Easy ii V I Vocabulary

Transcription

1

2 Easy ii V I Vocabulary Easy and Essential ii V I Lines and Concepts Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com 2

3 Table of Contents How to Use This ebook Major ii V I Variations Minor ii V I Variations Charlie Parker ii V I Vocabulary Sonny Rollins ii V I Vocabulary John Coltrane ii V I Vocabulary Wynton Kelly ii V I Vocabulary McCoy Tyner ii V I Vocabulary Miles Davis ii V I Vocabulary Freddie Hubbard ii V I Vocabulary Wes Montgomery ii V I Vocabulary Joe Pass ii V I Vocabulary Pat Martino ii V I Vocabulary Mike Stern Autumn Leaves Solo Hank Mobley I Remember You Solo Pat Metheny All the Things You Are Solo About the Author mattwarnockguitar.com 3

4 How to Use This ebook Welcome to the Easy ii V I Vocabulary ebook, great to have you here! Before diving into the material below, take a minute to learn how this ebook works and how to get the most out of this material. That way you can dig into each and every lick, concept, piece of vocabulary, and solo the most efficient way in your studies. Have fun with this ebook, and have fun building a rock-solid jazz guitar vocabulary along the way. Backing Tracks When you downloaded this ebook, you also downloaded all the audio examples and song backing tracks you need for this ebook. There was also a separate link for the major and minor ii V I, and variations, backing tracks. This is because many players create their own backing tracks these days, or you may have already downloaded these with another ebook. Because the files are so large, I put them as a separate link in the you received when buying this ebook. If you want to download the backing tracks at a later date, or you missed them in the , here s the link for those files. Just copy and paste this link into your browser, download the files, and you re all set. mattwarnockguitar.com 4

5 Working the Licks Each chapter in this ebook analyzes two classic licks by famous jazz musicians. These licks are played over major and minor ii V I s, variations of those chords, or individual chords from those progressions. The first goal in each chapter is to play the licks as written to get them into your ear and hear the vocabulary in context. If you feel ready, you can work the licks in other keys and add them to your solos over backing tracks or full jazz tunes. Once you play through the lick, move on to the analysis of each vocabulary concept and exercises below that phrase. Expanding on Vocabulary Concepts Once you play through the featured lick, you re ready to move on to learning about the vocabulary concepts within that line. Each line breaks down 2-3 pieces of vocabulary that you can learn and apply to your own jazz guitar solos. There s a theory explanation followed by several exercises for each vocabulary concept. Make sure to work these exercises with a metronome and by soloing with them over the backing tracks. This builds your knowledge and prepares you to add these concepts to your solos when ready. mattwarnockguitar.com 5

6 Chapter Solos At the end of each chapter is a solo written in the style of that particular musician. These solos use vocabulary from that chapter, but they also add new vocabulary to check out in your studies. If you see a new vocabulary concept in a solo, take it out of context, analyze it, and create exercises around that concept. That way you train yourself to repeat this process on your own with other solos and licks you learn outside of this ebook. As well, the first few solos have my analysis under each bar, but after a while the analysis is left blank. This is so you can see how I go about analyzing solos, and then you can give it a try with the solos later on in the book. Writing Licks and Solos After you learn the lick, the concepts, and the chapter solos, you can write licks and solos of your own with that vocabulary. Writing out licks and solos is like improvising with an eraser. It teaches you how to use the vocabulary, but you can go slow, correct mistakes, and learn how you want to apply vocabulary to your solos. Over time you become faster with this process, and eventually you can do it in real time in your improvised solos. As long as writing out lines and solos is a means to an end, and you want to eventually improvise, it s fine. mattwarnockguitar.com 6

7 If you write out solos or lines and play them exactly as written in a jam session, you re not getting the most out of this exercise. Jazz Standard Soloing Studies At the end of the ebook there are longer solos based on vocabulary from three more jazz legends. As one book can only cover so many players, I included these solos for you to learn, but also to analyze and expand upon in your studies. Learn the solos as written, then extract any lines you like, analyze them, and build exercises around those concept in your studies. This way you learn fun solos to play and get the benefits of studying those lines in the process. Ok, enough talk; time to learn some jazz vocabulary! mattwarnockguitar.com 7

