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- Contents -

Introduction

History
JAZZ AND JAZZ GUITARISTS
Out of the blues
The guitars
The players
The electric guitar
Hot Club
Bebop and beyond
Guitar developments
The 1950s and 1960s
Fusion
21st-century jazz guitar

Part 1: Making a start
SECTION 1: A GUITAR FOR JAZZ
Anatomy of a jazz guitar
Guitar design and construction

SECTION 2: GUITAR BASICS
The hands
Standing and sitting
Using the pick
Reading the music
Getting in tune

SECTION 3: BEGINNING WITH THE BLUES
Exercise 1.01 CD1 'Kenny's Blues', a Kenny Burrell inspired blues in G; alternate picking or economy picking; metronome markings; guitar sounds on the CD
Exercise 1.02 CD2 The minor pentatonic scale in G, shape one, third position; alternate picking
Exercise 1.03 CD3 The blues scale in G, shape one; more alternate picking; clean sound or distortion; the meaning of 'low' and 'high'
Exercise 1.04 CD4 'Blue Note Blues', a blues in G using the blues scale; the 12-bar structure; call and response phrasing; listening to jazz
Exercise 1.05 CD5 'Kenny's Blues', one octave up; position changes; octaves; playing with your thumb
Exercise 1.06 CD6 G minor pentatonic scale, shapes two and three
Exercise 1.07 CD7 'Blue Note Blues', one octave up
Exercise 1.08 CD8 G blues scale, shapes two and three; the meaning of 'key'

SECTION 4: SOME THEORY - AND ALL FIVE BLUES SCALE SHAPES
Exercise 1.09 CD9 Theory; major scales; C major scale
Exercise 1.10 CD10 G major scale; chords numbered using Roman numerals
Exercise 1.11 CD11 and CD12 (backing track) Blues solo, two choruses using all five scale shapes; using bends in jazz; 'riffs' and musical ideas
Exercise 1.12 CD13 G minor pentatonic scale, shapes four and five
Exercise 1.13 CD14 G blues scale, shapes four and five

SECTION 5: INTERVALS AND MINOR BLUES
Exercise 1.14 CD15 Theory: intervals in C major, two octaves, numbers only
Exercise 1.15 Intervals in the major scale: numbers and names
Exercise 1.16 CD16 Intervals outside the major scale; naming intervals; major scale versus blues scale
Exercise 1.17 CD17 and CD18 (backing track) The minor blues; a blues in F minor; adding chords 'in the gaps'; repeat signs with first and second time bars
Exercise 1.18 'Compromise' blues scale shapes

SECTION 6: MAJOR PENTATONIC SCALES 74
Exercise 1.19 CD19 and CD20 (backing track) B-flat blues using major pentatonics
Exercise 1.20 Major pentatonic scales; comparison of E minor pentatonic with G major pentatonic
Exercise 1.21 CD21 and CD12 (backing track) G blues using major and minor pentatonic; how to practise like a pro
Exercise 1.22 CD22 and CD23 Blues in B-flat; using chord IV in bar two; introducing jazz or swing feel; eighth-note triplets; the jazz metronome; backing tracks on the CD

Part 2: Chords
SECTION 1: CHORDS AND ARPEGGIOS - BUILDING TRIADS AND SEVENTHS
Exercise 2.01 Eight open-string chords and chord basics
Exercise 2.02 CD24 Introducing arpeggios; how we name and abbreviate major and minor chords; building triads and sevenths; notes for common chords
Exercise 2.03 CD25 Am7/D7 two-chord groove; adding a bassline
Exercise 2.04 Introducing barre chords and movable chords; learning the note names
Exercise 2.05 Deriving seventh chord shapes from major barre chords; avoiding doubled notes; muting in chord shapes
Exercise 2.06 Deriving seventh chord shapes from minor barre chords; chord structure
Exercise 2.07 CD26 Jazz turnaround in G; Gmaj'7, G#dim7, Am7, Ab7 chords; alternate legato and staccato strum
Exercise 2.08 CD26 Jazz turnaround melody; AABA 32-bar form
Exercise 2.09 Deriving seventh chords with fifth-string roots from A major shape
Exercise 2.10 Deriving seventh chords from A minor shape
Exercise 2.11 CD27 D minor chord piece; descending inner voicing; using fingerstyle
Exercise 2.12 Chords built on C major shape; chord voicing and omitting unnecessary notes

