Tag Archives: learn jazz guitar

3 Stupid Mistakes You Should Avoid When Learning A Jazz Standard

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 Things That Stop You From Learning Jazz

I often see comments from people who are completely blown away by how complicated and difficult Jazz seems to be. I can easily understand why it will come across like that, but instead of being overwhelmed by funny scales names, crazy chords, or scary rhythms then there is a more relaxed way to get started. As you will see, you can make things simple and easy to work with so that you can start building your skills and enjoy the journey without being scared of falling off a cliff while climbing the Jazz Guitar mountain.

Let’s get into the first problem:

A Million Scales

That is, of course, not true, in fact, if you just start with the major scale and just use that then you will get really far, you could also start with the pentatonic scale, but that is a little more complicated and I will talk about that in a bit. In my experience, the easiest thing to do is to start with the major scale. Along the way, you need more, scales but there are plenty of songs where you can get through them with a major scale in a few different keys, think of songs like Pent Up House, Take the A-train or So Danco Samba.

And don’t start with the “all keys and all positions” stuff, if you can play the scales you need for the song in one position and in the key that you need them, then you can start playing solos. Remember that this is the real goal of the whole thing. Pick up the rest along the way. Don’t waste your life practicing all permutations, positions, and inversions of things that you don’t know how to use.

Starting With Pentatonics

When it comes to starting with pentatonic scales then that is possible, there are songs that you can work through and get started learning just using pentatonic scales. Mostly those are more modern modal pieces, so songs like Herbie Hancocks Cantaloupe Island or Maiden Voyage, which is probably also why both of those are on the famous Jamey Aebersold beginners album Maiden Voyage.

One thing that you do want to keep in mind with starting with pentatonic is that probably what you think of when you think of a Jazz phrase is not pentatonic. All Jazz artists use pentatonic scales, but the phrases you think of when you think of Jazz are very likely more major scale and arpeggios maybe with some chromatic leading notes, and you don’t have that material with the pentatonic scale.

That doesn’t mean you can’t improvise over the songs, but you want to be aware that you might not get the sound you want. So keep in mind that if you “upgrade” your pentatonic scale with 2 extra notes then you have a major scale, that is far from impossible to learn.

When you start out playing Jazz, then you might need some help finding songs and scales, and here I could try to sell you my course because that actually teaches a song like this, but you can also just join the Facebook group and ask there. That is free, and there is a link in the description.

Impossible Theory

When I started out learning Jazz and learning the first Jazz Standards then I did not know a lot of theory, I knew a bit of chord/scale stuff so that I, for the most part, could figure out what to play on the different chords and then practice that. In fact, in one of the first lessons I had, my teacher told me to play #9, b9, and b13 over a dominant, which for quite some time was the only thing I could play on dominants and I could NEVER get that to sound good!

But I still managed to power through. Mostly by being very stubborn, and in the beginning, my approach was that if I could really not figure out what to play on a chord then I could play the melody or find a few good notes like the arpeggio, which gave me a way to survive, and still play the song. It sort of gave me space to figure it out later..

The Advantage of NOT having Internet

In a way, this is one place where I was maybe better off that there was no internet. I would need to try to find a book in the library or wait until I had access to a teacher before I could figure out a chord that didn’t make sense, and that made it easier to just fix the problem with a temporary solution and then wait until I could learn more. Now you can go on the internet and disappear down a rabbit hole spending hours or days googling German augmented 6th and Common tone diminished chords, and the worst part is that often one source says one thing and another will tell you the exact opposite.

So I guess my advice is to not be afraid to cut some corners or only have one or two notes that work on a chord in the beginning. It is about playing the song, that is the bigger picture and you can work on the details along the way without having to spend hours on understanding the analysis of the voice-leading of the original piano arrangement.

The music theory is there to help you play and understand what you are playing, and most of the time you can get really far with Major scales, basic diatonic chords, and a few secondary dominants. No need to make it more complicated than it is.

Complicated Chords

If you are sitting down to play and look at a piece of sheet music like a lead sheet or a big band part then it can seem insane how complicated and detailed the chords are.

And it seems like you have to use quantum physics to play through the chords of the song.

One thing that is important to remember is that in Jazz, chords are there to be interpreted, so if a composer or arranger writes something with 2 or 3 extensions and alterations then that does not always mean that you have to play that, that is just a description of what is happening in the music at that point.

So instead of worrying about all of that then you can also start with just playing the basic chord, which on guitar usually means playing the shell voicings with or even without the root. You start there and then you can add the rest later when you are comfortable reading and interpreting chord symbols like that.

No matter what level you are at this is a great exercise, and all the chords can be boiled down to more basic 4-note chords and you just ignore the rest and don’t play those for now.

And shell-voicings is where you want to start. If you want to see how powerful the shell-voicings are and how there are many ways you can use them to play Jazz Standards then check out this video, there is a link in the video description.

Jazz Songs: Somebody Spilled Alphabet Soup On My Sheet Music

This is of course closely related to the previous topics of theory and chords and how things might seem incredibly complicated, but also with songs there are places you can begin where it is not immediately Giant Steps played backward in 11/8.

