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Jazz Guitar 101

Lesson 1: Chord Tones

Motivic Improvisation

Harmonic Awareness: Importance of Knowing the Underlying Harmony

The Difference in Tonic and Dominant Harmony

Focus Practice Time on One Area of the Fretboard

Adding the 7th to the Root and 3rd

Lesson 2: Scales, Chords, and Arpeggios

Scales, Chords, and Arpeggios on Minor 7 Chords

Major 7 Arpeggios on Minor 7 ChordsUp a Minor Third: b3, 5, b7, 9

Major 7 Arpeggios on Minor 7 ChordsDown a Major Second: b7, 9, 11,


Melodic Minor Scales and Arpeggios on Minor 7 and Dominant 7 Chords

Dmin7(b5) and G7(b9) Scales, Chord Voicings, and Arpeggios

Lesson 3: Approach Notes on Major 7 Chords

Scales and Approaching Chord Tones: Major 7 Approaches

Chords Tones on One String and Introduction to the Entire Fretboard

Scale Tone from Above Approaches on Minor 7 Chords

Lesson 4: Approach Notes on Dom7 Chords and II,V,I Progressions

Dom7 Chords, Scales, and the Half Step below Approach to Chord Tones

Embellished Scale Tone from Above

Introduction to the II, V, I Progression

Lesson 5: Harmonic Minor and Minor II7(b5)/V7(b9b13) Intro

Explanation of Minor II7(b5) Chord

Multiple Uses of Minor IImin7(b5) Chord

Begin Use of V7(b9,b13) Chord and Harmonic Minor

Lesson 6: Harmonic Minor, Resolving Tension, How to Add Tension,

Dominant 7(b9,b13) Drop-2 Chord Voicings

Harmonic Minor Patterns and Resolutions

Introduction to Adding Tension with Secondary Dominant Harmony

V7(b9,b13) Chord and Harmonic Minor Scale

Lesson 7: The Dominant Bebop Scale

The Dominant 7 Bebop Scale (Relationship to Mixolydian Scale)

Starting the Dom7 Bebop Scale on the Third

Starting the Dom7 Bebop Scale on the Fifth and b7

Omitting the II Chord in a II/V Harmonic Progression

Great Performances: "Tune Up" Miles Davis Version, "Tune Up" Wes
Montgomery Version, "Tune Up" Sonny Rollins Version, "Giant Steps" John

The Dominant 7 Bebop Scale and Maj7(#11) Chords and Harmonic


Lesson 8: Transcription Basics

What is Transcription? How Is It Done?

Transcribing Short Phrases

Building a Jazz Library / Some Great Improvisors and Some of Their


Use of Harmonic Minor by Great Improvisors

Lesson 9: Learning the Jazz Repertoire

The Value of Knowing Repertoire

Five Songs Every Jazz Guitarist Should Know

Learning the Correct Chord Changes Through Listening

Lesson 10: The Minor 7 and Minor 6 Pentatonic Scales

The Minor 7th Pentatonic on Minor 7 Tonic ChordsThree Possibilities

The Minor 6 Pentatonic Scale and Its Usage

Lesson 11: Intervals and Triads in Improvisation

Thirds: History and Use

Arpeggiating the Major Scale in Thirds and Triadic Improvisation

Lesson 12: The Use of Space and Rhythm in Improvisation

The Importance of a Proper Time Feel and Space

Even Eighth Notes vs. "Swing Feel"

Jazz Guitar 201: Advanced Jazz Guitar


Lesson 1: Major Modes & Chord Scales and Harmonic Minor Review

Major Modes and Learning the Fretboard

Fifth Mode of Harmonic Minor [7(b9b13)]

Dom7(b9 13)

Introduction to Transcription

Great Performances: "All the Things You Are" by Grant Green

Great Performances: Sonny Rollins Solo on "All the Things You Are"

Great Performances: John Scofield Solo on "All the Things You Are"

Lesson 2: Modes of the Melodic Minor Scale

Modes of the Melodic Minor Scale

Time Feel, Swing Feel, and Subdivision

Melodic Minor (1st mode), Melodic Minor Scale Rhythmic Subdivision

Lydian b7 Scale

The Locrian n2 Scale

The Altered Scale

Great Performances: Charlie Parker's "Moose the Mooch"