SECTION 2: EXTENDING BEYOND THE SEVENTH; CHORDS, KEYS AND MODULATION; CHORD VOICINGS
Exercise 2.13 Ninth chords; four essential ninth types; seeing chords as having the same structure
Exercise 2.14 CD12 'Kenny's Blues', rhythm track, using ninth and seventh chords; playing rests
Exercise 2.15 CD28 'Kenny's Blues' with different shapes
Exercise 2.16 CD29 Chords in a key; triads
Exercise 2.17 CD30 Seventh chords in C, built in thirds
Exercise 2.18 CD31 Seventh chords in C, practical voicings
Exercise 2.19 CD32 Seventh chords in G major, two ways; voice-leading
Exercise 2.20 CD33 32-bar jazz standard form; the ii-V-l progression; changing key (modulation)
Exercise 2.21 Majors and relative minors; the Circle of Fifths; modulating to nearby keys; the order of sharps and flats
Exercise 2.22 CD23 Blues in B-flat from Exercise 1.22; the simplest blues changes
Exercise 2.23 CD34 'B-flat Jazzy Blues', and its implied key changes; transposing instruments, and jazz in flat keys
Exercise 2.24 CD35 'B-flat Jazzy Blues', arpeggio-based blues melody; learning music in phrases

SECTION 3: MINOR HARMONY; SUBSTITUTIONS AND INVERSIONS
Exercise 2.25 CD36 Minor scales: three different types
Exercise 2.26 CD37 Chords in a minor key: triads and sevenths; the minor ii-V-i
Exercise 2.27 CD38 Practical shapes for chords in A minor
Exercise 2.28 CD39 'Bossa Blue', ii-V-i in C minor; fingerstyle right-hand technique; bossa nova style; cadences and classical terminology
Exercise 2.29 CD40 ninth chords in C and A minor; diminished seventh chords
Exercise 2.30 CD41 ii-V-i in A minor and other keys with ninth chords; right-hand technique using 'e' finger; composing using ii-V-l
Exercise 2.31 CD42 Substitutions in the ii-V-l; the tritone substitution in C; using pick and fingers
Exercise 2.32 CD43 The tritone substitution in action; eight more bars of ii-V-l

SECTION 4: INVERSIONS AND EXTENSIONS
Exercise 2.33 Inversions of triads; slash chords
Exercise 2.34 Seventh chords contain two triads
Exercise 2.35 CD45 Comping with triads and inversions
Exercise 2.36 CD46 Seventh chords inverted
Exercise 2.37 CD47 Comping with seventh chords in inversions; a blues in C; position changes with chords
Exercise 2.38 CD48 Inversions with sixth-string roots; practising with the Circle of Fifths
Exercise 2.39 CD49 Blues in G using sixth-string inversions
Exercise 2.40 Diatonic extensions; elevenths and thirteenths; sus4 chords
Exercise 2.41 Chromatic or non-diatonic extensions; sharp elevenths and flat thirteenths
Exercise 2.42 CD50 32-bar jazz standard with 7sus4, eleventh and thirteenth chords
Exercise 2.43 CD51 Eight bars of thirteenths, ninths, and chromatic extensions

Part 3: Beyond pentatonics
SECTION 1: MAJOR SCALES AND MODES
Exercise 3.01 CD52 Major scales for soloing; G major, shape one
Exercise 3.02 CD53 Soloing with the major scale on Gmaj7/Cmaj7; recording guitar and making up backing tracks
Exercise 3.03 CD54 All seven G major scale shapes; using the Circle of Fifths to practise in all keys
Exercise 3.04 CD55 The seven modes of the major scale and how we use them; modal jazz, Miles Davis, Bill Evans and A Kind Of Blue
Exercise 3.05 CD56 The Dorian mode; Dorian groove in A; using motifs; walking modal basslines; the medieval modal system versus the 'jazz approach'
Exercise 3.06 CD57 Dorian groove backing track and modal chords; using play-along CDs
Exercise 3.07 CD58 Lydian groove solo in C; vibrato; grace notes and ornaments; the relationship between scale shapes and the different modes
Exercise 3.08 CD59 Lydian groove backing track and Lydian mode chords
Exercise 3.09 CD60 Modal chords in C
Exercise 3.10 CD61 Mixolydian groove, solo; swing 16th-notes
Exercise 3.11 CD62 Mixolydian groove, funky backing track
Exercise 3.12 CD62 Mixolydian groove, bass part
Exercise 3.13 CD63 and CD39 (backing track) Aeolian and Locrian modes; soloing on 'Bossa Blue', Exercise 2.28