There are a few things you can get right that will make it easier to learn songs in the beginning. And these are pretty much all things that I did not manage to get right when I started out, I will tell you about that in a bit.

  1. Pick a song that has a clear and not too long form: 32 bars AABA or ABAC maybe a 16 bar form, these are all common Jazz Standard forms.
  2. Make sure that you stick to things with mostly basic progressions like II V I and turnarounds, stuff you can recognize
  3. Take a song in an easy key so that you don’t worry about that
  4. For ear training, it is often easier to take songs that don’t modulate too much and are clear and easy to hear

The first two songs that I learned were Stella By Starlight and There Is No Greater Love. Both great songs, but if you hold them up against my points here then they far from ideal

If you want some better options then check out the video I did suggesting 10 Jazz Standards to begin with, I’ll link to it in the description. There are a lot of fairly easy standards so you might as well start there and not shoot yourself in the foot to begin with.

For the first songs, you don’t have to learn them by ear, but it really does pay off to get started with that pretty quickly begin with the melody, and then later you can add the bass and use those two things to help you figure out the chord.

Transcribing Solos

A key ingredient when you set out to learn solos by ear is probably just enthusiasm that hopefully turns into stubbornness. That was at least what it was like for me. The first things that I transcribed really just came from loving how Charlie Parker and John Scofield played and then being really curious as to what the HELL they were doing because I really liked it. Then a ton of banging my head against the wall followed while I tried to figure things out. I guess I was lucky that I mostly connected with the bluesy Parker things so there were songs and solos that I could figure out like the theme from Bluebird and the solo from Now’s The Time where he uses the same lick as in Billie’s Bounce, and I did not learn entire solos just the bits and pieces that I could figure out. The same goes for Scofield where I had heard All The Things You Are and I could (probably sort off) play the melody but when I listened to his version on Flat Out it took me somewhere between 10 and 20 seconds to be completely lost.

But similar to how I made horrible choices for songs then you can actually find some pretty easy solos that you can learn, and learning solos by ear is the most efficient way to learn phrasing and begin to hear the right type of melodies and rhythms. It will teach you so many things that you don’t want to rob yourself of that experience.

When you are trying to choose solos that you want to learn by ear then try to check most of these boxes for the solos you want to learn, just to keep it practical:

  1. Take A Short Solo
  2. Choose a solo on a song you know
  3. Be sure that it is not technically out of reach?
  4. Pick an artist that you really like
  5. Pick an artist that you have already listened to A LOT!

And in general, listening to a lot of Jazz music will really help you with a lot of these issues. Even if it is just by listening for a few hours every day in the background then that will pay off massively later, just by getting the music into your ears, a basic feel for the melodies and the rhythms that you don’t get if you only practice the music without actually listening to it.

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This Is Ruining Your Jazz Solo – A Powerful Bebop Breakthrough

You have a problem if your Jazz solos sound too much like this:

In a way, this should work because a lot of things are right about this:

  1. It is nailing the changes
  2. There’s a place where you can add a nice Bebop accent
  3. It is actually also a motif that is being moved through the changes.

But it still doesn’t really sound ok, So what IS the problem?

“It is Jazz! It needs chromatic notes!!!”

Still not really working, let me show you why:

A great jazz line should surprise you, it should not only change direction on the heavy beats like this or even the previous one did.

Because that makes it sound heavy, the lines should have more life and more interesting rhythm, not just go from heavy beat to heavy beat like a lawnmower.

Instead, you want something that is more like this:

Of course, It isn’t so that you can never change direction on a heavy beat, but not all the time, and it pays to figure out how to make the line more surprising, so let’s look at some surprisingly easy strategies for that.

Flipping Chromatic Enclosures

A simple chromatic enclosure that you probably already know is a great hack for this!

So if you have a Dm triad

then you can add the enclosure around the notes like this:

These are called diatonic above chromatic below.

The great thing about these is that they have a direction, and can go both up and down:

And that is much more powerful than you think.


Let’s say that you are playing a Descending Dm7 arpeggio:

But you want to add a chromatic enclosure around the last note, the D. The arpeggio is descending, so if you also take a descending enclosure then you get:

But if you have the enclosure go against the descending melody then you get this:

I am sure you can hear how HUGE that difference is!

And this will help you create lines like this:

Throw In A Triad

Another useful tool is to use the diatonic triads like I am using the Am triad on Dm7 in this example:

The concept is pretty simple if you have a note  where you can dip down and take a triad that fits the chord,  then that will work as a way to skip around and still be a strong melody.

In example 10, I did this on the E adding an Am triad. But you could also just take the A and use the Dm triad:

That will work in a line like this where I also use it on a D diminished triad on the G7(b9):

Steal a Bebop Trick

B-roll: Illustration of the F and E -> add low A?

Often a fantastic solution is to get a large interval skip in there but that sometimes sounds very unnatural. Luckily, we can lean on the Bebop greats to give us some tricks for this!

