Select Page
Melodic and Harmonic Intervals
- I I7 IV IVm Voice Leading Melodic Lines
- Super Quiz
- Fingerstyle Technique Foundations
- Fingerstyle Hand Position
- Plural Practice
- Fingerstyle Fundamentals 6/8 Alternating Bass
- Slash Basses in Open Position
- Fingerstyle Switching Home Position
- Using the Capo Key of D
- Fingerstyle With Moving Bass
- Moving Bass Lines in G
- The b3 in A Blues
- Downbeat and Upbeat
- Dividing Time in Music
- Palm Mutes and Rhythm
- Blues in A with Power Chords
- Blues with Power Chords II
- Blues in A Open
- What is a 7 Chord
- Building a Solo Over the Blues in A
- Alternate Chord Fingerings
- C Major Scale II Position
- Campfire Charts
- Breaking Down Six String Chords
- Breaking Down Six String Minor Chords
- E Natural Minor Scale
- E Harmonic Minor Scale
- Rhythm and Counting
- II V I Parallel Major and Minor
- Hammer On
- Scales and Practice
- Major and Minor Thirds
- Sus4 Chords C Sus4
- Spelling Major and Minor
- The Minor 7b5 Chord
- Melodic and Harmonic Intervals
- Major, Minor, Diminished and Augmented
- Moveable 7th Chords
- Barre Chords Introduction
- Introduction to Moveable Chord Forms
- Moving Open Position Shapes
- C7 and Moveable Chords
- The Moveable C7 chord
- Connecting Bass Lines
- Consonance and Dissonance
- Creating Chord Voicings
- DADGAD Tuning
- 3 Note Arpeggios
- E Chromatic Scale
- E/G# in A major
- E Major Scale Open Position
- Memorizing Progressions
- The Pedal I to IV
- Pull Off
- Bm7b5 and E7b9
- Parallel Minor
- Melodic Rhythm Playing
- Minor 7 Chords
- Melodic Interest in Your Rhythm Playing
- Creating New Sounds With Basic Shapes
- Flat Keys Introduction Part I
- Flat Keys Introduction Part II
- Abbreviating Chords for Soloing and Comping
- CAGED Chords and Scales
- A Natural Minor – 5 Positions
- Dorian bVII Major Chord
- D Major Scale 5 Positions
- C Major Scale in Sixths
- Connecting 7 Chords
- Am | Am#7 | Am7 | Am6
- Dm | Dm#7 | Dm7 | Dm6 |
- Harmonic 3rds in C Major
- C Major 2nd Inversion Chord Scale String Set One
- A Major Scale 5 Positions
- 7th Arpeggios I
- Moveable Major Chords Rt 6
- Moveable Minor Root 6
- Moveable Chords Root 6
- Moveable Major Chords Rt 5
- Moveable Minor Root 5
- Moveable Chords Rt 5
- Moveable I-IV-V Rt 5 and 6
- Moveable I-IV-V Chords in Minor
- Arpeggios – A Minor Blues
- Moveable 7th Chords
- Moveable Major Scale Rt 6
- Moveable Major Scale Rt 5
- Chord Movement – The Secondary Dominant
- Vibrato
- Introduction to Pedals
- Augmented IV Diminished
- Blues Lines with the bVII
- Chord Function vs Spelling
- Chord Scale Concepts
- Connecting Minor 7 Chords
- Connecting Moveable Forms
- Dominant 7 Cycles
- Melodic Thirds Through a Major Scale
- Neighboring Tones Root 6
- Neighboring Tones Root 5
- Parallel Major and Minor
- Passing Diminished Chords
- Harmonic Sixths Through a C Major Scale
- G Major Scale in Harmonic Sixths
- C Major 7 Voicings
- G Major 7 Voicings
- Voice Leading an Introduction
- Introduction to Chord Melody in C
- Harmonizing in A Minor
- A minor to D minor and Chord solos
- A Minor Chord Melody
- G Major Chord in A Minor
- The V7 Chord in a Minor Key
- The V Chord and Harmonizing in A Minor
- Harmonization of A Harmonic Minor
- Scarborough Fair Chord Melody
- The Common Open Chords
- Deriving A Minor Pentatonic
- C Major Pentatonic Scale Open Position
- Technical Exercise 1
- Chords in the Key of C
- Alternating Bass in C
- Chords in the Key of G
- What is a Power Chord?
