Tag Archives: jazz standards for beginners

5 Reasons You Fail To Learn Jazz Standards And Simple Ways To Fix Them

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The way I learned the first two Jazz Standards when I was starting out is almost a perfect example of how to screw up everything I am going to talk about in this video, and one of those things is especially tricky the way we often practice now.

#1 The Song Is Too Difficult

The first two songs that I learned were Stella By Starlight and There’s No Greater Love. Both are incredibly beautiful songs and they are also very common standards so they are useful to have in your repertoire. But they are not really beginner songs, so it was a lot of hard work to learn them and maybe I did not get as much out of the process as I could have.

What I did was that I recorded the chords of the song and spent hours every day improvising over them, gradually finding ways to go from one chord to the next and finding something to play everywhere on the song.

It took me more than two months to learn the songs.

These two songs were much too difficult. There are so many different chords and chord progressions that you don’t get the opportunity to develop different options, and you don’t start working on making variations of what you are playing. This really means that you are not developing your ability to improvise and you are not building a flexible vocabulary which is what you want to do because then learning more songs gets a lot easier. Stella by starlight is also a pretty difficult progression to analyze which means that you end up just playing from chord to chord and not really trying to sound like real piece of music.

So you want to make sure to choose easy songs when you start out. Think about it like this: You will probably learn a lot of songs and you might as well ease into it, so If you are looking at a song and think: “I have absolutely no idea what is going on with the harmony” then keep looking for another song to learn. Nobody starts training for a marathon by running 42 km.

#2 Learn The Melody

One of the blessings of using apps on your phone is maybe also something that is really slowing you down in learning Jazz. Here I am, of course, talking about iReal, which is a great very practical app to have if you have to play a song that you don’t know. But there is one really huge problem with it:

A Song is not a row of letters, and if you focus too much on learning songs with iReal then you are probably very often ignoring the melody. Keep in mind that the melody IS the song, it is rarely just the chords and in a lot of songs then the chords are open to interpretation and there are many variations available, so if you only know one set of chords and you don’t know what other options fit the melody then you might get in trouble later.

So you want to spend time learning the melody because:

If you know the melody you always have something to play in your solo

The melody is a great starting point for a solo, and if there is one difficult spot to solo over, then use the melody in that spot.

If you know the melody you have a guide so you don’t get lost.

It is difficult to hear a chord progression in your head, like 1 bar of Gø, one bar of C7 to two bars of Fm6, but it is easier to have the melody playing in the back of your mind because that is a lot less abstract

If you know the melody it is easier to hear other chord changes because you can hear the melody against the chords

When you are playing a standard then sometimes the band plays other changes than what you know, but having the melody in your head helps you to hear those chords. For example, here is the opening for Stella,

and if I change the first chord like this…

you can hear that the melody is the maj7th of the chord so the 1st chord is now a Bbmaj7. (Stella with Eø on chord 1 + Stella with Bbmaj7 on chord 1?)

A bonus from this is that eventually, you want to start learning songs by ear, and the easiest place to start is to learn the melody by ear don’t worry about the chords, just learn the melody and maybe check out a few different versions. Then you can transcribe the bass and combine those two to figure out what chords are played.

#3 Learn To Play The Chords

I am actually surprised how often I have run into this. Imagine a student coming into the lesson to a lesson and we play a song he or she had to learn. The theme and the solo is ok, but playing the chords is not working at all. Whatever song you play, it really pays off to just learn to hear the harmony and to feel how it is to play that harmony. Not only for you to learn the song but also because you want to play with others. It doesn’t have to be fancy, but it should be there.

There is one thing that is going to make this a lot easier, and that is what I will talk about next.

#4 Think In Blocks Of Chords

Starting to think about chord progressions like this is such a gigantic step up. You can save tons of time and open up your playing really a lot. And this is just doing the same thing as we do whenever we read a book or a newspaper article.

Whenever you read a sentence, then you read the words but you don’t spell them, you read them as complete words.

“Scandinavian People Are Always Fantastic”

And that is something you also want to strive to do when you learn a song or even while you are reading and improvising. Make it into chunks of information that help you play over it. Something you can sum up in a few blocks instead of 30+ different chords.

And actually, there is a next-level of thinking related to this where you also start to realize how different chords are actually the same, but maybe that is for another video.