If you are playing a melody in the scale with a half step apart, so for example F down to E on the Dm7 chord then you can throw in a lower chord tone like the 5th, A:

And this always sounds great, another place where you can use that is on the G7 between the b9 and the root adding a low B:

One of the most powerful places to learn this and also get a ton of inspiration is of course to study the Bebop Greats, and especially Charlie Parker. Check out this video, If you want to see what you can pick up from him and also how I use that in my practice and playing. I can promise you that it is worthwhile and a lot of fun!


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5 Habits To Help You Learn Jazz Faster

You don’t learn to play Jazz Guitar in 20 minutes, it is a process and a set of skills that you build over time through practice. That is why you want to get used to doing things the right way, build the habits that help you progress faster so you are not wasting your time.

In this video, I want to discuss some of those habits that can help you level up your playing a lot faster because some of these are not obvious but they are all incredibly effective!

Practice Consistently

When I was studying mathematics at the university in Århus there was a summer where I decided that now I REALLY needed to start practicing every day, something my teachers had been telling me forever. And I still remember going to practice with my band for the first time after practicing daily for a few weeks. The instrument had just opened up for me, and I could play all these new things that I had never been able to play before, which felt amazing!

To be honest, I never had that again, but I immediately learned the lesson of consistent practice and what it could do. Which is maybe one of the most important things I have learned?

But it is more than just playing every day. If you want to improve something then you need to work at it until it really gets in there, and that often takes fairly long, like weeks or months.

The main thing to keep in mind with this is that you want to keep working on the same exercises for some time and track how you are progressing.

Here you keep playing the exercises to get better, and you track your progress to stay motivated. What you want to avoid is that you just scratch the surface and practice something new every day without really getting better. That is a lot less efficient.

This has often been a part of how I have worked when I have really improved my playing, especially with technique and speed but also with other things like improvising over difficult chord changes.

It is useful to often remind yourself that nothing will suddenly be something you can just do, you always have to practice, but you will see that later in the video as well.

Evaluate Your Practice

“Insanity Is Doing the Same Thing Over and Over Again and Expecting Different Results”

This is often put forward as an Albert Einstein quote, but it probably isn’t.

While Jazz Guitar may qualify as some type of mental illness, then what this will teach us is something else. You need to check if what you practice also helps you get better at the skills you want to improve.

If you are following the advice of practicing consistently then you also need to look at what you practice and compare that to what is improving in your playing, and maybe look at what you want to get better at and change or come up with exercises that focus on that skill.

You can do this by trying to have a list of goals that you want to improve. That is anyway a good exercise, because the more specific you can be about what you want to learn, the easier it will be to learn it. It is amazing how much time is wasted fumbling around in the dark. You won’t learn to improvise over a Jazz Blues by practicing scales or get better at comping by just practicing chord voicings.

This is very important so that you don’t spend hours working on something that won’t help you get better at the things you want to level up, and one of the main things to have in there is the next habit:

Use What You Practice

I say this very often in my videos, and it is something that I have to remind students of all the time!

“Work on using the things that you practice if you want them as a part of your playing!”

And this goes for diatonic arpeggios, drop2 voicings, or pretty much anything else. If you don’t have a strategy for getting it into your playing then you are probably wasting practice time.

Building this habit often means that you have to find a way to go from a basic technical exercise into something you use while playing, and often the missing link here is to use some form of composition and explore how you can connect the new material with all the other things you already have in your vocabulary.

This is something you want to keep in mind with your evaluation of your practice routines and pay attention to so that you make sure that you get the most out of all the exercises you do and that you are not wasting time on stuff that you can’t use.

It is also something that you want to think about when you come up with exercises, if you practice something that you have no idea how to use then you should wonder if it is really what you should be practicing.

Borrow Other Peoples Ears

I guess I am old-fashioned with this, but I am pretty sure that the most efficient way to learn is to take lessons with a good teacher. You can always disagree in the comments.

The important thing to realize is that if you are learning something new then you have to rely on your own ear to figure out if it is good enough or what is wrong, and sometimes we forget that you need a trained ear to recognize things like phrasing problems, swing-feel or even just how melodies lock in with the changes.

That is the biggest part of why you take lessons to get access to an experienced listener that will tell you what to work on. That is also why I use the community in my online course to give feedback on how the students are doing, which even helps with things that I don’t always talk about in the course.

If you don’t have access to a teacher in some form then you can also find people to practice with or even use Facebook groups like my Jazz Guitar Insiders group. Posting a video and saying what you are working on can give you a ton of useful feedback. With posting videos on the internet you do want to be aware of the amount of nonsense you can also get, so it pays to know who is commenting so that you know who to listen to and who to ignore

Play With Other People

Jazz is not a solo art form. It was developed in bands and it is about making music together and communicating with each other while improvising, but there are more reasons why it is very useful to make music with other people.

For me, this was always the most fun part of playing Jazz; Making music with others, and that is also clear from the fact that I learned a huge chunk of my repertoire playing in the streets of Copenhagen with a bass player before I started studying in the Hague.

What I see as the most important advantage is that you

  1. Are forced to play and make things work
  2. Have to take everything to where you can use it
  3. Have more fun and stay motivated.

And these are all 3 more important than you might think when it comes to learning, so if you don’t play with other people and you want to play better Jazz, then seek out the opportunities and find people to play some songs with and both learn and enjoy that experience.

