Most Popular Lessons

🎵 Play A Great Rhythm Changes In 3 Months – Week 7

Over the past two weeks, we've been developing melodic lines from the inside out.

We started by connecting the 3rds and 7ths, then expanded those guide-tone lines with more melodic movement and common harmonic variations.

This week, we take another major step toward authentic bebop language.

👉 Flat 9 dominant vocabulary.

Another Cool Turnaround! Pt. 2 by Behn Gillece

Building on the previous etude, this new version expands the lines and incorporates additional chord adjustments to deepen the harmonic exploration in 3/4. By introducing extra melodic lines and refining the chord changes, this etude offers a richer harmonic texture while staying within a straightforward 3/4 groove. It challenges the player to navigate slightly more complex progressions, encouraging a deeper understanding of how to shape melodic ideas within the time signature.

🎵 Harmony Without Chords – Pt. 8: Applying Scale & Chord Outlining to Tunes – “Minority”

In Part 8, we take the scale and chord outlining concepts from the previous lessons and apply them directly to a jazz standard: Minority by Gigi Gryce. This exercise demonstrates how a thoughtful balance of linear scale motion and targeted chord tones can clearly express harmony within the context of a real tune — without relying on block chords or dense voicings.

Tune Study - The Jody Grind Pt. 2 by Behn Gillece

Creating Your Own Etudes Pt. 2 by Behn Gillece

Check out the attached PDF!

🚨 Tune Deep Dive: “Wave” – Pt. 8: Putting It All Together 🚨

In our final lesson, we bring everything from the series together into a full chorus etude over Wave. This written solo combines guide tones, arpeggios, scale fragments, motifs, and tension–resolution lines to show how each concept can flow seamlessly in a musical context.

Hello everyone,

This lesson is on how to pedal smoothly, which may seem simple, but I find a lot of people don't know how to actually do it.

🚨 Soloing Through the Changes Pt. 8 – Soloing with the Altered Scale

In Part 8, we explore the altered scale (seventh mode of melodic minor) as a way to create tension over dominant chords before resolving back to the tonic or next chord. This scale contains altered chord tones—♭9, ♯9, ♯11, and ♭13—which provide a wide palette of colors for jazz soloing.