Table of Contents

  • 1 - Introduction
  • 2 - How to Use This Book
  • 3 - Chapter Video
  • 4 - Theory and Harmony
  • 5 - Naming Intervals
  • 6 - Enharmonic Intervals
  • 7 - The Circle of 5ths
  • 8 - Chords and Their Formulas
  • 9 - Major Scale (Triads and Sevenths)
  • 10 - Major Scale Modal Sounds
  • 11 - The Lydian Mode
  • 12 - Major Scale Mode Recap
  • 13 - Building Diatonic Triads
  • 14 - Natural Minor Scale
  • 15 - Natural Minor (Aeolian) Lecture
  • 16 - Melodic Minor
  • 17 - Melodic Minor Modal Sounds
  • 18 - Dorian b2 Composition
  • 19 - Altered Dominant Voicings and Lines
  • 20 - Harmonic Minor
  • 21 - Harmonic Minor Modal Sounds
  • 22 - The Phrygian Major Mode
  • 23 - The Sounds of Minor (A Linear Study of Modal Interchange)
  • 24 - Harmonic Major
  • 25 - Harmonic Major Modal Sounds
  • 26 - Double Harmonic Major
  • 27 - Double Harmonic Major Modal Sounds
  • 28 - More About Seventh Chords
  • 29 - Relative Major/Minor
  • 30 - Chords for Songwriters
  • 31 - Chords for Songwriters (2)
  • 32 - Modal Interchange Lecture
  • 33 - Modal Mixture for Songwriters
  • 34 - Modal Interchange Sounds For Composing
  • 35 - Basic Triads
  • 36 - Advanced Triads
  • 37 - Musical Gravity Modal Demonstration
  • 38 - Suspended Triads and Other Three Note Structures
  • 39 - Suspended Triads and Other Three Note Structures (2)
  • 40 - Chord Scales
  • 41 - Chord Scales (2)
  • 42 - Tonic and Dominant Diminished Scales
  • 43 - Chord Families and Their Scales
  • 44 - Chord Families and Their Scales (2)
  • 45 - Scale Degree Names and Basic Progressions
  • 46 - Basic Progressions
  • 47 - Basic Progressions (2)
  • 48 - Pre-dominant - Dominant - Tonic Lesson
  • 49 - Cadences
  • 50 - Authentic & Plagal Cadences
  • 51 - More About Roman Numeral Analysis
  • 52 - More About Roman Numeral Analysis (2)
  • 53 - Neapolitan 6th Chord Progression
  • 54 - Sus4 Resolutions
  • 55 - Cycle of Fifths and Backcycling
  • 56 - Roman Numeral Analysis and Chord Scale Choice
  • 57 - Basic Rules for Chord Substitutions
  • 58 - Basic Rules (2)
  • 59 - Basic Rules (3)
  • 60 - Basic Rules (4)
  • 61 - Basic Rules (5)
  • 62 - Basic Rules (6)
  • 63 - Basic Rules (7)
  • 64 - Basic Rules (8)
  • 65 - Basic Rules (9)
  • 66 - Basic Rules (10)
  • 67 - Basic Rules (11)
  • 68 - Basic Rules (12)
  • 69 - Basic Rules (13)
  • 70 - Multi-Functional Harmony
  • 71 - Triads Over Bass Notes
  • 72 - Polychords
  • 73 - Chromatic Polychords
  • 74 - Triads and Seventh Chords Over Bass Notes and Polychords
  • 75 - Triads and Seventh Chords Over Bass Notes and Polychords (2)
  • 76 - Triads and Seventh Chords Over Bass Notes and Polychords (3)
  • 77 - Triads and Seventh Chords Over Bass Notes and Polychords (4)
  • 78 - Reharmonization and Chord Substitutions
  • 79 - Advanced Reharmonizations
  • 80 - Advanced Reharmonizations (2)
  • 81 - Advanced Reharmonizations (3)
  • 82 - Advanced Reharmonizations (4)
  • 83 - Advanced Reharmonizations (5)
  • 84 - Advanced Reharmonizations (6)