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

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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An Overlooked Skill That Will Give Your Jazz Solos A Massive Boost

It is funny how sometimes a single solo that you hear can really change the way you think about music and what you are trying to learn.

In this case, it was a pretty obscure video and a single solo, that I kept coming back to and that has influenced what I practiced for years, and I never even transcribed it, I just realized that I needed to figure out how to get that one thing a lot stronger in my playing.

The solo I am talking about is this incredibly low-resolution Jon Damian solo, where he is playing Sweet Georgia Brown in a duo with Jake Langley, both, of course, amazing guitarists.

A part of what made it stand out is probably the contrast between Jon and Jake’s solos, where Jake is playing a lot more traditional Bop-oriented 8th-note lines and Jon is relying almost purely on sparse melodies and A LOT of creative and swinging rhythms.

When I first listened to this then I did not immediately get what it was that I liked so much about the solo, but that is why I kept coming back to it and I tried to figure out why I thought it was great. Gradually I started to realize that it was about playing more interesting rhythms and not focus as much on 8th note lines which is what I had done until then. I needed to learn to hear phrases with that type of rhythm.

What Is The Difference?

Let’s first look at what I am talking about. A great but dense 8th note Bebop line could be something like this:

But Jazz is also about syncopation and rhythm and what you also want to be able to do is improvise lines like this:

And here you have fewer notes, but there is a lot of energy and tension in the rhythm that really comes to life, Who said early Jim Hall?

Get More Creative With Rhythm

So How Do You Practice This? Ironically the best way to get more options is to limit yourself and use that to develop your skills.

Let’s start with a simple rhythm, something you compose or take something from a solo that you like. Actually, there are some great themes and solos to check out for inspiration, but I will come back to that later.

In this rhythm, I am just using a few notes to keep it flexible. Here, I am using 2, but 3 would work as well. Just make sure that you don’t make a long complicated phrase like this:

And that is because you want something you can work with, and make variations of and eventually even take through an entire song.

Displaced Rhythms

Displacing rhythms is actually a very important part of jazz phrasing and jazz melodies if you listen to songs like Bernie’s Tune or Broadway.

You can practice is to take the basic phrase and then move it around, that can be in like this where I am shifting the phrase around one 8th note at the time:

Example 5

Of course, this is a pretty intense exercise and you can also just work with this as a way of composing lines and in that way expand the rhythms you use. This could give you a II V I line like this:

Another thing that can be fun is working with this on a one-chord backing track is a great way to learn to hear more rhythms and in that way expand what you can do, and gradually start to move it over to more complicated progressions.

Developing Rhythm and Melody

There is another way that you can develop more rhythmical playing, which will also lead me to give advice that I usually never give..

What you can do is explore simple ways to make variations of the rhythm.

Since there is a fair amount of space in the main rhythm that you are using then you can easily explore how to make variations by adding more notes here and there.

When you have very active rhythms like this then it is often easier to use very basic melodies. Usually, I suggest working with arpeggios, but you should probably start by using scale melodies here because that is less likely to sound like abstract skipping around.

You can of course also explore removing notes or shortening the phrase instead of adding to it and in that way take it further

Who To Check Out?

Anything you want to learn, you also want to learn at least partially by ear. You need to know what it sounds like.

I have already mentioned that you should check out themes similar to Bernie’s Tune or Broadway. Actually working on Bebop themes in general, is very useful, because even if Charlie Parker often plays more dense lines then these rhythms are certainly there and most of his compositions are not great examples to learn from. This is also one of the main reasons why Donna Lee may not be written by Parker since it is a lot more dense and on the bear than the rest of his compositions.


As you can probably tell by now, I am using the same tools for the rhythm that I use when I am working on melodic skills in solos. Another great way to work with melodies is to use Call-response.

The concept here is that you listen to what you play and then come up with a response to that.

In this case, the main statement is relying mostly on off beats, which creates tension, and then a logical response will be more resolved and have more downbeat. That is also what you can see in both of the examples of responses.

Of course, these are just examples of what I hear as a response, and you might hear something completely different, which is actually great.

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The Great $400 Guitar I Used On 5 albums

This is a REALLY cheap guitar and it was my main guitar for quite a long time. I used it on several albums and played all my concerts with it for a few years. That is what this video is about.

It is also about how you can find very solid instruments for very little money and with a few modifications make them sound and play, something that is a good option for a “first” Jazz Guitar, and later in the video, I will talk a bit about guitar prices and quality in general.

Getting Started With Jazz

Most of you guys see me playing semi-hollow guitars in my videos, and that is what I play 99% of the time mostly my Ibanez or my Gibson, but when I started at the conservatory I was playing a Strat (which I had strung up with flatwound 13s, not the most obvious of combinations) and later that year I bought the ES175 that you have probably also seen in some videos.

The story with the Gibson is actually a bit strange, a friend of mine came across it in a shop in the Hague. He couldn’t afford it, so he told me about it and I tried it out and went directly to the bank and took it home. I played the ES175 for my entire education and the first years after my graduation. An odd tangent about this guitar is that a few years ago I found out that it had been stolen 10-15 years before I bought it, but that is another story maybe for another video.