Lesson 3: Continuity: Across the Bar Line Phrasing

Creating Continuity via Scales, Intervals and Arpeggios across the Bar

Major Modes across the Bar Line

Harmonic Minor Mode 5 (Mixolydian b9b13) across the Bar Line

Melodic Minor across the Bar Line

Great Performances: Peter Bernstein Solo On "Eronel"

Lesson 4: Blues in Jazz Continued

Review Charlie Parker Blues Form

Bebop Scale Review

Harmonic Anticipation and the Bebop Scale

Adding Tension to Basic 12-Bar Blues with the Altered Scale and
Harmonic Minor

Coltrane Blues Variations

Great Performances: John Coltrane's "Take The Coltrane"

Great Performances: Charlie Parker "Visa"

Great Performances: Wes Montgomery's "No Blues"

Lesson 5: Rhythm Changes

Rhythm Changes: A Short History

Basic Rhythm Changes

Tonic/Approach, Continuity, Harmonic Minor, Harmonic Anticipation

The Complete A Section

Adding the Secondary Dominant

The BridgeLydian b7

Great Performances: Sonny Rollins, Sonny Stitt, Dizzy Gillespie's "Eternal

Triangle," John Scofield's "Wee"

Great Performances: Miles Davis and John Coltrane's "Oleo"

Lesson 6: Pentatonic Scales

Pentatonic Scales in Jazz

Review of Minor 7 Pentatonic and Its Uses

The Dominant 7 Pentatonic Scale

The Major (b6) Pentatonic Scale

Mixed Pentatonics on Major and Minor Blues Progressions

Great Performances: Joe Henderson's "Recorda Me"

Lesson 7: The Diminished Scale

The Whole-Half and Half-Whole Diminished Scales

The Half-Whole Diminished Scale and Its Relationship to the 7(b9) Chord

Secondary Dominant Exercises

Diminished Scale Patterns

Triads and Diminished Chords and Scales

Great Performances: Peter Bernstein Solo on "It Happens"

Lesson 8: Phrasing, Dynamics, and Rhythm & Jazz Guitar Comping

Using Space

"Play/Rest" Exercises

Rhythmic Groupings


Comping Rhythms

Great Performances: Jim Hall's "John S."

Great Performances: Kurt Rosenwinkel's "Pannonica"

Lesson 9: John Coltrane's "Moment's Notice"

The First Eight Measures

Across the Bar Line on the First Eight Measures

Easy Chord Voicings for "Moment's Notice

"John Coltrane's Solo on "Moment's Notice"

Great Performances: Mark Turner's "Moment's Notice"

Great Performances: Mike Stern's "Moment's Notice"

Lesson 10: John ColtraneThe Coltrane Matrix ("Giant Steps" )

"Giant Steps" Matrix

Arpeggios, Approach Notes, and Four-Note MotivesAnalyzing Coltrane's


Using the Whole-Tone Scale on the Matrix

Applying Coltrane Changes to Other Songs

Great Performances: John Coltrane's "But Not For Me"

Great Performances: Jochen Ruckert's "Satellite"

Great Performances: Wolfgang Muthspiel's "Giant Steps"

Lesson 11: Contemporary Jazz Guitarists (Jim Hall, John Scofield, Bill
Frisell, Pat Metheny);

