The Complete Guitar Collection
This is everything you need to become a better guitarist — whether you're just starting out or you've been playing for
years and want to break through to the next level. Four complete courses covering technique, scales, arpeggios, and the
fundamentals that tie it all together.
Today is the last day. This bundle goes away tonight at 11:59 PM Eastern — and it's not coming back.
Four complete courses. Over $600 worth. Your last chance to get it all for $99.
Share
Here's Everything You Get:
What's Included:

What all is included?
-
1. The Scale Matrix
Learn more$159 INCLUDED
Break free from the pentatonic box and master the fretboard.
✓ 3.5+ hours covering 25+ scales and modes
✓ Master the entire fretboard
✓ From pentatonic to exotic scales
✓ Escape the "pentatonic box" -
2. Quick Lessons Pro
Learn more$149 INCLUDED
Build professional guitar technique you'll use every day.
✓ Most comprehensive guitar course
✓ Practical technique & musicality
✓ Notation & TAB for every lesson
✓ Immediately applicable skills -
3. The Arpeggio Masterclass
Learn more$150 INCLUDED
Add sophisticated arpeggio vocabulary to your playing.
✓ Advanced arpeggio techniques
✓ Complete notation and TAB
✓ Fretboard visualization
✓ Practice exercises included -
4. Beginner Guitar Course
$159 INCLUDED
Start your guitar journey with proper technique from day one.
✓ Complete entry-level instruction
✓ Foundation for all other courses
✓ Step-by-step video lessons
✓ Build proper technique from day one
The Complete Guitar Collection
This is everything you need to become a better guitarist — whether you're just starting out or you've been playing for
years and want to break through to the next level. Four complete courses covering technique, scales, arpeggios, and the
fundamentals that tie it all together.
Today is the last day. This bundle goes away tonight at 11:59 PM Eastern — and it's not coming back.
Four complete courses. Over $600 worth. Your last chance to get it all for $99.
Share
Here's Everything You Get:
What's Included:

What other students think:
-
Richard Brock
Just signed up. 61 years old and playing on and off for decades. Not happy with my gains and feel aimless in my journey to improve significantly. I've done everything possible to avoid theory and scales, and have thus limited what's possible for me to achieve on the guitar. Thanks for putting it all together into something that makes sense and is practical.
-
Abel Calderon
Man I just downloaded everything! I wish I would have got this a long time ago, what a bargain! I AM SO HAPPY - Thank you Rick- I spent half the night just on a few lessons - I feel like a little kid on Christmas Day! Anyone deciding - you will not be disappointed!! Simply Amazing!
-
T.J. Fuller
I have been a big fan of the channel and recently bought your bundle. I'm a self taught musician for 40 plus years and I'm blown away by how well your material is organized and put together - I've learned a lot, so far, with a lot more to go!!
-
David Adams
Learn from one of the best instructors out there. This bundle is jam packed with lessons, tutorials & info that you might otherwise have to spend a couple years in school (at least) & thousands of dollars to attain. I have it so I know.
-
Travis Keagle
Highly suggest this course. I am a stuck intermediate guitar player and have immediately found great benefit from this.
-
@Sevntimes
I just bought it.. been playing guitar and piano for 20 years but ignored the fundamentals for so long.. after 20 mins of watching and going through scales and arpeggios I already know I've made the right decision.. Time to do all that homework I skipped all those years ago. Thank you Rick!!
-
Michael Fillon
I started the course on December 27th and just totally binged on it during the last 4 days. The course was so helpful in broadening my knowledge base, but also by labeling and structuring what little I knew beforehand. No doubt I will go back to it, so much new stuff to be learned. So glad I got this bundle!
-
Jon Micheals
I have all his courses. So much information for such a little price. And it's all web-based. So once you start an accounts and create a bookmark in your browser you can access the material at any time. I especially love the arpeggio courses. He actually shows you in a video how to play all these different arpeggios. If you're serious about music and especially guitar I highly recommend these courses.
-
Drew Pearson
Boom. Let's see if Rick can make the 50 year old guitar player. Lol. I'm a drummer that wants to pick it up. I took advantage of this amazing deal and look forward to getting at it.
-
Hec Hepburn
The songwriting course is bang on. All the lights have come on for this amateur.
-
Wes Frantz
This Is the only guy you should buy lessons from on the internet, he's not selling garbage. Rick Is great!
-
Rick Whatley
Highly recommended! The material will last you a lifetime. Simply brilliant. Thank you, Maestro.
-
Dane Paul Stewart
The EAR TRAINING course is the bomb! I already had some theory so this was all i needed!
-
Six String Davis
As usual, another great course from Rick, and at a killer price. Nothing out there really compares to what this one offers.
-
@Rockingoodman
This is wonderful. Worth a lot more than you are asking.
-
Susan Hanke
Just love this guy, although I am an advanced player, you can never learn too much!
-
@astrofreq
I can personally vouch for the Arpeggio Masterclass. It has really opened up my movement around the neck. I still have about a third to go.
-
Ricardo Jomarron
Learning great stuff. It's like a cooking course for music where you learn precision use of spice or dissonance to broaden your palette adding delicious contrast to your style. Thanks Rick Beato!
-
Melinda Bowker
Thanks Rick! Just purchased your bundle to help with my uni music degree theory and learning guitar! Looking forward to learning it all.. although I dare say it will take me several years to absorb and understand the wealth of information you have presented. Thank you for offering this discount, without the discount I simply couldn't afford to do the courses. It is very much appreciated.
-
Glen Iverson
I took this as a sign that it was time to pick up the guitar and go back to the piano and start learning, playing and writing again. I have to admit I wasn't the best student in the world when it came to music theory, which is why I wound up with a career in I/T. But based on your youtube videos, the way you break things down is going to make it MUCH easier for me to learn this time around.
-
Brian Duffy
I started playing guitar because of rick. I wished i had taken it up when i was young. It's the hardest instrument i've ever played and I can see having young fingers would make the process a little easier. I have bought several of Rick's training and its great. I am waiting for his bundle with ear training.
Frequently asked questions
Is this a membership or one-time purchase?
One-time purchase. Pay once, own it forever. No subscriptions, no recurring fees.
How do I access my courses after purchase?
You'll receive an activation email right after checkout. Click the link, create your password, and start learning immediately. Check your spam folder if you don't see it within a few minutes.
How long do I have access?
Lifetime access. Learn at your own pace—there's no expiration. All future updates to the courses you purchase are included free.
How are the courses delivered?
Everything is streaming video and interactive content, accessible from any device—desktop, tablet, or phone. No downloads required, though PDFs and supplemental materials can be downloaded.
I already own some of Rick's courses. Should I get the bundle?
If you own 1-2 courses, the bundle is still a great deal for the remaining 5-6. If you own most of them already, grab the individual courses you're missing at $49 each.
Is this beginner-friendly?
Yes! The bundle includes the Beginner Guitar Course for those just starting out, plus foundational content in the Beato Book. More experienced players will find plenty of advanced material in Scale Matrix, Arpeggios, and Quick Lessons Pro.
What's the refund policy?
7-day money-back guarantee. If it's not for you, contact support within 7 days of purchase—no questions asked.
When does this sale end?
Black Friday pricing ends Sunday, November 30th at 11:59pm ET. After that, prices return to normal.
I have a question not answered here. How do I get help?
Email hello@beatobook.com and we'll get back to you as quickly as possible.
- Choosing a selection results in a full page refresh.
- Opens in a new window.