8 Major ii V I Variations Before you dive into the material in this ebook, take a minute to look at the major chord progressions that you can use to work every exercise. These progressions prepare you to solo over any jazz standard with major key centers with confidence. You don t have to work all of these progressions right away, but make it a goal to try each one out as you work through this material. Have fun exploring these different progressions, they re all closely related, but provide different challenges in your solos. ii V The first progression you can study is the ii V progression. This progression doesn t resolve to a tonic maj7 chord, and it s often used in sequences when found in jazz standards. Because of this, it s worth working this progression in as many keys as you can, as you encounter it non-stop when playing jazz tunes. Here s an example of this progression in the key of C major. mattwarnockguitar.com 8

9 Here s the short, 1-bar version of the ii V progression. ii V I The next progression to practice is the full ii V I progression. As this is the most popular progression in jazz, it s the best place to spend your time. So, if time is short in the practice room, work the vocabulary in this ebook over this progression first. Then, if you have some extra time you can work on the ii V I variations below and above. mattwarnockguitar.com 9

10 Here s an example of this progression in the key of C major. Here s the short, 2-bar version of the ii V I progression. ii V I IV You also work on the ii V I IV variation in this ebook, which you can hear in the first section of Fly Me to the Moon, among other tunes. The IVmaj7 chord is interesting as it uses a maj7#11 sound when you apply the Lydian mode to that chord. mattwarnockguitar.com 10

11 This gives you a chance to work on Lydian sounds in your studies while working on the vocabulary in this ebook. Here are examples of this progression get an idea of how it sounds and sits on the fretboard. Here s the short, 2-bar version of the ii V I IV progression. mattwarnockguitar.com 11

12 ii V I VI The last progression that you work on is the ii V I VI, which features a 7b9 chord in the last bar or last half bar of the progression. Here are two examples, one short and one long, of a ii V I VI progression in the key of C major. Notice that the A7b9 chord isn t from the key of C major; normally that chord would be Am7. In jazz, we like to create tension and resolution in our lines and chords. Because of this, most VI chords are played as VI7b9, especially if the next chord is iim7, as it is here. A7b9 is the V7b9 of Dm7, the iim7 chord, so it creates tension and then a strong resolution in this progression. Make sure to work this progression in your studies, in multiple keys, as you find this progression in many jazz standards. mattwarnockguitar.com 12

13 Here s the short, 2-bar version of the ii V I VI progression. Backing Track Progressions in Every Key There are backing tracks provided in all 12 keys for the major ii V I variations with this ebook. To help you quickly figure out what chords are used in each progression, and on each track, there they are. mattwarnockguitar.com 13

14 Major ii V Backing Track Chords Here are the chord changes used for the long ii V backing tracks included in this ebook for you to practice with. Ø C Major = Dm7 G7 Ø Db Major = Ebm7 Ab7 Ø D Major = Em7 A7 Ø Eb Major = Fm7 Bb7 Ø E Major = F#m7 B7 Ø F Major = Gm7 C7 Ø Gb Major = Abm7 Db7 Ø G Major = Am7 D7 Ø Ab Major = Bbm7 Eb7 Ø A Major = Bm7 E7 Ø Bb Major = Cm7 F7 Ø B Major = C#m7 F# Major ii V I Backing Track Chords Here are the chord changes used for the ii V I backing tracks, both short and long, included in this ebook for you to practice with. Ø C Major = Dm7 G7 Cmaj7 Ø Db Major = Ebm7 Ab7 Dbmaj7 Ø D Major = Em7 A7 Dmaj7 Ø Eb Major = Fm7 Bb7 Ebmaj7 Ø E Major = F#m7 B7 Emaj7 Ø F Major = Gm7 C7 Fmaj7 Ø Gb Major = Abm7 Db7 Gbmaj7 Ø G Major = Am7 D7 Gmaj7 Ø Ab Major = Bbm7 Eb7 Abmaj7 Ø A Major = Bm7 E7 Amaj7 Ø Bb Major = Cm7 F7 Bbmaj7 Ø B Major = C#m7 F#7 Bmaj7 mattwarnockguitar.com 14