#5 Have The Material Within Reach

When it comes to improvising over a song you are still learning there is one part of the preparation you want to get right:

You need to be able to have all the scales or arpeggios that you want to use within reach. It is pretty much impossible to have any kind of melodic continuity or freedom if you need to skip up or down 3 or 4 frets to have material for a part of the song.

And this is probably not something that is impossible to overcome with a bit of practice, and if you are not at home over the entire neck then pick a place and start there. Once you have one position under control you can expand from there taking the positions next to the one you know..

 

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Make it Easy To Learn Jazz Standards – Important Chord Progressions in Minor

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In this lesson, I will go over the most important harmonic building blocks in a minor key, which will help you learn most Minor Jazz standards and give you a ton of options for your own songs.

When you learn Jazz songs, you need to memorize the chord progression, and if you try to do that as a long string of chords, that is NOT going to be very easy. Instead, you want to recognize the smaller building blocks of the song, making it 5 or 6 things to remember instead of 30.

It is a little like going from looking at a row of letters to recognizing the words and reading the meaning, and I am sure that you can see how reading words and remembering the meaning is much more useful than spelling everything.

This lesson will show you how that works.

Hearing The Chord Progression

The way I am going to do this is also important, because it will help you learn and remember songs a lot faster! I will play the different building blocks but I will also play some songs they are used in. Hearing how they sound in a song is probably more important than recognizing them on a piece of sheet music.

If you think about the chords in blocks like this you can use the songs you already know to learn new ones because you recognize how they are similar.

And more what is more important: You know how it sounds

#1 The Most Important Progression

As I will show you later in the video, minor keys do things major keys don’t, like having chord progression that is only one chord but still moves.

But of course, the most common progression is the cadence of the key, the minor II V I.

You have that in most minor songs like Alone Together or Yesterdays. And actually, the next progression is a very common variation on this II V I but it is a little hipper.

A funny side note with the minor II V I is that in the pure form, you use all 3 minor scales, one for each of the chords:

Dø from Natural minor, G7(b9,b13) from Harmonic minor, and Melodic minor on the Tonic chord being m6 or mMaj7. This is, of course, a part of why these are considered more difficult than the major counterpart.

But let’s check out a very common variation that just screams minor.

#2 The Most Minor Cadence

This Chord progression is extremely common in minor and includes a tritone substitution, which is maybe a little surprising since that is mostly seen as a type of reharmonization, but here it sounds surprisingly natural and I will explain why in a bit.

You know this progression from Minor Blues or songs like You Don’t Know What Love Is.

There is a reason that this tritone substitute doesn’t sound so crazy or out of place. The chord consists mostly of diatonic notes, so for Ab7:

Ab C Eb Gb

Is mostly diatonic to C natural minor: C D Eb F G Ab Bb C

This progression is probably the most common final cadence in minor Jazz Standards. Next, let’s look at an important progression that doesn’t resolve to minor at all.

#3 Another Common Cadence

You don’t always go back to the tonic in a song, there are other places you want to move to or visit in Minor. The relative major is a very common destination. You come across this in songs like Beautiful Love: – First minor cadence then major

or the other way around in Autumn Leaves, first to major then to minor:

It is a nice variation to have, as is the next one which is also a cornerstone in the tonality

#4 We Need To Go To The Subdominant

Another place that many songs go is the IV in the key. You don’t want to just cycle around the tonic all the time, that gets really boring. An example would be Alone Together. It first moves around on the tonic and then before it gets boring it goes to the IV chord.

So a cadence to the IV in the key is useful:

Before we get to the One-Chord-Progressions then let’s look at a few great minor turnarounds.

Should I Make A Major Version?

The minor songs tend to be a little simpler than many major progressions, mainly because there is less use of modal interchange and fewer modulations. But would it still be interesting to make a similar video for major keys?

#5 Turnaround Variations in Minor

There are turnarounds that almost only work in minor, but the two most common and important version is of course the I VI II V in minor:

And the version with a secondary dominant for the II chord, which is again a tritone sub:

 

Another turnaround that is used almost exclusively in minor is the Andalusian Cadence:

But in minor, you only need one chord to create progressions.

#6 Chord Progressions With One Chord

You know both of these examples since they are incredibly famous. These are really just voice-leading tricks that sound great and are often used in the minor.

