Tag Archives: jazz standards guitar

Why You Struggle To Learn Jazz Standards: A Method That Works

Don’t Start With The Realbook

This is NOT how you learn a new jazz standard. Not if you really want it to be a part of your repertoire so that you don’t have to re-learn or read every time you are asked to play it.

In this video, I’ll show you how to internalize a song and also cover 3 mistakes that so many of us are guilty of, and that ALWAYS come back to haunt us later.

Step #1: Technology Is Your Enemy (And Also Your Friend)

It is in fact technology that is getting in the way, and when you hear that you are probably looking at your phone or iPad and thinking “These things are terrible!” But actually, this was a problem before the internet as well, and the technology that got in the way was printing (b-roll printing books). Of course, I don’t want to sound like some sort of religious cult leader who wants to ban books, but you are trying to learn a song and that is a piece of music that people listen to, so maybe you want to start with listening to the song. You shouldn’t immediately try to transcribe it or figure out the chords, just listen to it. And ironically, here the fact that you have access to the internet is a HUGE advantage because you can go on Spotify or YouTube to find 100s of versions of the song and then find a few that you like and focus on them.

Listen to the songs a lot, it is fairly low effort and it will make it 100x easier once you try to actually play the song. Just be patient and keep listening so that you get it into your ear and into your system. You don’t want to start by trying to listen with your eyes. It is also important that you don’t use backing tracks, Lazy ears are a real problem, but I will explain why later

A short side note here is, choosing songs. Finding a standard that is easy to learn can be difficult, and you don’t go from a 12-bar blues to Autumn Leaves to Giant Steps. There is a way to be more strategic and make it easier to build a repertoire so make sure that you don’t start with very difficult songs!

I have videos with suggestions of songs to work on,

and you can better learn 3 easy songs than break your neck on one impossible song, I am sure that is obvious, maybe suggest good songs to start with in the comments, we can never have enough good songs to learn!

Mistake #1 Listen to the song (and listen some more)

So the first big mistake is..not listening to the song to learn it, but there are a few other mistakes and bad habits to get rid of!

Step #2: A Song Is Not A Bunch Of Chords

To me, iReal is quickly becoming the worst way to see a song. On a very basic level: If you think of Happy Birthday then you hear the melody (play) you are not thinking of this:

and the same should be true for Autumn Leaves,

and I am saying this even if I think it is a very useful app on gigs and for a lot of other things.

So my point is that once you have listened to recordings of the song, then you want to start by learning the melody, and mainly that is because the melody is the strongest part of the song. The chords are there to support the melody, not the other way around, and you will also see how people use different chords for the songs, but they don’t mess with the melody.

Another thing that the melody is great for is as a guide to the form. When you are improvising then you hear the melody internally, you are not counting bars like a robot … or have some sort of internal Google Maps navigation. Instead, you are using the melody as a way of knowing where you are.

Learning By Ear – Part 1

Jazz Standards are usually in a key, and you can use the last note of the melody to figure out what the key is.

That makes it easier to learn the melody because you can rely on a position on the neck for that scale and use that while figuring out the melody. If you already listened a lot to the melody then it won’t be too difficult to figure it out going phrase by phrase.

Of course, Jazz standards are often interpreted by the artist, so it can be useful to check it out from people who are not changing the melody too much.

If you take the song “The Way You Look Tonight” then you have a clear version from Frank Sinatra here:

And learning the melody from Sonny Rollins is a lot further away from the original melody:

Don’t think that I am saying Rollins is doing something wrong, he is supposed to interpret the melody, my point is that when you are learning the song it is practical to learn a version that is close to how it was written, not something that is almost a different song. When I had lessons with Peter Nieuwerf, he always suggested checking out songs from Frank Sinatra, Nat King Cole, and Ella Fitzgerald,

which is really good advice, and their take on the song is always great to check out simply because they are amazing artists!

Step #3: But You Do Need Chords

Now that you know the melody then it makes sense to start adding the harmony. For now, you can use sheet music for the chords, iReal, Realbook, or just Google them. I will talk a bit about figuring chords out by ear later. If you are new to learning songs then start by just playing through the progression with chords on the heavy beats and when the chords change. You can even sing the melody to get an idea about how that sounds against the chords. The main thing is just to start hearing the harmony in time, don’t use a backing track for this, I will explain why later in the video.

Mistake #2 Don’t Memorize Rows of Chords!

The difficult part of this is probably to memorize the chords, and this is where the #2 mistake becomes important: You Need to think in blocks of chords.

