I wrote these ii-V-I lines for the beginning jazz student. The goal of this packet is to demonstrate melodic 8th note lines that outline the ii-V-I progression without using any notes out of the tonal center. The second page takes the same collection of lines and shows how they can be modified using passing tones and enclosures to add chromaticism.

Here is a handout of Drop 2 and Drop 3 voicings in all inversions for Maj7, Dom7, Min7, and Min7(b5) chord qualities. These voicings are an integral component in developing harmonic flexibility for the guitar. I encourage each student to work the Drop 2 voincings not only on the top string set (strings DGBE), but also on the middle (ADGB) and bottom (EADG) sets. Drop 3 voicings can be played with the lowest note on the E string and A string.

This handout demonstrates a chorus of voiceleading through the chord progression of "Autumn Leaves" using only Drop 2 voicings. Note how each note of each chord moves smoothly to the next and how the entire range of the guitar neck is utilized.

This is a tune I wrote for bass and guitar unison for my good friend Emilio Terranova. The changes are from the Gershwin standard "But Not For Me." A recording of this tune featuring the great tenor saxophonist Matt Otto can be heard on the music page.

"Bridge for Larry," a Rhythm Changes tune in Ab, was written for Larry Koonse during my time at CalArts. Larry is an amazing musician and guitarist and has a really interesting way of creating non-symmetrical lines with the diminished scale. The line on the bridge of this tune was my attempt at coming up with a similar non-symmetrical approach to the diminished scale. A live recording of this tune can be heard on the music page as well.

This lesson represents one of my attempts at integrating triad pairs into my linear and melodic vocabulary. After working on the different triad pair exercises from Walt Weiskopf's Intervallic Improvisation, I have wanted to utilize triad pairs in a more personal and melodic fashion, while still retaining the wide interval sounds that make triad pairs so interesting. This handout contains twelve melodic fragments based on two major triads a whole step apart, as well as four ii-V-I lines demonstrating their use in a harmonic context. While there are several triad pair options over the ii-V-I progression, I chose to explore two major triads a whole step on each of the three chords to help acclimate my ears to the sound of that pairing.

Try practicing the first section of triad pair melodies over the chords derived from the C Major scale (Cmaj7, Dmin7, Emin7, Fmaj7, G7, Amin7, B half dim) and note how the harmonic scheme changes the color/effectiveness of the melody. After you have worked on the smaller triad pair melodic fragments, practice the ii-V-I lines over a backing track or with an accompanist to get the full bi-tonal effect that triad pairs invoke.