JACOB WISE

TEACHING PACKET 2010

TABLE OF CONTENTS
1

SEMESTER REQUIREMENTS / SYLLABUS

BASIC ELEMENTS LIST OF SCALES, ARPS, VOICINGS

INTERVALS

ARPEGGIOS

SCALES

VOICINGS

CHORD MELODY EXERCISES

LEARNING A TUNE / REPERTOIRE LIST

IMPROV MATERIAL / PATTERNS

10

WARMUPS / TECHNIQUE

11

CLASSICAL PIECES

12

RANDOM CHORD EXERCISES

13

RHYTHMIC CONCEPTS

14

SINGLE STRING READING EXERCISES

15

SAMPLE PRACTICE ROUTINE

16

BIBLIOGRAPHY: METHODS AND RECORDINGS

SEMESTER REQUIREMENTS / SYLLABUS

SEMESTER 1
SINGLE STRING READING EXERCISES
READING/ETUDES
8 JAZZ ETUDES (2/MONTH)
8 CLASSICAL ETUDES (2/MONTH)
8 BIG BAND CHARTS (2/MONTH)
RHYTHMIC ETUDES
INTERVALS
ALL BASIC AND COMPOUND INTERVALS
ARPEGGIOS
TRIADS MAJOR, MINOR, DIMINISHED, AUGMENTED
7TH CHORDS MAJOR 7, DOM.7, MIN. (MAJ 7), MIN. 7, MIN 7b5, DIM. 7
SCALES
MAJOR, MIXOLYDIAN, HARMONIC MINOR, MELODIC MINOR, DORIAN, ALTERED, BLUES
VOICINGS
3 NOTE TRIAD VOICINGS
4 NOTE ROOT POSITION VOICINGS
SHELL VOICINGS (GUIDE TONES) NO EXTENSIONS
DROP 2 INVERSIONS ONE STRING SET
BASIC 4TH VOICINGS (4+4)
PATTERNS
BASIC PATTERNS FOR MAJOR, DOM. 7, AND MINOR, AND II-V-I
PLUS COMPOSING ORIGINAL PATTERNS
TUNES
5 TUNES MEMORIZED / TRANSPOSED TO 3 OTHER KEYS, WITH WRITTEN OUT SOLO
TRANSCRIPTION ONE SOLO PLAY ALONG WITH RECORDING AND WRITE OUT

SEMESTER 2
READING/ETUDES
8 JAZZ ETUDES (2/MONTH)
8 CLASSICAL ETUDES (2/MONTH)
8 BIG BAND CHARTS (2/MONTH)
RHYTHMIC ETUDES
ARPEGGIOS
REMAINING SEVENTH CHORDS MAJ.6, MIN.6, MAJ 7b5, MAJ7 #5, DOM7 b5, DOM7#5
9TH, 11th, and 13TH CHORD ARPEGGIOS
SCALES
LYDIAN, LYDIAN AUGMENTED, LYDIAN DOMINANT, WHOLE TONE, H.W. DIMINISHED,
LOCRIAN AND W.H. DIMINISHED SCALES
VOICINGS
SHELL VOICINGS PLUS EXTENSIONS
DROP 2 INVERSIONS OTHER STRING SET
II V I BUDDIES
ALTERED CHORD SCALES
CONTINUE STUDY OF 4TH VOICINGS PICK A NEW SET
PATTERNS
MORE PATTERNS FOR MAJOR, DOM. 7, AND MINOR, AND II-V-I
PLUS COMPOSING ORIGINAL PATTERNS
TUNES
5 TUNES MEMORIZED / TRANSPOSED TO 3 OTHER KEYS, WITH WRITTEN OUT SOLO
TRANSCRIPTION ONE SOLO PLAY ALONG WITH RECORDING AND WRITE OUT

BASIC ELEMENTS (GRAMMAR)

Here is a list of scales, arpeggios, and voicings that students should be familiar with for the
purposes of improvisation, technique, and theory. Students should learn as many fingerings as
possible (one octave, two octave, full range, and single string), and be able to write out spellings
in any key.

SCALES:
Major family:
Major

1234567

Lydian

1 2 3 #4 5 6 7

Lydian augmented

1 2 3 #4 #5 6 7

Minor family:
Harmonic minor

1 2 b3 4 5 b6 7

Melodic minor

1 2 b3 4 5 6 7

Dorian

1 2 b3 4 5 6 b7

Natural minor

1 2 b3 4 5 b6 b7

Dominant family:
Mixolydian

1 2 3 4 5 6 b7

Lydian dominant

1 2 3 #4 5 6 b7

Half whole diminished

1 b2 b3 3 #4 5 6 b7

Whole tone

1 2 3 #4 #5 b7

Diminished / Whole tone 1 b2 b3 3 #4 #5 b7

aka superlocrian, fully altered

ARPEGGIOS:
Triads:
Major

135

Minor

1 b3 5

Diminished

1 b3 b5

Augmented

1 3 #5

Seventh chords:
Major family:
Major 7

1357

Dominant 7

1 3 5 b7
(also with #5 or b5, b9 or #9)

Major 6

1356

Minor family:
Minor (maj 7)

1 b3 5 7

Minor 7

1 b3 5 b7

Minor 6

1 b3 5 6

Diminished family
Minor 7 b 5

1 b3 b5 b7

Diminished 7

1 b3 b5 6

Augmented family
Augmented major 7
Augmented dominant 7

1 3 #5 7
1 3 #5 b7

Ninth chords:
Major family:
Major 9

13579

Dominant 9

1 3 5 b7 9
1 3 5 b7 b9 (altered dominant)
1 3 5 b7 #9 (altered dominant)

Major 6/9

13569

Minor family:
Minor (maj 7) 9

1 b3 5 7 9

Minor 9

1 b3 5 b7 9

Minor 6/9

1 b3 5 6 9

Augmented family
Augmented dominant

1 3 #5 b7 b9
1 3 #5 b7 #9

Eleventh chords:
Major family:
Major #11

1 3 5 7 9 #11

Dominant #11

1 3 5 b7 9 #11
1 3 5 b7 b9 #11(altered dominant)
1 3 5 b7 #9 #11(altered dominant)

Minor family:
Minor (maj 7) 11

1 b3 5 7 9 11

Thirteenth chords:
Major 13

1 3 5 7 9 #11 13

Dominant 13

1 3 5 b7 9 #11 13

Minor 13

1 b3 5 b7 9 11 13

Fully altered dominant 1 3 5 b7 b9 #11 b13

1 3 5 b7 #9 #11 b13

VOICINGS:
Root position seventh chords (basic 4 note voicings)
Shell voicings / guide tone voicings (137 or 173 plus extensions)
Drop 2 seventh chords (strings 1234, 2345)
Drop 3 seventh chords (strings 1235, 2346)

Major family:
Major 7
Dominant 7
Major 6

Minor family:
Minor (maj 7)
Minor 7
Minor 6

Diminished family
Minor 7 b 5
Diminished 7

INTERVALS SIMPLE AND COMPOUND SHAPES

Intervals are the building blocks of scales and arpeggios, and an important foundation of ear
training and music theory. Since the fingerboard of the guitar is complex, its important to
understand how intervals are constructed all over the fingerboard. A simple major third, C-E, can
be fingered at least ten different ways on the guitar. A good understanding of how interval shapes
work on the guitar will unlock the more complex arpeggio, scale, and chord fingerings.