The Beato Ear Training Method — Table of Contents:
Pitch
Timbre Comparison
Musical Aptitude
Intervals
Harmonic: Seconds
Harmonic: Thirds
Harmonic: Fourths and Fifths
Harmonic: Sixths
Harmonic: Sevenths
Melodic: Seconds
Melodic: Thirds
Melodic: Fourths and Fifths
Melodic: Sevenths
Harmonic: Tritones and Major Sevenths
All Intervals
Triads
Major and Minor
Major Triad Inversions
Minor Triad Inversions
Diminished and Augmented
Diminished Triad Inversions
Basic Triads
Sus2 and Phrygian
Sus4 and Lydian
Advanced Triads
All Triads
Bonus: Sus4b5 and Locrian
Seventh Chords
Maj7, Min7 and Dom 7
Half dim7, Dim7
Phrygian Maj7 and Maj7sus2
Maj7sus4 and Lydian Maj7
Dom7sus4, Lydian Dom, Phrygian Dom
Dim Maj7 and Aug Maj7, Min Maj7
All 7th Chords
Tonal Progressions
Progressions #1
Progressions #2
Progressions #3
Permutation Trainer: The "4 chords"
Permutation Trainer: Imaj7 - iimin7 - IVmaj7 - V7
Secondary Chords
V of ii and V of iii
V of IV and V of V
V of vi and V of iii
All Secondary Dominant Chords
vii of ii and vii of iii
vii of IV and vii of V
vii of vi and vii of iii
All Secondary Seventh Chords
Extended Chords
Major add2 and Major add4
Minor add9 and Minor add11
Phrygian Major and Lydian Major
Phrygian Minor and Lydian Minor
Major6 and Major addb6
Minor6 and Minor addb6
Major9, Major7#11 and Major13
Minor9, Minor11 and Minor13
MinMaj9, MinMaj11 and MinMaj13
All Added-Note Triads
Rhythm
1 Note - Quarters
2 Notes - Quarters
3 Notes - Quarters
4 Notes - Quarters
Any # of Notes - Quarters
4 Notes - Eights
Any # of Notes - Eights
4 Notes - Sixteenths
Any # of Notes - Sixteenths
Modal Voicings
Phrygian and Locrian
Mixolydian and Ionian
Dorian b2 and Altered Dominant
Melodic Minor and Locrian Natural 2
Mixolydian #11 and Mixolydian b6
Lydian Augmented and Lydian
Harmonic Minor and Phrygian Major
Ionian Augmented and Lydian #9
Locrian Natural 6 and Dorian #4
Altered Dominant bb7 and Altered Dominant
All Major Modal Voicings
All Melodic Minor Modal Voicings
All Harmonic Minor Modal Voicings
Scales
Scale Trainer: Major Modes
Scale Trainer: Melodic Minor Modes
Scale Trainer: Harmonic Minor Modes
Scale Trainer: Pentatonic, Blues and Bebop
Scale Trainer: Symmetric Scales
Ionian and Lydian
Dorian and Aeolian
Phrygian and Locrian
Mixolydian and Mixolydian#11
Melodic Minor and Locrian Natural 2
Dorian b2 and Altered Dominant
Mixolydian #11 and Mixolydian b6
Lydian Augmented and Lydian
Major Pentatonic and Major Blues
Harmonic Minor and Phrygian Major
Ionian Augmented and Lydian #9
Locrian Natural 6 and Dorian #4
Altered Dominant bb7 and Altered Dominant
Half Whole and Whole Half
Whole Tone vs Augmented
Minor Pentatonic and Minor Blues
Minor Bebop and Melodic Minor Bebop
Major Bebop and Dominant Bebop
Modal Harmony
Modal Triads #1 - Major Tonic
Modal Triads #2 - Major Tonic
Modal Triads #3 - Major Tonic
Modal Triads #4 - Major Tonic
All Modal Triads - Major Tonic
Modal Triads #1 - Minor Tonic
Modal Triads #2 - Minor Tonic
Modal Triads #3 - Minor Tonic
Modal Triads #4 - Minor Tonic
All Modal Triads - Minor Tonic
Bitonal Harmony
Major Triads: Basic
Major Triads: Intermediate
Major Triads: Advanced
Major Triads: All
Minor Triads: Basic
Minor Triads: Intermediate
Minor Triads: Advanced
Minor Triads: All
Reharmonization
Standard Reharms #1
Standard Reharms #2
Standard Reharms #3
Standard Reharms #4
Standard Reharms #5
Inner Note Hearing
Perfect Fifth Shell
Flat Sixth Shell
Major Sixth Shell
Flat Seventh Shell
Major Seventh Shell
Twelve Tone Harmony
Pentatonic Single Octave
Diatonic Single Octave
Chromatic Single Octave
Pentatonic Multi Octave
Diatonic Multi Octave
Chromatic Multi Octave
The Beato Ear Training Method — Table of Contents:
Pitch
Timbre Comparison
Musical Aptitude
Intervals
Harmonic: Seconds
Harmonic: Thirds
Harmonic: Fourths and Fifths
Harmonic: Sixths
Harmonic: Sevenths
Melodic: Seconds
Melodic: Thirds
Melodic: Fourths and Fifths
Melodic: Sevenths
Harmonic: Tritones and Major Sevenths
All Intervals
Triads
Major and Minor
Major Triad Inversions
Minor Triad Inversions
Diminished and Augmented
Diminished Triad Inversions
Basic Triads
Sus2 and Phrygian
Sus4 and Lydian
Advanced Triads
All Triads
Bonus: Sus4b5 and Locrian
Seventh Chords
Maj7, Min7 and Dom 7
Half dim7, Dim7
Phrygian Maj7 and Maj7sus2
Maj7sus4 and Lydian Maj7
Dom7sus4, Lydian Dom, Phrygian Dom
Dim Maj7 and Aug Maj7, Min Maj7
All 7th Chords
Tonal Progressions
Progressions #1
Progressions #2
Progressions #3
Permutation Trainer: The "4 chords"
Permutation Trainer: Imaj7 - iimin7 - IVmaj7 - V7
Secondary Chords
V of ii and V of iii
V of IV and V of V
V of vi and V of iii
All Secondary Dominant Chords
vii of ii and vii of iii
vii of IV and vii of V
vii of vi and vii of iii
All Secondary Seventh Chords
Extended Chords
Major add2 and Major add4
Minor add9 and Minor add11
Phrygian Major and Lydian Major
Phrygian Minor and Lydian Minor
Major6 and Major addb6
Minor6 and Minor addb6
Major9, Major7#11 and Major13
Minor9, Minor11 and Minor13
MinMaj9, MinMaj11 and MinMaj13
All Added-Note Triads
Rhythm
1 Note - Quarters
2 Notes - Quarters
3 Notes - Quarters
4 Notes - Quarters
Any # of Notes - Quarters
4 Notes - Eights
Any # of Notes - Eights
4 Notes - Sixteenths
Any # of Notes - Sixteenths
Modal Voicings
Phrygian and Locrian
Mixolydian and Ionian
Dorian b2 and Altered Dominant
Melodic Minor and Locrian Natural 2
Mixolydian #11 and Mixolydian b6
Lydian Augmented and Lydian
Harmonic Minor and Phrygian Major
Ionian Augmented and Lydian #9
Locrian Natural 6 and Dorian #4
Altered Dominant bb7 and Altered Dominant
All Major Modal Voicings
All Melodic Minor Modal Voicings
All Harmonic Minor Modal Voicings
Scales
Scale Trainer: Major Modes
Scale Trainer: Melodic Minor Modes
Scale Trainer: Harmonic Minor Modes
Scale Trainer: Pentatonic, Blues and Bebop
Scale Trainer: Symmetric Scales
Ionian and Lydian
Dorian and Aeolian
Phrygian and Locrian
Mixolydian and Mixolydian#11
Melodic Minor and Locrian Natural 2
Dorian b2 and Altered Dominant
Mixolydian #11 and Mixolydian b6
Lydian Augmented and Lydian
Major Pentatonic and Major Blues
Harmonic Minor and Phrygian Major
Ionian Augmented and Lydian #9
Locrian Natural 6 and Dorian #4
Altered Dominant bb7 and Altered Dominant
Half Whole and Whole Half
Whole Tone vs Augmented
Minor Pentatonic and Minor Blues
Minor Bebop and Melodic Minor Bebop
Major Bebop and Dominant Bebop
Modal Harmony
Modal Triads #1 - Major Tonic
Modal Triads #2 - Major Tonic
Modal Triads #3 - Major Tonic
Modal Triads #4 - Major Tonic
All Modal Triads - Major Tonic
Modal Triads #1 - Minor Tonic
Modal Triads #2 - Minor Tonic