Harmonic and Melodic Characteristics of Each

The Importance of Sound and Time

Blending Jazz, Blues, Rock, and Funk Styles

Analysis of Selected Excerpts from Each Guitarist

Lesson 12: Nonfunctional Harmony, Contemporary Jazz Guitar, and

Slash Chords

Nonfunctional Harmony Progressions

Slash Chords and the ECM Compositional Style

Modern Jazz Guitar

Modern Jazz Guitar Composition

Guitar Chords 101

Lesson 1: Triads

Playing Triads: Root Position Major Triads on 4-3-2 and 3-2-1

Minor Triads

sus Chords

Lesson 2: Triad Inversions/Other Triad Qualities

Inversions of Triads: Up the Fretboard

Inversions of Triads: Across the Fretboard

Augmented and Diminished Triads

Lesson 3: Barre Chords

Power Chords: Big Sound, Two Tones

Barre Chords: Big Sound, Three or Four Tones

Chord Quality Identification

Lesson 4: Seventh Chords: Drop 2s

Drop 2: Four Adjacent Strings

One Thing in All Keys: Dominant 7th Drop 2 Voicings

All Things in One Key: Other 7th Chord Qualities

Lesson 5: Drop 2 Crossovers

9th Chords

Drop 2 Inversions

Interpreting Lead Sheets

Lesson 6: Summary 1

Chord Substitutions #1

Rhythmic Kicks in Guitar Charts

Ear Training with Drop 2s

Lesson 7: Seventh Chords: Drop 3s

Drop 3, Bottom String, Skip String, then Three Adjacent Strings

One Thing in All Keys: Dom 7 Drop 3s

All Things in One Key: Other 7th Chord Qualities

Lesson 8: More Drop 3

Diminished Voicings

Dominant 9 Voicings-Another Use for min7(b5)

Dominant 13 Voicings and Chord Tensions

Using the Chords-the Blues

Lesson 9: Using the Chords: Mixing Drop 2 and Drop 3 Voicings

Maj 6/min 6

Alteration of Dominant b9, #9

Alteration of Dominant b9, b13

Lesson 10: Guide Tone Chords

R37 and R73

Small Voicings, Big Sound

Lesson 11: Triads over Bass Notes

Triads over Bass Notes

Inverting Drop 2 and Drop 3

Inversions of G7, G-7, Gmaj7

Lesson 12: Putting It All Together/Final Project

Chord Substitutions #2

Inversions of G-7(b5)

Other Voicing Formulae

Harmonizing Melodies with Inversions

Guitar chords 2:

Lesson 1: Inversions of Seventh Chords, Triads, and Open Triads

Review of Seventh Chord Shapes

Seventh Chord Summary: The Big Seven

Chord Spelling Etude



Seventh Chord Inversions: Major 7 and Dominant 7

Chord Melody: Harmonizing Melodies with Triads

Open Major and Minor Triads

Lesson 2: Chord Melody and More Open Triads

Chord Melody: Harmonizing All Scale Notes

Diatonic Open Triads

Inversions of Triads: Open Diminished Shapes

Inversions of Triads: Open Augmented Shapes

Lesson 3: More Inversions, Crossovers, Chord Melody, and More Open


Inversions of Seventh Chords: Minor 7 and Minor 7b5

Crossovers 1 C and F Blues

Working with Diatonic Inversions: Drop 2 Chords on Strings 5, 4, 3, and 2

Chord Melody "House of the Rising Sun"

Open Triads with I IV V I

Lesson 4: Fingerstyle Patterns and the CAGED Approach

Basic Fingerstyle Patterns

Travis Picking Basics

CAGED Approach to Chordal Playing

Chord Melody Tune: Avalon by Vincent Rose

Lesson 5: Harmonic Minor Voicings and Bossa Nova Fingerstyle


Harmonic Minor Voicings

Fingerstyle Patterns: Basic Brazilian Rhythm Patterns

Crossover/Transfer Example

Chord Melody

Lesson 6: Melodic Minor and Advanced Chord Substitutions

Melodic Minor Diatonic Chords

Melodic Minor Harmonies Used for Chord Melody

Major 6/9 Voicings: Substituting Dominant 7sus 4 Chords for Major Chord

Range Considerations for Chord Voicings

Crossover Tune: "Back Home Again in Indiana"

Lesson 7: Melodic Minor Harmonies and Modal Voicings

Use of Melodic Minor Derived Harmonies

Modal Voicings: Quartal Harmonies

Inversions of Maj7/Maj6/Min6/Dim7/Min7b5

Lesson 8: Open Tunings: Slash Chords Revisited and More

Slash Chords and Inversions of Slash Chords

CAGED Part 2: Use of Capo

Drop D Tuning: "Dear Prudence"

Open G Tuning: "Start Me Up"; Basic Chord Shapes

Chet Atkins/Jerry Reed Style

Harmonizing Melodies with Quartal and Slash Chord Harmonies

Rhythmic Interpretation

Lesson 9: Major and Minor Bebop Diatonic Scales and Alternate


Scale Descriptions: Major/Minor Bop

Harmonizing Bop Scales

Fingerstyle Patterns with Bop Scales

Lesson 10: Harmonic Major and Voice Leading through Chord Scales

Harmonic Major Harmonies

Voiceleading through the Major Scale (Goodrick-Style Interval Sets)

Lesson 11: Voicings from Symmetrical Scales

Chords from the Symmetrical Diminished Scale

Chords from the Symmetrical Augmented Scale

Voiceleading through Melodic Minor with Interval Sets

Lesson 12: Putting It All Together: Summary

Voiceleading through Major, Melodic Minor, Harmonic Minor, and

Harmonic Major

Rhythm Chord Basic Shapes

Chord Melody Final

Blues Guitar
Lesson 1: Playing the Blues in E

Why Play the Blues?