Any Jazz standard will use a lot of the same progressions and you want to be able to think about groups of chords, not single chords. Think about it in terms of language. If you have to memorize a random sentence like: “Dutch Bread Truly Sucks“, then that is pretty easy compared to memorizing all the letters in that sentence: dutchbreadtrulysucks without thinking of the words that they form. And this is much more powerful than you might think. If you know a few songs and think like this then I can teach you the progression of Jobim’s So Danco Samba in one sentence: It’s an AABA song with an A-train A-part and an Ellington Bridge.

If you know what that means then you can play the song. Of course, we don’t have descriptions for all 8-bar progressions, but chunking together the chords makes it a lot easier, and if you ever wondered why it makes sense to learn understand the form, and learn theory and analysis then here’s your proof.

Learning By Ear – Part 2

I get asked about figuring chords by ear fairly often, but very often it also sounds like people expect to get some trick so that they can hear changes without any effort. Which is not really how it works, certainly not for me. I sometimes get the impression that people are listening to the song for the first time and say:

“I am already in the 2nd A and I didn’t figure out any chords yet!”

Don’t get me wrong, it does get a lot easier the more you do it and the more songs you have done and you know, but the way to start is probably to have the two outer layers that are the easiest to figure out: The Melody, which you already know, and then the bassline.

I used to always write out the melody and then transcribe the bassline under it as you see here.

From there you can use that to figure out what chord is being played, and again theory helps you narrow it down and then you listen for what sounds right. As I already mentioned, then there are a lot of common building blocks and you get more and more used to hearing those and then you can hear several chords at the same time because you have heard them 1000s of times before, but the first time it takes more effort. And even if you do this and have some holes in there, then don’t worry about that. You have to start somewhere.

The Bonus with Chords (Which Is Sometimes A Bit Overrated)

If you have the chord vocabulary and fretboard overview then it can be very useful to also try to play the song as a chord melody arrangement. it is a great way to really connect the harmony and the melody and it will also often reveal if you have places where the two don’t really work together. Of course, doing this is also quite demanding technically, and if you are not used to it then don’t worry about it. Sometimes chord melody is made more important than it should be, especially by beginners who can better develop other skills first.

Step #4 Start Soloing

You are pretty much there with learning the song now, you know the melody and the chords by heart, so now you can start working on improvising. You are ready to improvise if you can do these two things: Play the melody in time by heart, and play the chords in time by heart. That is what you want to aim for.

Mistake #3 Lazy Ears!

In the beginning, you just want to ease into it, so turn on a metronome and first play the melody, maybe also a chorus of chords. This is just to hear the song and help you keep track of where you are internally. At this stage, it is incredibly important that you don’t use a backing track because you want to get the song into your system and be forced to hear the melody and the harmony inside. With a backing track, then that is too easy and you get lazy with all the important things like REALLY hearing the harmony, and feeling the time and the form. When you are practicing a song, you want to work on it so that you are building a strong foundation to lean on once you play with others, and a backing track is too easy it makes your inner ear lazy because the track will tell you where you are and what the chord sounds like. You can test this by playing a new song only with a backing track and then solo with just a metronome, then take another new song and switch those two around, it will quickly be very clear.

Getting The Right Start With Jazz Guitar

There are some things I wish I could do better in learning Jazz if I had to do it again!

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This is A Perfect Jazz Solo! – Why Scofield Always Gets It Right!

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I might touch on a few unpopular opinions in this video, but Scofield NEVER fails to impress me, even when he is just jamming a well-known Jazz standard, and it is surprising how traditional his approach is while he still manages to add his own sound to it, isn’t that what it is all about?

One of the beautiful things about Jazz is that you don’t only play your own music, you also interpret Jazz Standards that make up a big part of the repertoire. And it is always interesting to hear how the people you admire interpret songs, it feels a little like you are playing with them at a jam session.

The video I am talking about also gives me a chance to be a bit patriotic since Scofield is playing with the Danish-Vietnamese bass player Chris Minh Doky and it appears to be a recording for Danish TV (Patriotic b-roll)

The song is Alone Together, certainly one of the most common Jam session standards in the book, and let’s start with how he plays the theme, because that may be sort of an unpopular opinion, and later I will also talk about why I think Scofield is probably one of the first Jazz guitarists to be really important for the entire style, which might be another hot take, so grab your pitchforks and check this out!!

Interpreting A Melody (without being a Robot)

Since they are playing in a duo then Scofield is adding chords to the melody, but the way he does this is really effective and probably also my preferred approach, mainly because it gives you room to really phrase the melody and let that shine.