Modal Triads #3 - Minor Tonic
Modal Triads #4 - Minor Tonic
All Modal Triads - Minor Tonic
Bitonal Harmony
Major Triads: Basic
Major Triads: Intermediate
Major Triads: Advanced
Major Triads: All
Minor Triads: Basic
Minor Triads: Intermediate
Minor Triads: Advanced
Minor Triads: All
Reharmonization
Standard Reharms #1
Standard Reharms #2
Standard Reharms #3
Standard Reharms #4
Standard Reharms #5
Inner Note Hearing
Perfect Fifth Shell
Flat Sixth Shell
Major Sixth Shell
Flat Seventh Shell
Major Seventh Shell
Twelve Tone Harmony
Pentatonic Single Octave
Diatonic Single Octave
Chromatic Single Octave
Pentatonic Multi Octave
Diatonic Multi Octave
Chromatic Multi Octave
The Beato Ear Training Method — Table of Contents:
Pitch
Timbre Comparison
Musical Aptitude
Intervals
Harmonic: Seconds
Harmonic: Thirds
Harmonic: Fourths and Fifths
Harmonic: Sixths
Harmonic: Sevenths
Melodic: Seconds
Melodic: Thirds
Melodic: Fourths and Fifths
Melodic: Sevenths
Harmonic: Tritones and Major Sevenths
All Intervals
Triads
Major and Minor
Major Triad Inversions
Minor Triad Inversions
Diminished and Augmented
Diminished Triad Inversions
Basic Triads
Sus2 and Phrygian
Sus4 and Lydian
Advanced Triads
All Triads
Bonus: Sus4b5 and Locrian
Seventh Chords
Maj7, Min7 and Dom 7
Half dim7, Dim7
Phrygian Maj7 and Maj7sus2
Maj7sus4 and Lydian Maj7
Dom7sus4, Lydian Dom, Phrygian Dom
Dim Maj7 and Aug Maj7, Min Maj7
All 7th Chords
Tonal Progressions
Progressions #1
Progressions #2
Progressions #3
Permutation Trainer: The "4 chords"
Permutation Trainer: Imaj7 - iimin7 - IVmaj7 - V7
Secondary Chords
V of ii and V of iii
V of IV and V of V
V of vi and V of iii
All Secondary Dominant Chords
vii of ii and vii of iii
vii of IV and vii of V
vii of vi and vii of iii
All Secondary Seventh Chords
Extended Chords
Major add2 and Major add4
Minor add9 and Minor add11
Phrygian Major and Lydian Major
Phrygian Minor and Lydian Minor
Major6 and Major addb6
Minor6 and Minor addb6
Major9, Major7#11 and Major13
Minor9, Minor11 and Minor13
MinMaj9, MinMaj11 and MinMaj13
All Added-Note Triads
Rhythm
1 Note - Quarters
2 Notes - Quarters
3 Notes - Quarters
4 Notes - Quarters
Any # of Notes - Quarters
4 Notes - Eights
Any # of Notes - Eights
4 Notes - Sixteenths
Any # of Notes - Sixteenths
Modal Voicings
Phrygian and Locrian
Mixolydian and Ionian
Dorian b2 and Altered Dominant
Melodic Minor and Locrian Natural 2
Mixolydian #11 and Mixolydian b6
Lydian Augmented and Lydian
Harmonic Minor and Phrygian Major
Ionian Augmented and Lydian #9
Locrian Natural 6 and Dorian #4
Altered Dominant bb7 and Altered Dominant
All Major Modal Voicings
All Melodic Minor Modal Voicings
All Harmonic Minor Modal Voicings
Scales
Scale Trainer: Major Modes
Scale Trainer: Melodic Minor Modes
Scale Trainer: Harmonic Minor Modes
Scale Trainer: Pentatonic, Blues and Bebop
Scale Trainer: Symmetric Scales
Ionian and Lydian
Dorian and Aeolian
Phrygian and Locrian
Mixolydian and Mixolydian#11
Melodic Minor and Locrian Natural 2
Dorian b2 and Altered Dominant
Mixolydian #11 and Mixolydian b6
Lydian Augmented and Lydian
Major Pentatonic and Major Blues
Harmonic Minor and Phrygian Major
Ionian Augmented and Lydian #9
Locrian Natural 6 and Dorian #4
Altered Dominant bb7 and Altered Dominant
Half Whole and Whole Half
Whole Tone vs Augmented
Minor Pentatonic and Minor Blues
Minor Bebop and Melodic Minor Bebop
Major Bebop and Dominant Bebop
Modal Harmony
Modal Triads #1 - Major Tonic
Modal Triads #2 - Major Tonic
Modal Triads #3 - Major Tonic
Modal Triads #4 - Major Tonic
All Modal Triads - Major Tonic
Modal Triads #1 - Minor Tonic
Modal Triads #2 - Minor Tonic
Modal Triads #3 - Minor Tonic
Modal Triads #4 - Minor Tonic
All Modal Triads - Minor Tonic
Bitonal Harmony
Major Triads: Basic
Major Triads: Intermediate
Major Triads: Advanced
Major Triads: All
Minor Triads: Basic
Minor Triads: Intermediate
Minor Triads: Advanced
Minor Triads: All
Reharmonization
Standard Reharms #1
Standard Reharms #2
Standard Reharms #3
Standard Reharms #4
Standard Reharms #5
Inner Note Hearing
Perfect Fifth Shell
Flat Sixth Shell
Major Sixth Shell
Flat Seventh Shell
Major Seventh Shell
Twelve Tone Harmony
Pentatonic Single Octave
Diatonic Single Octave
Chromatic Single Octave
Pentatonic Multi Octave
Diatonic Multi Octave
Chromatic Multi Octave
The Beato Book Interactive — Table of Contents
- Introduction
- How to Use This Book
- Chapter Video
- Theory and Harmony
- Naming Intervals
- Enharmonic Intervals
- The Circle of 5ths
- Chords and Their Formulas
- Major Scale (Triads and Sevenths)
- Major Scale Modal Sounds
- The Lydian Mode
- Major Scale Mode Recap
- Building Diatonic Triads
- Natural Minor Scale
- Natural Minor (Aeolian) Lecture
- Melodic Minor
- Melodic Minor Modal Sounds
- Dorian b2 Composition
- Altered Dominant Voicings and Lines
- Harmonic Minor
- Harmonic Minor Modal Sounds
- The Phrygian Major Mode
- The Sounds of Minor (A Linear Study of Modal Interchange)
- Harmonic Major
- Harmonic Major Modal Sounds
- Double Harmonic Major
- Double Harmonic Major Modal Sounds
- More About Seventh Chords
- Relative Major/Minor
- Chords for Songwriters
- Chords for Songwriters (2)
- Modal Interchange Lecture
- Modal Mixture for Songwriters
- Modal Interchange Sounds For Composing
- Basic Triads
- Advanced Triads
- Music Gravity Modal Demonstration
- Suspended Triads and Other Three Note Structures
- Suspended Triads and Other Three Note Structures (2)
- Chord Scales
- Chord Scales (2)
- Tonic and Dominant Diminished Scales
- Chord Families and Their Scales
- Chord Families and Their Scales (2)
- Scale Degree Names and Basic Progressions
- Basic Progressions
- Basic Progressions (2)
- Pre-dominant - Dominant - Tonic Lesson
- Cadences
- Authentic & Plagal Cadences
- More About Roman Numeral Analysis
- More About Roman Numeral Analysis (2)
- Neapolitan 6th Chord Progression
- Sus4 Resolutions
- Cycle of Fifths and Backcycling
- Roman Numeral Analysis and Chord Scale Choice
- Basic Rules for Chord Substitutions
- Basic Rules (2)
- Basic Rules (3)
- Basic Rules (4)
- Basic Rules (5)
- Basic Rules (6)
- Basic Rules (7)
- Basic Rules (8)
- Basic Rules (9)
- Basic Rules (10)
- Basic Rules (11)
- Basic Rules (12)
- Basic Rules (13)
- Multi-Functional Harmony
- Triads Over Bass Notes
- Polychords
- Chromatic Polychords
- Triads and Seventh Chords Over Bass Notes and Polychords
- Triads and Seventh Chords Over Bass Notes and Polychords (2)
- Triads and Seventh Chords Over Bass Notes and Polychords (3)
- Triads and Seventh Chords Over Bass Notes and Polychords (4)
- Reharmonization and Chord Substitutions