15 Major ii V I IV Backing Track Chords Here are the chord changes used for the long ii V I IV backing tracks included in this ebook for you to practice with. Ø C Major = Dm7 G7 Cmaj7 Fmaj7 Ø Db Major = Ebm7 Ab7 Dbmaj7 Gbmaj7 Ø D Major = Em7 A7 Dmaj7 Gmaj7 Ø Eb Major = Fm7 Bb7 Ebmaj7 Abmaj7 Ø E Major = F#m7 B7 Emaj7 Amaj7 Ø F Major = Gm7 C7 Fmaj7 Bbmaj7 Ø Gb Major = Abm7 Db7 Gbmaj7 Bmaj7 Ø G Major = Am7 D7 Gmaj7 Cmaj7 Ø Ab Major = Bbm7 Eb7 Abmaj7 Dbmaj7 Ø A Major = Bm7 E7 Amaj7 Dmaj7 Ø Bb Major = Cm7 F7 Bbmaj7 Ebmaj7 Ø B Major = C#m7 F#7 Bmaj7 Emaj7 Major ii V I VI Backing Track Chords Here are the chord changes used for the long ii V I VI backing tracks included in this ebook for you to practice with. Ø C Major = Dm7 G7 Cmaj7 A7b9 Ø Db Major = Ebm7 Ab7 Dbmaj7 Bb7b9 Ø D Major = Em7 A7 Dmaj7 B7b9 Ø Eb Major = Fm7 Bb7 Ebmaj7 C7b9 Ø E Major = F#m7 B7 Emaj7 C#7b9 Ø F Major = Gm7 C7 Fmaj7 D7b9 Ø Gb Major = Abm7 Db7 Gbmaj7 Eb7b9 Ø G Major = Am7 D7 Gmaj7 E7b9 Ø Ab Major = Bbm7 Eb7 Abmaj7 F7b9 Ø A Major = Bm7 E7 Amaj7 F#7b9 Ø Bb Major = Cm7 F7 Bbmaj7 G7b9 Ø B Major = C#m7 F#7 Bmaj7 G#7b9 mattwarnockguitar.com 15

16 Minor ii V I Variations There are a number of minor ii V I variations that you can use to learn and practice the vocabulary you learn in this ebook. These variations are found in many jazz standards, and therefore are essential learning so you re prepared to jam on any jazz tune. To begin, here s an intro to each of those progressions. Make sure to work the vocabulary in this ebook over each of these variations in different keys in your studies. Minor ii V Short and Long The first variation of the minor ii V I that you work on in this ebook is the ii V. This progression is found in many jazz standards, and it s often used over one bar, though two-bar versions are used as well. Here s an example of a minor ii V progression in Cm to play, get into your ears and fingers, and use to study the vocabulary in this ebook. mattwarnockguitar.com 16

17 Here s the long version of the minor ii V progression that you can try out and work with each exercise you learn in this ebook. Minor ii V I Short and Long You also work on adding the tonic minor chord to form the full minor ii V I progression in your studies. As you discover through experience, the tonic minor chord is often written as m7, but you play it as m6, m6/9, mmaj7, etc. In this example you have the Im6/9 variation in the last bar of the progression. Give it a try, get these chords into your fingers and ears, then work any exercise you learn in this ebook over this progression. mattwarnockguitar.com 17

18 Here s the long version of the minor ii V I progression to check out, play through, and get into your ears and fingers. Minor ii V I biii Short and Long You can also add the biiimaj7 chord at the end of the progression, especially in a turnaround situation. The biiimaj7 chord is the relative major chord, so it s directly related to the tonic minor chord and minor key you re in. Try this short example out to get the sound of this minor ii V I variation in your ears and under your fingers. mattwarnockguitar.com 18

19 Here s the long version of the ii V I biii minor progression. Take a minute to play through these chords and get them into your ears and fingers to prepare your for this progression in this ebook. mattwarnockguitar.com 19

20 Backing Track Progressions in Every Key There are backing tracks provided in all 12 keys for the minor ii V I variations with this ebook. To help you quickly figure out what chords are used in each progression, and on each track, there they are. Minor ii V Backing Track Chords Here are the chord changes used for the long minor ii V backing tracks included in this ebook for you to practice with. Ø C Minor = Dm7b5 G7alt Ø Db Minor = Ebm7b5 Ab7alt Ø D Minor = Em7b5 A7alt Ø Eb Minor = Fm7b5 Bb7alt Ø E Minor = F#m7b5 B7alt Ø F Minor = Gm7b5 C7alt Ø Gb Minor = Abm7b5 Db7alt Ø G Minor = Am7b5 D7alt Ø Ab Minor = Bbm7b5 Eb7alt Ø A Minor = Bm7b5 E7alt Ø Bb Minor = Cm7b5 F7alt Ø B Minor = C#m7b5 F#7alt mattwarnockguitar.com 20