  • 85 - Advanced Reharmonizations (7)
  • 86 - Advanced Reharmonizations (8)
  • 87 - Advanced Reharmonizations (9)
  • 88 - Advanced Reharmonizations (10)
  • 89 - Advanced Reharmonizations (11)
  • 90 - Reharmonization of Standard Forms
  • 91 - Common Tone Reharmonization
  • 92 - Common Tone Reharmonization (2)
  • 93 - Modal Harmony and Theory
  • 94 - Sharp and Flat Direction Modal Modulation
  • 95 - Sharp and Flat Direction Modal Modulation (2)
  • 96 - Sharp and Flat Direction Modal Modulation (3)
  • 97 - Sharp and Flat Direction Modal Modulation (4)
  • 98 - Sharp and Flat Direction Modal Modulation (5)
  • 99 - Resolution Tendencies Between Modal Groups
  • 100 - Voice Leading
  • 101 - Voice Leading (2)
  • 102 - Mirror Modal Equivalents
  • 103 - Mirror Modal Equivalents (2)
  • 104 - Mirror Modal Equivalents (3)
  • 105 - Mirror Modal Equivalents (4)
  • 106 - Composing With Only White Notes
  • 107 - Using Multiple Compositional Techniques
  • 108 - 3 Chord Film Scoring
  • 109 - Chapter Video
  • 110 - Chord Forms
  • 111 - Major Triads
  • 112 - Minor Triads
  • 113 - Diminished Triads
  • 114 - Augmented Triads
  • 115 - Sus4 Triads
  • 116 - Sus2 Triads
  • 117 - Sus4b5 Triads
  • 118 - Lydian Triads
  • 119 - Phrygian Triads
  • 120 - Locrian Triads
  • 121 - Drop Voicings
  • 122 - Drop 2 (Maj6)
  • 123 - Drop 2 (Maj7)
  • 124 - Drop 2 (Dom7)
  • 125 - Drop 2 (Min7)
  • 126 - Drop 2 (Min6)
  • 127 - Drop 2 (MinMaj7)
  • 128 - Drop 2 (Min7b5)
  • 129 - Drop 2 (Dim7)
  • 130 - Drop 2 (DimMaj7)
  • 131 - Drop 2 (AugMaj7)
  • 132 - Drop 2 (Aug7)
  • 133 - Drop 2 (Maj7b5)
  • 134 - Drop 2 (Dom7b5)
  • 135 - Drop 2 (Maj7sus4)
  • 136 - Drop 2 (Dom7sus4)
  • 137 - Drop 2 (Lydian Maj7)
  • 138 - Drop 2 (Lydian Dom7)
  • 139 - Drop 2 (DimMaj7b13)
  • 140 - Drop 3 (Maj6)
  • 141 - Drop 3 (Maj7)
  • 142 - Drop 3 (Dom7)
  • 143 - Drop 3 (Min6)
  • 144 - Drop 3 (Min7)
  • 145 - Drop 3 (MinMaj7)
  • 146 - Drop 3 (Min7b5)
  • 147 - Drop 3 (Dim7)
  • 148 - Drop 3 (DimMaj7)
  • 149 - Drop 3 (AugMaj7)
  • 150 - Drop 3 (Aug7)
  • 151 - Drop 3 (Maj7b5)
  • 152 - Drop 3 (Dom7b5)
  • 153 - Drop 3 (Maj7sus4)
  • 154 - Drop 3 (Dom7sus4)
  • 155 - Drop 3 (Lydian Maj7)
  • 156 - Drop 3 (Lydian Dom7)
  • 157 - Drop 3 (DimMaj7b13)
  • 158 - Drop 2 + 3 (Maj6)
  • 159 - Drop 2 + 3 (Maj7)
  • 160 - Drop 2 + 3 (Dom7)
  • 161 - Drop 2 + 3 (Min6)
  • 162 - Drop 2 + 3 (Min7)
  • 163 - Drop 2 + 3 (MinMaj7)
  • 164 - Drop 2 + 3 (Min7b5)
  • 165 - Drop 2 + 3 (Dim7)
  • 166 - Drop 2 + 3 (DimMaj7)
  • 167 - Drop 2 + 3 (AugMaj7)
  • 168 - Drop 2 + 3 (Aug7)
  • 169 - Drop 2 + 3 (Maj7b5)
  • 170 - Drop 2 + 3 (Dom7b5)
  • 171 - Drop 2 + 3 (Maj7sus4)
  • 172 - Drop 2 + 3 (Dom7sus4)
  • 173 - Drop 2 + 3 (Lydian Maj7)
  • 174 - Drop 2 + 3 (Lydian Dom7)
  • 175 - Drop 2 + 3 (DimMaj7b13)
  • 176 - Drop 2 + 4 (Maj6)
  • 177 - Drop 2 + 4 (Maj7)
  • 178 - Drop 2 + 4 (Dom7)
  • 179 - Drop 2 + 4 (Min6)
  • 180 - Drop 2 + 4 (Min7)
  • 181 - Drop 2 + 4 (MinMaj7)
  • 182 - Drop 2 + 4 (Min7b5)
