“Wonderful class!”

“Really helpful info!”

“Loved everything, the whole class!”

“I appreciated the PDF for us all to follow along.”

“Thanks so much for sharing! All this was super-helpful.”

“I appreciate the way Max simplified complicated choices!”

“Artist’s application was great – original, and not out of a textbook.”

“Loved his approachable style and personality; immense competency on guitar and theory!”

“The class generated an idea in me to experiment with colors while staying true to the chord’s function.”

“Max’s approach: really great demonstration of how superimposing something basic (different modes of IV) can give complex, beautiful sounds.”

“This gave me a great way to use information I already knew. Would love another class from Max.
He paced everything very well, and gave a ton of useful practical advice.”

[00:00:00]: Intro Performance
[00:03:19]: Introduction
[00:04:12]: Harmonic Transparency: Overlaying Scales
[00:05:18]: Limited Harmonic Functions in Western Music
[00:05:38]: Tonic, Dominant & Subdominant in C Major
[00:09:09]: IV Minor to I: The Backdoor Cadence
[00:11:01]: Backdoor II-V-I Explained
[00:11:57]: Rootless IV Minor Voicings on Guitar
[00:12:48]: Guitar as the Right Hand of the Piano
[00:13:48]: Hearing II-V-I Through Voice Leading
[00:15:25]: Walking Through the Worksheet
[00:16:41]: F Lydian over G7 (Natural Tensions)
[00:18:46]: Adding Tension by Changing the IV Chord
[00:19:47]: F Melodic Minor over G7
[00:21:50]: F Melodic Minor on 13b9 (Stardust)
[00:23:11]: [Q&A] Building Voicings from the Scale
[00:24:38]: Change One Note to Open Up Voicings
[00:28:14]: [Q&A] Applying Transparency to Horns
[00:29:57]: Reflecting the Changes Through Your Line
[00:31:14]: Charlie Parker’s Diatonic-to-Altered Lines
[00:32:31]: F Dorian over G7
[00:35:45]: F Aeolian: Tritone Sub Sound (Beatrice)
[00:37:32]: Ab Melodic Minor: The Altered Scale
[00:39:06]: Mixing Melodic Minors & the Altered Scale
[00:40:56]: [Q&A] F Dorian, Bb7 & ‘Killer Joe’
[00:42:06]: Stacking Backdoor II-Vs in Minor Thirds
[00:43:18]: The Diminished Scale Connection
[00:44:24]: F Whole-Half Dim vs F Melodic Minor
[00:45:50]: Whole Step vs Half Step Difference
[00:47:11]: The Symmetrical World of Diminished
[00:49:09]: [Q&A] Practice Method for Longer Lines
[00:50:19]: Writing Etudes & Solo Guitar Arrangements
[00:51:25]: Rubato, Loopers & Fretboard Practice
[00:53:49]: Ben Monder & Mick Goodrick’s Method
[00:54:51]: [Q&A] Ear Training: Hear & Sing First
[00:56:05]: Singing Improvisers: Jarrett, Rosenwinkel
[00:58:43]: [Q&A] Same Concept on E7 & I Diminished
[01:02:13]: I Diminished to I Major: Prolong Arrival
[01:03:10]: Two Functions of the Diminished Scale
[01:03:45]: I Dim in Stella & It Could Happen to You
[01:05:12]: Strayhorn’s Upper Manhattan Medical Group
[01:07:20]: Triads Within Dominant Diminished
[01:08:59]: Bb-over-G Triad Pair
[01:10:02]: C#-over-G Triad: b9 & #11
[01:11:46]: Art Tatum’s Transparent Triads
[01:12:28]: E-over-G Triad: His Favorite (b9 & 13)
[01:14:50]: E6 over G7: Beautiful Diminished Tensions
[01:16:11]: Solo Piano Inspiration: Fischer & Jarrett
[01:18:08]: [Q&A] 3 Minor as a Tonic Substitute
[01:19:29]: [Q&A] Chord-Melody with These Shapes
[01:23:05]: One Voicing Over All 12 Roots (Exercise)
[01:26:55]: [Q&A] New School Teaching & His Gigs
[01:27:51]: [Q&A] Moving Through Functions, Color Intact
[01:29:15]: Final Performance