- Advanced Reharmonizations
- Advanced Reharmonizations (2)
- Advanced Reharmonizations (3)
- Advanced Reharmonizations (4)
- Advanced Reharmonizations (5)
- Advanced Reharmonizations (6)
- Advanced Reharmonizations (7)
- Advanced Reharmonizations (8)
- Advanced Reharmonizations (9)
- Advanced Reharmonizations (10)
- Advanced Reharmonizations (11)
- Reharmonization of Standard Forms
- Common Tone Reharmonization
- Common Tone Reharmonization (2)
- Modal Harmony and Theory
- Sharp and Flat Direction Modal Modulation
- Sharp and Flat Direction Modal Modulation (2)
- Sharp and Flat Direction Modal Modulation (3)
- Sharp and Flat Direction Modal Modulation (4)
- Sharp and Flat Direction Modal Modulation (5)
- Resolution Tendencies Between Modal Groups
- Voice Leading
- Voice Leading (2)
- Mirror Modal Equivalents
- Mirror Modal Equivalents (2)
- Mirror Modal Equivalents (3)
- Mirror Modal Equivalents (4)
- Composing With Only White Notes
- Using Multiple Compositional Techniques
- 3 Chord Film Scoring
- Chapter Video
- Chord Forms
- Major Triads
- Minor Triads
- Diminished Triads
- Augmented Triads
- Sus4 Triads
- Sus2 Triads
- Sus4b5 Triads
- Lydian Triads
- Phrygian Triads
- Locrian Triads
- Drop Voicings
- Drop 2 (Maj6)
- Drop 2 (Maj7)
- Drop 2 (Dom7)
- Drop 2 (Min7)
- Drop 2 (Min6)
- Drop 2 (MinMaj7)
- Drop 2 (Min7b5)
- Drop 2 (Dim7)
- Drop 2 (DimMaj7)
- Drop 2 (AugMaj7)
- Drop 2 (Aug7)
- Drop 2 (Maj7b5)
- Drop 2 (Dom7b5)
- Drop 2 (Maj7sus4)
- Drop 2 (Dom7sus4)
- Drop 2 (Lydian Maj7)
- Drop 2 (Lydian Dom7)
- Drop 2 (DimMaj7b13)
- Drop 3 (Maj6)
- Drop 3 (Maj7)
- Drop 3 (Dom7)
- Drop 3 (Min6)
- Drop 3 (Min7)
- Drop 3 (MinMaj7)
- Drop 3 (Min7b5)
- Drop 3 (Dim7)
- Drop 3 (DimMaj7)
- Drop 3 (AugMaj7)
- Drop 3 (Aug7)
- Drop 3 (Maj7b5)
- Drop 3 (Dom7b5)
- Drop 3 (Maj7sus4)
- Drop 3 (Dom7sus4)
- Drop 3 (Lydian Maj7)
- Drop 3 (Lydian Dom7)
- Drop 3 (DimMaj7b13)
- Drop 2 + 3 (Maj6)
- Drop 2 + 3 (Maj7)
- Drop 2 + 3 (Dom7)
- Drop 2 + 3 (Min6)
- Drop 2 + 3 (Min7)
- Drop 2 + 3 (MinMaj7)
- Drop 2 + 3 (Min7b5)
- Drop 2 + 3 (Dim7)
- Drop 2 + 3 (DimMaj7)
- Drop 2 + 3 (AugMaj7)
- Drop 2 + 3 (Aug7)
- Drop 2 + 3 (Maj7b5)
- Drop 2 + 3 (Dom7b5)
- Drop 2 + 3 (Maj7sus4)
- Drop 2 + 3 (Dom7sus4)
- Drop 2 + 3 (Lydian Maj7)
- Drop 2 + 3 (Lydian Dom7)
- Drop 2 + 3 (DimMaj7b13)
- Drop 2 + 4 (Maj6)
- Drop 2 + 4 (Maj7)
- Drop 2 + 4 (Dom7)
- Drop 2 + 4 (Min6)
- Drop 2 + 4 (Min7)
- Drop 2 + 4 (MinMaj7)
- Drop 2 + 4 (Min7b5)
- Drop 2 + 4 (Dim7)
- Drop 2 + 4 (DimMaj7)
- Drop 2 + 4 (AugMaj7)
- Drop 2 + 4 (Aug7)
- Drop 2 + 4 (Maj7b5)
- Drop 2 + 4 (Dom7b5)
- Drop 2 + 4 (Maj7sus4)
- Drop 2 + 4 (Dom7sus4)
- Drop 2 + 4 (Lydian Maj7)
- Drop 2 + 4 (Lydian Dom7)
- Drop 2 + 4 (DimMaj7b13)
- Triads Over Bass Notes
- Maj∆/7
- Maj∆/b7
- Maj∆/6
- Maj∆/#5
- Maj∆/5
- Maj∆/#4
- Maj∆/4
- Maj∆/3
- Maj∆/b3
- Maj∆/9
- Maj∆/b9
- Min∆/7
- Min∆/b7
- Min∆/6
- Min∆/b6
- Min∆/5
- Min∆/#4
- Min∆/4
- Min∆/3
- Min∆/b3
- Min∆/9
- Min∆/b9
- Sus4∆/7
- Sus4∆/b7
- Sus4∆/6
- Sus4∆/b6
- Sus4∆/5
- Sus4∆/#4
- Sus4∆/4
- Sus4∆/3
- Sus4∆/b3
- Sus4∆/9
- Sus4∆/b9
- Spread Triads Over Bass Notes
- Major Type Spread Triads/Bass Notes
- Major Type Spread Triads/Bass Notes (2)
- Major Type Spread Triads/Bass Notes (3)
- Major Type Spread Triads/Bass Notes (4)
- Major Type Spread Triads/Bass Notes (5)
- Minor Type Spread Triads/Bass Notes
- Minor Type Spread Triads/Bass Notes (2)
- Minor Type Spread Triads/Bass Notes (3)
- Minor Type Spread Triads/Bass Notes (4)
- Minor Type Spread Triads/Bass Notes (5)
- Minor Type Spread Triads/Bass Notes (6)
- Dom7 Type Spread Triads/Bass Notes
- Dom7 Type Spread Triads/Bass Notes (2)
- Dom7 Type Spread Triads/Bass Notes (3)
- Dom7 Type Spread Triads/Bass Notes (4)
- Dom7 Type Spread Triads/Bass Notes (5)
- Dom7 Type Spread Triads/Bass Notes (6)
- Dom7 Type Spread Triads/Bass Notes (7)
- Dom7 Type Spread Triads/Bass Notes (8)
- Dom7 Type Spread Triads/Bass Notes (9)
- Dom7 Type Spread Triads/Bass Notes (10)
- Dom7 Type Spread Triads/Bass Notes (11)
- Dom7 Type Spread Triads/Bass Notes (12)
- Diminished Type Spread Triads/Bass Notes
- Diminished Type Spread Triads/Bass Notes (2)
- Diminished Type Spread Triads/Bass Notes (3)
- Diminished Type Spread Triads/Bass Notes (4)
- Twelve-Tone Type Spread Triads Over Bass Notes Lecture
- Twelve Tone Type Spread Triads/Bass Notes
- Twelve Tone Type Spread Triads/Bass Notes (2)
- Quartal Voicings
- 3-Part Quartal Voicings - Major Scale
- 3-Part Quartal Voicings - Major Scale (2)
- 4-Part Quartal Voicings - Major Scale
- 4-Part Quartal Voicings - Major Scale (2)
- 5-Part Quartal Voicings - Major Scale
- 6-Part Quartal Voicings - Major Scale
- 3-Part Quartal Voicings - Melodic Minor Scale
- 3-Part Quartal Voicings - Melodic Minor Scale (2)
- 4-Part Quartal Voicings - Melodic Minor Scale
- 4-Part Quartal Voicings - Melodic Minor Scale (2)
- 5-Part Quartal Voicings - Melodic Minor Scale
- 6-Part Quartal Voicings - Melodic Minor Scale
- 3-Part Quartal Voicings - Harmonic Minor Scale
- 3-Part Quartal Voicings - Harmonic Minor Scale (2)
- 4-Part Quartal Voicings - Harmonic Minor Scale
- 4-Part Quartal Voicings - Harmonic Minor Scale (2)
- 5-Part Quartal Voicings - Harmonic Minor Scale
- 6-Part Quartal Voicings - Harmonic Minor Scale
- Skipped String Voicings
- Major Skipped String Voicings
- Melodic Minor Skipped String Voicings
- Dominant Diminished Skipped String Voicings
- F Blues Example
- Open String Voicings Lecture
- Open String Voicings
- Open String Voicings (2)
- Open String Voicings (3)
- Open String Voicings (4)
- Open String Voicings (5)
- Open String Voicings (6)
- Open String Voicings (7)
- Open String Voicings (8)
- Open String Voicings (9)
- Open String Voicings (10)
- Open String Voicings (11)
- Open String Voicings (12)
- Open String Voicings (13)
- Open String Voicings (14)
- Open String Voicings (15)
- Polychords Lecture
- Polychords
- Polychords (2)
- Polychords (3)
- Polychords (4)
- Using Comping Voicings in New Ways
- Constructing Chord Scales
- Chordal Scales
- Chordal Scales (2)
- Chordal Scales (3)
- Chordal Scales (4)
- Chordal Scales (5)
- Chordal Scales (6)
- Chordal Scales (7)
- Chordal Scales (8)
- Chordal Scales (9)
- Chordal Scales (10)
- Chordal Scales (11)
- Diminished Scale Voicings Lecture
- Diminished Scale Voicings
- Dim7 Type comping voicings
- Dim7 Type comping voicings (2)
- Dim7 Type comping voicings (3)
- Dim7 Type comping voicings (4)
- Dim7 Type comping voicings (5)
- Dim7 Type comping voicings (6)
- Stretch Voicings
- Stretch Voicings (2)
- Stretch Voicings (3)
- Stretch Voicings (4)
- Stretch Voicings (5)