Here are two exercises:

1) Pick an interval (for example, C-E). Pick one fingering and play it in every possible
location on the guitar. Then pick another fingering and repeat. Once youve played that
interval for a long time (say, one minute or so) the shape, sound, location, and note
names should be very clear in your mind.

2) Pick an interval and move it around the fingerboard, either chromatically or through a
cycle (4ths, 5ths, etc). Stay on the starting string or change strings, but make sure to
keep naming the notes mentally.

Its also helpful to sing the intervals as you play them.

Practice descending intervals as well.

ARPEGGIOS

Arpeggios are one of the most important elements of single-note improvisation in fact,
probably the most important. Using only a few basic arpeggios (major, minor, diminished, and
augmented triads, and major, minor, and dominant seventh chords) and their variations, you can
outline any chord progression, and play altered and extended color tones using chordal
substitutions.

Beginning improvisers tend to rely exclusively on scales. This can lead to several bad
habits which are hard to break. One such habit is harmonic generalization, or blanketing a chord
progression with one scale type without making reference to the target tones of each chord. This
scalar approach can also lead to an overuse of consecutive seconds (especially for guitarists). In
addition, its difficult to develop a strong sense of jazz vocabulary if scales are the only tools a
player has at his or her disposal. Transcription will reveal that jazz vocabulary of the swing and
bebop era is full of phrases which are based on arpeggios with added notes.

A strong solo can be constructed of nothing but arpeggios and embellishments

(chromatic surrounds, appoggiaturas, etc.) When learning to improvise over chord progressions,
its extremely important to be able to target specific chord tones (especially the third), rather than
thinking only of scales and key centers. Using arpeggios in your solos will also introduce wider
intervals into your lines.

Arpeggio practice will help establish a hierarchy of tones for improvisation. The root, third,
fifth, and seventh are the most important, while the second, fourth, and sixth, the other scale
degrees, can all be found in relation to the primary chord tones. Thus, a scale can be thought of
as a four note arpeggio with three extra color notes. Once you understand this concept, and start
transcribing and learning phrases from the jazz language, your lines will sound much closer to the
actual language of jazz.

SCALES
ONE OCTAVE SCALES / TWO OCTAVE SCALES
Ive included basic fingerings for one octave scales. Pick a key and learn each fingering
starting from the root note on each string, then repeat the process with the 2 nd fingering for the
scale. You should be able to cover the fingerboard using many different positions of the one
octave scales. Its extremely important that you work out the fingerings for yourself, instead of
memorizing dozens of shapes and patterns from chord diagrams. You need to understand the
intervallic construction of each scale, as well as what those tones sound like and look like on the
fingerboard. The process of learning scales will be simplified if you think of the big picture as
simply one or two basic patterns transposed around the fingerboard. Practicing one octave scales
should help you jump to a scale in any position on the fingerboard, especially on the higher
strings. Many beginning and intermediate guitarists have trouble starting a phrase on a higher
string because they have to think of a large scale pattern with the root on one of the bottom
strings, and then work their way up to the higher notes.

Practice families of scales: all the major scales, then minor, then dominant scales.
If you practice scales in this fashion, youll find that scales in the same family share most of the
same notes usually, only one note changes from scale to scale

For example:
dorian melodic minor harmonic minor natural minor
harmonic minor natural minor dorian - natural minor
major mixolydian lydian dominant
major lydian lydian augmented

Once you feel ready, try connecting the one octave patterns into two octave and full range
patterns. For a good look at two-octave scale patterns, I highly recommend Jimmy Brunos book
Six Essential Fingerings for the Jazz Guitarist. The basic idea is that each scale has six two
octave patterns: 3 with the root on the 6th string, and 3 similar patterns with the root on the fifth
string. These are most common garden variety scale fingerings familiar to most guitarists.

Practice improvising melodies using the one octave patterns, then with larger patterns. Its
extremely important to be able to hear how each of the seven scale tones functions, and which
are the strongest tones. Generally, 1, 3, and 5 are the strongest tones, or tones of resolution. 2,
4, 6, 7 decorate the triad and can be thought of as color tones. Pay attention to where you end
your melodies.

SINGLE STRING SCALES

Once you have a handle on basic one and two octave scales in position, start practicing scales
on one string. This will help you to view the fingerboard in a horizontal manner, much like a
pianist sees the keyboard. When all of the notes of a scale are laid out on one string, its much
easier to see the half step/whole step construction of the scale. Youll also be forced to think
about note names and scale degrees within the scale, instead of simply viewing the scale in a
box pattern. Practicing this was will help you to connect all the positions of a scale, and will
make changing positions on the fingerboard much easier. In addition, playing on one string is a
good way to explore the wide variety of guitaristic articulations (slurs, bends, etc.) that may not be
as apparent when you are playing scales in position.

You should also practice scales on two strings this is a good way to work out simultaneous
(harmonic) thirds, fourths, and fifths moving horizontally up and down the fingerboard.

VOICINGS

A thorough understanding of chord voicings is the most important element of playing jazz guitar.
The guitarists primary responsibility as an ensemble player is to comp, or realize a tunes
harmony in chordal fashion. As a jazz player, you must have a wide variety of voicings at your
disposal in order to comp in any context solo, duo, trio, big band, and so on. In addition, soloing
becomes much easier once a tunes harmony and voicings are internalized, since arrpeggio and
scale fingerings are closely related to chord shapes.