What he does is, of course, to play the melody and then add chords around it, instead of playing the melody inside chords all the time which removes some of the possibilities for more vocal-like phrasing. A great example of the “other” approach would be something like this Joe Pass playing Misbehavin’

Of course, here Joe Pass is also playing solo guitar so he needs to cover more of the groove as well, and actually, I also think that the instrument and sound matter a bit here, but if start talking about that then the comment section blows up. Later, in the video, you’ll also see some examples of how Scofields playing is pretty traditional, which is at least not what I really think of when I think of his style.

The Melody of Alone Together lends itself very well to this because the structure is often a pick-up and then a long note on beat 1 which leaves room for adding chords:

Like he does in this section:

So first you get the melody just adding a 5th under it and then a complete Eø(9) and A7.

Same thing on the Aø D7, and then you get this really nice open 3-part harmonization on the Gm7.

Another thing that stands out to me is how Scofield often adds voice movement with suspensions under the maj7 chord. First some octaves and then a nice Maj7(#5) that resolves:

So there is also some reharmonization or embellishment of the harmony going on. You also want to notice that he very often plays E7 A7 instead of Eø A7

Like this:

It is a small detail to add in there but he really uses it incredibly well in the solo too, which really gives the song some personality and changes the overall sound.

Expression is Mostly In The Right Hand

I always found it so impressive even if it is subtle, that Scofield is able to do so much with the sound, picking some notes close to the bridge to get a different sound, using pick and fingers or just fingers for some parts, he really changes that very often throughout the song.

Check out how he is really using where he picks the string to get different sounds:

Two things to learn from this: First, notice how the first bar is picked with a more mellow sound and he moved closer to the bridge to make the 2nd bar more nasal.

The second thing connects to how I talked about some more traditional aspects of his playing, and here is one of them: He is not playing Eø A7 in that line, it is all A7 altered, so like Joe Pass or Barry Harris, he does not play the II chord all the time. And this really connects to how he starts his solo as well.

Scofield Knows His Bebop

I think it was one of the times that I saw him live with the trio with Bill Stewart and Steve Swallow when he talked about how he loved to practice bebop tunes and check out Charlie Parker, so it isn’t really a surprise to me that he knows that part of it as well even if I didn’t really recognize that in the first things I heard from him which had a lot of New Orleans and Blues influence. I’ll talk a bit more about that later as well. Let’s first listen to the first part of the solo:

The next phrase he plays also shows that he doesn’t only rely on bebop lines, but has a very wide vocabulary of rhythms as well:

The next part really lets the E7 sound shine!

So you get the B and the G# and then the counter movement with the melody going up and the 2nd voice moving down from G# to G to F.

I’ll show you another really great example of this later.

Again he is not playing the II chord on Aø D7 but goes straight for the D7.

Open Strings and Open Sounds

This is super typical for Scofield, but also really one of the things that I love about his playing: Harmony and Melody are really melting together.

The first part is a chromatic run, which I suspect is actually a Parker lick, but it’s hard to tell. Using a LOT of legato like this is also a very typical part of John Scofields sound or phrasing.

Then you hear the Eø to A7 which is a really simple scale run spelling out the harmony,

But the part that I really like here is the resolution to the 3rd interval, and then adding the melody over the sustained F# starting with the open string.

He did something similar in the theme with the open E. That is such a beautiful sound and again a way of making the best possible use of what is practical on the instrument.

From there you hear a short Lydian maj7 lick before going to the 2nd A, so he is again messing with the sound on the Dmaj7 similar to what he did in the theme.

When Guitar Ruled Jazz

Few guitarists have had as big an impact on Jazz as a genre as John Scofield. Having worked with everyone from Miles Davis to Joe Henderson and Chris Potter his music and take on Jazz guitar is a huge influence maybe more on Jazz in general than on Jazz guitar, which also just tells you how fantastic a musician he is. My introduction to Jazz was marked by discovering John Scofield and Charlie Parker at the same time, both being really strong in playing Blues which was probably what I could recognize or relate to.

As Jazz guitarists then we often live in a bubble where we focus the most on the guitarists in the genre, but in most of Jazz history then the guitar players were not what shaped the style. Mostly this was left to horn players like Miles Davis, Charlie Parker, John Coltrane, or piano players like Bill Evans and Herbie Hancock. Before the comment section explodes — let me explain what I mean. Kenny Burrell or even Wes or Joe Pass did not really start a new direction in Jazz, it wasn’t so that all the musicians that are not guitarists bought their albums, so there are no “kind of blue” or “giant steps” albums in there. That doesn’t make them lesser musicians so keep in mind that it is not a criticism of their playing or ability in any way, I am just looking a bit beyond what albums were game-changing for Jazz Guitarists, and widening the scope to Jazz in general.