  • 183 - Drop 2 + 4 (Dim7)
  • 184 - Drop 2 + 4 (DimMaj7)
  • 185 - Drop 2 + 4 (AugMaj7)
  • 186 - Drop 2 + 4 (Aug7)
  • 187 - Drop 2 + 4 (Maj7b5)
  • 188 - Drop 2 + 4 (Dom7b5)
  • 189 - Drop 2 + 4 (Maj7sus4)
  • 190 - Drop 2 + 4 (Dom7sus4)
  • 191 - Drop 2 + 4 (Lydian Maj7)
  • 192 - Drop 2 + 4 (Lydian Dom7)
  • 193 - Drop 2 + 4 (DimMaj7b13)
  • 194 - Triads Over Bass Notes
  • 195 - Maj∆/7
  • 196 - Maj∆/b7
  • 197 - Maj∆/6
  • 198 - Maj∆/#5
  • 199 - Maj∆/5
  • 200 - Maj∆/#4
  • 201 - Maj∆/4
  • 202 - Maj∆/3
  • 203 - Maj∆/b3
  • 204 - Maj∆/9
  • 205 - Maj∆/b9
  • 206 - Min∆/7
  • 207 - Min∆/b7
  • 208 - Min∆/6
  • 209 - Min∆/b6
  • 210 - Min∆/5
  • 211 - Min∆/#4
  • 212 - Min∆/4
  • 213 - Min∆/3
  • 214 - Min∆/b3
  • 215 - Min∆/9
  • 216 - Min∆/b9
  • 217 - Sus4∆/7
  • 218 - Sus4∆/b7
  • 219 - Sus4∆/6
  • 220 - Sus4∆/b6
  • 221 - Sus4∆/5
  • 222 - Sus4∆/#4
  • 223 - Sus4∆/4
  • 224 - Sus4∆/3
  • 225 - Sus4∆/b3
  • 226 - Sus4∆/9
  • 227 - Sus4∆/b9
  • 228 - Spread Triads Over Bass Notes
  • 229 - Major Type Spread Triads/Bass Notes
  • 230 - Major Type Spread Triads/Bass Notes (2)
  • 231 - Major Type Spread Triads/Bass Notes (3)
  • 232 - Major Type Spread Triads/Bass Notes (4)
  • 233 - Major Type Spread Triads/Bass Notes (5)
  • 234 - Minor Type Spread Triads/Bass Notes
  • 235 - Minor Type Spread Triads/Bass Notes (2)
  • 236 - Minor Type Spread Triads/Bass Notes (3)
  • 237 - Minor Type Spread Triads/Bass Notes (4)
  • 238 - Minor Type Spread Triads/Bass Notes (5)
  • 239 - Minor Type Spread Triads/Bass Notes (6)
  • 240 - Dom7 Type Spread Triads/Bass Notes
  • 241 - Dom7 Type Spread Triads/Bass Notes (2)
  • 242 - Dom7 Type Spread Triads/Bass Notes (3)
  • 243 - Dom7 Type Spread Triads/Bass Notes (4)
  • 244 - Dom7 Type Spread Triads/Bass Notes (5)
  • 245 - Dom7 Type Spread Triads/Bass Notes (6)
  • 246 - Dom7 Type Spread Triads/Bass Notes (7)
  • 247 - Dom7 Type Spread Triads/Bass Notes (8)
  • 248 - Dom7 Type Spread Triads/Bass Notes (9)
  • 249 - Dom7 Type Spread Triads/Bass Notes (10)
  • 250 - Dom7 Type Spread Triads/Bass Notes (11)
  • 251 - Dom7 Type Spread Triads/Bass Notes (12)
  • 252 - Diminished Type Spread Triads/Bass Notes
  • 253 - Diminished Type Spread Triads/Bass Notes (2)
  • 254 - Diminished Type Spread Triads/Bass Notes (3)
  • 255 - Diminished Type Spread Triads/Bass Notes (4)
  • 256 - Twelve-Tone Type Spread Triads Over Bass Notes Lecture
  • 257 - Twelve Tone Type Spread Triads/Bass Notes
  • 258 - Twelve Tone Type Spread Triads/Bass Notes (2)
  • 259 - Quartal Voicings
  • 260 - 3-Part Quartal Voicings - Major Scale
  • 261 - 3-Part Quartal Voicings - Major Scale (2)
  • 262 - 4-Part Quartal Voicings - Major Scale
  • 263 - 4-Part Quartal Voicings - Major Scale (2)
  • 264 - 5-Part Quartal Voicings - Major Scale
  • 265 - 6-Part Quartal Voicings - Major Scale
  • 266 - 3-Part Quartal Voicings - Melodic Minor Scale
  • 267 - 3-Part Quartal Voicings - Melodic Minor Scale (2)
  • 268 - 4-Part Quartal Voicings - Melodic Minor Scale
