JACOB WISE

TEACHING PACKET 2010

TABLE OF CONTENTS

1 SEMESTER REQUIREMENTS / SYLLABUS

2 BASIC ELEMENTS LIST OF SCALES, ARPS, VOICINGS

3 INTERVALS

4 ARPEGGIOS

5 SCALES

6 VOICINGS

7 CHORD MELODY EXERCISES

8 LEARNING A TUNE / REPERTOIRE LIST

9 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 1 3 #5 7

Augmented dominant 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 3157 5137 7135

1375 3175 5173 7153
1537 3517 5317 7315
1573 3571 5371 7351
1735 3715 5713 7513
1753 3751 5731 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 21 31 41
13 23 32 42
14 24 34 43

123 213 312 412

124 214 314 413
132 231 321 421
134 234 324 423
142 241 341 431
143 243 342 432

1234 2134 3124 4123

1243 2143 3142 4132
1324 2314 3214 4213
1342 2341 3241 4231
1423 2413 3412 4312
1432 2431 3421 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 / Belwin-

Mills / 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

b bb

bb bb b

bb

bbb

bb

b
b




b bb

b
b



b bb

bb bb b

bb

bbb

bb

bb

b






b





b







b = 240 b = 120 b = 60

6


8

15

22

29

36

43

50

Copyright 2010
 2

2
57

64

71

1

78



 Single String Reading - Groups of 3
Jacob Wise

15

22

29

36

3

43

50

Copyright 2010
 2

57

2

64

71

1

78