I think that Scofield and Metheny probably did have that type of genre-defining impact on Jazz as a style. When I studied then everyone had Scofield Quartet albums, especially “Meant To Be” because they were sort of the “Workin'” Steamin'” and “Relaxin'” albums of that period. You hear it pop up in other albums where the connection is very clear, and I think that was the first time that the influence of a guitarist really went across the entire style and didn’t stay with guitar players. For Scofield, it was probably a lot about groove and pulling in new influences to Jazz, especially New Orleans grooves but also some more acoustic-sounding funk.

I think it is worthwhile giving Scofield that credit and it is really nice to be able to reference his music when talking to other musicians on gigs if you want to play a song in a Ponciana groove or something using second-line. That the guitar became a more defining instrument in Jazz so late probably also has something to do with the instrument evolving and being very dominant in pop and rock music.

Counterpoint Funkyness

This is really great, again more open rhythmical phrases and not Bebop lines but he is using the E7 again, and going into it in a really nice way using 6th intervals

It’s almost like a minor II V in Am. The real counterpoint is the next phrase which is Bach meets Blues:

It’s only a few notes but it sounds really great with the B moving up to the C before going into another variation of the E7 A7 that he used earlier.

Genius of Intervals and Counter Melodies!

The way Scofied uses intervals and sparse voicings to make the individual voices more clear is really effective and is a great way to get the melody across, both in solos and when playing chord melody. Developing this in your playing can really open up some beatiful sounds and add another dimension to your playing. If you want to explore that further then a Contemporary of Scofield, Bill Frisell is who you should check out, and I go over how his take on Days Of Wine and Rose which is incredibly beautiful and a great intro to this type of playing.

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Important (beginner) Jazz Advice: 5 Easy Jazz Standards To Start With

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Learning Jazz songs is incredibly important, I am sure you have heard me and many others say that again and again. But it can also be unbelievably difficult in the beginning, I spent a long time isolated from the world, practicing for hours every day to learn the first two Jazz standards. And that was largely because I had chosen songs that were much too difficult for a beginner and I just didn’t know any better.

But it is actually hard to figure out exactly what songs will be the good for you to start with, so I thought it might be useful to compare 5 different songs that are all easy so that you have a better way to figure out what might be useful for you to learn, and even if you already know some songs then these could be great to add to your repertoire. As you will see, I actually left out some very common songs from this video, but I will explain why that is along the way, and there is another thing that is also surprising about this list.

Let’s start with one of the easiest songs to solo over.

Pent Up House

If you look at the sheet music for this Sonny Rollins classic then the theme and the chords in the theme might look incredibly complicated, but the solo form is actually very simple. You could look at the 16-bar form as an AABA,

but it doesn’t really feel like that to me, probably because it is a short form. It is really just a II V I in G major and the two other closely related II Vs.

So common progressions that you may already have practiced and otherwise you can actually start learning them on this song.

It is a great way to work on some basic Jazz progressions in a song, and I have seen a lot of students get more confident improvising over changes learning this song. What is great about the theme being a bit more complicated is that it also really teaches you some jazz melody and jazz rhythm which is very useful for your phrasing and vocabulary.

To compare the songs then I made this chart to have an overview of them. I am going to keep it simple with the grades so it is either good or bad, but don’t over-interpret that, it is also a bit of an experiment for this video.

For this song then the progression is good, it is pretty simple with the number of scales and keys you need. The melody is difficult, even if there is an advantage to that as well. It is not really a common form that will help you learn other songs, and the tempo is often a bit high, but you can of course play it slower.

Let’s see how it stacks up against the next song, one thing that I actually think is very important is that you work on songs that help you learn other songs, but I will explain that along the way as well!

Perdido

This song is a great example of an AABA form,

and since it is a big band composition from the Ellington songbook then it is also a good melody for learning some phrasing and rhythm. If you are starting out playing Jazz then that aspect is maybe a bit overlooked since we tend to be very busy keeping track of the notes and the chords, but actually learning melodies like this is very useful for your soloing as well since you will learn to hear melodies with interesting rhythms, and also how to play simpler phrases and melodies with a strong rhythm.

The advantage to AABA forms is that you really only need to learn 16 bars to know the whole song: an 8-bar A-part and an 8-bar B-part.

In that respect, the amount of chords in this song is not higher than “Pent Up House.” The Bridge is a rhythm bridge, essentially just a dominant chain ending on the dominant of the key. This is also a common bridge and will help you learn rhythm changes which of course is stuff you need for a lot of other songs,

so in that way, this is also a very practical song to work on.

Perdido scores really well, maybe only the tempo is often a bit tricky since the theme doesn’t sound that great if it is too slow. That is going to be hard to beat.