ROOT POSITION SEVENTH CHORDS (4 NOTE SHAPES)

Root position seventh chords are the most fundamental voicings. If you know these well in all 12
keys, youll have a strong reference point for all the other categories of voicings. You can play in
most settings (duo, trio, etc) using only these voicings and their modifications usually omitting
the bass note and adding extensions.

TRIADS

Triads are the backbone of guitar harmony the simplest sounds and shapes on the fingerboard.
Knowing triads in their 3 inversions all over the guitar will help you construct arpeggios and
scales, especially in the higher positions and on higher strings. With a strong knowledge of triads,
youd be able to see how all arpeggios and scales are simply triads with additional notes.
Practice the triads on individual string sets (123, 234, 345, 456), then connect them and play all
inversions of one triad through the full range of the guitar.

SHELL VOICINGS ( GUIDE TONES PLUS EXTENSIONS)

Shell voicings, or guide tone voicings, are a quick and easy way to play colorful voicings without
combining chord inversions, which can be cumbersome at first. Shell voicings contain the root, 3 rd
and 7th. If you omit the root, youre left with the guide tones the 3 rd and 7th, or 7th and 3rd of the
chord. To these, youll add extensions on top various combinations of 9, 11, and 13. You can
play many colorful chords using only two positions of guide tone voicings which are essentially
root position chords. These voicings are well suited for playing in the trio setting, when you will
want to include brief chordal comps in between your single not lines.

DROP 2 AND DROP 3 INVERSIONS

Drop 2 inversions are the most commonly played inversions in jazz guitar. Whether played on the
top 4, or middle 4 strings, they create a full, complex sound that is idiomatic to jazz guitar. Theyre
perfect for comping behind a soloist or for harmonizing melody notes in a solo or trio chord
melody arrangement. Since the 4 notes are all on adjacent strings, theyre relatively easy to
finger, making chordal transitions easier. Its important to have a good grasp on chord inversions
they will help divide the fingerboard into multiple positions and help you understand the
relationship between chord positions and scale and arpeggio positions.

Drop 3 inversions are a bit trickier there is a wider interval between the lowest and highest note,
and thus a string skip. Some fingerings can be difficult, especially on strings 1234. You may find
the voicings easier if you omit the top note on certain voicings. These voicings are useful in duo
playing, especially when you want to connect chords with a moving bassline on the lower strings.
By omitting the top note, you get wide 3 note inversions that are perfect for Freddie Green
style rhythm playing.

INVERSIONS: II-V-I MAJOR AND MINOR AND THE BUDDY SYSTEM

The buddy system is a method of combining drop-2 voicings into II-V-I progressions. Starting
with a II chord, you simply find a V and I chord that are nearby, with as little motion on top as
possible either a common tone or a major or minor second. This will ensure that your II-V-I
voicings use good voice leading and sound smooth, and that you dont jump around the
fingerboard. By establishing blocked II-V-I positions, youll gain a strong sense of fingerboard
harmony, making it much easier to make larger leaps with voicings later on.

FOURTH TYPE VOICINGS

Fourthy voicings are extremely helpful when playing modal tunes. Because they contain 3 or 4
notes, theyre easy to move around, helping create more active, melodic comping. Ive presented
these voicings in relation to the dorian mode, but you can apply them over any diatonic bass note.
You can also use them as substitutes for voicings when playing standard tunes and blues.

3 NOTE VOICINGS

These are voicings which can be seen as reductions of 4-note chord scales. The 3 note voicings
are extremely easy to move around, and contain chord tones as well as altered tones. Some
contain intervals of a major or minor second, which tend to have a fresher or more
contemporary sound. You can also arpeggiate through these to give your single-note lines some
wider intervals, which will help you break away from a completely scalar or stepwise sound.

CHORD INVERSION PRACTICE (drop 2 and drop 3)

1) Pick a set of strings and a chord type. For example: Drop 2 voicings on strings 1234.
2) Practice each inversion and take it through every chord quality in that inversion. Here is
the suggested sequence:
Maj 7 dom 7 maj 6 dom 7- maj 7
Min (maj7) min 7 min 6- min 7 min (maj7)
Min7 b 5 dim 7 min7 b5
Try altering dominants like this:
Dom 7 dom 7 b5 dom 7 dom7 #5 dom 7
Using this sequence, only one note changes as you switch from chord to chord. This makes it
much easier to identify the component chord tones of each voicing instead of trying to memorize
a confusing series of grips.
Here is another sequence:
Maj 7 min (maj7) maj 7
Dom 7 min 7 min7 b5 min 7 dom 7
Maj6 min 6 dim 7 min 6 maj6

3) Once you are comfortable with each inversion separately, try combining all 4 inversions
of one chord type across the fingerboard. Start with the lowest inversion on that string set
and proceed up the fingerboard to the highest playable inversion, then descend. Use the
top note of each chord as your visual and aural reference. Try to mentally say the note
name and chord tone number of each voicing.
Practice one chord type in its inversions in all 12 keys, using the cycle of 4ths, or half
step or whole step movement. You could also try ascending in one key, then descending
in the next key.
4) Practice inversions in one position change chord roots but dont let your hand move too
far out of position. You should be able to play all twelve chords in inversions within six or
seven frets
Remember to go slowly there are a lot of chord types, so it might not be practical to practice
them all in one day. Try concentrating on one family of chords (major, minor, or diminished)
or even one chord quality.
5) Once you feel like you have a good handle on inversions of various chord types, try
practicing one of the random chord worksheet. See if you can voice lead smoothly up and
down the fingerboard using inversions. Or, try keeping the voicings as close as possible
together, keeping a common tone on top, or moving no more than a major second up or
down.

CHORD MELODY EXERCISES

Chord melody (or melody chord) playing is an important element of jazz guitar, and a great way
to expand and connect fingerboard knowledge.

The basic idea is simple. Any chord type supports six or seven melody notes. If you see a chord
symbol and a melody note, you should immediately think of that notes chord degree and
associated shape. For example if the chord symbol is Cmaj7, and the melody note is E on the
fifth fret of the second string, several voicings should immediately come to mind. Once you can
do this with any chord type with a C root, try it in different keys. Eventually, you should be able
to look at a melody in a fakebook and mentally assign each note a scale degree and chord
shape.

These exercises will give you practice harmonizing chord tones on the most common types, then
combining them into II-V-I patterns.