The first is the “Stairway to heaven/My Funny Valentine” line-cliche which has a static minor chord where the root is moving down in half steps:

Often we forget the other variation of these which is the line-cliche from the 5th which you find in songs like Cry Me A River and of course most famously the Theme from James Bond

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7 Easy Jazz Standards In Minor You Need To Know

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Most Jazz songs are in a major or a minor key, and Minor songs are a great place to learn several things that you need in Major as well, so it is a good idea to really dig into studying some minor songs.

In this video, I am going to go over 7 songs that are in a minor key that you want to have in your repertoire because knowing them will improve your playing.

I don’t know if you ever thought about it, but most Jazz standards are in a major key. Some pretend to be in minor but then turn out to be in major. I don’t want to single anyone out, How Deep Is The Ocean, You’d Be So Nice To Go Home to, What Is This Thing Called Love.

Anyway… The first song you probably already know, but maybe a few of the other ones will be a surprise, and later in the video, I will also talk about why So What is not on the list.

#1 Autumn Leaves

Probably one of the most well-known Jazz standards, and even though the old Berklee Realbook has it in Em, then the most common one in Jazz is G minor.

A little fun trivia is that the Miles Davis “riff” is actually also a part of the original arrangement with that clear m6 sound.

Lesson on Autumn Leaves as a Chord Melody: Easy Chord Melody on Autumn Leaves

What do you learn?

When you are working on Autumn Leaves then you are working on the two main cadences, the major tonic and the minor tonic cadences (highlight in sheet music). It is also a great place to explore how to play tonic minor since you really have the melodic minor sound in both the melody and the arrangement with the Gm6 riff.

#2 Blue Bossa

Another famous and simple song that is often among the first 3 tunes that you learn is Blue Bossa. Mainly because it is a short 16-bar form and has really basic harmony in the key of C minor only taking a short detour to Db major, which you could describe as a cadence for the Neapolitan subdominant, even though the melody maybe suggests otherwise.

Learn Blue Bossa: Blue Bossa Getting Started Soloing

Famous Versions

There are quite a few famous versions of this song to check out beyond the original recording by Joe Henderson. Especially George Benson and Pat Martino’s interpretations are worth checking out!

#3 Bernie’s Tune

I think this is maybe the least known tune in this list. It was actually difficult to find songs that are in a minor key and also not too difficult, but this song is really pretty simple and covers some basic chords in the key that you want to master, especially the tonic minor and the tritone substitute of the V of V. The chords are also lasting a little longer so you have a bit of space to develop your vocabulary and really get into those melodic minor sounds and how beautiful they are.

The melody of this song is also based on a great swinging riff using 3/4 on top of 4/4. Lots of stuff to learn from this one.

Lesson on Bernie’s Tune: Getting Started With Melodic Minor on a Jazz Standard

#4 Softly As In A Morning Sunrise

This is in a way a minor version of Rhythm Changes, mainly because the A-parts are built around a minor turnaround, which is of course the most important progression in the key. It is usually played in the key of C minor.

There are many fantastic versions of this song, both Jim Hall and Emily Remler are important Jazz guitar versions to check out. Emily Remler also includes a beautiful reharmonization of the melody going away from the minor turnaround, but still going back to the usual progression later in the solo.

The bridge is a short trip to the relative major: Eb and then with a few diminished chords back to Cm.

Lesson on Emily Remlers Solo: Emily Remler on Softly as in a morning sunrise

#5 Minor Blues

The Minor blues is really the re-invention of the 12 bar blues of the Hardbop era. The most famous examples are probably Coltrane’s Mr. PC and Equinox, but of course, there are other great examples out there. Mr. PC and Equinox are great examples of the extreme range of tempos that you play blues in with one being very fast and the other very slow.

While the minor blues is a great progression to check out how to use different minor sounds, so really dig into melodic minor or Dorian and it is also a great exercise in playing the most common variation to the minor II V which uses a tritone substitution for the V of V instead of the II chord

Minor Blues Lesson: Using Minor Blues to learn Melodic Minor

Similar to Bernie’s tune this is a great progression to explore tonic melodic minor, Lydian dominants, and altered dominants (high light or call out)

#6 Summertime

Gershwin’s Summertime is a beautiful song that is actually a bit modal in the sound. It is a great example of a short-form song that still manages to get around the tonic, subdominant, dominant and relative major. It is also a good vehicle for other meters like Jonathan Kreisberg’s amazing 5/4 version of the song, also an awesome example of dynamic solo guitar performance.