How Not To Learn Songs

The way I learned the first few standards were not very smooth, and the first songs that I learned are not on this list. This was when I had just started playing Jazz, and I didn’t really know what songs to learn, but I had a realbook and a few Jazz CDs. One of the songs that I heard that I really liked was Stella By Starlight, which was a horrible choice for a song since it has an unclear form, very complicated harmony, and uses a LOT of scales. Everything you don’t want in the first song you set out to learn. The other song I worked on was There Is No Greater Love which was not as complicated but certainly also not easy.

The result was that I spent weeks and weeks practicing two songs for hours every day using brute force to learn them, I just kept on playing until they stuck, which is not the way to do this.

I am pretty sure this list would have been super useful, but at the same time, let me know if you have a suggestion for a good song that is not in this video!

Satin Doll

I suspect you already know this one since there are quite a few great recordings of this by guitarists like Barney Kessel, Wes Montgomery, and Joe Pass, and it is one of the nicest medium swing tunes to play! It is also another Ellington song, though this time written by Billy Strayhorn.

This song is usually played medium, and the chord progressions are mostly II V’s with a few of them resolving to one chord.

The progression does move around quite a lot with the II V’s covering quite a few keys and not always moving as predictable II V I progressions.

The form is AABA,

and the bridge is (again) a common progression, namely what is often referred to as an Ellington bridge,

which you will find in a LOT of songs like Honeysuckle Rose, Just Squeeze me or So Danco Samba, so clearly learning this song will give you an advantage with a LOT of other songs.

For the score, the chord progression is good, but there are a bit many scales involved. The melody is easy and the form is not only easy but will also help you learn other songs.

Also a pretty good score! The next song is actually a Bebop theme, but I guess you could also call Pent Up House a Bebop theme?

Start with the Major Key

First I should probably talk about why I am leaving out very common songs like Autumn Leaves, Blue Bossa, and So What, since they are obviously very common and very famous songs.

This is pretty important because you want to learn songs that help you learn other songs and gradually build skills, and you also don’t want to get stuck just worrying about scales.

In my experience, when teaching beginning students then internalizing a lot of different scales is pretty difficult, maybe that is also personal experience? So sticking to major scales can be very practical. This also fits with how long I had to spend learning Stella By Starlight and There Is No Greater Love. That doesn’t mean that you can’t use songs in minor keys like these, but it does introduce some complexity, already with the basic minor II V I cadence you end up using 2 or 3 different types of scales which is quite a lot.

Another factor with this is also what songs you are already familiar with, and if the student already knows and has listened to Autumn Leaves or maybe learned the theme, then a song like that can be fine, but if you are figuring this out for yourself then it is worth keeping in mind how complicated the harmony is in the beginning and trying to keep it simple. I guess I could make a follow-up video at some point including minor songs?

When it comes to modal songs like So What or Cantaloupe Island then they are more difficult to hear, and working on those there are a lot of things you are not developing because the chord progressions don’t flow like the other Jazz standards and you are not learning to deal with chord progressions that you will encounter in other songs. Again, there can be exceptions for a choice like that as well, but if you want to get better at playing bop-inspired solos then the modal stuff is not where you want to begin, even if I do think you need to know some of those as well of course.

Afternoon In Paris

This may be the least famous song on the list, but this song is great for working on your II V I progressionsin different keys.

It was written by John Lewis who is probably most known for being a part of the Modern Jazz Quartet. The motivic melody moves through a few keys and it is much slower than most other bop themes, so it can also be a good way to start with that type of melody.

Again the form is an AABA, probably because these are often a little simpler than a lot of the ABAC songs think of There Will Never Be Another You or Donna Lee.

The chords are all II V Is, though there are quite a few keys involved in this one and even some chromatic II V movement.

For this song, pretty much all the chord progressions are II V Is, but there are quite a few scales, and the theme is maybe a bit more complicated than the rest.

So this is not the highest score, but keep in mind that this is still a very easy song.

Take The A-train

When I first wrote down the songs on this list, I chose them because I have used them in lessons. I never realized that they were in fact all compositions by Jazz artists, and I was also surprised that so many of them were associated with Ellington, but in a way that makes sense since it is really using Jazz music to teach Jazz.

The last song on the list is the song that I also use in my course: Take The A-train, so yet another Ellington-related song, but one that I have tested on several thousand students in the roadmap and in real lessons, and it is pretty solid first song!

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Take The A-train is again an AABA form,

and here the A-part is a common progression that you will find in a lot of other songs, especially a lot of Bossanova tunes like So Danco Samba and Girl From Ipanema.