21 Minor ii V I Backing Track Chords Here are the chord changes used for the minor ii V I backing tracks, both short and long, included in this ebook for you to practice with. Ø C Minor = Dm7b5 G7alt Cm7 Ø Db Minor = Ebm7b5 Ab7alt Dbm7 Ø D Minor = Em7b5 A7alt Dm7 Ø Eb Minor = Fm7b5 Bb7alt Ebm7 Ø E Minor = F#m7b5 B7alt Em7 Ø F Minor = Gm7b5 C7alt Fm7 Ø Gb Minor = Abm7b5 Db7alt Gbm7 Ø G Minor = Am7b5 D7alt Gm7 Ø Ab Minor = Bbm7b5 Eb7alt Abm7 Ø A Minor = Bm7b5 E7alt Am7 Ø Bb Minor = Cm7b5 F7alt Bbm7 Ø B Minor = C#m7b5 F#7alt Bm7 Minor ii V I biii Backing Track Chords Here are the chord changes used for the long minor ii V I biii backing tracks included in this ebook for you to practice with. Ø C Minor = Dm7b5 G7alt Cm7 Ebmaj7 Ø Db Minor = Ebm7b5 Ab7alt Dbm7 Emaj7 Ø D Minor = Em7b5 A7alt Dm7 Fmaj7 Ø Eb Minor = Fm7b5 Bb7alt Ebm7 Gbmaj7 Ø E Minor = F#m7b5 B7alt Em7 Gmaj7 Ø F Minor = Gm7b5 C7alt Fm7 Abmaj7 Ø Gb Minor = Abm7b5 Db7alt Gbm7 Amaj7 Ø G Minor = Am7b5 D7alt Gm7 Bbmaj7 Ø Ab Minor = Bbm7b5 Eb7alt Abm7 Bmaj7 Ø A Minor = Bm7b5 E7alt Am7 Cmaj7 Ø Bb Minor = Cm7b5 F7alt Bbm7 Dbmaj7 Ø B Minor = C#m7b5 F#7alt Bm7 Dmaj7 mattwarnockguitar.com 21

22 Charlie Parker ii V I Vocabulary As Parker had one of the strongest jazz vocabularies of any musician, regardless of instrument, he s the best place to start in this ebook. Bird, as he was known, mixed cutting-edge bebop vocabulary with traditional patterns and a strong blued sensibility to create his sound. Because of these influences, his playing connects with a large audience, and his music has endured for decades without sounding dated. In this section you learn two Charlie Parker lines, one over a Imaj7 chord and one over a minor ii V I progression. The concepts covered in these lines, beyond the lines themselves, are: Ø Major Bebop Scale Ø Octave Displacement Ø Enclosures Ø 3 to b9 Arpeggios Ø Tonic Harmonic Minor Scale/Phrygian Dominant Ø Natural Minor Scale As you work on the vocabulary below, through two different lines, here are exercises you can do to get the most out of these concepts. Ø Learn the lick as written with a metronome. Ø Work the lick in different keys with a metronome. Ø Add the lick to your solos over backing tracks. Ø Write variations of the lick and repeat the above steps. Ø Dig into the concepts and exercises based on that line. Ø Learn the solo at the end of the chapter. Ø Write a solo of your own using the concepts from this chapter. mattwarnockguitar.com 22

23 If you work these exercises, not with every chapter but hit each exercise over time, you give yourself a recipe for success. Now that you know about Bird s soloing style and how to practice this material, now comes the fun part, playing them on your guitar! mattwarnockguitar.com 23

24 Maj7 Vocabulary You begin your studies by learning a maj7 line in the style of Charlie Parker, here in the key of F. Before you work on the vocabulary found in this line, here are exercises to get the most out of this phrase in your playing. Ø Play the line with a metronome from 40 bpm to your max. Ø Play the line in 12 keys around the fretboard. Ø Sing along while you play the line on your guitar. Ø Sing the line while comping the chords on guitar, or over a track. Ø Write 3-5 variations of the line to add to your own solos. Now that you know how to practice this lick, it s time to take it to the fretboard. Have fun learning this Charlie Parker maj7 line and the exercises built on the vocabulary found within this fun-to-play phrase. Audio Example 1 mattwarnockguitar.com 24