- Stretch Voicings (6)
- Chordal Lines
- Chordal Lines (2)
- Chapter Video
- Mode (Scale) Practice
- Triads
- Triads (2)
- Modes of the Major Scale
- Modes of the Melodic Minor Scale
- Modes of the Harmonic Minor Scale
- Messian Modes
- Miscellaneous Scales
- Blues and Pentatonic Scales
- Blues and Pentatonic Scales (2)
- Blues and Pentatonic Scales (3)
- Blues and Pentatonic Scales (4)
- Close Position Fingerings
- Major Scale (Close Position)
- Melodic Minor (Close Position)
- Harmonic Minor (Close Position)
- Scales with Two Notes per String
- Major Scale Modes (2 notes per string)
- Melodic Minor Modes (2 notes per string)
- Harmonic Minor Modes (2 notes per string)
- Examples of Extended Range Scale Fingerings
- Diatonic Intervals
- Diatonic Arpeggios
- Diatonic Arpeggios (2)
- Spread Triad Arpeggios Introduction
- Bitonal Spread Triad Exercise
- Practicing Dominant 7th Arpeggios
- Practicing Dominant 7th Arpeggios Chart
- Seventh Chord Arpeggios
- Triads and Suspensions
- Using Triads and Pedal Point
- Seventh Chord Arpeggios (Root 6)
- Seventh Chord Arpeggios (Root 6) (2)
- Seventh Chord Arpeggios (Root 6) (3)
- Seventh Chord Arpeggios (Root 6) (4)
- Seventh Chord Arpeggios (Root 6) (5)
- Triads (Root 6)
- Triads (Root 6) (2)
- Triads (Root 6) (3)
- Seventh Chord Arpeggios (Root 5)
- Seventh Chord Arpeggios (Root 5) (2)
- Seventh Chord Arpeggios (Root 5) (3)
- Seventh Chord Arpeggios (Root 5) (4)
- Seventh Chord Arpeggios (Root 5) (5)
- Triads (Root 5)
- Triads (Root 5) (2)
- Triads (Root 5) (3)
- Bitonal Arpeggios
- Major and Minor Bitonal Arpeggios
- Major Bitonal Arpeggios
- Major Bitonal Arpeggios (2)
- Tritone Triads
- Major Bitonal Arpeggios (3)
- Minor Bitonal Arpeggios
- Minor Bitonal Arpeggios (2)
- Minor Bitonal Arpeggios (3)
- Diminished Bitonal Arpeggios
- Diminished Bitonal Arpeggios (2)
- Diminished Bitonal Arpeggios (3)
- Augmented Bitonal Arpeggios
- Augmented Bitonal Arpeggios (2)
- Augmented Bitonal Arpeggios (3)
- More About Practicing Scales and Arpeggios
- Chapter Video
- ii-V-I Progressions
- ii-V's in One Measure
- ii-V's in One Measure (2)
- One Measure ii-V-i's in Major
- One Measure ii-V-i's in Major (2)
- One Measure ii-V-i's in Major (3)
- One Measure ii-V-i's in Minor
- One Measure ii-V-i's in Minor (2)
- ii-V-I Substitute Patterns
- Turnarounds
- Imaj7-VI7-ii7-V7 Exercise
- Imaj7-VI7-ii7-V7 Exercise Video
- Turnarounds Over 4 Measures
- Turnarounds Over 4 Measures (2)
- Turnaround Substitutions
- Cycle of Fifths
- Cycle of Fifths (2)
- Pentatonic Scales
- Pentatonic Scales (2)
- Melodic Minor Pentatonics
- Triadic Superimposition
- Triadic Superimposition Charts
- Triadic Superimposition Chart (2)
- Triadic Improvisation
- Seventh Chord Superimposition
- Seventh Chord Superimposition Chart
- Seventh Chord Superimposition Chart (2)
- Seventh Chord Superimposition Chart (3)
- Seventh Chord Superimposition Chart (4)
- Hybrid Arpeggios
- Hybrid Arpeggios Charts
- Hybrid Arpeggios Charts (2)
- Playing Over Unusual Resolutions
- Playing Over Unusual Resolutions (2)
- Playing Over Unusual Resolutions (3)
- Melodic Ideas
- Melodic Ideas (2)
- Melodic Ideas in Natural Minor
- Major Scale Impressions Video
- Major Scale Impressions
- Major Scale Impressions (2)
- Major Scale Impressions (3)
- Major Scale Impressions (4)
- Modes: Linear Approach
- Modal Lines
- Modal Lines (2)
- Modal Lines (3)
- Modal Lines (4)
- Modal Lines (5)
- Modal Lines (6)
- Blues Sounds
- Blues Sounds (2)
- Diminished Sounds
- Diminished Sounds (2)
- Diminished Sounds (3)
- Whole Tone Lines
- Modal Mixture
- Modal Mixture (2)
- Using One Interval Set Over Many Chords
- Using One Interval Set Over Many Chords (2)
- Using One Interval Set Over Many Chords (3)
- Outside Playing Over One Chord
- Outside Playing Over One Chord (2)
- Chromaticism and Twelve-Tone Applications
- Chromaticism and Twelve-Tone Applications (2)
- Chromaticism and Twelve-Tone Applications (3)
- Chromaticism and Twelve-Tone Applications (4)
- Twelve-Tone Triadic Formulas
- Twelve-Tone Triadic Formulas (2)
- Twelve-Tone Formulas Using Seventh Chords
- Non-Tertian Twelve-Tone Rows
- Non-Systematic Row
- Twelve-Tone Triad Etude
- Modal Shapes
- Modal Shapes (2)
- Tonic and Dominant Diminished Scale Shapes
- Tonic and Dominant Diminished Scale Shapes (2)
- Unorthodox Left Hand Techniques
- Modern Linear Examples
- Modern Linear Examples (2)
- Neo Classical Spread Triads
- Pedal Point Soloing
- Studies/Improvisations
- Studies/Improvisations (2)
- Studies/Improvisations (3)
- Studies/Improvisations (4)
- Studies/Improvisations (5)
- Studies/Improvisations (6)
- Studies/Improvisations (7)
- Studies/Improvisations (8)
- Studies/Improvisations (9)
- Studies/Improvisations (10)
- Studies/Improvisations (11)
- Studies/Improvisations (12)
- Chapter Video
- Bass Lines
- Bass Lines (2)
- Bass Lines (3)
- Pedal Points
- Rhythm Changes Bassline
- Rhythm Changes Bassline (2)
- Walking Bassline
- Comping Rhythms
- Solos Over Standard Forms
- Solo No. 1
- Solo No. 2
- Solo No. 3
- Blues Solo
- Rhythm Changes Solo
- Modern Approach to Rhythm Changes
- Practicing
- Practicing (2)
- Practicing (3)
The Beato Book Interactive — Table of Contents
- Introduction
- How to Use This Book
- Chapter Video
- Theory and Harmony
- Naming Intervals
- Enharmonic Intervals
- The Circle of 5ths
- Chords and Their Formulas
- Major Scale (Triads and Sevenths)
- Major Scale Modal Sounds
- The Lydian Mode
- Major Scale Mode Recap
- Building Diatonic Triads
- Natural Minor Scale
- Natural Minor (Aeolian) Lecture
- Melodic Minor
- Melodic Minor Modal Sounds
- Dorian b2 Composition
- Altered Dominant Voicings and Lines
- Harmonic Minor
- Harmonic Minor Modal Sounds
- The Phrygian Major Mode
- The Sounds of Minor (A Linear Study of Modal Interchange)
- Harmonic Major
- Harmonic Major Modal Sounds
- Double Harmonic Major
- Double Harmonic Major Modal Sounds
- More About Seventh Chords
- Relative Major/Minor
- Chords for Songwriters
- Chords for Songwriters (2)
- Modal Interchange Lecture
- Modal Mixture for Songwriters
- Modal Interchange Sounds For Composing
- Basic Triads
- Advanced Triads
- Music Gravity Modal Demonstration
- Suspended Triads and Other Three Note Structures
- Suspended Triads and Other Three Note Structures (2)
- Chord Scales
- Chord Scales (2)
- Tonic and Dominant Diminished Scales
- Chord Families and Their Scales
- Chord Families and Their Scales (2)
- Scale Degree Names and Basic Progressions
- Basic Progressions
- Basic Progressions (2)
- Pre-dominant - Dominant - Tonic Lesson
- Cadences