The progressions in the song are basic but strong, there are not a lot of scales needed to play it, and it works well at a slower tempo. The only thing that is maybe a bit tricky sometimes is the melody.

Honorable Mentions

Of course, any of these 5 songs will serve well as a first song, or be easy to add to your repertoire if you are looking to find some easy songs. A few songs that I considered for this video but that didn’t make it were:

Tune Up
Lady Bird
So Danco Samba.

I guess it is mostly about having the right balance between a useful melody and an easy chord progression, but I am, of course, curious if you would want to put other songs on this list, let me know about that in the comments!

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3 Stupid Mistakes You Should Avoid When Learning A Jazz Standard

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I had started really spending time practicing scales and arpeggios and even gotten them to where I could use that in my solos and could go beyond just playing pentatonic licks, but the first time I tried to learn a Jazz Standard, I failed completely, and was pretty much, doing Everything wrong.

A the time I had no idea what a Jazz Standard was, and if I had known that they were mostly songs written for musicals in the 30s and 40s then I would probably have run away screaming

My introduction to this was also a bit odd, and this is really the story about me being clueless and fumbling around in the dark while making every possible mistake., and hopefully helping you avoid that.

At the time I was still studying mathematics at the university, and I was hanging out with a bass player friend of mine that I knew from high school. I hadn’t seen him for a few years and we were jamming and improvising. Because we were improvising he told me about Jazz and played me some fusion albums.

I was not really impressed with the fusion stuff, it sounded like instrumental pop music with chorus on the whole album to me. The music I was listening to at the time was more blues-based and really not produced like the 80s fusion was. At the same time, I was still really curious to learn and to try to play Jazz because I wanted to become better at improvising. That part fascinated me because improvising was what I had the most fun doing when I was playing in rock bands, which I did next to studying at the university, and I was quite lucky that I played in bands where I had a lot of space to improvise like that (especially given how bad I probably was at it). I had been checking out some Satriani and Steve Vai, but when I realized that they were not improvising their solos then I lost all interest in their music and went looking for other stuff. It took a long time until I started to appreciate their playing, it is strange how pretty random things can influence our taste, I somehow also ignored that a lot of the rock bands that I listened to did not really improvise either.

Luckily Johan, the bass player, had an Aebersold album that I could borrow so that I could try to learn to play. If you don’t know what an Aebersold album is, then it is a book with sheet music for some songs and backing tracks for all those songs which is great to practice with if you know how to read and interpret a lead sheet.

At that time I had never listened to Jazz and the only Jazz song I had played was Mood Indigo where I had managed to teach myself a G7(b13) chord,

but I had absolutely no idea what to do with all the chords in that book, the most Jazzy song I had improvised on was probably T-bone Walker’s Stormy Monday which is still just a 12 bar-blues.

I started listening to the Aebersold cassette and the first song was Green Dolphin Street. Of course, I only had the backing track so I listened to the groove in the bass intro (which was a bit confusing) and especially the chords which sounded amazing with a lot of colors and it was moving around in ways I wasn’t used to which I found really interesting. I immediately set out to try and learn to improvise over that song.

Listening To The Song

If you want to learn a song then one of the first things you want to do is to listen to the song, that seems obvious. When I am working on a song then I usually check out several versions and also try to figure out what the “famous” versions of that song is.

But I was in the situation that I had ONLY the backing track album, and this was in 1994 without any Spotify, YouTube or iTunes then I had no idea how people played the song. Remember that I had no experience with listening to or playing Jazz, and the only source of music I had available was the library where it was hard to find specific songs if you did not know what album it was on or who had recorded it, which is really a pity because the Coltrane/Miles versions of this song would probably have been really cool to check out and would have made the whole thing a lot easier.

Learning the Melody

From the Aebersold book, I could spell my way through the melody, even though Eb was not exactly a key I felt familiar with. I might have had an advantage because I had been playing with my guitar tuned down a half step, just like Hendrix and Stevie Ray Vaughn and I had had to sometimes play in fairly odd keys because of that when I was playing with other people, but reading the melody of the song was certainly a challenge and something that I could at most spell my way through. This meant that I did not spend a lot of time on it, since that was anyway not what I wanted to do, I wanted to improvise, I wanted to solo on it.

What I did not know was that, If you want to learn to improvise over a Jazz standard then one of the first things you want to learn is the melody. The two main reasons for this are:

#1 The Melody is what you use to hear the harmony

So you hear the melody note and from that note, you hear the rest of the chord that is around it,

that is much easier than hearing 4 beats of Cm7, just try…

#2 The Melody is what gives you the form

Instead of counting bars while you play you hear the melody as a guide through the form so you don’t get lost.