And what many people don’t realize is that Wes Montgomery’s song Four on Six is in fact written on this chord progression with some common reharmonizations.

Lesson on Wes’ Four on Six: How To Make Simple Sound Amazing – Wes Montgommery

#7 Solar

In a way this is a Parker Blues version of the minor blues. It is actually also a Bebop composition written by Chuck Wayne and then later stolen by Miles Davis, who we all know as the composer, and even has a bit of the melody on his tombstone.

Solar is a great song to study because it has a melody that is quite clearly using tonic minor and also a lot of typical bebop movement with a long series of “how high the moon II V I” meaning that the tonic chord becomes a m7 to become the II in a II V going down a whole-step.

The famous recordings of this song would probably be Pat Metheny trio and Brad Mehldau trio both are amazing! A great composition on these changes is Jerry Bergonzi’s On Again Off Again with some interesting shifting melodic minor scales by Mick Goodrick in his solo. He also recorded it with John Abercrombie on a later album.

Chord solo lesson on Solar: Easy Chord Solo Exercise

Honorable Mentions

As I already said, most Jazz standards are in minor, and I actually asked a few colleagues about suggestions for this list and didn’t really get something that I thought was easy and famous enough. Maybe it was because they were both bass players?

Some of the songs that are very common, and in a minor key that is maybe not precisely easy would be Alone Together, Beautiful Love, Angel Eyes and You Don’t know what love is. They are all worth checking out because even if they are not exactly what I consider easy

Alone Together

Beautiful Love

Angel Eyes

You Don’t Know What Love Is.

Please let me know if you have other suggestions for easy songs in a minor key! It is always great to have suggestions for songs!

Why No “So What”?

So why isn’t So What on the list? I get the question “what about So What” very often on my 10 easy standards video, and I understand why that would seem to fit both there and also here, it is a song with very few chords for a jazz song. But to me, it is more logical to have a list of songs where studying one will help the other, and So What is a completely different type of sound and song than these. In fact, it is not really in a traditional key. There are no cadences or really moving harmony, so in that way, it is something else.

That does not mean that it is not a good song, that I don’t like it or that it won’t be useful to study, but, to me, it is something else and not anymore related to these songs than it is to How High The Moon.

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Jazz Beginner Mistakes – How To Learn Scales

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When I started playing Jazz then I came from improvising mostly with the pentatonic scale, playing phrases, and licks in the scale without really worrying about what I was playing and especially what notes.

Once I got interested in Jazz, in fact, mostly in Charlie Parker solos, then I realized that I needed to use 7 note scales, and that was a lot more tricky to get to sound right and especially to get to sound like great jazz lines

Just practicing the scale, up and down doesn’t teach you how to do that and there is a much better way to practice the scales, one that helps you learn to play Jazz faster and sound in the right way.

Which Scales Do You Need?

First, you need to figure out which scales you need.

Playing Jazz is associated with scales, and often also with a lot of scales with a lot of fancy names. But when you start then you are better off not drowning yourself in different scales, simply because it is more work to learn to use a scale than to learn to play it. Just start with the major scale, and if you are new to major scales then start in a single position

You can add to it later and knowing the scale well in one position will help you learn the others as well. Starting with 5 or 7 positions in one go and trying to be able to play and improvise in them all is not as efficient in the beginning, and you might get overwhelmed and lose the overview, and getting an overview is why you practice scales in the first place.

If you practice in the way that I outline later in this video, then learning other scales and being able to use them will become a lot easier because you can leverage what you already know.

CAGED, 3NPS, Berklee doesn’t matter

A discussion that sometimes appears at this point is what type of scale system should I use, and there are quite a few, CAGED, 3NPS, and Berklee being the big 3. This can sometimes lead to heated discussions, but In the end, it doesn’t matter too much, do what feels more natural to you, you can even change along the way.

Basic Exercises

How do you start? The first thing is to practice the scale, for example, this position of C major:

Try to play it slowly, evenly with alternate picking. Connect the notes, because otherwise, you are going to sound choppy when you have to play faster

Be aware of the notes you play, so first the root

You can even practice the scale while saying the notes you are playing.

The first technical exercise that you should do in the scale beyond playing it is to play it in 3rds.