  • 269 - 4-Part Quartal Voicings - Melodic Minor Scale (2)
  • 270 - 5-Part Quartal Voicings - Melodic Minor Scale
  • 271 - 6-Part Quartal Voicings - Melodic Minor Scale
  • 272 - 3-Part Quartal Voicings - Harmonic Minor Scale
  • 273 - 3-Part Quartal Voicings - Harmonic Minor Scale (2)
  • 274 - 4-Part Quartal Voicings - Harmonic Minor Scale
  • 275 - 4-Part Quartal Voicings - Harmonic Minor Scale (2)
  • 276 - 5-Part Quartal Voicings - Harmonic Minor Scale
  • 277 - 6-Part Quartal Voicings - Harmonic Minor Scale
  • 278 - Skipped String Voicings
  • 279 - Major Skipped String Voicings
  • 280 - Melodic Minor Skipped String Voicings
  • 281 - Dominant Diminished Skipped String Voicings
  • 282 - F Blues Example
  • 283 - Open String Voicings Lecture
  • 284 - Open String Voicings
  • 285 - Open String Voicings (2)
  • 286 - Open String Voicings (3)
  • 287 - Open String Voicings (4)
  • 288 - Open String Voicings (5)
  • 289 - Open String Voicings (6)
  • 290 - Open String Voicings (7)
  • 291 - Open String Voicings (8)
  • 292 - Open String Voicings (9)
  • 293 - Open String Voicings (10)
  • 294 - Open String Voicings (11)
  • 295 - Open String Voicings (12)
  • 296 - Open String Voicings (13)
  • 297 - Open String Voicings (14)
  • 298 - Open String Voicings (15)
  • 299 - Polychords Lecture
  • 300 - Polychords
  • 301 - Polychords (2)
  • 302 - Polychords (3)
  • 303 - Polychords (4)
  • 304 - Using Comping Voicings in New Ways
  • 305 - Constructing Chord Scales
  • 306 - Chordal Scales
  • 307 - Chordal Scales (2)
  • 308 - Chordal Scales (3)
  • 309 - Chordal Scales (4)
  • 310 - Chordal Scales (5)
  • 311 - Chordal Scales (6)
  • 312 - Chordal Scales (7)
  • 313 - Chordal Scales (8)
  • 314 - Chordal Scales (9)
  • 315 - Chordal Scales (10)
  • 316 - Chordal Scales (11)
  • 317 - Diminished Scale Voicings Lecture
  • 318 - Diminished Scale Voicings
  • 319 - Dim7 Type comping voicings
  • 320 - Dim7 Type comping voicings (2)
  • 321 - Dim7 Type comping voicings (3)
  • 322 - Dim7 Type comping voicings (4)
  • 323 - Dim7 Type comping voicings (5)
  • 324 - Dim7 Type comping voicings (6)
  • 325 - Stretch Voicings
  • 326 - Stretch Voicings (2)
  • 327 - Stretch Voicings (3)
  • 328 - Stretch Voicings (4)
  • 329 - Stretch Voicings (5)
  • 330 - Stretch Voicings (6)
  • 331 - Chordal Lines
  • 332 - Chordal Lines (2)
  • 333 - Chapter Video
  • 334 - Mode (Scale) Practice
  • 335 - Triads
  • 336 - Triads (2)
  • 337 - Modes of the Major Scale
  • 338 - Modes of the Melodic Minor Scale
  • 339 - Modes of the Harmonic Minor Scale
  • 340 - Messian Modes
  • 341 - Miscellaneous Scales
  • 342 - Blues and Pentatonic Scales
  • 343 - Blues and Pentatonic Scales (2)
  • 344 - Blues and Pentatonic Scales (3)
  • 345 - Blues and Pentatonic Scales (4)
  • 346 - Close Position Fingerings
  • 347 - Major Scale (Close Position)
  • 348 - Melodic Minor (Close Position)
  • 349 - Harmonic Minor (Close Position)
  • 350 - Scales with Two Notes per String