Typical Blues Song Forms

Rhythm Guitar in Blues March in E

E Minor Pentatonic and Blues Scales Open Position

Lesson 2: Blues in EVarying the Feel, Minor Pentatonic Scales, and 8Bar Blues

Varying the Feel

E Minor Pentatonic Scales, Six Positions

8-Bar Blues Progressions

March in A

Lesson 3: Slow Blues with Sliding 9th Chords, Pentatonic Scales Part
2, and String Bends

Barre Chords and Low-End Rhythm Parts

Rhythm Hits

Slow Blues in GSliding 9ths

Shuffle in G: Low-End and Rhythmic Hits

A Minor and C Major Pentatonic Scales5 Positions

Moveable Scale Fingerings Along the Neck

String Bents

Lesson 4: T-Bone Style Blues with Sliding 9th Chords, and Chicago

Downtown and Uptown Shuffles with Sliding 9th Chords

T-Bone Style Slow Blues with Sliding 9th Chords

A Major and A Minor Pentatonic Scales5 Positions

"Country Girl"Buddy Guy/Jr. Wells Style, with Sliding 9th Variations

Lesson 5: Flat Tire/Jump Chords and Feel, with T-Bone Walker's Soloing
Style and Influences

"Papa Ain't Salty," T-Bone Intro Chorus

Locking In with the Backbeat and Metronome

Locking In with the Bass

Rhythm Guitar"Flat Tire"/Jump Chords and Feel

T-Bone's Influences on BB King, Clarence Holliman, and Others

Lesson 6: Minor Blues, Rhythm Guitar Variations, and Call Response


Minor Blues Progressions and "Thrillin'" Rhythm Part

Call/Response Techniques and B.B. King's Vocal Style Phrasing

A Blues Scales5 Positions

A Blues ScalesShifting between Positions

B.B. King Intro Chorus"The Woman I Love"

Lesson 7: Playing in the Pocket, and Magic Sam Style Blues

Magic Sam's Intro Chorus to "Sweet Home Chicago"

Playing in the PocketRushing/Dragging/Locking In Exercise

Blues in G: Rhythmic Hits, Part 2

Reinforcing Rhythmic Skills

Learning the Fingerboard

Lesson 8: Basic Slide Techniques and Open Tunings: Elmore James

Basic Slide Techniques: Open G Tuning

Setting Up Your Guitar

Choosing a Slide

Which Finger Do I Use for a Slide?

Slide Placement and Intonation

Elmore James Slide Style

Turnarounds: Robert Lockwood Jr., "Worried Life Blues"

C Pentatonic and C Major Scales5 Positions

Lesson 9: Slide in G Tuning: Son House, Muddy Waters, and John Lee
Hooker Styles

More Slide Techniques: Open G Tuning

Son House Style: "Death Letter Blues"

Playing Melodies Along the Strings

Muddy Waters Style, "Rollin and Tumblin"

B Flat Blues: Walking Bass and Comping

Lesson 10: Blues Rock and Gospel Blues

"San-Ho-Zay": Rhythm Part and Solo, as Played by Freddy King

Gospel Blues Progressions

Scales and Gospel Blues

Same Old Blues: Gospel Blues

Rhythm Guitar Shuffle in F

Lesson 11: Jazz Blues: Kenny Burrell, Comping Range, and Rhythm
Guitar Along the Neck

"Chitlins con Carne: "Kenny Burrell Solo

"Don't Loose Your Cool"

Comping Range: Rhythm Chords in Four Regions of the Neck

Ear Training and Practice Techniques

Learning Solos from Other Instruments

Lesson 12: More Jazz Blues

Jazz Blues: Grant Green

Guide Tones

"Freddy Freeloader"