- Authentic & Plagal Cadences
- More About Roman Numeral Analysis
- More About Roman Numeral Analysis (2)
- Neapolitan 6th Chord Progression
- Sus4 Resolutions
- Cycle of Fifths and Backcycling
- Roman Numeral Analysis and Chord Scale Choice
- Basic Rules for Chord Substitutions
- Basic Rules (2)
- Basic Rules (3)
- Basic Rules (4)
- Basic Rules (5)
- Basic Rules (6)
- Basic Rules (7)
- Basic Rules (8)
- Basic Rules (9)
- Basic Rules (10)
- Basic Rules (11)
- Basic Rules (12)
- Basic Rules (13)
- Multi-Functional Harmony
- Triads Over Bass Notes
- Polychords
- Chromatic Polychords
- Triads and Seventh Chords Over Bass Notes and Polychords
- Triads and Seventh Chords Over Bass Notes and Polychords (2)
- Triads and Seventh Chords Over Bass Notes and Polychords (3)
- Triads and Seventh Chords Over Bass Notes and Polychords (4)
- Reharmonization and Chord Substitutions
- Advanced Reharmonizations
- Advanced Reharmonizations (2)
- Advanced Reharmonizations (3)
- Advanced Reharmonizations (4)
- Advanced Reharmonizations (5)
- Advanced Reharmonizations (6)
- Advanced Reharmonizations (7)
- Advanced Reharmonizations (8)
- Advanced Reharmonizations (9)
- Advanced Reharmonizations (10)
- Advanced Reharmonizations (11)
- Reharmonization of Standard Forms
- Common Tone Reharmonization
- Common Tone Reharmonization (2)
- Modal Harmony and Theory
- Sharp and Flat Direction Modal Modulation
- Sharp and Flat Direction Modal Modulation (2)
- Sharp and Flat Direction Modal Modulation (3)
- Sharp and Flat Direction Modal Modulation (4)
- Sharp and Flat Direction Modal Modulation (5)
- Resolution Tendencies Between Modal Groups
- Voice Leading
- Voice Leading (2)
- Mirror Modal Equivalents
- Mirror Modal Equivalents (2)
- Mirror Modal Equivalents (3)
- Mirror Modal Equivalents (4)
- Composing With Only White Notes
- Using Multiple Compositional Techniques
- 3 Chord Film Scoring
- Chapter Video
- Chord Forms
- Major Triads
- Minor Triads
- Diminished Triads
- Augmented Triads
- Sus4 Triads
- Sus2 Triads
- Sus4b5 Triads
- Lydian Triads
- Phrygian Triads
- Locrian Triads
- Drop Voicings
- Drop 2 (Maj6)
- Drop 2 (Maj7)
- Drop 2 (Dom7)
- Drop 2 (Min7)
- Drop 2 (Min6)
- Drop 2 (MinMaj7)
- Drop 2 (Min7b5)
- Drop 2 (Dim7)
- Drop 2 (DimMaj7)
- Drop 2 (AugMaj7)
- Drop 2 (Aug7)
- Drop 2 (Maj7b5)
- Drop 2 (Dom7b5)
- Drop 2 (Maj7sus4)
- Drop 2 (Dom7sus4)
- Drop 2 (Lydian Maj7)
- Drop 2 (Lydian Dom7)
- Drop 2 (DimMaj7b13)
- Drop 3 (Maj6)
- Drop 3 (Maj7)
- Drop 3 (Dom7)
- Drop 3 (Min6)
- Drop 3 (Min7)
- Drop 3 (MinMaj7)
- Drop 3 (Min7b5)
- Drop 3 (Dim7)
- Drop 3 (DimMaj7)
- Drop 3 (AugMaj7)
- Drop 3 (Aug7)
- Drop 3 (Maj7b5)
- Drop 3 (Dom7b5)
- Drop 3 (Maj7sus4)
- Drop 3 (Dom7sus4)
- Drop 3 (Lydian Maj7)
- Drop 3 (Lydian Dom7)
- Drop 3 (DimMaj7b13)
- Drop 2 + 3 (Maj6)
- Drop 2 + 3 (Maj7)
- Drop 2 + 3 (Dom7)
- Drop 2 + 3 (Min6)
- Drop 2 + 3 (Min7)
- Drop 2 + 3 (MinMaj7)
- Drop 2 + 3 (Min7b5)
- Drop 2 + 3 (Dim7)
- Drop 2 + 3 (DimMaj7)
- Drop 2 + 3 (AugMaj7)
- Drop 2 + 3 (Aug7)
- Drop 2 + 3 (Maj7b5)
- Drop 2 + 3 (Dom7b5)
- Drop 2 + 3 (Maj7sus4)
- Drop 2 + 3 (Dom7sus4)
- Drop 2 + 3 (Lydian Maj7)
- Drop 2 + 3 (Lydian Dom7)
- Drop 2 + 3 (DimMaj7b13)
- Drop 2 + 4 (Maj6)
- Drop 2 + 4 (Maj7)
- Drop 2 + 4 (Dom7)
- Drop 2 + 4 (Min6)
- Drop 2 + 4 (Min7)
- Drop 2 + 4 (MinMaj7)
- Drop 2 + 4 (Min7b5)
- Drop 2 + 4 (Dim7)
- Drop 2 + 4 (DimMaj7)
- Drop 2 + 4 (AugMaj7)
- Drop 2 + 4 (Aug7)
- Drop 2 + 4 (Maj7b5)
- Drop 2 + 4 (Dom7b5)
- Drop 2 + 4 (Maj7sus4)
- Drop 2 + 4 (Dom7sus4)
- Drop 2 + 4 (Lydian Maj7)
- Drop 2 + 4 (Lydian Dom7)
- Drop 2 + 4 (DimMaj7b13)
- Triads Over Bass Notes
- Maj∆/7
- Maj∆/b7
- Maj∆/6
- Maj∆/#5
- Maj∆/5
- Maj∆/#4
- Maj∆/4
- Maj∆/3
- Maj∆/b3
- Maj∆/9
- Maj∆/b9
- Min∆/7
- Min∆/b7
- Min∆/6
- Min∆/b6
- Min∆/5
- Min∆/#4
- Min∆/4
- Min∆/3
- Min∆/b3
- Min∆/9
- Min∆/b9
- Sus4∆/7
- Sus4∆/b7
- Sus4∆/6
- Sus4∆/b6
- Sus4∆/5
- Sus4∆/#4
- Sus4∆/4
- Sus4∆/3
- Sus4∆/b3
- Sus4∆/9
- Sus4∆/b9
- Spread Triads Over Bass Notes
- Major Type Spread Triads/Bass Notes
- Major Type Spread Triads/Bass Notes (2)
- Major Type Spread Triads/Bass Notes (3)
- Major Type Spread Triads/Bass Notes (4)
- Major Type Spread Triads/Bass Notes (5)
- Minor Type Spread Triads/Bass Notes
- Minor Type Spread Triads/Bass Notes (2)
- Minor Type Spread Triads/Bass Notes (3)
- Minor Type Spread Triads/Bass Notes (4)
- Minor Type Spread Triads/Bass Notes (5)
- Minor Type Spread Triads/Bass Notes (6)
- Dom7 Type Spread Triads/Bass Notes
- Dom7 Type Spread Triads/Bass Notes (2)
- Dom7 Type Spread Triads/Bass Notes (3)
- Dom7 Type Spread Triads/Bass Notes (4)
- Dom7 Type Spread Triads/Bass Notes (5)
- Dom7 Type Spread Triads/Bass Notes (6)
- Dom7 Type Spread Triads/Bass Notes (7)
- Dom7 Type Spread Triads/Bass Notes (8)
- Dom7 Type Spread Triads/Bass Notes (9)
- Dom7 Type Spread Triads/Bass Notes (10)
- Dom7 Type Spread Triads/Bass Notes (11)
- Dom7 Type Spread Triads/Bass Notes (12)
- Diminished Type Spread Triads/Bass Notes
- Diminished Type Spread Triads/Bass Notes (2)
- Diminished Type Spread Triads/Bass Notes (3)
- Diminished Type Spread Triads/Bass Notes (4)
- Twelve-Tone Type Spread Triads Over Bass Notes Lecture
- Twelve Tone Type Spread Triads/Bass Notes
- Twelve Tone Type Spread Triads/Bass Notes (2)
- Quartal Voicings
- 3-Part Quartal Voicings - Major Scale
- 3-Part Quartal Voicings - Major Scale (2)
- 4-Part Quartal Voicings - Major Scale
- 4-Part Quartal Voicings - Major Scale (2)
- 5-Part Quartal Voicings - Major Scale
- 6-Part Quartal Voicings - Major Scale
- 3-Part Quartal Voicings - Melodic Minor Scale
- 3-Part Quartal Voicings - Melodic Minor Scale (2)
- 4-Part Quartal Voicings - Melodic Minor Scale
- 4-Part Quartal Voicings - Melodic Minor Scale (2)
- 5-Part Quartal Voicings - Melodic Minor Scale
- 6-Part Quartal Voicings - Melodic Minor Scale
- 3-Part Quartal Voicings - Harmonic Minor Scale
- 3-Part Quartal Voicings - Harmonic Minor Scale (2)
- 4-Part Quartal Voicings - Harmonic Minor Scale
- 4-Part Quartal Voicings - Harmonic Minor Scale (2)
- 5-Part Quartal Voicings - Harmonic Minor Scale
- 6-Part Quartal Voicings - Harmonic Minor Scale
- Skipped String Voicings
- Major Skipped String Voicings
- Melodic Minor Skipped String Voicings
- Dominant Diminished Skipped String Voicings
- F Blues Example
- Open String Voicings Lecture
- Open String Voicings
- Open String Voicings (2)
- Open String Voicings (3)
- Open String Voicings (4)
- Open String Voicings (5)
- Open String Voicings (6)
- Open String Voicings (7)
- Open String Voicings (8)
- Open String Voicings (9)
- Open String Voicings (10)
- Open String Voicings (11)