Not having the melody internalized made that VERY difficult, mainly I then had to count to keep track and the chord progression, which was anyway completely new to me. I had never heard of a II V I or a III VI II V anyway. I actually think that I could have gotten a lot further if I had learned the melody first and if someone had told me to do that, but nobody did, so I tried to count and keep track while I was improvising, which was a very poor strategy.

Modal Improvisation And Scales Sucks for Changes

What really drew me to Green Dolphin Street was probably that it had the A part with shifting maj7th chords that sounded both complex, surprising, and still pretty smooth or natural, and that was also what felt was the easiest to solo on, or rather possible to solo on.

That part of the song feels more “modal” and is not really a typical jazz progression. The 2nd 8 bars with the two II V I progressions with an altered dominant were impossible. I didn’t know what a II V I was, so I certainly had no vocabulary for that, and altered dominants were also pretty far out of my reach even if I knew what scale it was.

The way I had been taught to improvise at this point was to look at the chord progression and then figure out what scale to use and play something with that scale.

The skill of really spelling out changes was not something I was really aware of, and combining that skill with a chord progression so that your solo would flow through the changes was also not something I had heard of. Everything was per chord, and not about playing specific chord progressions. The other approach I knew was to have one scale that fitted the entire song and just use that, but I could not find a scale that had an Ebmaj7, a Gbmaj7, a Fmaj7, and an Emaj7 chord in there….

I could barely figure out what to play on the chords and had no idea how to tie together those melodies then 200 bpm is pretty fast! Those parts of the song were mostly just crash and burn, and often I would get completely lost trying to count and just play something.

This is really why you want to learn some vocabulary and also work on soloing over specific progressions like II V I and turnarounds, which will then give you much better tools to handle blocks of chords within songs, it isn’t just one scale per chord, and knowing the building blocks of turnarounds and cadences helps you hear what is going on. That way you are moving towards improvising more freely over the progression.

The Weird Paradox Of Difficult and Easy

The way I learned to improvise using chord scale relationships, is not that uncommon, and it is also sort of a logical next step if you deal with shorter progressions where you don’t have too many chords. Often that means that the first songs you are given by a teacher are modal, so different chords next to each other with no really harmonic connection. Songs like Cantaloupe Island or So What are typical examples.

This way of learning improvisation is useful because the songs are easier to play over, you don’t have to think about a million chords, scales, and arpeggios, but they do have a problem if you want to later play songs like Standards and Bebop Themes.

Jazz as a language was not developed by playing over a static chord for a long period of time. It was developed by improvising over Jazz standards which have faster-moving progressions, and a part of the language is how the solo incorporates those chords into the lines. You need to learn to think ahead and also to play a melody that spans several chords.

That is difficult if you are trained to think about everything one chord at a time and not have an overview of several chords in one phrase. In that way, the modal pieces don’t really help you get better at playing faster moving progressions since the chords don’t move in the same way as they do with Standards and you are not working on what connects the two chords.

At the same time, it can be really useful for a beginning improviser to work on a modal piece because it helps develop a sense of period (so feeling the bar, and the 4-bar periods) and a lot of modal progressions have really surprising chord changes that are easier to hear so that you don’t get lost when you play because you can easily hear what is going on.

This can be much more complicated with a Jazz standard. So there are pros and cons to learning modal pieces in the beginning that you might want to be aware of, but of course mainly if you aim to learn to also play Jazz standards.

My Aebersold backing track was clearly way too fast for me to play over it, and in this first attempt at learning a Jazz standard then I did not sit down and make my own slower and clearer backing track which is what I did later, just recording me playing the chords, but there is a funny side effect to practicing slowly when it comes to Jazz.

Practicing Slowly – The Wrong way

Any song that you play slowly enough becomes modal. You can easily try, just play a II V I but make each chord 4 or 8 bars long, and then you will hear how the forward motion of the progression disappears. This is also how The 2nd Miles Davis quintet made songs like Stella by Starlight and My Funny Valentine into modal pieces: slowing them down so that the function of the harmony disappears.

So when you want to practice slowly on a Jazz standard, then maybe it is not about taking the tempo too far down that will work against you because you can’t hear the flow of the harmony which is as important if you want to develop your jazz skills. Instead, you can slow other things down so that you internalize the harmony and learn to improvise over the chords. I have other videos on improvising with chord tones and in my course, I even reduce that as a starting point before gradually helping you develop your playing so that includes arpeggios, scales, chromatic phrases and octave displacement.

Another important aspect is to focus on the short chord progressions that are the building blocks of a Jazz standard progression. That is what makes it both easier to remember the chords and also what will make it easier to improvise over them because you have those shorter building blocks in your ears and in your fingers.