Scale in 3rds

The reason for this is that when you play Jazz then you are using the notes of the chord, and chords are built in 3rds so you are preparing yourself for learning the diatonic arpeggios, triads, and 7th chords that are found in the scale.

What Do You Need To Play Jazz

What do you need to play jazz phrases? If you look at this fairly typical jazz lick

Jazz Lick – chromaticism arpeggio

Then you can see that it uses a 7th chord arpeggio, Cmaj7, and some chromaticism mixed in with scale notes.

Beyond practicing the scale itself then the things you want to practice are the things you need in your solo. Arpeggios seem like a very useful candidate, to begin with.

The Arpeggios Are In The Scales

When I was first taught arpeggios the I was told to practice them as separate positions. In that way, learn them as independent things, not connecting them to scales or anything else.

A few years later, when I was in a Barry Harris masterclass in the Hague, I learned from Barry Harris that I should know how to play the diatonic arpeggios of the scales, and he talked about how to use them.

If you practice the arpeggios like that you get something like this:

Diatonic Arpeggios

If you know how to play this exercise then you have material that you can use on a lot of chords that you come across in C major, and you see the arpeggios together with the other notes that you have available when you solo. It is already connected to the rest of the material you can use.

II V I lick with diatonic arpeggios

For me, this was really a gamechanger, when you connect the arpeggio to the scale like this it is much easier to play the arpeggio with an extra scale note and also to see how the notes move from one chord to the next, which makes it a lot easier to make strong lines that outline the chords. But there is a lot more you can get out of it, as you will see later in the video. (highlight voice-leading in a lick, overlay lick while talking)

Another thing that is worth noting is that most of the time when you come across arpeggios in Jazz solos, then they are one-octave arpeggios in the middle of a line or even with scale notes in between, so practicing them like this is much more efficient and closer to how you use them in Jazz. As you can see in this transcription (Parker solo transcription?)

How To Practice and Use Them

You can practice the arpeggios from each note in the scale like this (example 4) and again you want to play them cleanly, equal in volume, not too fast, and connecting the notes as much as possible. Another way of practicing them that is useful is to practice up one and down the next

This is actually a bit easier because you don’t have the large interval skip from one arpeggio to the next. In general, you want to practice different things to build flexibility and work towards being free when you improvise, so coming up with variations is something that will help you with that.

If you start thinking of the scales and the exercises like this, then you want to find out what you want to use in a solo and then practice that in your scales so that you learn all the useful variations building a vocabulary you can use in solos.

From Arpeggios to Lines

There are many ways that you can use these arpeggios, to get started it makes sense to just play the arpeggios on a chord progression

Example 7 (no backing)

To turn this into something you can use in a solo then you can use the notes around the arpeggios and add some nice rhythms as well.

For the Dm7, this is the arpeggio:

And you can turn that into a more interesting line by adding the E in between the first two notes:

In this way you can start to work on making lines like this:

Here I am using the Dm7 phrase, a triplet on the G7, and also adding an A to the Cmaj7 arpeggio.

The Mighty Triad

Another obvious one is to also check out the diatonic triads which as you will see we can easily connect to the chords and also are great for creating super-strong lines.

Going over the triads in the scale gives you an exercise like this:

And finding triads to use with a chord is very easy:

If you look at a Dm7 then that is D F A C

Here we already have two triads: Dm: D F A and F major F A C.

For the G7: G B D F – G B D and B diminished and Cmaj7: C major and Em

And using these to make lines could sound like this:

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5 Things Every Beginning Jazz Guitarist Should Know

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There are so many people who seem to be focusing on the wrong things and slow down their progress when they want to learn Jazz. This video is going to give you some suggestions about how to think about what you are learning so that as a Jazz Guitar Beginner, You actually work towards learning Jazz and don’t drive yourself crazy practicing exotic scales.

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Content:

00:00 Intro

00:28 It is not only about Scales

01:35 Play Music Not Exercises

03:07 A Bebop Job Interview

03:37 Learn Songs

04:17 Listen to Jazz

05:20 Vocabulary – If you ever want to sound like Jazz

06:22 Jazz Chords – A Great Place To Start

06:30 Like the video? Check out my Patreon Page

 

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50 Jazz Standards – The Songs You Need To Know

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Jazz Standards are the songs you need to know to learn to play Jazz. I always say “Learn Jazz – Make Music” in my videos and the Jazz Standards are the songs that play when you make that music.