25 Major Bebop Scale The first vocabulary concept taken from this line is the major bebop scale, which is used to bring color to maj7 chords in your solos. The major bebop scale is built by adding a #5/b6 interval to the major scale. You can see this here, where the first bar is a C major scale and the last two bars are the C major bebop scale. Play both to compare how they sound and sit on the guitar, then head down to the exercise for this scale below. Audio Example 2 Now that you know what the major bebop scale is, time to take it to the fretboard. Here s an example of a Cmaj7 arpeggio up and bebop scale on the way down to work in your studies. Practice this exercise in different keys, then add it to your solos over Imaj7 chords or IVmaj7 chords when ready. mattwarnockguitar.com 25

26 Audio Example 3 You now work this exercise in second position, both with a metronome and in your solos over backing tracks. When this position is comfortable, mix it with the first position to cover more of the fretboard with the major bebop scale. Audio Example 4 mattwarnockguitar.com 26

27 Octave Displacement The next concept is called octave displacement, and it s one of the easiest ways to bring vocabulary into your jazz solos. To create octave displacement, play down a scale, then instead of continuing, you jump up an octave and play down the scale from there. This allows you to run scales in note order but not sound boring or predictable in your lines. Here s an example where the first bars are a scale going down, then the 3 rd and 4th bars uses octave displacement. Audio Example 5 You can now take this concept to the fretboard as you add it to a C major scale. Here you play down the scale starting on each note to get used to resetting yourself to the top of the scale. After you can play this exercise in C, take it to other keys. Then, apply this concept to other scales as you expand upon the octave displacement technique in your studies. mattwarnockguitar.com 27

28 Audio Example 6 Enclosures The next vocabulary concept is called an enclosure, and it s built by playing one fret above, one fret below, then your target note. Here s how that looks with a G target note. You can use enclosures over any chord or scale note in your solos, so the sky s the limit when experimenting with this vocabulary in your studies. mattwarnockguitar.com 28

29 Audio Example 7 Now that you know how to build this enclosure, it s time to take it to the fretboard. Here s an exercise where you apply enclosures to each note in a Cmaj7 arpeggio shape. After you can play this exercise over Cmaj7, work it in other keys and add it to your solos over maj7 chords. Then, add enclosures to other chords, including m7b5, m7, 7, and 7alt chords to get the most out of this concept in your studies. mattwarnockguitar.com 29

30 Audio Example 8 Here s a second position for this exercise that you can work in different keys and add to your solos when ready. Make sure to work enclosures over other chords as well, including 7 th, m7, m7b5, and 7alt arpeggio shapes. mattwarnockguitar.com 30

31 Audio Example 9 mattwarnockguitar.com 31

32 Minor ii V I Vocabulary You now move on to learning a minor ii V I line in the style of Charlie Parker, here in the key of Fm. Before you work on the vocabulary within this line, here are 5 exercises you can do to get the most out of this line in your playing. Ø Play the line with a metronome at different tempos. Ø Play the line in different keys, 12 if possible. Ø Sing along while you play the line. Ø Sing the line while playing the chords on guitar. Ø Write 2-3 variations of the line by changing rhythms and notes. Now that you know how to practice this line, time to take it to the fretboard. Have fun learning this Charlie Parker minor ii V I line and digging into the vocabulary found within this cool-sounding phrase. Audio Example 10 mattwarnockguitar.com 32

33 3 to b9 Arpeggios The first concept from this line is the use of 3 to b9 arpeggios over 7alt chords. This concept is built by playing an arpeggio that outlines the 3-5-b7-b9 intervals over any 7alt chord in your solos. When doing so, you play a dim7 arpeggio from the 3 rd of any 7alt chord. Here s how that works over a C7alt chord so you can see how when you remove the root of C7b9 you re left with Edim7. Play this example and then move on to the exercises below when you feel ready. Audio Example 11 Armed with the knowledge of what a 3 to b9 arpeggio is, you re ready to take this concept to the fretboard. Here s an exercise where you play the 3 to b9 arpeggio up and the Phrygian dominant scale down, which you learn about below. Work this exercise in different keys and make sure to solo with it over backing tracks to get the most out of this exercise. mattwarnockguitar.com 33

34 Audio Example 12 You now work this exercise from the 5 th string root of the Edim7 chord, the 3 to b9 over C7alt. After you can play this exercise in a few keys, work it over backing tracks and full jazz tunes. From there, mix it with the previous position to cover more of the fretboard with this concept in your playing. mattwarnockguitar.com 34