Improvising Over Dominant 7th Chords: "Danny Downloader"

Mixolydian Mode

Minor 7th Substitutions on Dominant 7th Chords

Guitar Scales 101

Lesson 1: Major Scale

Constructing the Major Scale on the Fingerboard

Position Playing on the Guitar

Playing the C Major Scale in Second Position

Playing the C Major Scale in Seventh Position

G Major Scale in Second Position

G Major Scale in the Seventh Position

Lesson 2: Major Pentatonic Scales, F Major Scale, and Fingering Type


Major Pentatonic Scales

F Major Scale and Fingering Type 1

AF Major Scale in Seventh Position

Lesson 3: The D and A Major Scales

D Major Scale in Second Position

D Major in Seventh Position

A Major Scale

A Major Scale in the Ninth Position

Lesson 4: Minor Pentatonic Scales and Minor Blues Scales

A Minor Pentatonic Scale Fingering 1

C Minor Pentatonic Scale Fingering 2

Improvising with the Minor Pentatonic Scale

The Blues Scale

Lesson 5: Dorian and Mixolydian Scales

Constructing Dorian Scales

Dorian Fingerings from the Parallel Minor Pentatonic

Dorian Fingerings from Parallel Major Scales

Constructing the Mixolydian Scale

Mixolydian Fingerings from Parallel Major Scales

Lesson 6: Scale Exercises

Five Major Scales in One Position

One Scale in Five Positions on the Guitar

Connecting Scale Forms: Playing Three-Octave Scales Using Mirror


Lesson 7: Major Scales Played Intervalically

Major Scale in Thirds

Five Fingerings for Major Scales in Thirds

Major Scale in Fourths

Two Fingerings for Major Scale in Fourths

Larger Intervals

Lesson 8: Modes of the Major Scale

Definition of a Mode

Names of the Modes of the Major Scale

Playing One Octave Modes of the Major ScaleKey of C

Diatonic Chords of the Major Scale and the Corresponding Mode

D Major Scale and Its Modes

G Major Scale and Its Modes

C as Every Mode in the Major Scale

G as Every Mode in the Major Scale

Lesson 9: Harmonic Minor Scale

Constructing the Harmonic Minor Scale on the Fingerboard

Playing the A and D Harmonic Minor Scale in Second PositionFingerings

Based on Parallel and Relative Major Scales

Playing One Octave Modes of the A and D Harmonic Minor Scales

A and D as Root of Every Mode of Harmonic Minor Scale

Lesson 10: Melodic Minor Scale

Constructing the Melodic Minor Scale on the Fingerboard

Playing the A and D Melodic Minor Scale in Second Position

Playing One Octave Modes of the A and D Melodic Minor Scales

A and D as Root of Every Mode of Melodic Minor Scale

Lesson 11: Symmetric Scales

Constructing the Whole Tone Scale on the Fingerboard

Two Whole Tone Fingerings

Constructing the Diminished Scale on the Fingerboard

Two Diminished Scale Fingerings

Lesson 12: Three Octave Scales

Three Octave Whole Tone Scale Fingering

Three Octave Diminished Scale Fingerings

Guitar Improvisation
Lesson 1: The Pentatonic Scale

The Five Basic Fingerings of the Pentatonic Scale Forms

A Brief Explanation of the Pentatonic Scale

Organizing the Five Scales for Improvising

Playing Pentatonic Scales in Multiple Keys

Tonal and Rhythmic Considerations

Lesson 2: Basic Concepts for Improvising with Pentatonic Scales

Moving between Different Positions of the Pentatonic Scale

Learning the Same Melodies and Riffs in Each of the Five Fingerings

Using Riffs and Licks to Make a Statement

The Concepts of Theme and Variation in Improvisation

Lesson 3: Pentatonic Scales of a Different Color

Similarities and Differences: Major-Ionian Scale and the Major Pentatonic


Major Pentatonic Scale Variations

The Melodic Minor Scale and Kumoi Pentatonic Scale