SECTION 2: ARPEGGIOS
Exercise 3.14 CD64 Seven arpeggios on major scale shape one
Exercise 3.15 Seven arpeggios on major scale shape seven inversions of arpeggios
Exercise 3.16 CD65 Gmaj7/Cmaj7 groove with arpeggios; sweep picking
Exercise 3.17 CD66 and CD62 (backing track) Chromatic decoration of arpeggios
Exercise 3.18 CD67 More D7 arpeggios, two notes per string
Exercise 3.19 CD68 Other two-note arpeggios

SECTION 3: THE MELODIC MINOR SCALE
Exercise 3.20 CD69 C major versus C melodic minor ascending
Exercise 3.21 CD70 Seven modes on G melodic minor
Exercise 3.22 CD71 Seven G melodic minor shapes
Exercise 3.23 CD72 ii-V using melodic minors, Gm maj7 and C7#11
Exercise 3.24 CD73 ii-V using melodic minor modes; modes one and four
Exercise 3.25 CD74 The Lydian augmented mode, solo; leaving 'breathing' spaces in your solos; modes and key
signatures
Exercise 3.26 CD75 The Lydian augmented mode, chords; using pick and fingers
Exercise 3.27 CD75 The Lydian augmented mode, bass part; recording your own backing tracks
Exercise 3.28 CD76 ii-V using Gm7 and C7#5♭9 backing track for Locrian ♮2 and Altered scale
Exercise 3.29 CD77 Locrian ♮2 and Altered scale solo: treating ii-V as all chord

SECTION 4: SYMMETRICAL SCALES - AND OTHERS
Exercise 3.30 Whole-tone scale theory
Exercise 3.31 Whole-tone scale shape
Exercise 3.32 Diminished scale theory
Exercise 3.33 Diminished scale shape (whole-step/half-step)
Exercise 3.34 Diminished scale shape (four notes per string, half-step/whole-step)
Exercise 3.35 CD78 Whole-tone and diminished scale solo
Exercise 3.36 Other scales; chromatic, harmonic minor, and harmonic major
Exercise 3.37 Scale shapes, three notes per string
Exercise 3.38 Scale patterns for practice; using a metronome to develop speed; Real books and Fake books

Part 4: Jazz guitar styles
SECTION 1; RHYTHM STYLES, CHORD/MELODY TECHNIQUES, AND TIME SIGNATURES
Exercise 4.01 CD79 'Kenny's Blues', both parts
Exercise 4.02 CD80 Chord/melody; chords with melodies and comping with two and three-note chords
Exercise 4.03 CD81 Walking bass, and how to do it
Exercise 4.04 CD82 Walking bass with chords, Joe Pass style
Exercise 4.05 CD83 Chord/melody, Lenny Breau style
Exercise 4.06 CD84 Chord/melody solo arrangement in 3/4 time

SECTION 2: NOTE CHOICES AND MELODY STYLES
Exercise 4.07 CD85 and CD87 (backing track) Octaves, Wes Montgomery style
Exercise 4.08 CD86 and CD 87 (backing track) Chord solo
Exercise 4.09 CD88 'Bird Blues', bebop changes and extending the blues changes
Exercise 4.10 CD89 'Bird Blues' melody; note choices, extensions, and encircling tones
Exercise 4.11 CD90 Hot Club/Gypsy jazz rhythm and chord shapes
Exercise 4.12 CD91 Django-style melody or improvisation; Gypsy picking
Exercise 4.13 'Rhythm Changes', chords and substitutions
Exercise 4.14 CD92/93/94 'Santa Margarita', calypso-style melody over 'Rhythm Changes'
Exercise 4.15 Triads with a foreign bass tone; more slash chords
Exercise 4.16 CD95 'Slash Chord Thing' intro
Exercise 4.17 CD95 'Slash Chord Thing'
Exercise 4.18 CD96 'Slash Chord Thing' solo

Appendix
Fingerboard chart: notes, letternames and fret numbers
Spellings of jazz chords

On the CD
CD track listing, and which tracks can be used for solo practice