After I graduated from the Royal conservatory, I was listening to a lot of musicians that had a different sound from the more traditional sound of my ES175. Players like Kurt Rosenwinkel, and Ben Monder. After a lot of experimentation with delays and reverbs, I realized that I couldn’t really get the ES175 to do that type of singing sustained mid-focused tone, which is really the semi-hollow thing to me. So I needed to find another guitar and I needed to figure out what it was that I wanted.

2nd hand instruments and trying guitars

When it comes to investing in gear then I am usually very cautious, even if I do have some expensive stuff like Fractal Audio gear and vintage Gibson guitars. I don’t usually just go out and buy an instrument on impulse.

At the time, I didn’t feel comfortable just getting an expensive semi-hollow since I wasn’t 100% sure if that could give me the sound I wanted or that it played like I wanted, in part also because I was aware that I wasn’t 100% sure about what I wanted.

I started checking out what was out there, different models, new and vintage. Looking across Ibanez, Yamaha, Heritage, Epiphone, and Gibson. I realized that the Epiphone Sheraton was a fairly cheap model so that was quickly the type I focused on. But, While I was checking that out I also tried some other types and brands, among other things I remember a Scofield signature Ibanez in a shop, but that was set up so badly and had strings that were as old as Scofield, so I didn’t investigate those any further. Instead, I focused on the Sheraton, mainly because I had seen Kurt Rosenwinkel play one live at the North Sea Jazz Festival a few years earlier, and I really like his tone and especially being able to get more sustain so that I could play chords under a note that kept ringing and really get notes to sing much more.

The Guitar Chooses You

Since I didn’t want to spend too much money, and I had read about the Korean Sheratons being better than the Indonesian-built version, I started searching for second-hand Sheraton models and asked for serial numbers to figure out when and where they were made. I ended up searching for 6 months and trying around 20 of them in shops and for sale privately before I found one that I liked in the Spring of 2008.

For me, this was always important. I have never bought a guitar that I did not first play, and I find that difficult to do, ordering a guitar in a shop like Thomann or Andertons and never trying it before you buy it seems pretty scary, though I guess that is also what you have when you order from a builder, but then there are other differences as well, I’ll talk a bit about that later in the video with discussing the prices of different guitars.

When it comes to choosing a guitar then there is almost a part of it that is also how that specific guitar fits you. It has to have the right vibe and resonate with you, and this one did. I somehow always had that with the guitars I ended up buying. The vibe thing, and I have let quite guitars go on that account as well.

The Guitar – New pickups and electronics

This guitar plays extremely well, I also had it set up by Angelo from Panucci guitars and he certainly adds his own magic, since he is an amazing builder and tech. I loved how it played and I immediately started to use that as my main guitar and did all my gigs on it. It was almost what I wanted it to be, I just need to fix a few things, and realize that they needed fixing (which is half of it)

So about this guitar: It is a 2000 Korean-built Epiphone Sheraton. It is pretty heavy, mainly because it is built largely from mahogany. If you have back problems, then this is not a guitar for you. These guitars also have a very thick finish and the neck is fairly flat and wide, but that also means that it can be set up to play very easily with very low action, very suitable for legato playing. I had 13s put on it and it played so well, obviously still does

What I did realize quite fast was that the guitar needed new pickups. The stock pickups in the instrument were not fantastic. They lacked definition in the lower frequency range and easily sounded undefined and muddy. Now that I had a great playing instrument I was more willing to invest in upgrading the pickups, but I was still careful because I had absolutely no idea about different brands or any real experience with humbuckers, so I read a lot of stuff on the internet about pickups that meant almost nothing to me and I set out to find some 2nd hand pickups. I originally wanted to get Seymour Duncan Seth Lovers, which is also what happens to be the neck pickup on my Ibanez and they are really solid. I had also read about other more boutique brands like Lollar and Bareknuckle, but they were more expensive than the guitar and it didn’t really make sense to buy pickups that were more expensive than the guitar.

That’s another thing that is vastly underrated: Buying 2nd hand gear, You get so much more for the money, and a warranty on a guitar means very little, if it is crap or if the wood did not rest enough and goes bad then you are anyway screwed, though that is really something for VERY cheap guitars.

While I was looking for 2nd hand pickups I came across some Bareknuckle “The Mule” pickups and thinking what the hell, I made a really low bid on them which to my surprise I got them. With these pick-ups, I went to Panucci Guitars and asked Angelo to change all the electronics and the pickups.

This made the guitar sound 10 times as good! Everything became so much clearer and it retained the singing sustain quality. Essentially it was now the guitar that you hear now and at the beginning of the video.

Putting it to use

The guitar went with me to work, quite a lot of studio stuff. I was on a short tour in Africa, where I also had to fly back and without sleep go directly to the studio to record an album.

Don’t EVER do that….

Somewhere in that incredibly long session, there was a take at the end of the day, so after 10 hours of recording, where I literally fell asleep in the middle of a take. I also used the Epiphone on the 2nd Træben Album, Push which features Top Dog, the song we were playing on TV at the beginning of the video. At that time I had switched to using the Fractal Audio AxeFX for pretty much everything, but there is also another very old video on my Channel which is the Sheraton through my AER compact60 amp if you want to hear it amplified in a different way.