LEARNING A TUNE
LEARNING A TUNE THE BASICS

1) Find a recording (or several recordings) of the tune. Listen to them a lot!
2) Try to figure out the bass notes, chord qualities, and the melody by ear, if possible.
If thats too difficult, consult a fakebook but make your own chart and roman
numeral analysis. Try not to get in the habit of referring to fakebooks for tunes you
supposedly know. When learning a tune, try to do as much work as possible without
looking at the printed page. Being a good reader, and a good improviser who knows
tunes and applications of fingerboard harmony and jazz vocabulary are two different
things!

ESSENTIALS: (MEMORIZE)
Melody usually up an octave, on strings 123
Harmonic analysis (write out) - chord functions and key centers
Root position voicings 4 note basic voicings and shell voicings
Extensions guide tone voicings (shell voicings) with extensions
Bassline bottom 2 or 3 strings, 2 feel and 4/4 feel
Freddie Green rhythm style quarter notes and strumming
Scales major and minor (key centers)
Arpeggios 1357 permutations in position be able to target the 3 rd of every chord
Solo arrangement (simple) melody on top string with chord fills or a few harmonized melody
notes
Intro / ending (tag, coda, musical/visual cues)
Countoff be able to count off the tune at various tempos
Compose or work out a solo a preplanned sequence of licks / vocabulary that works your
game plan for the solo
Transpose changes to several related keys (up to 4 flats or sharps)

LEARNING A TUNE MORE IDEAS PLAY OUT OF TEMPO AND IN TEMPO!

Position playing (6 frets) pick at least 3 low, middle and high
Positions all voicings, arpeggios and chord scales in each position
Basslines & bass register soloing (concentrate on bottom 3 strings)
Basslines (root and 5th) on the top strings (like an inverted bassline)
Melody- find several fingerings starting on different strings or in different octaves
Melody saxophone style no chords, all single notes and arpeggiated chord fills
Chord-melody take each melody note and find several voicings for that note (no tempo)
Trio style chord melody- mostly 3 or 4 note voicings, with emphasis on the melody just play the
melody expressively on the high strings and find a chord every measure or two.
Drop 2 voicings middle 4 or top 4- in position, or entire fingerboard with voice leading
Drop 2 voicings minus the 2nd note from bottom strings 124, 235
Low chords bottom 4 strings (drop 2 inversions) or strings 345, 456 (seventh chord inversions)
Voicings with 2nds/stretches usually 3 note voicings on 123, 234
Voicings on string 1345 wide intervals and string skips- variation of drop 2
Voicing / chord melody sequences changing top note of each voicing by m2 or M2
Patterns: one II-V-I patterns or lick applied to the entire tune
Soloing exclusively on the top 2 or 3 strings
Soloing with chord tones only 1, 2, 3, or 4 per measure
Soloing with rhythmic limitations very simple 1 or 2 bar phrases (similar to above)
Soloing with constant half notes, quarter notes, or eighth notes (accurate chord tones)
Soloing with 3rds or double stops (broken chords/arpeggios)
Soloing with lots of space short phrases with lots of space in between, starting and ending in
unusual parts of the measure
Transposing melody and changes (bassline, voicings, arpeggios, etc) part of or entire tune
Soloing and comping: emphasize common tones (usually on top strings)

Guide tone lines (connecting 3rds and 7ths) usually on top strings play with guide tone
voicings (37, 73) or octaves
Octaves solo lines using octaves (ala Wes)
Rubato improv play one chord at a time and improvise for as long as you want before moving to
the next chord (a piano or keyboard may be helpful)
Soloing in unusually small positions (4 or 5 frets- can you find the notes?)
Turnarounds substituting different formulas / chords at cadence points
Tritone substitutions on any II-V-I (voicings and line)
TEMPOS: (METRONOME PRACTICE)
No tempo rubato
In tempo (using metronome)
In tempo, with no metronome - difficult
Play a tune at every tempo ballad, medium swing, uptempo
Play a tune in various meters 3/4, 4/4, 7/4
NON-GUITAR RELATED
Play without looking at the guitar, or with eyes closed
Sing (or attempt to sing) in unison with your solo lines
Piano play melody and changes
Sing the melody and lyrics
Compose and write out a solo on the tune
Compose a contrafact (new melody on the changes)

JAZZ REPERTOIRE GRADED TUNE LIST

LEVEL 1 / YEAR 1
CONCEPTS:
Harmonic generalization tonic major and minor
Basic jazz forms major and minor blues, 32 bar AABA form
TUNES:
Avalon
Bags Groove
Blue Bossa (tonic minor and major keys)
Broadway (tonic major and tonic IV sounds, AABA)
C Jam Blues
Freddie Freeloader (basic blues with 24 bar form)
Little Sunflower (dorian and major/Lydian sounds, AAB form)
Honeysuckle Rose
Lady Be Good
Mr. P.C. (minor blues)
Perdido
So What (dorian mode, AABA)
Song For My Father (AAB form)
Sonnymoon For Two
Summertime (tonic minor and relative major)
Take The A Train (tonic major and tonic IV sounds, secondary dominants,
AABA)
Tenor Madness
There Is No Greater Love (tonic major and relative minor, AABA)

LEVEL 2 / YEAR 2
CONCEPTS:
Outlining II-V-I
Basic modulations: parallel II-V-I (whole step modulation)
Somewhat more advanced forms: ABAB, ABAC, AAB, etc.
TUNES:
A Foggy Day
Au Privave (blues with bop head)
Autumn Leaves (major and relative minor outlining minor II-V-I, AABC)
Bye Bye Blackbird (lots of tonic major with ABCD form)
Dearly Beloved (ABAC form, dorian sounds to major and secondary dominant)
Dont Get Around Much Anymore
How High The Moon (parallel major keys)
Have You Met Miss Jones (bridge uses major keys in major 3 rds)
In A Sentimental Mood (minor ballad with modulation at bridge)
Lady Bird (II-V-I in several keys, unusual turnaround)
Long Ago And Far Away (two major keys)
Lullaby of Birdland (tonic minor to relative major)
Misty (basic ballad form with II-Vs on bridge)
Moonlight In Vermont (ballad with bVII chord and II-V-Is in remote keys)
Out of Nowhere (ABAC)
Rhythm Changes
Satin Doll (AABA with slightly unusual diatonic changes)
Scrapple From The Apple (major tonality, with rhythm bridge)
Softly, As In A Morning Sunrise (tonic minor to relative major)
Solar (parallel major keys)
Sugar (minor blues tune with additional changes)
Sunny Side of The Street
Sweet Georgia Brown (extended cycle of dominant chords, major to rel. minor)
Tune Up (parallel major keys)
You Stepped Out Of A Dream (parallel major keys, II-V-I to chords of parallel
minor)
Work Song (minor blues-type with extended form and additional changes)