  • 351 - Major Scale Modes (2 notes per string)
  • 352 - Melodic Minor Modes (2 notes per string)
  • 353 - Harmonic Minor Modes (2 notes per string)
  • 354 - Examples of Extended Range Scale Fingerings
  • 355 - Diatonic Intervals
  • 356 - Diatonic Arpeggios
  • 357 - Diatonic Arpeggios (2)
  • 358 - Spread Triad Arpeggios Introduction
  • 359 - Bitonal Spread Triad Exercise
  • 360 - Practicing Dominant 7th Arpeggios
  • 361 - Practicing Dominant 7th Arpeggios Chart
  • 362 - Seventh Chord Arpeggios
  • 363 - Triads and Suspensions
  • 364 - Using Triads and Pedal Point
  • 365 - Seventh Chord Arpeggios (Root 6)
  • 366 - Seventh Chord Arpeggios (Root 6) (2)
  • 367 - Seventh Chord Arpeggios (Root 6) (3)
  • 368 - Seventh Chord Arpeggios (Root 6) (4)
  • 369 - Seventh Chord Arpeggios (Root 6) (5)
  • 370 - Triads (Root 6)
  • 371 - Triads (Root 6) (2)
  • 372 - Triads (Root 6) (3)
  • 373 - Seventh Chord Arpeggios (Root 5)
  • 374 - Seventh Chord Arpeggios (Root 5) (2)
  • 375 - Seventh Chord Arpeggios (Root 5) (3)
  • 376 - Seventh Chord Arpeggios (Root 5) (4)
  • 377 - Seventh Chord Arpeggios (Root 5) (5)
  • 378 - Triads (Root 5)
  • 379 - Triads (Root 5) (2)
  • 380 - Triads (Root 5) (3)
  • 381 - Bitonal Arpeggios
  • 382 - Major and Minor Bitonal Arpeggios
  • 383 - Major Bitonal Arpeggios
  • 384 - Major Bitonal Arpeggios (2)
  • 385 - Tritone Triads
  • 386 - Major Bitonal Arpeggios (3)
  • 387 - Minor Bitonal Arpeggios
  • 388 - Minor Bitonal Arpeggios (2)
  • 389 - Minor Bitonal Arpeggios (3)
  • 390 - Diminished Bitonal Arpeggios
  • 391 - Diminished Bitonal Arpeggios (2)
  • 392 - Diminished Bitonal Arpeggios (3)
  • 393 - Augmented Bitonal Arpeggios
  • 394 - Augmented Bitonal Arpeggios (2)
  • 395 - Augmented Bitonal Arpeggios (3)
  • 396 - More About Practicing Scales and Arpeggios
  • 397 - Chapter Video
  • 398 - ii-V-I Progressions
  • 399 - ii-V's in One Measure
  • 400 - ii-V's in One Measure (2)
  • 401 - One Measure ii-V-i's in Major
  • 402 - One Measure ii-V-i's in Major (2)
  • 403 - One Measure ii-V-i's in Major (3)
  • 404 - One Measure ii-V-i's in Minor
  • 405 - One Measure ii-V-i's in Minor (2)
  • 406 - ii-V-I Substitute Patterns
  • 407 - Turnarounds
  • 408 - Imaj7-VI7-ii7-V7 Exercise
  • 409 - Imaj7-VI7-ii7-V7 Exercise Video
  • 410 - Turnarounds Over 4 Measures
  • 411 - Turnarounds Over 4 Measures (2)
  • 412 - Turnaround Substitutions
  • 413 - Cycle of Fifths
  • 414 - Cycle of Fifths (2)
  • 415 - Pentatonic Scales
  • 416 - Pentatonic Scales (2)
  • 417 - Melodic Minor Pentatonics
  • 418 - Triadic Superimposition
  • 419 - Triadic Superimposition Charts
  • 420 - Triadic Superimposition Chart (2)
  • 421 - Triadic Improvisation
  • 422 - Seventh Chord Superimposition
  • 423 - Seventh Chord Superimposition Chart
  • 424 - Seventh Chord Superimposition Chart (2)
  • 425 - Seventh Chord Superimposition Chart (3)
  • 426 - Seventh Chord Superimposition Chart (4)
  • 427 - Hybrid Arpeggios
  • 428 - Hybrid Arpeggios Charts