I did make one mistake though: Angelo actually offered to make me some pickups instead of the Bareknuckles, but I said no at the time because I was very happy with how much the clarity had improved. In hindsight, I should have taken him up on that. His pickups are really good and would probably improve the sound of the guitar quite a lot. The Bareknuckles are pretty dark for an instrument that is already quite dark sounding, but they still do the job for the type of sound that I mostly use, I did consider changing them though.

Pickups and Cheap Guitars!

This was my main guitar until I got the Ibanez that you know from the YouTube videos in 2012, and that was also the guitar that I took on most of the Træben tours in Europe and the one time we went to Canada.

So My way of easing into Semi-hollow guitars was:

  • Find a cheap but decent model and then
  • Trying a lot of different guitars before choosing one that is a good deal
  • Replacing the wiring and pickups, and have it set up properly.

This was not very expensive, I ended up with a very good instrument for less than 1000 dollars, and it is nice that you can find an instrument and then along the way decide to upgrade it. I could probably get it to sound even better with some slightly brighter pickups, but it is already a very good instrument like this, as you can hear.

I actually also wore down the frets along the way so they were replaced as well, but that was mostly just because I was practicing really a lot, and at that time I had to have frets changed or polished once every year, but again Angelo did a fantastic job and the new frets on it are made to last longer, they are not stainless steel but they are harder than nickel. I’ll link to that type of fretwire in the description, they are pretty amazing and play nicer than steel in my opinion.

Frets: https://www.jescarguitar.com/shop/jescar-fret-wire-47104/

Cheap vs Expensive Guitars

So overall, this was a fun process and adventure where I learned a lot about guitars and pickups because I also had to figure out what I wanted. And for that alone, it can be a great project to undertake.

The Downside to this approach is that it is very time-consuming, so you have to have more time than money or really enjoy checking out guitars and figuring out what you need and want.

As far as I can tell, by now even the cheaper instruments are built extremely well, and you can get pretty amazing quality for very little money leaving a lot of room to upgrade things like pickups or tuning pegs, nut, and all that.

And maybe I have a controversial opinion on this, but to me, this option only really is in competition with the more expensive factory-made instruments. To me, that is the biggest difference, because you can be really lucky and find a factory-made guitar that is great, but the biggest difference with the price is the pickups and the other stuff, not so much the construction of the guitar since they are both factory-made.

Now, most of the time if you go to a handmade instrument then you pay a lot more but you also get an instrument where everything is made to fit together and much more care is taken with the choice of material and really putting it together perfectly. In general, instruments like that are more balanced, play more consistently, and just better. It is in the details, but it is there and you can tell when you play an instrument made with the attention to detail that people like Richard Heeres, Angelo, or Schottmuller, or a place like Collings.

And going to them will give you a great instrument every time where you have to be a bit luckier with something mass-produced.

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5 Jazz Guitar Tips That Will Save You Years Of Practice

In this video, I will go over 5 things that were game-changing for how I learned Jazz so that you can use those as well.

When you are in the process of learning something, like playing Jazz, then there is a part that is just hard work for a long time, and then there are moments that really change the way you think about something and help you progress a lot faster by practicing in the right way.

#1 Think Ahead

When I started playing Jazz, I spent months practicing before I finally could play a solo on 2 Jazz Standards. I chose to start with Stella By Starlight and There Is No Greater Love, and both of those are pretty horrible choices for a beginner with way too many chords and complicated progressions, but luckily I was pretty stubborn so I just kept going until I could make my way through the song.

This was years before mobile phones when Grunge was still hip, so there are no videos, you will have to settle for a dramatic re-enactment

At this point in time, I was barely able to improvise over the chords, and I had to work hard to find something to play on each of the chords which is what I focused on, and that had a very bad effect on how the solos sounded.

Phrases didn’t really connect or have a longer story to it.

This actually remained a problem for quite a long time. I did not find a way to fix it until more than a year later when I was taught to play changes so that you were thinking of where you need to go, what target note to play towards. This way of thinking made the solos have a much more natural flow and made the melodies a lot stronger.

And that is something that is very important with most things in music: Think Ahead, make sure you are ahead of what you are playing. So play towards target notes, see the voice-leading taking you to the next chord, or learn to read ahead if you are sight-reading.

It will make your life easier and make you sound better, especially in terms of soloing if you combine it with the next tip.

I have a video on how I apply this to playing chord changes that you can check out here:

#2 Arpeggios and Scales – The Right Way

While I was studying in Copenhagen and playing Jazz Standards in the streets, I also had the luck to go to a week-long Barry Harris workshop in The Hague, and one of the things that I took away from that is also a cornerstone in how I teach and one thing that is really overlooked in learning Jazz on the guitar.

Usually, when we think about arpeggios, these position boxes show all the notes of a m7 arpeggio in a given position. This way of learning them is good for being able to see the notes on the fretboard, but it almost completely fails at helping you learn how to incorporate them into your playing, and there is a much better way to practice them.

