Shift between major and minor triads across E, C, and A shapes while tackling a I–vi–ii–V progression to develop smooth voice leading. You’ll also explore the expressive b3 to 3 melodic motif—an essential ingredient in bluesy phrasing and melodic improvisation.
This session deepens your grasp of the major pentatonic scale by adding the expressive b3 and applying it across multiple shapes. You’ll also build rhythmic control with funk strumming techniques and chord-based soloing over I–IV–V progressions.
Get into the groove with funk-inspired rhythm work from Soul Man while refining your outside picking and timing. Then explore major pentatonic fragments across the neck and turn them into expressive melodies over a I–IV–V progression.
Sharpen your picking technique with outside string skips and bring rhythmic precision to life through funk-inspired chord stabs from I Wanna Dance With Somebody. You’ll also explore melodic phrasing that targets chord tones, helping turn scale practice into real musical expression.
This routine focuses on inside picking, funky strumming, and unlocking the sound of Mixolydian mode through practical licks and groove-based playing. You’ll refine technique, expand harmonic awareness, and apply new concepts in a full playalong performance.
This routine blends inside picking, funk rhythm mastery, and dominant scale application using the C shape. From Cheryl Lynn grooves to six Mixolydian licks, it’s all about turning technique into real musical vocabulary.
Technical refinement meets groove-based playing with shift slides, funk rhythms, and four-note sequences that build coordination and control. By connecting arpeggios and scales in musical ways, we sharpen our picking technique and deepen overall fluency.
We put rhythmic flexibility to the test by shifting between 16th notes and triplets, blending picking control with timing precision. With double picking, pentatonic runs, and 1234 variations, this workout builds stamina, clarity, and rhythmic adaptability across subdivisions.
We dive into triads through a full song form, using the “la pompe” rhythm to drive classic progressions like I–V, II–V, and gospel-style turnarounds. Each section builds harmonic awareness, helping us hear and feel how chords function across a tune.
This week we hit pause to reflect, reconnect with the material, and reassess our progress across 35 routines. Using triads from Signed, Sealed, Delivered as a musical anchor, we’re reminded that practice is about depth, not speed—and real growth comes from truly knowing, not just doing.
This high-energy session hones triplet-based pentatonic licks with a focus on alternate picking, speed, and left-hand precision. Drawing inspiration from Zakk Wylde, the routine blends technical drills with expressive phrasing and wide bends to build endurance and unleash aggressive soloing power.
This routine focuses on rebuilding speed and precision through intense, rhythmically-driven practice using the synced Guitar Pro file. It’s a no-frills, no-excuses session built to push limits, restore confidence, and sharpen your inner pulse.
This lesson blends rhythmic precision with functional harmony, using triads and real-world groove applications to lock into 16th-note time. By the end, you’ll be able to comp through an entire tune with feel, form, and tasteful voicings.
This solo study channels Ace Frehley’s lead from Love Gun to sharpen your alternate picking and pentatonic fluency. You’ll work across all five shapes while developing speed, control, and real-world musicality.
This week transforms arpeggio shapes into real music using the A section of Autumn Leaves as a guide. You’ll learn to shape melodic phrases from chord tones and develop creative fluency over a classic progression.
Building on last week’s Autumn Leaves study, this lesson adds longer phrases and scale-based ideas to connect arpeggios fluidly. We’ll explore subtle harmonic shifts using G major and E minor to shape more lyrical, expressive lines.
This week we’re applying last week’s minor triads using the “Gospel Triad Trick”—alternating a major triad with a minor triad one whole step above to create soulful, melodic motion in your rhythm playing. We’ll start over a C groove, working first on the DGB strings, then the GBE set, all while building your rhythmic instincts along the way.
This week we’re expanding the Gospel Triad Trick by crossing string sets, shifting positions, and introducing a new chord change—from C to F. You’ll build four triad voicings per chord, work them across the fretboard, and explore the smoother I–ii motion in both C and F. Watch how the neck starts to open up as you internalize these sounds and transitions.
This week we flip the Gospel Triad Trick for minor grooves, exploring how major triads a whole step down (the ♭VII) can add color and motion to minor chords. Using an Am–G pairing, you’ll build rhythm fluency, triad movement, and real-world fretboard awareness across the top three string sets—all over a tight minor vamp.
This week we’re tackling Oleo—not by shredding through it, but by learning the melody rhythm-first. The routine breaks it down into chunks you can clap, sing, and finally play, laying a solid foundation before diving into harmony and soloing in the coming weeks.
We’re digging into the A section of Rhythm Changes by mapping out the root motion across the I–vi–ii–V, including a common jazz reharm in bars 5–6. Keep it simple, stay with root notes, and get these shapes under your fingers before we build more vocabulary next week.
This week we’re digging into the bridge of Rhythm Changes—D7, G7, C7, F7—and using it as a launchpad for structured improvisation. You’ll cycle through root notes, shell voicings, arpeggios, and scales, then bring it all together over the full AABA form.
Back in B minor with the Strat and some overdrive, this week’s routine dials in position shifting and phrasing across the entire neck. Using the minor pentatonic as a vehicle, we explore transitions, 3NPS connectors, and single-string drills to build fluency and feel. Think of this one as your roadmap to instinctive, musical soloing—no matter the genre.
We’re diving into the first half of Donna Lee, tackling its infamous bebop phrasing with a strong focus on picking mechanics and articulation. This isn’t about getting close—it’s about playing it right, with clarity, feel, and control.
We’re finishing off the melody to Donna Lee this week, covering the second half of the tune with a fresh set of changes and an even sharper focus on phrasing. It’s a tough stretch, but if you made it through last week, you’re ready for this. Break it down, play it slow, and let the details guide your progress.
This one’s all about reps—ten tempos, two rounds of Donna Lee each, no shortcuts. It’s a deep-dive routine in deliberate practice, designed to build real fluency through focused repetition.
This lesson explores the power of placing your metronome clicks on beats 2 and 4 to develop a deeper sense of swing and groove. It’s a mindset shift that transforms your time-feel and makes every practice session more musical.
This week we’re diving into the right hand of Bach’s First Invention—a perfect piece for developing finger independence, clarity, and phrasing. It’s just one voice for now, but even on its own, it’s a masterclass in melodic structure and control.
This follow-up to last week’s Bach study uses a speed trainer format to lock in the right hand part of the First Invention. We’ll work from 50 to 80bpm, focusing on clarity, control, and confident phrasing at every step.
This week we complete Bach’s First Invention by adding the left-hand part, arranged for 6-string guitar. Even if you’re not a classical player, the 3rds sequences are pure gold for phrasing and scale work across styles. Play it as written, then see what you can steal.
