In the first lesson, I’d have them play a jazz standard of their choice solo or in duo with me to assess their feel, time, and vocabulary. Then we’d pick one tune to dig into deeply—harmonically and melodically—to start building a personalized sound and refine how they tell a story through improvisation.
After the 11th lesson, we’d dive into more personal expression—encouraging students to compose their own heads, reharmonize standards, and create solo guitar arrangements. We’d also start recording them regularly, analyzing their sound, time, and dynamics to refine their artistic identity and prepare them for real-world performance situations.
From the 4th to the 10th lesson, we’d focus on developing phrasing, time feel, and voice. They’d work on chord melody arrangements, trading solos, and learning solos by ear from horn players. We’d also explore harmonic substitutions, modal playing, and composing short solos or intros to deepen their personal voice and storytelling.
Lesson 2:
We’d focus on voice leading through ii–V–I progressions using 3- and 4-note shell voicings, then apply them to a tune like “There Will Never Be Another You.” I’d have them comp behind me and then solo using only chord tones and guide tones to strengthen their connection to the harmony.
Lesson 3:
Introduce bebop phrasing—target notes, enclosures, and approach tones—using a simple head like “Billie’s Bounce.” We’d transcribe 4–8 bars of a solo (maybe Sonny Stitt or Cannonball), then improvise using that vocabulary in all 12 keys.