The exercise that Barry told me to practice, was to play all the arpeggios in the scale, not as separate boxes that don’t naturally connect to the rest of what you use when you play.

Most of the time, the chords will change, but the scale stays the same and when you make lines, you are not only using arpeggios all the time, so having the arpeggio placed in the context of the scale will make a lot more sense.

Working on this exercise also gives you something that is much closer to the way arpeggios are used typically used in Bop-inspired lines, which is not often using several octaves of one arpeggio, but mostly just one-octave melodies in the middle of a line.

My most viewed video on the channel digs into this and how you use it to make some great bebop-inspired lines, and last tip in this video is probably the advice that I give the most as an answer online.

You can check out the video on practicing arpeggios and making lines here:

#3 Keep it Simple

— Play a solo then stop and start talking?

It is actually pretty simple, and you don’t want to make it too complicated. In a way, I was lucky that I could read sheet music because of my classical lessons, because it helped me figure out some things from reading transcriptions that I would have had a much harder time learning by ear.

One of the things that really fascinated me when I first started to listen to Charlie Parker was how the solo would sound different from moment to moment. This was very different from what I was used to with most of the blues and rock solos that I was listening to where most of the time everything stayed in one scale across the chords not really playing melodies that were following the changes that closely.

That sounds complicated, but if you check out jazz solos then most of the time the way the phrases follow the changes is actually pretty simple. It is just about hitting the chord tones on the important notes of the melody and usually also somehow connected to the heavy beats, give or take a suspension or rhythmic variation.

In the beginning, playing simple and clear solos will help you really get that connection. And that may seem different from how you think about “complicated Jazz” with extensions, alterations, and upper-structure triads, but you want to hit those 3rds and 5ths and get that to make sense so that you later can choose to be vague and clear and use that in your solos.

So keep it simple and make sure you can hear the chords in your solo.

#4 Jazz Chords Done The Wrong Way

The people I checked out before getting into Jazz probably offered me a shortcut when it came to this. When you first start out learning chords on the guitar then everything is based on grips which is a practical and visual way to learn chords, but when it comes to playing Jazz harmony then that approach is not that useful. In Jazz, connecting the chords across the bar line with both melody and voice-leading is much more important. And you will realize that the chord voicings are something that you can change and mess around with. Something you can use creatively and get to fit together, turning them into beautiful music. This will open up your comping and your fretboard to a sea of possibilities and not just a few grips.

Before I got into Jazz I was checking out a lot of Hendrix and Stevie Ray Vaughan and both of these have more of an open way to work with chords which include improvising with them and not playing the same voicings all the time, and in that respect, I already thought of chords as something you could change and move around which in hindsight made the transition to Jazz comping a lot easier since that works exactly the same.

The last tip is probably the advice I give the most as an answer online and also the most effective way to learn Jazz.

What Was A Shortcut That Helped You?

Maybe you have another tip that really changed things for your playing or you don’t agree with any of this? then let me know about that in the comments

#5 The Thing That Ties It All Together

At the beginning of the video, I talked about how I spent a long time learning two songs that were actually a bit too difficult and that in hindsight being stubborn and powering through to get those two songs down, even if it sounded pretty badly was very useful. The same can certainly be said for building a repertoire while playing in the streets of Copenhagen. One thing that I see very often, especially now that there is so more jazz educational material available, is that it stays too superficial, you practice some licks and exercises but it does not become a part of your playing and maybe you don’t even really focus on learning songs. That is a huge mistake.

Think of it like this:

if you only learn a few new things but make sure to be able to use them on all the songs you know then you will sound better and play great solos on all those songs, which is pretty much everything you can play.

If you learn something that you can’t put to use on any songs then what are you really spending time on?

For me, learning those two songs and later spending a lot of time playing songs in the streets of Copenhagen was a huge help in getting to use everything and in that way really getting better, so that first song is worth really pushing through. Of course, if you want some help in getting through that then you can check out the Jazz Guitar Roadmap which is about exactly that process of really getting a song down.

Check out the Jazz Guitar Roadmap

Bonus Tip: A Bit Of Healthy Realism

With all the exercises that you are told to do and ways of learning very specific things then it can mean that you get a little detached from the actual music.

Just like playing songs is the way to learn to use what you practice then often it is a very good idea to also find the things to start practicing in the music that already exists.

And of course, the way you do that is by transcribing solos, that way you get insight into what arpeggios go where, how they sound and how to use them.

This also helps you not going down strange rabbit holes like using all the diatonic arpeggio on each chord and other strange time-consuming unrealistic goals that I have seen people waste time on.

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

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: CEb 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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The 5 Reasons You Are Not Getting Better At Jazz Guitar

A part of playing what is fun about Jazz is that you keep getting better at it and enjoy the new things you learn.

But sometimes you feel like you are not getting anywhere and it gets harder and harder to keep going and stay motivated and that is what I want to talk about using my Jazz guitar practice habits and horror stories as examples.