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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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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

Download the list here

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How To Learn Jazz Guitar – Suggestions To Begin Studying

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This is a question I get very often. And that is in no way strange. Starting to learn Jazz guitar is the beginning of a long journey with a lot of interesting stops along the way.

In this video and post, I will try to give you some places where you can look for the things you feel you need to check out and of course also what you think is interesting.

Learning Jazz, or any other style of music is not a set path the fits everybody. We all take different routes and need to work on different things longer or shorter. That is also the reason that there is no set way to go through this and why I am calling it suggestions. You need to figure out for yourself where to go next. If I have a student learning Jazz it is common that I take a few lessons to figure out what to work on and how to work on it, so expect that when you start working as well.

That said, I will try to make this a little less complicated and stop the information overload a little because I don’t think that is really necessary.

To keep it a bit short I am going to focus on three main topics:

Technique and Scales
Chords
Improvisation and Songs

Technique and Scales

Keep it simple. Start with the Major scale. Don’t overdo technique practice.

Start with one position and one key. You can add positions and keys along the way, with basic exercises.

Start with these exercises:

The Scale
The Scale in 3rds
The Diatonic 7th chords (Maybe Triads first, but many don’t have to)

For more information on what to do work on and how to use it:

The Most Important Scale Exercise In Jazz – Basic Scale exercise and Scale in Diatonic 7th arpeggios

Practice Major Scales like this and You will get more out of it! – More thoughts on scale practice.

How to practice your scales and why – Positions – A bit of a deeper look into options with scale practice and suggestions for exercises

Jazz Chords – A solid set and learn some songs

It is practical to learn some jazz chords so that you can play chords on songs. As jazz guitarists, we spend more time comping than soloing. It is also a huge help to be able to hear the harmony that you are soloing over.

I have a study guide for Jazz Chords where the first two or three lessons will give you more than enough. How to Learn to Play Jazz Chords – Study Guide

Especially I would start with a set of diatonic chords for the major scale which is exercise one or two of this lesson: How to play Jazz Chords on Guitar

From that material you can gradually expand chord vocabulary, learn songs and progress into rootless voicings and more complex comping and harmonization ideas.

Improvisation and Songs

This is the most important part of how to learn jazz guitar because this is where we talk about playing music. So it is about using the material that is practiced in the scales.

If you want to play jazz you need to spend time playing the songs and improvising and you should start doing this from the very beginning. Even if you can’t really play solos that sounds like jazz, just by trying you are building repertoire and skills to use later.

A few things about improvising over changes:

How To Solo Over Chord Changes The Right Way

A practical example of improvising with arpeggios:

How to start soloing over a II V I with arpeggios

For more examples of songs, easy chord melody arrangements and similar then you should browse through this playlist of easy YouTube lessons:
How To Begin Jazz Guitar – Easy lessons to gain an overview

If you start making your own Jazz Licks and develop your improvisation by working on coming up with your own lines then maybe check out this lesson:

How to write Jazz Licks – What You Want to Know

Jazz Standards to start with and how to learn them

When it comes to which songs to start with then I would suggest you start with one of these 10 songs:

The First 10 Jazz Standards You Need To Know

And some of the exercises and things to focus on when learning them are covered here:

Learning Jazz Standards – Important Exercises

Next level for Jazz Guitar

Maybe you already feel comfortable with the things I covered here, and you are looking for more challenges and explore the music further. Of course, you can browse the YouTube channel and my Website.

Check out the other study guides here: Study Guides For Jazz Guitar

Another option is to join the 6000+ members of the Jazz Guitar Insiders Facebook group and ask there, get inspired by the posts and comments of others:

Jazz Guitar Insiders

The Jazz Guitar Roadmap

My online course is a series of lessons set up so that you start at the beginning and work towards playing solos and making lines.

✅ An organized approach for practicing and learning Jazz Guitar

✅ How to get you started playing solos that sound like Jazz

✅ What you need and how you start coming up with Jazz lines

But don’t take my word for it:

“This is by far the best Course out there for anyone wanting to get into Jazz Guitar and overwhelmed by the amount of study material available. Jens Larsen has a way of providing you with what you need at the level you are at and you will be amazed at how much improvement you will see both in your playing and understanding of Jazz Guitar and associated Jazz vocabulary.

Thanks, Jens and I look forward to a follow up course if possible!”
– Ger Leahy

Get an invitation to check it out here: http://bit.ly/JazzGtRm

Or join me on Patreon where you can support and help shape the content on the channel in the future. Patreon is really what has made all these lessons and the channel possible.
Check it out here: Jens Larsen YouTube Lessons on Patreon

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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