Courses

Three-note voicings that are the foundation of jazz comping.

The most versatile four-note voicing type — construction, inversions, and voice leading.

Wider voicings with a different sonic character — when to use drop 3 vs drop 2.

Spread voicings with an open, orchestral sound.

The most important progression in Western music — in every key, every voicing type.

Smooth harmonic motion — minimal movement, maximum effect.

The rhythmic side of chord playing — feel, groove, and interaction.

The 12-bar blues in all its forms — basic, jazz, and minor.

Using arpeggios as the foundation of melodic improvisation.

Which scale over which chord — the complete system.

Chromatic voice leading into target notes — creating the bebop sound.

Using pentatonic scales over non-obvious chords for color and tension.

Stacked fourths — native to P4 tuning, where open strings ARE quartal harmony.

Dense harmony — close position voicings and cluster chords.

Simple triads over bass notes — creating rich, complex harmonies from simple shapes.

Two triads, six notes — systematic exploration of melodic and harmonic possibilities.

Bebop scales, classic patterns, and the art of keeping chord tones on downbeats.

Half-whole, whole-half, and diminished chord applications.

The altered scale, tritone substitution, and maximum dominant tension.

Building a solo from a single idea — telling a story.

Deliberate tension — sidestepping, superimposition, and controlled dissonance.

Playing the melody on top of chord voicings — the basic principle.

Creating bass movement under chord voicings — two parts simultaneously.

Building complete solo guitar arrangements from lead sheets.

Creating new chord progressions for existing melodies.

The sixth diminished scale — one of the most elegant harmonic frameworks ever devised.

Scales as single entities, not patterns — the approach P4 tuning was made for.

Advanced quartal and quintal applications — jazz, film scoring, and modern composition.