The Harmonic Minor Scale and Hirajoshi Pentatonic Scale

Lesson 4: How to Improvise over Blues Progressions

Basic Overview of a 12-Bar Blues Progression

Using Pentatonic Scales and Modes over a Blues Progression

How to Use Modes over a Blues Progression

The Importance of the Tritone in Improvisation

Lesson 5: Major Scales and Their Modes

The Major Scale Formula

Constructing the Major Scale on the Fretboard

Positional and Three-Note-Per-String Fingerings

The Modes Defined

The Three Major ModesThe Three Minor Modes

Lesson 6: The Major Modes: Ionian and Aeolian

The Ionian Mode

The Characteristic Notes of the Ionian Scale

The C Major Pentatonic and Modal Scales

Tone Production and Techniques

The Aeolian Mode

The A Aeolian Scale Fingerings

Lesson 7: The Lydian and Dorian Modes

The Lydian Mode

Characteristic Notes for the Lydian Scale

The Dorian Mode

Characteristic Notes for the Dorian Scale

Lesson 8: The Mixolydian and Phrygian Modes

The Mixolydian Mode

Characteristic Notes of the Mixolydian Scale

The Phrygian Mode

Characteristic Notes for the Phrygian Scale

Lesson 9: Triads and Triad Arpeggios

Constructing Triads on the Guitar

Playing Triads Vertically on the Fingerboard

Triad Arpeggios

The Three Basic Triad Arpeggio Fingerings in Two Octaves

Diatonic Triads and Arpeggios

Using Diatonic Triad Arpeggio Ideas for Improvisation

Lesson 10: Seventh Chord Arpeggios

What Are Seventh Chords?

Diatonic Seventh Chords and Their Inversions

Improvising with Seventh Arpeggios

Playing over Blues with 7th Arpeggios

Understanding Guide Tones

The Importance of Learning the Location of the Guide Tones within

Seventh Chord Forms

Lesson 11: Tensions and Upper Structure Arpeggios

What Are Tensions?

Identifying Tensions with the Characteristic Notes of the Modes

Upper Structure Arpeggios

Upper Structure Seventh Chord Arpeggios for Major 7th Chords

Upper Structure Seventh Chord Arpeggios for Minor 7th Chords

Upper Structure Seventh Chord Arpeggios for Dominant 7th Chords

Lesson 12: Putting It All Together

Stevie Ray Vaughn's "Riviera Paradise"

The Intro

Chord Scale Analysis of the ProgressionUsing Pentatonic Scales on the


Using Arpeggios on the Progression

Analysis of Stevie Ray Vaughn's Solo

Lesson 8: Essential Funk/R&B Bends

The 4-5 (2-3) Bend/Lick

The b7-1 Bend/Lick

The 5-b7 Bend/Lick

The b3-4 Bend/Lick

Using Fretboard Maps to Play Bends and Licks

Lesson 9: Common Musical Scale Combinations

The 4-b5, b3-3 Scale

All Positions of the 2-b3, 6-b7 Scale

Combining the 2-b3 and 6-b7 Scales

Using Grace Notes

Using Legato

Lesson 10: Sounds and Musical Effects

Double-Stop Bends

Whole-Tone Licks

Diminished Scale Licks

Trills and Bends

Sustain with Feedback

Wah-Wah vs. Envelope Filter

Lesson 11: Expanding Funk/R&B Harmony

Minor Pentatonic over a Dominant 7th Chord with a #9 Tension

Minor Pentatonic over a Major 7th Chord to Emphasize a #11 Tension

1-b2, b7-7, and 5-b6 Bend Scales

Training Your Ears to Recognize Which Modes to Use

Determining Which Combinations of Melodic Tools to Solo With

Lesson 12: Putting It All Together

Pedalboard Signal Path

Economy and Space

Transcribing Solos

Creating a Listening List

Rhythm and Groove Guitar

Lesson 1: Getting Started with Groove

Note and Rest Values

Playing Exercise: James Brown "The Payback"

Playing Exercise: Phish Tweezer

Constructing and Tailoring Original Guitar Grooves

Playing Exercise: Constructing Grooves

Chord Types and Forms: Root 5 and Root 6 of Major7, Minor7, Dominant7,
Dominant 7#9 and Dominant7sus4.

