This week’s workout explores unusual 112 arpeggio shapes to challenge your picking and shifting control across all string sets. The goal is full-neck mobility—developing the freedom to move through arpeggios effortlessly, from position to position.
We’re locking in minor triads—not just in theory, but in real-world, playable form. It’s about turning knowledge into instinct so you’re ready for the upcoming Stand By Me etudes.
We’re working through five short etudes built entirely from triads over the classic I–vi–IV–V progression in A. It’s all about drilling chord tones in context so you can start improvising and creating with confidence.
We’re expanding our Stand By Me triad work by introducing add9 arpeggios to bring more color and shape to your lines. You’ll explore each chord using a 1–2–3–5 structure, adding subtle chromatic touches and emphasizing the 3rd to craft more expressive phrasing.
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.
We’re shifting from arpeggio patterns to voice leading—connecting chords through smooth, melodic motion. This week’s routine builds fluency by outlining a I–vi–ii–V progression with stepwise arpeggio transitions.
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.