- Open String Voicings (12)
- Open String Voicings (13)
- Open String Voicings (14)
- Open String Voicings (15)
- Polychords Lecture
- Polychords
- Polychords (2)
- Polychords (3)
- Polychords (4)
- Using Comping Voicings in New Ways
- Constructing Chord Scales
- Chordal Scales
- Chordal Scales (2)
- Chordal Scales (3)
- Chordal Scales (4)
- Chordal Scales (5)
- Chordal Scales (6)
- Chordal Scales (7)
- Chordal Scales (8)
- Chordal Scales (9)
- Chordal Scales (10)
- Chordal Scales (11)
- Diminished Scale Voicings Lecture
- Diminished Scale Voicings
- Dim7 Type comping voicings
- Dim7 Type comping voicings (2)
- Dim7 Type comping voicings (3)
- Dim7 Type comping voicings (4)
- Dim7 Type comping voicings (5)
- Dim7 Type comping voicings (6)
- Stretch Voicings
- Stretch Voicings (2)
- Stretch Voicings (3)
- Stretch Voicings (4)
- Stretch Voicings (5)
- Stretch Voicings (6)
- Chordal Lines
- Chordal Lines (2)
- Chapter Video
- Mode (Scale) Practice
- Triads
- Triads (2)
- Modes of the Major Scale
- Modes of the Melodic Minor Scale
- Modes of the Harmonic Minor Scale
- Messian Modes
- Miscellaneous Scales
- Blues and Pentatonic Scales
- Blues and Pentatonic Scales (2)
- Blues and Pentatonic Scales (3)
- Blues and Pentatonic Scales (4)
- Close Position Fingerings
- Major Scale (Close Position)
- Melodic Minor (Close Position)
- Harmonic Minor (Close Position)
- Scales with Two Notes per String
- Major Scale Modes (2 notes per string)
- Melodic Minor Modes (2 notes per string)
- Harmonic Minor Modes (2 notes per string)
- Examples of Extended Range Scale Fingerings
- Diatonic Intervals
- Diatonic Arpeggios
- Diatonic Arpeggios (2)
- Spread Triad Arpeggios Introduction
- Bitonal Spread Triad Exercise
- Practicing Dominant 7th Arpeggios
- Practicing Dominant 7th Arpeggios Chart
- Seventh Chord Arpeggios
- Triads and Suspensions
- Using Triads and Pedal Point
- Seventh Chord Arpeggios (Root 6)
- Seventh Chord Arpeggios (Root 6) (2)
- Seventh Chord Arpeggios (Root 6) (3)
- Seventh Chord Arpeggios (Root 6) (4)
- Seventh Chord Arpeggios (Root 6) (5)
- Triads (Root 6)
- Triads (Root 6) (2)
- Triads (Root 6) (3)
- Seventh Chord Arpeggios (Root 5)
- Seventh Chord Arpeggios (Root 5) (2)
- Seventh Chord Arpeggios (Root 5) (3)
- Seventh Chord Arpeggios (Root 5) (4)
- Seventh Chord Arpeggios (Root 5) (5)
- Triads (Root 5)
- Triads (Root 5) (2)
- Triads (Root 5) (3)
- Bitonal Arpeggios
- Major and Minor Bitonal Arpeggios
- Major Bitonal Arpeggios
- Major Bitonal Arpeggios (2)
- Tritone Triads
- Major Bitonal Arpeggios (3)
- Minor Bitonal Arpeggios
- Minor Bitonal Arpeggios (2)
- Minor Bitonal Arpeggios (3)
- Diminished Bitonal Arpeggios
- Diminished Bitonal Arpeggios (2)
- Diminished Bitonal Arpeggios (3)
- Augmented Bitonal Arpeggios
- Augmented Bitonal Arpeggios (2)
- Augmented Bitonal Arpeggios (3)
- More About Practicing Scales and Arpeggios
- Chapter Video
- ii-V-I Progressions
- ii-V's in One Measure
- ii-V's in One Measure (2)
- One Measure ii-V-i's in Major
- One Measure ii-V-i's in Major (2)
- One Measure ii-V-i's in Major (3)
- One Measure ii-V-i's in Minor
- One Measure ii-V-i's in Minor (2)
- ii-V-I Substitute Patterns
- Turnarounds
- Imaj7-VI7-ii7-V7 Exercise
- Imaj7-VI7-ii7-V7 Exercise Video
- Turnarounds Over 4 Measures
- Turnarounds Over 4 Measures (2)
- Turnaround Substitutions
- Cycle of Fifths
- Cycle of Fifths (2)
- Pentatonic Scales
- Pentatonic Scales (2)
- Melodic Minor Pentatonics
- Triadic Superimposition
- Triadic Superimposition Charts
- Triadic Superimposition Chart (2)
- Triadic Improvisation
- Seventh Chord Superimposition
- Seventh Chord Superimposition Chart
- Seventh Chord Superimposition Chart (2)
- Seventh Chord Superimposition Chart (3)
- Seventh Chord Superimposition Chart (4)
- Hybrid Arpeggios
- Hybrid Arpeggios Charts
- Hybrid Arpeggios Charts (2)
- Playing Over Unusual Resolutions
- Playing Over Unusual Resolutions (2)
- Playing Over Unusual Resolutions (3)
- Melodic Ideas
- Melodic Ideas (2)
- Melodic Ideas in Natural Minor
- Major Scale Impressions Video
- Major Scale Impressions
- Major Scale Impressions (2)
- Major Scale Impressions (3)
- Major Scale Impressions (4)
- Modes: Linear Approach
- Modal Lines
- Modal Lines (2)
- Modal Lines (3)
- Modal Lines (4)
- Modal Lines (5)
- Modal Lines (6)
- Blues Sounds
- Blues Sounds (2)
- Diminished Sounds
- Diminished Sounds (2)
- Diminished Sounds (3)
- Whole Tone Lines
- Modal Mixture
- Modal Mixture (2)
- Using One Interval Set Over Many Chords
- Using One Interval Set Over Many Chords (2)
- Using One Interval Set Over Many Chords (3)
- Outside Playing Over One Chord
- Outside Playing Over One Chord (2)
- Chromaticism and Twelve-Tone Applications
- Chromaticism and Twelve-Tone Applications (2)
- Chromaticism and Twelve-Tone Applications (3)
- Chromaticism and Twelve-Tone Applications (4)
- Twelve-Tone Triadic Formulas
- Twelve-Tone Triadic Formulas (2)
- Twelve-Tone Formulas Using Seventh Chords
- Non-Tertian Twelve-Tone Rows
- Non-Systematic Row
- Twelve-Tone Triad Etude
- Modal Shapes
- Modal Shapes (2)
- Tonic and Dominant Diminished Scale Shapes
- Tonic and Dominant Diminished Scale Shapes (2)
- Unorthodox Left Hand Techniques
- Modern Linear Examples
- Modern Linear Examples (2)
- Neo Classical Spread Triads
- Pedal Point Soloing
- Studies/Improvisations
- Studies/Improvisations (2)
- Studies/Improvisations (3)
- Studies/Improvisations (4)
- Studies/Improvisations (5)
- Studies/Improvisations (6)
- Studies/Improvisations (7)
- Studies/Improvisations (8)
- Studies/Improvisations (9)
- Studies/Improvisations (10)
- Studies/Improvisations (11)
- Studies/Improvisations (12)
- Chapter Video
- Bass Lines
- Bass Lines (2)
- Bass Lines (3)
- Pedal Points
- Rhythm Changes Bassline
- Rhythm Changes Bassline (2)
- Walking Bassline
- Comping Rhythms
- Solos Over Standard Forms
- Solo No. 1
- Solo No. 2
- Solo No. 3
- Blues Solo
- Rhythm Changes Solo
- Modern Approach to Rhythm Changes
- Practicing
- Practicing (2)
- Practicing (3)
The Beato Book Interactive — Table of Contents
- Introduction
- How to Use This Book
- Chapter Video
- Theory and Harmony
- Naming Intervals
- Enharmonic Intervals
- The Circle of 5ths
- Chords and Their Formulas
- Major Scale (Triads and Sevenths)
- Major Scale Modal Sounds
- The Lydian Mode
- Major Scale Mode Recap
- Building Diatonic Triads
- Natural Minor Scale
- Natural Minor (Aeolian) Lecture
- Melodic Minor
- Melodic Minor Modal Sounds
- Dorian b2 Composition
- Altered Dominant Voicings and Lines
- Harmonic Minor
- Harmonic Minor Modal Sounds
- The Phrygian Major Mode