#1 Don’t Practice

If you are not practicing you are not going to get better fast. For me, it is easier to practice if I have a steady time to do so, and usually, that is in the morning after maybe bringing the kids to school and shopping. Then I can sit down with my guitar and a cup of coffee to get started with some technique. I try to have some things that I do every day and then a lot of things that I can change and vary to keep my mind, my ears, and fingers awake.

You might be in a period where it is difficult to find a regular time or to practice or maybe just time at all, and if it is difficult to be motivated to practice then make sure to focus on the fun things first so that you are playing. Once you build habits then you can become more focused on covering everything you want to practice while also allowing you to have fun.

Lately, I realized that I don’t spend too much time on chords in my practice, probably that was not a problem until COVID because I was anyway comping for several hours every week on different gigs, but now I started to add some chords in there because it felt like that was slipping away.

My point with that is that a practice routine should not be static you want to adjust it according to how things are going, something that I will talk more about later in this video.

#2 Not Getting Far Enough

Maybe, like me, you have the discipline to go through some sort of regular schedule and you are used to practicing, but then you can get stuck by falling into another trap.

If everything you practice is only played as an exercise and not really put to use in the music you play, or maybe you don’t even practice playing music regularly, you may be wasting quite a lot of time.

If you think about it it is pretty obvious, just learning to play up and down the pentatonic scale doesn’t make you the next Stevie Ray Vaughan. You need to learn how to make it sound good as well, and that part does not come by itself. It is a part of what you need to practice.

Improvising over an altered dominant is not that different. You need to do more than just practice the melodic minor scale.

In my practice this is mostly about doing two things: 1 – writing lines with what I practice or what I want to add to my vocabulary and 2 – Making sure I can use to use this while soloing on a song. I think you need both of these steps, and you should always look at whether you can use the material you practice in solos, otherwise, why are you practicing it?

If you want some general ideas for beginning Jazz, then check out this post:

How To Learn Jazz Guitar – Suggestions To Begin Studying

Another aspect of getting things far enough is that you also need to practice making music and not just sounding like an exercise, so that you can sometimes play with more space, vocal-like melodies, and not always just spell out all the changes and try to play the “correct” arpeggio.

#3 Always Playing The Same Things

A thing that I have found myself doing is getting stuck with the same things, these can be the same exercises that you don’t improve on or it can be always playing the same song, not challenging yourself to expand your vocabulary, places where you can use that vocabulary. It can be in terms of tempo but it can also be in terms of songs, keys, chord progressions.

This is something I try to catch whenever I can, and it can be tricky to figure out if you need to go to another song or break up the technique schedule that you are really used to, but doing so every now and again is very healthy for your playing and always doing the same things can be very inefficient even though they are nicely automatic and doesn’t require much effort.

So if you are only practicing one song, like a blues, or like me playing Out Of Nowhere way too often then it is time to change things up and make sure that your musical diet is healthy and varied.

#4 Don’t Know Enough Songs

The easiest way to learn to improvise freely on harmony is to learn a lot of songs.

I have talked about this quite often, and it ties together all the things I already talked about in this video. Studying songs is where you put it all to use, you learn how to play over the important chord progressions, harmonizing melodies, using chord voicings with the right extensions, and also tying it all together in a story, when to play a vocal melody, a bebop line or something more abstract and modern.

Learning songs and playing songs is where everything you practice comes together and where your artistic and personal take on the music is created, don’t rob yourself of that.

For me, it is about sitting down and playing a song from start to finish and really get the whole thing to make sense as if I am playing in a band. I sometimes find it difficult to practice like that but it is also the place where you are really in the zone and new things can happen.

If you are looking for songs to explore I will link to a list of 50 Jazz Standards that are really useful to have in your repertoire, and Misty is not on that list.

#5 Information Overload

When I was starting out trying to learn Jazz, I didn’t have internet and the library only had David Baker books on Jazz that I didn’t like and also were not useful for me. Most of the music came from borrowing the few LP’s and CDs available at the library. At the same time, compared to my teachers I actually had a ton of information available, they were wearing out singles and using the radio.

I also remember seeing David Liebman’s “A chromatic approach to jazz harmony” and buying that because Pat Metheny recommended it, even though at that time I couldn’t even play a solo on Autumn Leaves, and that is also a good description of how useful that was at that moment.

Today you have everything a few google searches away and can pretty much find information about anything about Jazz at all levels, but we end up with another problem, overload. It is impossible to choose and you never know who to trust and what fits together. Even on my channel the amount of videos is so immense that it is hard to navigate.

The important thing is probably to try to stick with songs as smaller end goals because they are practical and will help you gradually develop and use your skills. I have a post where I talk about this on my website, I will link to it in the video description.

That is also one of the reasons I decided to create my course the Jazz Guitar Roadmap because in that type of content you can go step-by-step for a longer period of time something that would never work on YouTube where nobody watches part 2 of anything, and certainly not part 43 of 67 videos.

The Jazz Standards You Want To Know

It is important that you develop your skills for soloing over chord changes and if you check out this video then you can learn to nail the changes and have an easier time learning songs, which will really boost the development of your skills as a Jazz guitarist, or musician, would that be Jazz guitarist AND musician? I don’t know…

50 Jazz Standards – The Songs You Need To Know

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