LEVEL 3 / YEAR 3
CONCEPTS:
Similar to Level 2 with greater degree of difficulty
TUNES:
Airegin (tonic minor on I and IV, and chromatic II-Vs)
All Of Me (secondary dominants)
All The Things You Are (lots of modulation, II-V-I in many keys)
Alone Together (tonic minor sounds)
Anthropology (rhythm changes with tricky head)
Beautiful Love (minor and relative major with additional harmony)
Black Orpheus (tonic minor and relative major with involved diatonic harmony)
Billies Bounce (blues with tricky head)
Caravan (tonic altered dominant, rhythm bridge, fast tempo)
Cherokee (long form, parallel major keys in bridge, fast tempo)
Come Rain Or Come Shine (involved diatonic harmony with modulation)
Days Of Wine and Roses (involved diatonic harmony)
Four (parallel major keys)
Girl From Ipanema
Green Dolphin Street (parallel major chords, involved diatonic harmony)
I Remember You
If I Were A Bell (involved diatonic harmony, unexpected modulation)
Ill Remember April (tonic major and minor, II-V-Is in various keys, fast tempo)
I Love You (minor II-V-I resolving to major, modulation to unrelated major key)
I Should Care
Minority (tonic minor with lots of parallel II-Vs)
Jordu (dom. II-Vs to major and minor, long cycle of dominants on bridge)
Night And Day (minor II-V-I resolving to major, AAB form)
September Song
Speak Low
Tea For Two
There Will Never Be Another You (good use of all diatonic chords)
Triste
Wave
What Is This Thing Called Love (minor II-V-I resolving to minor and major)
Yesterdays (chain of altered dominants)
You Dont Know What Love Is

LEVEL 4 / YEAR 4
CONCEPTS:
Extreme modulations remote key centers
Unusual chord qualities melodic minor modes, etc
Complicated / convoluted II-V-I progressions
Unusual forms
TUNES:
All Of You
Blue In Green
Body And Soul
Confirmation
Darn That Dream
Donna Lee
Dolphin Dance
E.S.P.
Everything I Love
Giant Steps
How Insensitive
I Hear A Rhapsody
I Thought About You
Inner Urge
In Your Own Sweet Way
It Could Happen To You
Lazy Bird
Like Someone in Love
Milestones (old)
Moments Notice
My Funny Valentine
My Romance
Stablemates
Stella By Starlight
Woody N You
Plus: tunes by John Coltrane, Thelonious Monk, Wayne Shorter, Joe Henderson,
Bill Evans, etc.

PATTERNS / IMPROV MATERIAL

JAZZ VOCABULARY
Having a knowledge of scales, arpeggios, and voicings is not the same thing as being a good
jazz improviser. Think of an improvised solo as language, and scales and arpeggios the grammar
of that language. As children, we learn language by imitation and repetition, not by being drilled in
the rules of grammar. As an improviser, its important to be able to speak a language and also
understand its grammar, or syntax. Jazz is an aural language so its best learned by listening
and imitation. Scales and arpeggios are the building blocks, or grammar, of this language.
Therefore, its important to balance learning the grammar of the language (scale and arpeggio
studies) with the actual language (listening and transcribing.) Transcribing is important but that
doesnt neccesarily mean writing down the notes of a solo. Listening to recordings, playing along,
and stealing licks here and there is equally important. The main thing is to understand what you
play. If you learn a lick, make sure you understand how it relates to the underlying harmony, and
try to categorize it mentally as a major, minor, or dominant lick. Try to transpose the lick to as
many keys as possible, and practice playing it on the tunes youre working on. Scales and
arpeggios are important because they give you the tools to describe what you are hearing and
playing. Without this mental and aural training, some jazz phrases may be too difficult or unusual
sounding to recognize and learn.

ARPEGGIOS: SEVENTH CHORD PERMUTATIONS

Pick one arpeggio pattern, and practice through a tunes chord progression using only that
sequence. After youve played through several of these patterns, you should be able target any
note within a chord.
Once you are familiar with this concept, try connecting different arpeggio patterns for example,
when chords move by fourths, their 3rds and 7ths will be either a half step or whole step apart.
Use this concept to ensure smooth voice leading in your arpeggiated lines.

1357
1375
1537
1573
1735
1753

3157
3175
3517
3571
3715
3751

5137
5173
5317
5371
5713
5731

7135
7153
7315
7351
7513
7531

CONVERTING TO MINOR
DORIAN:
Major 7 # 11 = dorian down a minor 3rd
C lydian = A dorian
Dominant 7 (sus4) = Dorian up a 5th
C mixolydian = G dorian
MELODIC MINOR:
Major 7 # 5 = Melodic Minor down a minor 3rd
C lydian augmented = A melodic minor
Dominant 7 # 11 = Melodic Minor up a 5 th
C lydian dominant = G melodic Minor
Dominant 7 # 5 b9 #9 (Fully Altered Chord) = melodic minor up a min 2 nd
C fully altered = Db melodic minor
Min 7 b 5 (9) = Melodic Minor up a minor 3rd
C min7 b 5 = Eb Melodic minor
MINOR CHORD SUBSTITUTES:
Dominant 7 = minor 6 or minor 7 up a 5th
C7 = Gmin6 or Gmin 7
Minor 7 b 5= minor 6 up a minor 3rd
C min7 b 5 = Eb min 6
Dominant 7#11 = minor (maj7) up a 5th
C7#11 = G min (maj7) with added 9th
Minor 7 b 5 (9) = minor (maj7) up a minor 3rd
C min7 b 5 = Eb min (maj 7)
Look for other modal relationships that make improvising simpler.
For example - C phrygian = Bb dorian.
Dont forget to learn all scales, even unusual ones, from their root, not just as
modes of the major or melodic minor scale.
Converting to minor is handy, but dont let it become a crutch.

