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Core Lesson 55: Harmonic Minor Scale Mode 7: Diminished Altered [CL55]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Core Lesson 54: Harmonic Minor Scale Mode 6: Lydian #9 [CL54]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Core Lesson 53: Harmonic Minor Scale Mode 5: Spanish Phrygian (Phrygian Dominant) [CL53]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Core Lesson 52: Harmonic Minor Scale Mode 4: Dorian #11 [CL52]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Core Lesson 51: Harmonic Minor Scale Mode 3: Major Scale #5 [CL51]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Core Lesson 50: Harmonic Minor Scale Mode 2: Locrian #6 [CL50]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Core Lesson 49: Harmonic Minor Scale Mode 1: Aeolian #7 [CL49]

Full Lesson Transcription Supplementary Files:: Harmonic minor and major study C Harmonic Minor modes … [Read more...]


Masterclass Lesson 6: Substitution Video 1 – Dorian

Full Lesson Transcription … [Read more...]


Technique Builder 14: G Harmonic Major – 7th Arps 2 8ves Root 6 [TB14]

Here we examine the G Harmonic Major scale using an ascending and descending 7th arpeggio in its root position, with a root note of G on the low E or 6th string (i.e. ‘root 6’). General practice tips for this Technique Builder Exercise: • If playing this root 6 (root on the E string) as in the video example, I use either of two techniques, depending on the arpeggio at hand. I either use an arpeggio that moves along the ‘E shape’ chord, therefore including the high E string to complete the 2nd 8ve, or I stay in position for the entire permutation, using a sliding technique … [Read more...]


Technique Builder 13: G Harmonic Minor – 7th Arps 2 8ves Root 6 [TB13]

Here we examine the G Harmonic Minor scale using an ascending and descending 7th arpeggio in its root position, with a root note of G on the low E or 6th string (i.e. ‘root 6’). General practice tips for this Technique Builder Exercise: • If playing this root 6 (root on the E string) as in the video example, I use either of two techniques, depending on the arpeggio at hand. I either use an arpeggio that moves along the ‘E shape’ chord, therefore including the high E string to complete the 2nd 8ve, or I stay in position for the entire permutation, using a sliding technique to … [Read more...]


Technique Builder 12: G Melodic Minor – 7th Arps 2 8ves Root 6 [TB12]

Here we examine the G Melodic Minor scale using an ascending and descending 7th arpeggio in its root position, with a root note of G on the low E or 6th string (i.e. ‘root 6’). General practice tips for this Technique Builder Exercise: • If playing this root 6 (root on the E string) as in the video example, I use either of two techniques, depending on the arpeggio at hand. I either use an arpeggio that moves along the ‘E shape’ chord, therefore including the high E string to complete the 2nd 8ve, or I stay in position for the entire permutation, using a sliding technique to … [Read more...]


Technique Builder 11: G Major – 7th Arps 2 8ves Root 6 [TB11]

Now we move back to our Major Scale, again using 3rds to create an ascending and descending 7th arpeggio in its root position. This time however we use a root note of G on the low E or 6th string (i.e.‘root 6’). General practice tips for this Technique Builder Exercise: • If playing this root 6 (root on the E string) as in the video example, I use either of two techniques, depending on the arpeggio at hand. I either use an arpeggio that moves along the ‘E shape’ chord, therefore including the high E string to complete the 2nd 8ve, or I stay in position for the entire … [Read more...]


Technique Builder 10: C Harmonic Major – 7th arps 2 8ves Root 5 [TB10]

Now we examine the harmony of the Harmonic Major scale using tertian steps (3rd intervals – i.e. play a note, skip a note) from this diatonic system to create a 7th arpeggio in its root position. We then complete the octave step and begin the arpeggio from its second octave position which eventually completes the two-octave (‘2 8ve’) form. We will be releasing a seven-video series based entirely on the harmonic major scale in the near future, so stay tuned for that! General practice tips for this Technique Builder Exercise: • If playing this root 5 (root on the A string) as in … [Read more...]


