"The traditional scalar, drop chord approaches to jazz guitar are practical, worthwhile, and recommended... but can leave the student on the outside looking for a way in.
Jordan's Melodic Triad approach to jazz guitar provides a direct line inside, revealing the beauty of melodic tension and release, voice leading, and pianistic chord voicing.
I have explored a big library of books, checked out lots of things online, and had the privilege of studying with some great teachers and musicians. In my experience, the Melodic Triad approach is unique in how it gets inside and what it reveals."
"The most remarkable thing about working on Jordan's method is that my hearing improved. Immensely. That translated directly to my playing in jazz, but also in jamming in other genres and simply picking out familiar melodies. If you're interested but not sure whether this is for you, I say give it a solid month of effort and you will be very glad you did."
"After years of studying with many of the jazz legends of our time, Jordan has taken all the knowledge he has acquired, reduced it to its essence, and developed it into his own personal system of approaching improvisation. I find his method absolutely refreshing and so much closer to how the great improvisers are thinking and practicing than the traditional chord/scale, university approach to teaching improvisation. It's given me a whole new and fresh outlook on how to hear things and what to practice. So many free resources here to take advantage of with the option to subscribe if you want to go even deeper into his world. Highly recommend checking his stuff out. Thanks Jordan!"
"A couple of years ago I discovered a video on youtube of Jordan playing his version of 'Body and Soul' - in his way of playing he highlighted some beautiful sounds that enchanted me! He seemed to have more than 12 notes available... it was amazing! Some time later I began to study his approach to the melodic triads in the study group and SBAM! I discovered sounds that I did not imagine I could handle. The way in which the topics are proposed is very organic and never boring! Forget the classic approach to the study of scales, arpeggios, and triads (often you end up doing only gymnastics). With the modality proposed in the course you just need a few notions to immediately start to get into the heart of the topic in a simple and rational way! In a short time I started improvising with a taste that I did not think I had! My ear has improved - I notice and recognize the use of melodic triads in the records that I hear! In short: I have acquired greater awareness and mastery of harmony and the concept of tension and resolution! I will never stop thanking you.”
"As a guitarist and working musician, I am fortunate and thankful to have many gigs that feature predominantly jazz-based improvisation. Over the past few years I have become increasingly frustrated with my improvisational playing. After spending about a year recording my gigs and listening back, I noted the reliance on a number of elements that were fundamental to my personal style. This included rhythmic ideas, licks, areas of the fretboard that I was more comfortable in. Despite numerous attempts at creating variety, transcribing new materials, and consciously avoiding certain patterns, I was unable to effectively draw myself out of my musical mindset.
I stumbled upon the NYC Jazz Guitar Masterclasses website via social media after experimenting with things like triad pairs, limiting myself during practices, and other methods of breaking my chord-scale relationship approach to improvisation. Jordan's ideas intrigued me, as they approached harmony and melody from a new viewpoint that I had not previously even heard of or considered. After spending some time on his website and working through the material, I found that I had more questions than answers, so I setup a couple lessons in order to get clarification in some areas. These lessons were both poignant and insightful, ranging from minute details to big-picture concepts. Jordan's approach made me realize that there were a set of fundamental ideas that I had about music and improvisation that were very specific and important, however they did not allow for exploration in the way that my inner musical voice was beginning to desire.
The melodic triads approach made me realize that I was interacting with music much like a photographer looking through the lens of a camera. My perception of music had been incomplete, with parts of it out of focus. Jordan's ideas have felt as if my ears are suddenly adjusting the focus on the camera lens and my musical self is seeing clarity where there had been a sort of fuzzy concept. Elements of my improvisations that had relied on memorized patterns or ideas are now able to be approached with intention and personal choice. I highly recommend engaging and experiencing the melodic triads approach, regardless of your musical background or experience. There is something here for everyone."
"You can often hear the words 'thrilling', 'dramatic', 'sweet' or 'sparkling' when non-musicians talk about music, but have you ever read these words in a theory book? Don't get me wrong, I've learned from many different books, and in that sense I understand music, (or at least I understand the changes). But at the end of the day, when I ask myself "What's the essence of this tune? What was the thing that caught my ear in the first place and made me play this song not another one, and how could I own that thing?" I often find myself unable to answer. After diving into Jordan's approach I realized that to get the answer I have to have an intimate relationship with the notes and oh boy, I have got to be a good listener. I have to own it, just like a painter owns the colours that he uses. I'm definately encouraging you to start digging into the melodic triads because soon enough you'll be sounding 'sweet', 'sparkling' or anything you want."
"Technical stuff such as sequences, scale practice, shape systems... there are so many books out there. But I really like that [Jordan] puts it on a much more phenomenological area of expertise, so you get to understand what sound means, emotionally. To me that's much better than all of these books and methods you find all over the internet. This is much more personal and to the core of what music is. [Jordan] really helped me open up a new world, and we're continuing to explore that. I can highly recommend Jordan."
"I can't tell you how much [The Melodic Triads Study Group] changed my guitar playing within the first month. To me the blues was just playing up and down the pentatonic scale with a few blues licks. When I applied this triad concept over the jazz blues from the study guide, it blew me away and totally changed my way of thinking about the blues. Thanks a lot, Jordan, for sharing your musical knowledge with us and guiding us towards the right direction."
"Melodic triads is an amazing approach for me to really dig into the jazz field. I was a scale runner before I studied this concept. But once I learned the melodic triad concept my solo playing sounds more musical and less robotic. Also I think it is the best way to learn the Bill Evans and Jim Hall style of playing. It's really unique and helps me understand music more like a pianist. I highly recommend the melodic triad concept for people who want to study jazz guitar."
"Jordan Klemons is a great guitarist with unlimited potential. His prodigious technique is never an end in itself but instead the means to musical expression. He is a musician who looks to the past for inspiration and influence yet has a modern conception; he is someone to look out and listen for!"
"Jordan Klemons is an agile, forward thinking guitarist, fluent in the language of Jim Hall and John Scofield. His solos bristle with intense rhythmic drive and melodic invention. [His album, This City] sounds great - every track is its own world and the flow from beginning to end tells a story. Deep writing and arrangements and guitar playing - it's a bold statement!"
"Thank you for your great playing and spirit. Hope to continue working with you."