35 Audio Example 13 Phrygian Dominant/Tonic Harmonic Minor One of the most popular scales in jazz, the Phrygian dominant scale is used to outline the V7alt chord in minor ii V I changes. When doing so, you play the tonic harmonic minor scale over the V7alt chord to create the Phrygian dominant sound. Here s how that looks so you can see and hear that C Phrygian dominant and F harmonic minor are the same notes. This allows you to quickly grab this scale in your solos, as when you see a minor ii V I you play the tonic HM scale over the V7alt chord. mattwarnockguitar.com 35

36 No thinking needed beyond knowing what key you re in and using the correct scale fingering. After you play through this example, move on to the exercises below as you expand on this concept in your studies. Audio Example 14 Now that you know what this concept is, it s time to take it to the fretboard. Here s an exercise where you play tonic HM over the V7alt chord, C7alt here, and the tonic natural minor scale over the Im7 chord, Fm7. Start by playing this exercise as written, then taking it to other keys when Fm is comfortable. Always make sure to work these exercises with a metronome and in your solos over backing tracks. That way you build your chops and soloing vocabulary at the same time. mattwarnockguitar.com 36

37 Audio Example 15 You can also work this exercise starting on the 5 th -string root for the first scale. After you can play this exercise as written, take it to other keys then add it to your soloing workout over backing tracks or full jazz tunes. From there, mix both positions together as you expand on this concept around the fretboard. mattwarnockguitar.com 37

38 Audio Example 16 Natural Minor Scale The last concept in this section is the use of the natural minor scale over Im7 chords. Normally in jazz you would use Dorian or melodic minor over m7 chords. But, as you saw in the Parker line, you can also use the natural minor scale over tonic minor chords. When doing so, you create a darker sound compared to Dorian and melodic minor, as natural minor has both the b6 and b7 intervals. mattwarnockguitar.com 38

39 To get you started, here s an F natural minor scale with the intervals written underneath. Play through this scale first, then when ready move on to the two exercises below. Audio Example 17 Now that you know what the natural minor scale is and how to use it, it s time to take it to the fretboard. In this exercise you play up an Fm7 arpeggio then down an F natural minor scale. After you can play this exercise as written, take it other keys and make sure to add it to your soloing workout over backing tracks when ready. mattwarnockguitar.com 39

40 Audio Example 18 Here s a second position for this exercise that you can learn, work in different keys, and add to your solos when ready. After you re comfortable with this position, mix it with the first position to cover more of the fretboard with this exercise. mattwarnockguitar.com 40

41 Audio Example 19 mattwarnockguitar.com 41

42 Blue Bossa Solo Study You now bring the concepts in this chapter together as you learn a solo study over the tune Blue Bossa. By learning full choruses of solo, you work on applying concepts and lines to real world situations. This study also acts as a bridge between learning lines/concepts and applying them in real time to jams and gig situations. Writing out and learning solos with particular concepts is excellent practice, as long as the goal is to improvise down the road. Here are 5 exercises to work on when learning this solo to get the most out of these lines and phrase. Ø Learn the solo 1 phrase at a time. Ø Learn any phrases you like in 12 keys, sing along if possible. Ø Analyze the line to identify the concepts in its construction. Ø Use those concepts to write 3-5 lines of your in in that style. Ø Write a solo over this tune using the same concepts. Now that you know how to work this solo, have fun learning it, breaking it apart, and adding these lines and concepts to your own solos. Audio Example 20 mattwarnockguitar.com 42

43 mattwarnockguitar.com 43

44 About the Author I grew up listening to classic rock and blues, and I still love those styles of music. But, it s soloing I really love, and that s what drew me to jazz. My love of jazz has taken me from small town Canada around the globe. I studied at three of the top jazz programs in the world, starting with McGill University, then Western Michigan, and finishing with a Doctorate from the University of Illinois (UIUC). I ve taught over 6000 private jazz guitar lessons, and my students range from beginners, to Professors at NYU, and everything in between. I ve also taught jazz guitar, popular music, and music business at universities in Canada, the US, the UK, Brazil, and Nepal. I ve played over 2500 gigs in 8 countries and shared the stage with Randy Brecker, Stefon Harris, and Slide Hampton. Some of my favorite gigs were at: Lincoln Center International Association for Jazz Education Conference NuJazz Festival (Brazil) Savassi Jazz Festival (Brazil) International Jazz Day Festival (Nepal) Jazz has been in my life for 20 years, and every day I m glad I found this great music. Because of this, I want to share this love of jazz and guitar with you. You never know where it ll lead you. For the best free jazz guitar lessons on the web, visit mattwarnockguitar.com mattwarnockguitar.com 44