WARMUPS / TECHNIQUE

RECOMMENDED WARMUPS / TECHNIQUE DRILLS

LEFT HAND: LONG TONES (SCALES OR 1234 AT A SLOW TEMPO)

LEFT HAND: FINGER COMBINATIONS

LEFT HAND: SLURS (SEGOVIA OR AARON SHEARER BOOK)

RIGHT HAND: PICKING EXERCISES

RIGHT HAND: PICKING EXERCISES

SEGOVIA SCALES: 2 AND 3 OCTAVE FULL RANGE MAJOR AND MINOR

(ASCENDING MELODIC MINOR, DESCENDING NATURAL MINOR) SCALES

HARMONIC MINOR SCALES

OPEN POSITION MAJOR AND MINOR SCALES (USING OPEN STRINGS)

JOHNNY SMITH ARPEGGIOS (3 OCTAVE / FULL RANGE MAJOR AND MINOR

ARPEGGIOS)

1235 PATTERNS (JOHNNY SMITH) MAJOR AND MINOR, FULL RANGE

VOICING ARPEGGIO EXERCISES (3, 4, AND 5 NOTES)

PICKING
Alternate picking is the foundation of picking technique, but doesnt work for
every musical situation for example, string crossing with odd / unusual note
groupings, certain arpeggio patterns, etc. Economy picking (consecutive
downstrokes or upstrokes) may work better for some phrases. Still, alternate
picking must be mastered. For most players, it comprises at least 75% of picking
activity.
Focus on fundamentals: sound and execution of the downstroke, and especially
the upstroke, which tends to be weaker. Tone production comes from the right
hand, so pay attention to the sound quality of your picking, especially as you play
fast passages where your tone may become weak.
Try practicing scales, arpeggios, patterns, and etudes with only downstrokes or
only upstrokes. Consider spending one hour or even an entire practice session
using only downstrokes or upstrokes. You can play faster than you might think
using this technique. This is a good way to reveal weaknesses in your picking
technique.
Its important to be able to accent with either an upstroke or a downstroke.
Certain jazz lines and melodies require accents that can only come from
consecutive downstrokes or upstrokes.
Practice long tones (1234 exercise or scales) with one type of stroke (upstroke or
downstroke), then with alternate picking. Focus on your sound, keeping both
hands relaxed, and coordinating both hands exactly. Quarter notes at b=60 are a
good tempo for long tones.
Ultimately, every good player develops a picking approach that works for them.
Alternate picking is the foundation for most players, but its important to be open
to other picking approaches (economy picking, all upstrokes or downstrokes,
hybrid picking, and so forth.)

LH FINGER COMBINATIONS
1=index finger
2=middle finger
3=ring finger
4=pinky

12
13
14

21
23
24

31
32
34

41
42
43

123
124
132
134
142
143

213
214
231
234
241
243

312
314
321
324
341
342

412
413
421
423
431
432

1234
1243
1324
1342
1423
1432

2134
2143
2314
2341
2413
2431

3124
3142
3214
3241
3412
3421

4123
4132
4213
4231
4312
4132

Try using only fingers 234 to strengthen weaker fingers and improve finger independence.
Play on every fret of one string, or on every string at one fret, or all over the guitar.
Practice picking every note as well as various slur combinations.

CLASSICAL PIECES
You should always include a classical etude or piece as part of your practice routine.
Practicing classical pieces written for other instruments (especially violin and clarinet, which are
written in the same treble-clef range as the guitar) will help your playing in many ways. By
reading the same piece over and over again, youll strengthen your reading skills and knowledge
of notes on the fingerboard. Youll also find that your knowledge of key signatures, scales and
arpeggios is reinforced by seeing them spelled out on the page. Youll get valuable technical
practice while maintaining musical interest. Think about how boring it would be to practice major
and minor scales for a long period of time. By practicing classical etudes, youre using the same
scale and arpeggio fingerings in a musical fashion that is more interesting aurally and mentally,
with the added benefit of having written dynamics to practice. Most students of all other
instruments (saxophone, bass, piano, etc.) have spent a lot of time practicing classical etudes,
which factors into their overall technique, literacy, and musicianship. Most guitarists havent,
which is one reason they tend to be remedial in sightreading, theory, and fingerboard harmony.

RANDOM CHORD EXERCISES (SIGHT/READING/IMPROV)

These are some random chord exercises you mind find helpful when drilling chords, arpeggios
and scales. Here are some suggestions:

CHORDS
1) Pick one type of chord (shell voicing, 4-note root position, etc) and play through the sheet
using only that voicing type.

2) Using drop-2 inversions, voice-lead through the progression, leading the top note of each
chord up or down with as little melodic motion (minor or major 2nd) as possible on the top
voice.
3) Pick a position (a 6 8 fret region) and play all voicings of each chord in that position.

ARPEGGIOS

1) Arpeggiate through the chords using shapes with the root on the 6 th or 5th string.
2) Play descending arpeggios with the root on the 1st or 2nd string (more challenging).
3) Play arpeggios in position (6-8 frets)
4) Play arpeggios on the top strings only (1234)

SCALES

1) Pick a scale for each chord type (Maj7 could be major, Dom7 could be mixolydian, Min7
could be Dorian, etc.) Play two octave scales with the root on the 6 th or 5th string.

2) Play descending scales, starting on the 1st string and descending to the 6th string.
3) Play all scales in one position, using a variety of two octave fingerings.
4) Play scales on the top strings only (1234), either in position or shifting up and down the
fingerboard.

RHYTHM
Rhythm is one of the most important elements of jazz (many would say THE most important), but
is also one of the hardest to teach. As a jazz player, you must be able to feel all subdivisions of
the quarter note at any tempo. For example, at quarter note = 120 (a medium swing tempo), the
quarter note can be subdivided into eighth notes, eighth note triplets, and sixteenth notes.

To extend this concept further, lets think about three related tempos: quarter note = 60 (ballad),
quarter note = 120 (medium swing), and quarter note = 240 (uptempo swing). Since each tempo
is exactly double that of the previous one, there is a clear relationship between the subdivisions at
each tempo. Heres a simple way to think about it:

Playing 16th notes on a ballad at b=60 feels like:

Playing 8th notes on a medium swing tune at b=120, which feels like:
Playing quarter notes on an uptempo tune at b=240.
Or:
Playing eighth notes on an uptempo tune at b=240 feels like:
Playing sixteenth notes on a medium swing tune (double time lines) at b=120, which feels like
Playing 32nd notes on a ballad at b=60 (in which case you are probably overplaying!).

A good way to solidify your rhythmic sense is to pick a tune you know well, and practice it at all
three tempos (60, 120, and 240). Obviously, there are many other tempos, but these three should
get you started. By picking a tune you know well (melody, comping, scales, arpeggios, and
soloing), you can bring a greater focus to the rhythmic elements of playing jazz which are what
the other musicians in the band and audience members perceive first and foremost. Once you
feel comfortable playing the tune at the 3 basic tempos, play a few choruses changing tempos
-for example: b=120, b=130, b=140, etc. Try to learn what each tempo feels like, and the
subdivisions and challenges inherent to each tempo.

