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Peter Mazza Harmonic Supernova for Jazz Guitar

Superimposition and Superior Chord Concord for Jazz Guitar
Whether or not you compose or organize for solo jazz guitar, or play in ensemble settings, Peter Mazza’s Harmonic Supernova for Jazz Guitar will considerably enrich your harmonic palette with a complete vary of grips, superimposed chords, superimposed arpeggios, and a flexible vocabulary of chords voiced with particular tones voiced on high.

Peter Mazza is well known for his inventive and virtuoso interpretations of jazz requirements in addition to his personal considerate compositions. “Mixing clear and fluent strains with colourful chord voicings and driving pulse, he creates imaginative ensemble preparations in addition to lush solo guitar items.” We’re thrilled to welcome Peter to the household together with his first TrueFire course, Harmonic Supernova for Jazz Guitar!

Peter kicks the course off with a fast jazz rhythm primer specializing in the Charleston Really feel, Swing Really feel, Triplet Really feel, and Mixing Jazz Rhythms.

”Whereas lush concord typically stands by itself in rubato taking part in, it takes on a complete new dimension when performed with a deep swing really feel and command of the rhythmic language of jazz. On this phase, I talk about the sensation of swing eighths, beat emphasis on 2 & Four in 4/4, and the overview of three important rhythms/rhythmic feels that may make clear but deepen your sense of swing, time and rhythm whereas giving much more vitality to your harmonic decisions.”

Within the second and third sections, you’ll give attention to a number of chord grip variations for each main and minor 2-5-1’s utilizing approaches like elevating or decreasing a voice, utilizing passing notes, including easy melodic connections, and ascending voices.

”Certainly one of my instructing “mantras” is “superior taking part in is mastery of staple items, not a primary understanding of superior issues”. In relation to voicings, this begins with understanding what Tuck Andress calls the “grip chords” for II V I VI progressions. I’ve two predominant methods I group these II V I VI progressions which I demo right here. Then I transfer them via all 12 keys down in steps. We’ll use these grips to delve into some superior and attention-grabbing chords and methods. We’ll additionally work with important grip chords for IImi7b5 V7alt Imi VI7alt progressions in two predominant positions. I share some colourful voicings and sight some primary however inventive chord-scale relationships which are an important step in the direction of considering and taking part in superior concord.”

Within the fourth and fifth sections, Peter introduces superimposed chords and arpeggios for minor and main 2-5-1s utilizing drop two inversions, superimposed arpeggios, and consecutive voiced 7ths.

”I actually drive dwelling the idea that in superior jazz concord, that every chord in a II V I VI is its personal key. I take a II V I VI development in C Main and I sight the Four keys used. Then I proceed to spell every chord up from its R three 5 7 9 11 to 13. Any Four consecutive notes inside a 13th chord, spell a seventh chord of some type. I name the seventh chord arpeggios inside a 13th chord, arpeggio superimpositions. This idea has concurrently been probably the most complete in mastering concord, and but a quick observe to accessing that mastery. It seems that it’s a terrific ear coaching and fingerboard research, plus it applies to each strains and chords! I’ll additionally carry out the “golden sequence” of superimposed chords performed in a number of methods. First in consecutive/root place, then as 1st then 2nd inversion drop 2 voicings. I mix arpeggios and chords to get a pianistic impact, and additional spice it up with some cool rhythms!”

Within the sixth part, you’ll give attention to increasing your vocabulary of chord voicings with particular tones voiced on high of the chord. We’ll voice thirds, fifths, sevenths, ninths, elevenths, and thirteenths on high as choices. We’ll apply these choices utilizing a development with each minor and main 2-5-1s.

”The spine of many jazz requirements is the diatonic cycle, or what we all know as the primary eight bars of “Autumn Leaves”. I break down this development intimately. As a part of that, I educate you secondary dominant seventh chords. I then spell out the notes in every chord within the development performed as 13th chord arpeggios so you could have full entry to all of the notes on every chord. As a part of this, I make clear some scale decisions for dom7s. I additionally sight the use #11 on Main and Dom7s, and pure 9s on minor chords (together with min7b5). I clarify the significance of 13th chord data to melodic soloing, provided that chords change in jazz tunes, shortly. Add in how vital it’s to play with a swing really feel and use house, I clarify that it’s infinitely extra helpful to consider intervals somewhat than scales on every chord, when getting down to play lyrical, motivic and swinging solos.
In our last part, we’ll put the entire key approaches to work by making use of our Harmonic SuperNova data over a set of Four efficiency research.”

Within the seventh and last part, you’ll put the entire key approaches to work by making use of your Harmonic Supernova data over a set of Four efficiency research: Main Two-5 All Keys, Minor Two-5 All Keys, Bb Blues, and F Blues.

Peter will clarify and reveal the entire key ideas and approaches alongside the way in which. You’ll get commonplace notation and tabs for the entire key examples and performances. Plus, you’ll be capable of use TrueFire’s studying software to sync the tab and notation to the video and may also loop or decelerate the movies so as to work with the teachings at your personal tempo. All of the backing tracks are included to work with personal your personal as properly.

Seize your guitar and let’s get our Harmonic Supernova on with Peter Mazza!

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