Technique Builder 9: C Harmonic Minor – 7th arps 2 8ves Root 5 [TB9]

Now we examine the harmony of the Harmonic Minor scale using tertian steps (3rd intervals – i.e. play a note, skip a note) from this diatonic system to create a 7th arpeggio in its root position. We then complete the octave step and begin the arpeggio from its second octave position which eventually completes the two-octave (‘2 8ve’) form. We will be releasing a seven-video series based entirely on the harmonic minor scale in the near future, so stay tuned for that! General practice tips for this Technique Builder Exercise: • If playing this root 5 (root on the A string) as in … [Read more...]


Technique Builder 8: Melodic Minor – 7th arps 2 8ves Root 5 [TB8]

Now we examine the harmony of the jazz melodic minor scale using tertian steps (3rd intervals – i.e. play a note, skip a note) from this diatonic system to create a 7th arpeggio in its root position. We then complete the octave step and begin the arpeggio from its second octave position which eventually completes the two-octave (‘2 8ve’) form. To get a better understanding of this scale in general, navigate to our Core Lesson section, and check out CL36 on the melodic minor scale. General practice tips for this Technique Builder Exercise: • If playing this root 5 (root on the … [Read more...]


Technique Builder 7: Major – 7th arps 2 8ves Root 5 [TB7]

Here we once again examine the harmony of the major scale; this time using tertian steps (3rd intervals – i.e. play a note, skip a note) from this diatonic system to create a 7th arpeggio in its root position; then completing the octave step and beginning the arpeggio from its second octave position – thereby completing the two-octave (2 8ve) form. If playing this root 5 (root on the A string) as in the video example, I stay in position for the entire permutation then use a sliding technique to join the two final ascending notes of the arpeggio together and complete the 2nd octave – … [Read more...]


Technique Builder 6: Minor Arpeggio Exercise [TB6]

Utilizing 3 different inversions of the minor triad arpeggio(played over 2 ½ octaves), this exercise covers the neck extensively, navigating through all 12 minor triads in root, 2nd and 1st inversions respectively. I initially developed this as a warm-up exercise to assist my left hand in learning the 3 minor triad positions thoroughly but it also acts as a solid Right Hand warm up with the string and note combinations using a ‘212112’ pattern (i.e. – 2 notes on the low E string, 1 on the A string, 2 on the D, 1 on the G and B strings and 2 on the high E - for more on this see our triad … [Read more...]


Technique Builder 5: 7th Arps One 8ve – Asc+Desc [TB5]

We continue on with our 7th arpeggios as derived from our diatonic scale of C Major in this video. As with JGL TB4, each pattern ‘set’ contains four arpeggio tones and begins at the 3rd fret of the A string, staying in one position (see the lesson transcription). But now we reverse every second ‘set’ of four notes so that each new root ascending (or descending) in the pattern leads more strongly to the next – for example: Set 1 - ‘C E G B’ leads strongly from the last note ‘B’ to the note ‘C’ of Set 2’s descending arpeggio ‘C A F D’. The purpose of these … [Read more...]


Technique Builder 4: 7th Arps One 8ve [TB4]

We now move to an arpeggio exercise utilizing tertian ‘skips’ or major and minor 3rd skip-intervals; as derived from our diatonic scale of C Major. Each pattern ‘set’ contains four arpeggio tones and begins at the 3rd fret of the A string, staying in one position (see the lesson transcription). The purpose of these exercises is to focus on the interval of the third, arpeggio tones as derived from tertian ‘skips’ or major and minor 3rds, clarity and staying in one position – all valuable tools for an improviser. As with any technique exercise, strive for clarity, fluency … [Read more...]


Technique Builder 3: Chromatic Mi11-Ma6-9 Exercise [TB3]

Again utilising our ‘5 perfect 5th intervals’ as in JGL Technique Builder 1, we now set this exercise against a chromatic root movement and an extension of our second set of perfect 5ths, which forms a new ‘chord sound’ by way of the arpeggiated notes. I think of this as a ‘Major 6/9 to Min11’ arpeggio exercise because the sound of the chord outlined on the E root is an E 6/9 (with the 5 notes E, B, F#, C# and G#) and then a chromatic ascension into an Fmin11 (with the 6 notes F, C, G, Ab, Eb, Bb). The purpose of these intervallic exercises is to focus on string skipping, … [Read more...]