Playing Exercise: Chord Types

Assignment: Create a Rhythm Guitar Part in C7

Lesson 2: Constructing Grooves with Movable Chord Forms

Chord Types: Dominant 7th and Dominant 79

Playing Exercise: Cycle 4

Playing Exercise: Chord Inversions

Dominant 79 Chord Tones

Practicing Movable Forms

Practice Exercise: Guitar Grooves and Jam Licks in Two Different Styles

Cream Toad

Herbie Hancock

Playing Exercise: Constructing Grooves

Jamming for Fun

Electronic Jam in C

Funky Groove in E

Assignment: Analysis of Prince Rhythm Playing

Lesson 3: Creating Grooves with Dominant 7 Chords

Unique Ways to Get Inspiration

Playing Exercise: Repetitive Guitar Grooves

Gov't Mule: Mr. Big

James Brown: Papa Don't Take No Mess

Playing Exercise: Chord Types

John Scofield: Hottentot

Playing Exercise: Dominant 7#9

Herbie Hancock: Hang Up Your Hang Ups

Warm-Up Exercises

Playing Exercise: All Six Chord Forms

Playing Exercise: Dominant 7 13

Assignment: Gold Digger

Lesson 4: Muted Rhythms and Scratch Guitar

Muted Rhythms and Scratch Guitar

Muted Rhythm Exercise

How to Develop an Original Style

Minor 7 and Minor 79 Chords

Playing Exercise: Constructing Grooves with Dminor 79

Playing Exercise: Stylistic Chordal Lick (Hammer-on / PullOff) for

Minor7th chord

Jazz Funk Loop

Soulive Flurries

Assignment: Twelve-Bar Minor Blues

Lesson 5: Combining Chord Forms and Rhythm

Minor 7 Chord with Tension 11

Dominant 7 (sus4) with Tensions 4 and 11

Playing Exercise: Chord Forms

Popular Muted Rhythms

Flood in Franklin Park by Grant Green

Assignment: Record a Rhythm Track With Grant Green Chord Progression

Assignment: Record a Rhythm Track with C7sus4 Loop

Lesson 6: Sixteenth-Note Rhythms

Constructing Grooves

Hottentot with added bridge

Practice Exercise: E7sus4

Rhythm Practice Tips

Playing Exercise: Muted Rhythms with Sixteenth Notes


Scofield: I Break for Monster Booty

Assignment: Create Your Own Groove

Lesson 7: String Combinations, Picking Lines, and Double-Stops

Learning New Licks

More on Major7th

Diatonic Harmony

Major 7 Loops

Muted Rhythm Exercises

Rhythm Guitar Techniques

Assignment: Record Golden Lady Changes

Assignment: Record with Cmaj7 Loop

Lesson 8: Converging Concepts in Rhythm

Converging Concepts in Rhythm Technique

Playing Exercise: Miles Davis

Playing Exercise: Medeski Martin and Wood

Eighth- and Sixteenth-Note Rhythm Combinations

Assignment: Black Satin

Assignment: Syncopation

Lesson 9: Triplets and Diatonic Harmony

Diatonic Harmony with Tensions

Triplet Introduction

Triplet Exercise

Picking Lines

Picking Line Degree Chart

Assignment: Compose Picking Lines

Lesson 10: Bass Lines and Effects


Bass Ideas

Playing Exercise: Jam with Sax

Eighth-Note Triplets

Rhythm Exercises

Adding Note Patterns

Eighth Note Triplets in 3/4 Time

Assignment: Jamming with Saxophone

Lesson 11: Right-Hand Snap and Rhythm Duets

Suggestions for practicing rhythmic duets

More picking lines

Playing Exercise: Minor 69 loop

Right-Hand Pluck and Snap

Assignment: Jam with Instructor

Lesson 12: Putting it All Together

Playing Exercise: Constructing Grooves with Plucks

More Rhythm Patterns

4-Bar Patterns

Open Strings within Chord Forms

Assignment: Compose an Original Groove

Fundamentals of Classical
Lesson 1: Getting Started with the Classical Guitar

Background and History of the Classical Guitar

Classical Guitar Notation Explanation

Considerations for Classical Guitarists


Alternating Finger Patterns for Right Hand

Chamber Music

Lesson 2: Arpeggios and Major/Minor Scale Development

Arpeggio Variations

Open Position Major Scales

Introduction to Minor Scales