- b7 Below the Root
- A Major Scale in Open Position
- I IV V with Barre Chords
- Spelling and Inversions
- Introduction to Dropped D Tuning
- C Major Triads String Set One
- Introduction to the Modes
- Major and Minor Pentatonic Parallel
- Voice Leading
- The CAGED System I
- Major Scales – All 12 Keys
- C Major Pentatonic All Positions
- Minor 7 Chords Open Position
- A Minor Triads String Set 1
- A Minor Triads String Set 2
- C Major Triads String Set 1
- C Major Triads String Set 2
- C – F Major Triads Inversions
- Chopping String Sets Triads
- Chord Scale First Inversion Triads Key of C
- Connecting Major Scales Part 1
- Connecting Major Scales Part 2
- Connecting Major Scales Part 3
- D minor Triads String Set 1
- D Minor Triads String Set 2
- F Major Triads String Set 1
- F Major Triads String Set 2
- I, IV, V Triads Key of C String Set 1
- I-IV-V Triads Key of C String Set 2
- I- IV- V Triads Key of C String Set 3
- I, IV, V Triads Key of C String Set 4
- E7 Triads, String Set 1
- E7 Triads, String Set 2
- Lateral Scale Shifts
- Root Position Chord Scale with Triads Key of C
- I to IV to I Inversions and Classic Line
- Two Octave C Major Scale Second Inversion Triads
- The Tritone as a Dominant 7 chord
- Playing with Chord Tones in the Blues
- Altered 7th Chords
- Blues in Different Keys
- 12 Bar Blues with Cycles
- Spelling the 7, 7b9, 9 and 7#9
- Building a Solo From Chord Tones
- Chord Tone Soloing in C minor
- Chord Forms and Abbreviations in C minor
- Diminished 7 Arpeggio
- Diminished 7th Chords
- Playing Octaves over C Minor Blues
- Soloing in a Minor Blues Using Pentatonics
- Plural Practice and Jam Tracks
- The V7 Chord
- Root 5 – Dominant 7 Arpeggio Part I
- Root 5 Dominant 7 Arpeggio Part II
- Major 7 and Dominant 7
- Connecting Major 7th Chords
- Swinging Your Scales
- II – V – I Root 6
- II, V, I Root 5
- II, V, I in Minor
- maj7, m7, 7, Root 3
- Maj7, m7, 7, Root 4
- Root 2 Moveable Chord Forms
- Root 4 Rhythm Chords
- The Tritone
- Classic Jazz Blues Riffs
- Arpeggios Over Chord Progressions (Cm Blues)
- Classic Blues lines
- Approaching dominant 7ths
- Jazz Minor
- The Minor Blues Scale over the Minor Chord
- Maj7, m7, 7, Root 2
- Classic Jazz Turnarounds with descending chromatic bass line 6th string
- Whole Tone Scale
- The IV Minor Chord in Open Keys
- Switching Tonal Centers
- Secondary Dominant to the IV
- Learning the 12 Bar Form in A
- Double Stop Chord Tones
- Using Minor and Major Pentatonic in a 12 Bar Blues
- Soloing Over The Blues in A
- 12 Bar Blues in A with b7
- 12 Bar Blues in A with Power Chords
- 12 Bar Blues in A with Power Chords Part 2
- Playing with Moveable Chord Tones
- Moveable 7th Chord Forms
- Using the Tritone as a 7th chord
- The Tritone
- 12 Bar Blues Form
- Classic Blues Line
- Pedalling in the Blues
- Root 5, Dominant 7 Arpeggio Part 1
- 12 Bar Blues in E Open Position
- 12 Bar Blues in A
- Root 5 or 2 Dominant 7 Arpeggio Part II
- The Blues b3 to 3
- The Blues Major and Minor
- b3 in A Blues
- Adding Movement to the 12 Bar
- Arpeggiating a 12 Bar Blues
- Arpeggios in a Minor Blues
- Arpeggiating the Blues In A
- A Minor Blues Scale in Open Position
- Soloing with the 13
- The Blues b3 to 3