition from Minor pentatonic and Blues Scale into the realm of major and minor scale modes, including, Dorian, Super-Locrian and Lydian Dominant. Arpeggios and extended chords will be explored to solo and comp.

Recommended versions to listen to Pat Martino & John Scofield.

Session 2: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the ‘Minor Blues’, exploring basic progressions in the ‘Thrill is Gone by BB.King, ‘Equinox’ by John Coltrane and re-inventions such as ‘Footprints’ by Wayne Shorter and ‘Blue Bossa’ by Kenny Dorham.

We will be exploring and applying the most appropriate and effective soloing and comping approaches. This will piece is a great case study to transition from Minor pentatonic and Blues Scale into the realm of major and minor scale modes, including, Dorian, Super-Locrian and Lydian Dominant. Arpeggios and extended chords will be explored to solo and comp.

Session 3: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of a ‘Dominant Blues’, exploring basic progressions in the ‘C Jam Blues’ by Oscar Peterson, ‘Blue Monk’ by Thelonious Monk and re-inventions such as ‘The Chicken’ by Pee Wee Ellis and ‘Blue Bossa’ by Kenny Dorham. We will be exploring and applying the most appropriate and effective soloing and comping approaches. This will piece is a great case study to transition from Major pentatonic and Blues Scale into the realm of major modes, including, Mixolydian, Lydian Dominant, Melodic Minor Modes and diminished scale, chords and arpeggios.

Session 4: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Jazz Standard ‘Days of Wine and Roses by Henry Mancini and to look at harmonic and melodic analyses in order to choose the most appropriate and effective soloing and comping approaches. This will piece is a great case on motivic development and improvising over the harmonic changes. Arpeggios and extended chords will be explored to solo and comp.

Recommended versions to listen to Henry Mancini, Dexter Gordon, Bill Evans, Wes Montgomery, George Benson.

Session 5: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Jazz Ballad ‘Beautiful Love’ by Victor Young and to look at the harmonic and melodic analyses, in order to choose the most appropriate and effective soloing and comping approaches. This will provide a great opportunity to explore various ii-V-I from the Major, Harmonic and Melodic Minor scales. Chord Substitutions, arpeggios and extended chords will be explored to solo and comp.

Recommended versions to listen to Joe Pass, Bill Evans and Hank Jones, to name but a few.

Session 6: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Jazz piece ‘There is no Greater Love’ by Isham Jones and to look at harmonic and melodic analyses in order to choose the most appropriate and effective soloing and comping approaches. This will piece is a great case study on enclosures and rhythmic/melodic anticipations improvising over the harmonic changes.

Arpeggios and extended chords will be explored to solo and comp.

Recommended versions to listen to Miles Davis, Toots Thielemans, McCoy Tyner, to name but a few.

Session 7: The aim of the session is to focus on the harmonic, melodic and rhythmic

characteristics of the classic Jazz Standard piece ‘Bluesette’ by Toots Thielemans, by doing a harmonic and melodic analysis of the piece, in order to understand and choose the most appropriate and effective soloing and comping approaches. This will piece is a great case study to practise soloing in ¾ utilising 4:3 and other rhythmic devices. The harmonic changes will provide a formidable opportunity to master soloing over ii-V-Is. Arpeggios and extended chords will be explored to solo and comp.

Recommended versions to listen to Toots Thielemans & Elis Regina, Bill Evans.

Session 8: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Modal-Jazz piece ‘Impression’ by John Coltrane and to look at his similarities with ‘So What’ by Miles Davis. This piece will provide an excellent opportunity to focus on this type of stationary harmony and navigate the harmony without losing the deceivingly ‘simple’ harmonic structure, particularly when soloing unaccompanied, as per Michael Brecker’s featured in the ith McCoy Tyner Quartet. Secundal and Quartal harmony will also be explored and applied to solo and comp. Rhythmic displacement will be explored and applied too.

Recommended versions to listen to Coltrane, McCoy Tyner, Michael Brecker to name but a few.

Session 9: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Latin-Jazz piece ‘Spain’ by Chick Corea by a thorough harmonic and melodic analysis, in order to understand the composition and to choose the most appropriate and effective soloing and comping approaches. This piece will provide a great opportunity to explore the Harmonic Minor and Diminished scale and the Spanish Phrygian scale. Arpeggios and extended chords from the above scales will be explored to solo and comp.

Recommended versions to listen to: C.Corea, Paco De Lucia, Bobby McFerrin, Stevie Wonder.

Session 10: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Brazilian-Jazz piece ‘Desafinado’ by Antonio Carlos Jobim by harmonic and melodic analysis of the piece, in order to understand it and to choose the most appropriate and effective soloing and comping approaches. This will piece is a great case study on Melodic Minor Modes, motivic development and rhythmic syncopations and displacements. Arpeggios and extended chords will be explored, to solo and comping.

Recommended versions to listen to Joao Gilberto, Stan Getz and Charlie Byrd, Eliane Elias, to name but a few.

Session 11: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic BeBop piece ‘Yardbird Suite by Charlie “Bird” Parker, by analysing the harmonic and melodic content, in order to choose the most appropriate and effective soloing and comping approaches. This will piece is a great case study to explore BeBop vocabulary and phrasing.

Recommended versions to listen to Charlie Parker, Miles Davis, Bud Powell to name but a few.

Session 12: The aim of the session is to focus on the harmonic, melodic and rhythmic characteristics of the classic Jazz piece ‘Giants Steps’ by John Coltrane, by analysing the harmonic and melodic content in order to choose the most appropriate and effective soloing and comping approaches. This session will provide a great opportunity to explore this much studied and celebrated harmonic sequence, which is particularly challenging due to the counter-intuitive harmonic rhythm. Arpeggios and extended chords will be explored to solo and comp.

Recommended versions to listen to: J. Coltrane, Kenny Garrett, Wynton Marsalis, Pat Metheny, to name but a few.

 

NB. Each session will be delivered with the aid of a comprehensive slide presentation as well as analytical and practical examples in order to contextualise and substantiate each topic covered. Backing tracks, transcriptions and other supporting material will be included in each session.

The following resources will be utilised: Sibelius (to create notated examples),

Metronome, loop pedal to deliver music examples and contextualisation, iReal for backing track and chart creation.

 

 

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