  • 429 - Hybrid Arpeggios Charts (2)
  • 430 - Playing Over Unusual Resolutions
  • 431 - Playing Over Unusual Resolutions (2)
  • 432 - Playing Over Unusual Resolutions (3)
  • 433 - Melodic Ideas
  • 434 - Melodic Ideas (2)
  • 435 - Melodic Ideas in Natural Minor
  • 436 - Major Scale Impressions Video
  • 437 - Major Scale Impressions
  • 438 - Major Scale Impressions (2)
  • 439 - Major Scale Impressions (3)
  • 440 - Major Scale Impressions (4)
  • 441 - Modes: Linear Approach
  • 442 - Modal Lines
  • 443 - Modal Lines (2)
  • 444 - Modal Lines (3)
  • 445 - Modal Lines (4)
  • 446 - Modal Lines (5)
  • 447 - Modal Lines (6)
  • 448 - Blues Sounds
  • 449 - Blues Sounds (2)
  • 450 - Diminished Sounds
  • 451 - Diminished Sounds (2)
  • 452 - Diminished Sounds (3)
  • 453 - Whole Tone Lines
  • 454 - Modal Mixture
  • 455 - Modal Mixture (2)
  • 456 - Using One Interval Set Over Many Chords
  • 457 - Using One Interval Set Over Many Chords (2)
  • 458 - Using One Interval Set Over Many Chords (3)
  • 459 - Outside Playing Over One Chord
  • 460 - Outside Playing Over One Chord (2)
  • 461 - Chromaticism and Twelve-Tone Applications
  • 462 - Chromaticism and Twelve-Tone Applications (2)
  • 463 - Chromaticism and Twelve-Tone Applications (3)
  • 464 - Chromaticism and Twelve-Tone Applications (4)
  • 465 - Twelve-Tone Triadic Formulas
  • 466 - Twelve-Tone Triadic Formulas (2)
  • 467 - Twelve-Tone Formulas Using Seventh Chords
  • 468 - Non-Tertian Twelve-Tone Rows
  • 469 - Non-Systematic Row
  • 470 - Twelve-Tone Triad Etude
  • 471 - Modal Shapes
  • 472 - Modal Shapes (2)
  • 473 - Tonic and Dominant Diminished Scale Shapes
  • 474 - Tonic and Dominant Diminished Scale Shapes (2)
  • 475 - Unorthodox Left Hand Techniques
  • 476 - Modern Linear Examples
  • 477 - Modern Linear Examples (2)
  • 478 - Neo Classical Spread Triads
  • 479 - Pedal Point Soloing
  • 480 - Studies/Improvisations
  • 481 - Studies/Improvisations (2)
  • 482 - Studies/Improvisations (3)
  • 483 - Studies/Improvisations (4)
  • 484 - Studies/Improvisations (5)
  • 485 - Studies/Improvisations (6)
  • 486 - Studies/Improvisations (7)
  • 487 - Studies/Improvisations (8)
  • 488 - Studies/Improvisations (9)
  • 489 - Studies/Improvisations (10)
  • 490 - Studies/Improvisations (11)
  • 491 - Studies/Improvisations (12)
  • 492 - Chapter Video
  • 493 - Bass Lines
  • 494 - Bass Lines (2)
  • 495 - Bass Lines (3)
  • 496 - Pedal Points
  • 497 - Rhythm Changes Bassline
  • 498 - Rhythm Changes Bassline (2)
  • 499 - Walking Bassline
  • 500 - Comping Rhythms
  • 501 - Solos Over Standard Forms
  • 502 - Solo No. 1
  • 503 - Solo No. 2
  • 504 - Solo No. 3
  • 505 - Blues Solo
  • 506 - Rhythm Changes Solo
  • 507 - Modern Approach to Rhythm Changes
  • 508 - Practicing
  • 509 - Practicing (2)
  • 510 - Practicing (3)
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive
The Beato Book Interactive

The Beato Book Interactive

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