Fretboard Note Location

Lesson 3: Articulation of Melodies in Arpeggios

Blame It on the Bossa Nova

Minor Scales

Melody on Annular Finger in Arpeggio

3-Note Arpeggio Patterns

Lesson 4: Melody in Bass Voice

Melody in Bass

Shifts on a Single String

Two-Octave Scale Forms and Arpeggios

3-Note Arpeggio Patterns

Vibrato Technique

Lesson 5: Two-Part Melodic Playing

Melodies in Two Voices

Brazilian Rhythm

5-String Arpeggio Patterns

Two-Octave Scales

Introduction to Tremolo

Lesson 6: Tremolo Techniques

Introduction to Rasgueados

Melody on Ring Finger within an Arpeggio


Two-Octave Minor Scale Forms


Lesson 7: Flamenco Technique

5-string Arpeggio Variations


Melody on A and M within an Arpeggio Pattern

Continue Slurs

Lesson 8: Three Octave Major Scales and Arpeggios

6-string Arpeggio Variations

Three-Octave Major Scales


Three-Octave Major Arpeggios

Lesson 9: Harmonic and Drop-D Techniques

Three-Octave Minor Scales

Artificial Harmonics

Drop D tuning


Lesson 10: Percussive Techniques

Speed Builders

Percussive Techniques


Whole-Tone Scale

Lesson 11: Classical Guitar and Popular Music

Classical Arrangements of Popular Music

Advanced Percussive Techniques

Open String Scales

Spanish Guitar Master Francisco Tarrega

Lesson 12: Classical Guitar Alternative Techniques

Classical Arrangements of Rock Music

Diminished Scales

Prepared Guitar

Practice Routine

Acoustic Guitar Techniques

Lesson 1: Open Triad Tunings

Introduction to Open Tunings

Open D Triad Tuning

Chord Shapes Native to Open D Tuning

Fretboard Theory

Meet the Neighbor: Open G Triad Tuning

Lesson 2: Building on Travis Picking

Building a Basic Travis Pick

Practicing Travis Technique and Interpretation

Evenness of PulseEndurance and Consistency

Feeling It in One or in Four

Kickin' the Bass Line

Dynamic Gestures

Descending Bass Lines

Lesson 3: Open Tunings Beyond Major: Going Modal

Thinking Modally in DADF#AD

Playing Mixolydian All the Way Up the Neck in DADF#AD

Playing Lydian All the Way Up the Neck in DADF#AD

Playing Dorian All the Way Up the Neck in DADF#AD

Juxtaposing Different Modal Sounds within the Same Song

Lesson 4: "In the Grid" Strumming Techniques

The Eighth Note Strumming Grid Concept

Developing Familiarity with the Grid Points

Fully Articulated Strumming Grids

Lesson 5: Fingerstyle Fundamentals

Arpeggio Technique

Scalar Technique

Nails or No Nails?

Right-Hand Position

Position, Technique, and Tone

Lesson 6: Strum Possibilities

Your Strumming Sound

Tone, Touch, and Technique

Playing Different Registers to Orchestrate a Strumming Part

Bringing Out a Single Note Melody

Integrating a Bass Figure

Lesson 7: Exclusive Advantages of Fingerstyle

Notation Systems for Guitar

Many Fingers, Many Voices

Cross String Textures

The Drone or Pedal Note

Fingerstyle Solo Sections

Lesson 8: Fun with Triplets

Shuffle/Swing Eighth-Note Grid"

On the Beat" and "Off the Beat" Triplets

Right-Hand Technique

Nuance/Feel of the Upbeat

Lesson 9: Tying Up Travis and Beyond

Travis Picking Melodic Variations

A Variation of the 1+ Melody

Integrating a Strum Hit into a Travis Texture

Integrating a Slur into a Travis Pattern

Lesson 10: Tunings Gone Wild

Using the Open Triad as a Chord Other Than the Tonic

Triad Tunings, Give or Take

The Sparsely Articulated Grid

Lesson 11: Fingerstyle Fine Points

Practice Method: Bias Eliminator

Practice Technique for Consistency and Fluency

Using Arpeggios to Create Polyrhythmic Interest

Lesson 12: Mixing It Up, Scratching, and Hitting

Combining Individual Fingers with Up-Strums

Adding Percussion: The Scratch

More Percussion: Hitting the Guitar