Here are some more tips for developing your sense of jazz rhythm:

Sight read through percussion method books using drumsticks or singing try to internalize
rhythms mentally and in your body, not just on the guitar.

Put on a playalong recording (Aebersold, etc), and scat sing a solo using drum sticks to tap out
the rhythm- or just play a drum solo using the sticks.

Transcribe the rhythms of comping patterns of piano players (Red Garland, Horace Silver,
Wynton Kelly). These players had a huge variety of tasty, in the pocket comping patterns. Find
one-bar, two-bar, and four-bar patterns that feel good to you at different tempos, and then
practice them using voicings on a tune you know well.

Transcribe the snare drum part on a medium/uptempo tune by a bop drummer (Philly Joe
Jones, Roy Haynes, etc.) Since the snare drum usually provides rhythmic commentary to the
more static ride cymbal pattern, you might gain insight into how drummers improvise rhythmically
using a single pitch or sound (much like a guitarist can only play rhythms by articulating one note
or chord at a time).

Transcribe and play along with a chorus of the bass line of a tune (Paul Chambers, Ron Carter,
etc.) at various tempos. Bass players tend to emphasize the quarter note, but fill in with a variety
of subdivisions while clearly stating the tempo. This should help you get a sense of how to state
the tempo while creating a feel of forward motion.

Transcribe a chorus of blues by several different jazz musicians (on different instruments) and
play along. Notice how they articulate and phrase their notes and lines (on the beat, ahead,
behind, etc.) Rhythmic placement and articulation (accents, slurs, ghosted notes, variations in
timbre) are extremely important to creating a sense of swing and forward motion.

SINGLE STRING READING EXERCISES

One of the best ways to improve your reading skills on guitar is by reading notes on each
of the six individual strings. This will ensure that you know where all the natural and chromatic
notes are on each string, especially in the higher positions. Its important to be able to read all
over the fingerboard as soon as possible. In the beginning, it will help to think of the fingerboard
as six separate guitars and learn the notes on each individual string, since the notes on each
string are laid out in the same fashion as on a piano keyboard. Once this basic fingerboard
knowledge is secure, reading in position, which involves combining strings, will be much easier.

SAMPLE PRACTICE ROUTINE

WARMUP
LH EXERCISES

10

RH EXERCISES

10

READING:
CLASSICAL ETUDE

15

RHYTHMS

15

JAZZ ETUDES

15

BIG BAND CHARTS

15

SCALE / ARPEGGIO DRILLS

20

CHORD VOICING DRILLS

20

JAZZ PATTERNS

20

LEARNING A TUNE

30

TRANSCRIBE

30

PLAYING TUNES (PLAY ALONGS, SOLOS, ETC) 30-60

BIBLIOGRAPHY: METHODS AND RECORDINGS

(Books in BOLD are highly recommended and contain essential concepts)
GUITAR METHODS
Bertoncini, Gene. Approaching The Guitar. San Diego: Neil A. Kjos, 1990.
Bruno, Jimmy. Six Essential Fingerings For The Jazz Guitarist. Pacific: Mel Bay, 2002.
Chapman, Charles. Drop-2 Concept For Guitar. Pacific: Mel Bay, 2000.
Faria, Nelson. The Brazilian Guitar Book. Petaluma: Sher, 1995.
Forman, Bruce. Jazz Band Rhythm Guitar. Pacific: Mel Bay, 1999.
Johnson, Charlton. Swing And Big Band Guitar. Milwaukee: Hal Leonard, 1998.
Juris, Vic. Modern Chords: Advanced Harmony For Guitar. Pacific: Mel Bay, 2004
Khan, Steve. Contemporary Chord Khancepts. Warner Bros., 1997
Peterson, Jack. Chords Galore. Pacific: Mel Bay, 2003.
Smith, Johnny. Mel Bays Complete Johnny Smith Approach To Guitar. Pacific: Mel Bay,
1980.

JAZZ PATTERNS AND SOLOS

Coker, Casale, Campbell, Greene. Patterns For Jazz. Miami: Studio P/R, 1970.
Halberstadt, Randy. Metaphors For The Musician. Petaluma: Sher Music, 2001.
Khan, Steve. Pat Martino The Early Years. Miami: CPP/Belwin, 1991.
Ligon, Bert. Comprehensive Technique For Jazz Musicians. Milwaukee: Hal Leonard, 1999.
Parker, Charlie. Charlie Parker Omnibook (C edition). Jamey Aebersold, 1978.

READING STUDIES
Bruner, Tom. Sight Reading For The Contemporary Guitarist. Pacific: Mel Bay, 2003.
Colin, Charles and Bower, Bugs. Rhythms Complete. New York: Charles Colin, 1975.
Galbraith, Barry. Jazz Guitar Study Series #1: The Fingerboard Workbook. New Albany:
Jamey Aebersold, 1990.

Galbraith, Barry. Jazz Guitar Study Series #2: Daily Exercises in The Melodic and Harmonic
Minor Modes. New Albany: Jamey Aebersold, 1990.
Galbraith, Barry. Jazz Guitar Study Series #4: Play Along With Bach. New Albany: Jamey
Aebersold, 1988
Hamilton, Fred. Melodic Studies and Compositions for Guitar. Pacific: Mel Bay, 2003.
Leavitt, William. Melodic Rhythms For Guitar. Boston: Berklee Press, 1986
Leavitt, William. Reading Studies For Guitar (Volumes 1 & 2). Boston: Berklee Press, 1986
Niehaus, Lennie. Jazz Conception For Saxophone (Basic Intermediate Advanced).
Hollywood: Try Publications, 1964.
Snidero, Jim. Jazz Conception. Germany: Advance Music, 1996.