This video is a list of 50 Standards that are really useful to have in your repertoire. I have split them up in some different categories because that is practical for when you are playing. You don’t want to play 5 medium swing songs in F major next to each other in a set, you might find yourself playing the wrong theme at the end (true story!) Having variation in a set is very useful.

Content:

0:00 Intro

0:57 Easy Standards

2:03 Intermediate Standards

2:23 Don’t be like AC/DC!

2:37 And it goes for Jazz as well…

3:23 Difficult Standards

3:47 Ballads

4:05 Don’t be like Dutch Audiences

4:18 Samba & Bossanova

4:45 Jazz Latin (and a little modal)

5:14 Blues

5:45 Waltzes

6:27 Jazz Standards in a minor key

6:56 Bebop Themes

7:27 Is your favorite missing?

7:42 My favorites (that I couldn’t put on the list)

9:08 Like the video? Check out my Patreon page!

Learn important Jazz Standards

Easy Jazz Standards Solo Bundle

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How To Learn a Jazz Standard – Important Exercises

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Learning Jazz Standards is essential to learning jazz, in fact learning the repertoire is everything with any genre of music. There are of course many ways to go about this, but since it is important and you want to learn a lot of songs then it is also useful to do this in an efficient way.

The first time I started to learn a Jazz Standard it took me about two months, and there are better ways to do that how I did it. And that is what this video is about.

If you want to check out my other video on the 10 first Jazz Standards to learn, you can do so here: The First 10 Jazz Standards You Need To Know

If you want to check out some more videos on the topic of studying songs then check out this short playlist: Learning Jazz Standards

Content:

0:00 Intro

0:07 Learning Jazz is Learning Jazz Songs

0:28 Take a better approach than I did

0:44 A Method or a Checklist

1:10 #1 Pick A song

2:02 #2 Listen

2:29 Learning By Ear and using vocal recordings

2:54 #3 Analyze the Song

3:35 Join the FB Community

3:54 #4 Playing The Song

4:13 Play the music, not only exercises

4:31 #5  Pick a Position

5:12 #6 Learn The Melody By Heart

6:04 #7 Play The Chords

6:44 #8 Learn The Arpeggios

8:01 #9 Other Exercises

8:50 Like the Video? Check out My Patreon Page

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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The First 10 Jazz Standards You Need To Know

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I say it all the time: Learn Jazz – Make Music, and to do that you need to know some songs, so in this video, I am going to go over 10 jazz standards that you want in your repertoire and are great places to start learning jazz. This is In terms of playing changes and knowing all the chords and scale but also about the form that you want to know which is going to make it easier to learn more complicated standards.

When talking about the songs I will try to reference great versions of them, and also talk about whether this song may be a good place to start for you if you are looking for songs to learn.

If you already know a lot of songs and have some other suggestions for this list then let me know about that in the comments to this video. Sharing information like that is really useful for everybody checking it out! I’ll talk about the first standards I learned later in the video, none of those are on the list.

Get started learning some of these standards: Learn Easy Jazz Standards

For example Blue Bossa or Autumn Leaves

If you want to check out some of the important progressions that make up Jazz Standards then check out this video: Chord Progressions as Building Blocks

Want to learn how to analyze standards? Then see how I do that in this playlist of videos on Jazz Standards and music theory: How To Analyze Jazz Standards

Get a PDF of the list

You can get a PDF of this list by filling in your e-mail here, your browser will go to the download page automatically.

Content:

0:00 Intro – Learn Jazz Make – Music!

0:24 10 Typical Standards and Forms

0:36 The Form Of Songs is Important!

0:56 Where are you coming from?

1:12 Something missing?

1:37 #1 Take The A train

2:04 AABA forms

2:52 #2 Cantaloupe Island – Modal Jazz

4:03 #3 Blues

5:28 #4 Satin Doll

6:12 The Ellington Bridge

6:23 #5 Blue Bossa

6:54 #6 Autumn Leaves

7:25 #7 Perdido – Rhythm Changes Bridge

8:02 No Rhythm Changes?

8:15 The First 3 Standards I learned

8:57 #8 Summertime – Four On Six

9:27 How To Use the list

10:00 Did I leave out a Song?

10:05 #9 Solar – Not by Miles Davis

11:23 #10 All Of Me – ABAC Form

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Jazz Guitar Insiders Facebook Group

Join 700+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.