RHYTHMS
Rothman, Joel. Teaching Rhythm. J.R. Publications, 1967.
Bellson, Louis and Breines, Gil. Modern Reading Text in 4/4. Warner Bros. / Henry Adler, 1963
Whaley, Garwood. Fundamental Studies For Snare Drum. New York, J.R. Publications, 1973

CLASSICAL GUITAR
Giuliani, Mauro. 120 Studies For Right Hand Development. Alfred, 1983.
Carcassi, Matteo. The Complete Carcassi Guitar Method. Pacific: Mel Bay, 1974.
Carulli, Fernando. Nine Preparatory Pieces. Bryn Mawr: Theodore Presser Company, 1966.
Shearer, Aaron. Slur, Ornament, and Reach Development Exercises. Franco Columbo / BelwinMills / Warner Brothers, 1964.
Segovia, Andres. Slur Exercises And Chromatic Octaves. King of Prussia: Theodore
Presser, 1953.
Segovia, Andres. Diatonic Major And Minor Scales. King of Prussia: Theodore Presser,
1970.
Shearer, Aaron. Learning The Classic Guitar (Parts 1 And 2). Pacific: Mel Bay, 1990.
Sor, Fernando. Complete Sor Studies. Pacific: Mel Bay, 1994.

Tennant, Scott. Pumping Nylon. Alfred, 2002.

CLASSICAL PIECES (OTHER INSTRUMENTS)

Bach, Johann Sebastian. Works For Violin. New York: Dover Publications, Inc., Year.
Kayser, H.E. Thirty-Six Elementary and Progressive Studies For the Violin. Hal Leonard
Kreutzer, Rodolphe. Forty-Two Studies Or Caprices. Hal Leonard
Wohlfahrt. Foundation Studies For The Violin (Books 1 and 2). City: Carl Fischer, 1990.

GUITAR DISCOGRAPHY

1930s 1940s
Christian, Charlie. Genius Of The Electric Guitar. Columbia, 1990.
Green, Freddie. Mr. Rhythm. RCA Imports, 1955.
Lang Eddie, Carl Kress, Dick McDonough. Pioneers Of Jazz Guitar. Challenge, 1998.
Moore, Oscar. The Nat King Cole Trio Recordings Vol. 1-5. Delta, 1991.
Reinhart, Django. Djangology. RCA, 2002
Walker, T-Bone. The Complete Imperial Recordings, 1950-1954. EMI Blues Series, 1991.

1950s-1960s
Bean, Billy and John Pisano. Makin It Again (1956-58). String Jazz, 1998.
Benson, George. The George Benson Cookbook. Columbia, 1966.
Burrell, Kenny. Jimmy Smith. The Sermon. Blue Note, 1957.
Burrell, Kenny. Midnight Blue. Blue Note, 1963.
Burrell, Kenny. A Night at the Vanguard. Chess, 1960.
Farlow, Tal. Red Norvo. Move. Savoy, 1950.
Farlow, Tal. The Swinging Guitar of Tal Farlow. Verve, 1957.
Garland Hank. Jazz Winds From a New Direction. Columbia, 2005.
Hall, Jim. Sonny Rollins. The Bridge. RCA, 1962.
Hall, Jim Bill Evans. Undercurrent. Blue Note, 1962.
King, Albert. King Of The Blues Guitar. Atlantic, 1989.
King, B.B.. Live At The Regal. MCA, 1965
Martino, Pat. El Hombre. Prestige, 1967.
Martino, Pat. Strings. Prestige, 1967.
Montgomery, Wes & Jimmy Smith. Jimmy & Wes The Dynamic Duo. Verve, 1966.
Montgomery, Wes. Incredible Jazz Guitar. Riverside, 1960.
Montgomery, Wes. Full House. Riverside, 1962.

Montgomery, Wes. Boss Guitar. Riverside, 1963.

Montgomery, Wes. Smokin At The Half Note. Verve, 1965.
The Montgomery Brothers. Groove Yard. Riverside, 1961.
Pass, Joe. For Django. Pacific, 1964.
Raney, Jimmy. Stan Getz. The Complete Roost Recordings. Blue Note, 1997.
Smith, Johnny. Moonlight In Vermont. Blue Note, 2004.

1970s 1980s
Bickert, Ed. Paul Desmond. Live. Verve, 1975.
Martino, Pat. Footprints (1972). 32 Jazz, 1997.
Martino, Pat. Well Be Together Again (1976). 32 Jazz, 1998.
Mclaughlin, John. Mahavishnu Orchestra. Inner Mounting Flame. Columbia, 1971.
Mclaughlin, John. Shakti. Columbia, 1975
Metheny, Pat. Bright Size Life. ECM, 1975.
Pass, Joe. Virtuoso. Pablo, 2001.
Pass, Joe & Ella Fitzgerald. Fitzgerald and PassAgain. Pablo, 1976.
Scofield, John. Live. Enja, 1977.

1990s 2000s
Bernstein, Peter. Larry Goldings. As One. Palmetto, 2001.
Bernstein, Peter. Hearts Content. Criss Cross, 2002.
Bernstein, Peter. Sam Yahel. In The Blink Of An Eye. Naxos, 1999.
Bernstein, Peter. Earth Tones. Criss Cross, 1997.
Bernstein, Peter. Monk. Xanadu, 2008.
Juris, Vic. Songbook 2. Steeplechase, 2001.
Juris, Vic & Marc Copland. Double Play. Steeplechase, 2001.
Koonse, Larry. Los Angeles Jazz Quartet. Conversation Piece. Naxos, 1999.
Koonse, Larry. Tom Warrington. Cordurory Road. Jazz Compass, 2002.

Kreisberg, Jonathan. Nine Stories Wide. Criss Cross, 2004.

Lund, Lage. Early Songs. Criss Cross, 2008.
Lund, Lage. David Sanchez. Cultural Survival. Concord, 2008.
Metheny, Pat. Question And Answer. Geffen, 1989.
Metheny, Pat. Trio 99-00. Warner Bros., 2000.
Moreno, Mike. Third Wish. Criss Cross, 2007.
Rogers, Adam. Alex Sipiagin. Hindsight. Criss Cross, 2001.
Rogers, Adam. Art of The Invisible. Criss Cross, 2001.
Rosenwinkel, Kurt. Standards Trio: Reflections. Wommusic, 2009.
Rosenwinkel, Kurt. Intuit. Criss Cross, 1999.
Scofield, John. EnRoute. Verve, 2004.
Scofield, John. Time On My Hands. Blue Note, 1990.
Scofield, John. What We Do. Blue Note, 1992.
Stern, Mike. Standards. Atlantic, 1992.
Stern, Mike. Give And Take. Atlantic, 1997.

b
b

bb#
bb

bb

b
b
b

bb

bb

bb

bb
bbb

bb

b
b

bb

b
b
b

bb

bb

bb

bb
bbb

bb

b = 240

b = 60

b = 120

6
8

22

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36

50

43

15

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64

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Single String Reading - Groups of 3

Jacob Wise

6
8

22

29

36

50

3
43

15

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2
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