- The Sounds of Minor (A Linear Study of Modal Interchange)
- Harmonic Major
- Harmonic Major Modal Sounds
- Double Harmonic Major
- Double Harmonic Major Modal Sounds
- More About Seventh Chords
- Relative Major/Minor
- Chords for Songwriters
- Chords for Songwriters (2)
- Modal Interchange Lecture
- Modal Mixture for Songwriters
- Modal Interchange Sounds For Composing
- Basic Triads
- Advanced Triads
- Music Gravity Modal Demonstration
- Suspended Triads and Other Three Note Structures
- Suspended Triads and Other Three Note Structures (2)
- Chord Scales
- Chord Scales (2)
- Tonic and Dominant Diminished Scales
- Chord Families and Their Scales
- Chord Families and Their Scales (2)
- Scale Degree Names and Basic Progressions
- Basic Progressions
- Basic Progressions (2)
- Pre-dominant - Dominant - Tonic Lesson
- Cadences
- Authentic & Plagal Cadences
- More About Roman Numeral Analysis
- More About Roman Numeral Analysis (2)
- Neapolitan 6th Chord Progression
- Sus4 Resolutions
- Cycle of Fifths and Backcycling
- Roman Numeral Analysis and Chord Scale Choice
- Basic Rules for Chord Substitutions
- Basic Rules (2)
- Basic Rules (3)
- Basic Rules (4)
- Basic Rules (5)
- Basic Rules (6)
- Basic Rules (7)
- Basic Rules (8)
- Basic Rules (9)
- Basic Rules (10)
- Basic Rules (11)
- Basic Rules (12)
- Basic Rules (13)
- Multi-Functional Harmony
- Triads Over Bass Notes
- Polychords
- Chromatic Polychords
- Triads and Seventh Chords Over Bass Notes and Polychords
- Triads and Seventh Chords Over Bass Notes and Polychords (2)
- Triads and Seventh Chords Over Bass Notes and Polychords (3)
- Triads and Seventh Chords Over Bass Notes and Polychords (4)
- Reharmonization and Chord Substitutions
- Advanced Reharmonizations
- Advanced Reharmonizations (2)
- Advanced Reharmonizations (3)
- Advanced Reharmonizations (4)
- Advanced Reharmonizations (5)
- Advanced Reharmonizations (6)
- Advanced Reharmonizations (7)
- Advanced Reharmonizations (8)
- Advanced Reharmonizations (9)
- Advanced Reharmonizations (10)
- Advanced Reharmonizations (11)
- Reharmonization of Standard Forms
- Common Tone Reharmonization
- Common Tone Reharmonization (2)
- Modal Harmony and Theory
- Sharp and Flat Direction Modal Modulation
- Sharp and Flat Direction Modal Modulation (2)
- Sharp and Flat Direction Modal Modulation (3)
- Sharp and Flat Direction Modal Modulation (4)
- Sharp and Flat Direction Modal Modulation (5)
- Resolution Tendencies Between Modal Groups
- Voice Leading
- Voice Leading (2)
- Mirror Modal Equivalents
- Mirror Modal Equivalents (2)
- Mirror Modal Equivalents (3)
- Mirror Modal Equivalents (4)
- Composing With Only White Notes
- Using Multiple Compositional Techniques
- 3 Chord Film Scoring
- Chapter Video
- Chord Forms
- Major Triads
- Minor Triads
- Diminished Triads
- Augmented Triads
- Sus4 Triads
- Sus2 Triads
- Sus4b5 Triads
- Lydian Triads
- Phrygian Triads
- Locrian Triads
- Drop Voicings
- Drop 2 (Maj6)
- Drop 2 (Maj7)
- Drop 2 (Dom7)
- Drop 2 (Min7)
- Drop 2 (Min6)
- Drop 2 (MinMaj7)
- Drop 2 (Min7b5)
- Drop 2 (Dim7)
- Drop 2 (DimMaj7)
- Drop 2 (AugMaj7)
- Drop 2 (Aug7)
- Drop 2 (Maj7b5)
- Drop 2 (Dom7b5)
- Drop 2 (Maj7sus4)
- Drop 2 (Dom7sus4)
- Drop 2 (Lydian Maj7)
- Drop 2 (Lydian Dom7)
- Drop 2 (DimMaj7b13)
- Drop 3 (Maj6)
- Drop 3 (Maj7)
- Drop 3 (Dom7)
- Drop 3 (Min6)
- Drop 3 (Min7)
- Drop 3 (MinMaj7)
- Drop 3 (Min7b5)
- Drop 3 (Dim7)
- Drop 3 (DimMaj7)
- Drop 3 (AugMaj7)
- Drop 3 (Aug7)
- Drop 3 (Maj7b5)
- Drop 3 (Dom7b5)
- Drop 3 (Maj7sus4)
- Drop 3 (Dom7sus4)
- Drop 3 (Lydian Maj7)
- Drop 3 (Lydian Dom7)
- Drop 3 (DimMaj7b13)
- Drop 2 + 3 (Maj6)
- Drop 2 + 3 (Maj7)
- Drop 2 + 3 (Dom7)
- Drop 2 + 3 (Min6)
- Drop 2 + 3 (Min7)
- Drop 2 + 3 (MinMaj7)
- Drop 2 + 3 (Min7b5)
- Drop 2 + 3 (Dim7)
- Drop 2 + 3 (DimMaj7)
- Drop 2 + 3 (AugMaj7)
- Drop 2 + 3 (Aug7)
- Drop 2 + 3 (Maj7b5)
- Drop 2 + 3 (Dom7b5)
- Drop 2 + 3 (Maj7sus4)
- Drop 2 + 3 (Dom7sus4)
- Drop 2 + 3 (Lydian Maj7)
- Drop 2 + 3 (Lydian Dom7)
- Drop 2 + 3 (DimMaj7b13)
- Drop 2 + 4 (Maj6)
- Drop 2 + 4 (Maj7)
- Drop 2 + 4 (Dom7)
- Drop 2 + 4 (Min6)
- Drop 2 + 4 (Min7)
- Drop 2 + 4 (MinMaj7)
- Drop 2 + 4 (Min7b5)
- Drop 2 + 4 (Dim7)
- Drop 2 + 4 (DimMaj7)
- Drop 2 + 4 (AugMaj7)
- Drop 2 + 4 (Aug7)
- Drop 2 + 4 (Maj7b5)
- Drop 2 + 4 (Dom7b5)
- Drop 2 + 4 (Maj7sus4)
- Drop 2 + 4 (Dom7sus4)
- Drop 2 + 4 (Lydian Maj7)
- Drop 2 + 4 (Lydian Dom7)
- Drop 2 + 4 (DimMaj7b13)
- Triads Over Bass Notes
- Maj∆/7
- Maj∆/b7
- Maj∆/6
- Maj∆/#5
- Maj∆/5
- Maj∆/#4
- Maj∆/4
- Maj∆/3
- Maj∆/b3
- Maj∆/9
- Maj∆/b9
- Min∆/7
- Min∆/b7
- Min∆/6
- Min∆/b6
- Min∆/5
- Min∆/#4
- Min∆/4
- Min∆/3
- Min∆/b3
- Min∆/9
- Min∆/b9
- Sus4∆/7
- Sus4∆/b7
- Sus4∆/6
- Sus4∆/b6
- Sus4∆/5
- Sus4∆/#4
- Sus4∆/4
- Sus4∆/3
- Sus4∆/b3
- Sus4∆/9
- Sus4∆/b9
- Spread Triads Over Bass Notes
- Major Type Spread Triads/Bass Notes
- Major Type Spread Triads/Bass Notes (2)
- Major Type Spread Triads/Bass Notes (3)
- Major Type Spread Triads/Bass Notes (4)
- Major Type Spread Triads/Bass Notes (5)
- Minor Type Spread Triads/Bass Notes
- Minor Type Spread Triads/Bass Notes (2)
- Minor Type Spread Triads/Bass Notes (3)
- Minor Type Spread Triads/Bass Notes (4)
- Minor Type Spread Triads/Bass Notes (5)
- Minor Type Spread Triads/Bass Notes (6)
- Dom7 Type Spread Triads/Bass Notes
- Dom7 Type Spread Triads/Bass Notes (2)
- Dom7 Type Spread Triads/Bass Notes (3)
- Dom7 Type Spread Triads/Bass Notes (4)
- Dom7 Type Spread Triads/Bass Notes (5)
- Dom7 Type Spread Triads/Bass Notes (6)
- Dom7 Type Spread Triads/Bass Notes (7)
- Dom7 Type Spread Triads/Bass Notes (8)
- Dom7 Type Spread Triads/Bass Notes (9)
- Dom7 Type Spread Triads/Bass Notes (10)
- Dom7 Type Spread Triads/Bass Notes (11)
- Dom7 Type Spread Triads/Bass Notes (12)
- Diminished Type Spread Triads/Bass Notes
- Diminished Type Spread Triads/Bass Notes (2)
- Diminished Type Spread Triads/Bass Notes (3)
- Diminished Type Spread Triads/Bass Notes (4)
- Twelve-Tone Type Spread Triads Over Bass Notes Lecture
- Twelve Tone Type Spread Triads/Bass Notes
- Twelve Tone Type Spread Triads/Bass Notes (2)
- Quartal Voicings
- 3-Part Quartal Voicings - Major Scale
- 3-Part Quartal Voicings - Major Scale (2)
- 4-Part Quartal Voicings - Major Scale
- 4-Part Quartal Voicings - Major Scale (2)
- 5-Part Quartal Voicings - Major Scale
- 6-Part Quartal Voicings - Major Scale
- 3-Part Quartal Voicings - Melodic Minor Scale
- 3-Part Quartal Voicings - Melodic Minor Scale (2)
- 4-Part Quartal Voicings - Melodic Minor Scale
- 4-Part Quartal Voicings - Melodic Minor Scale (2)
- 5-Part Quartal Voicings - Melodic Minor Scale
- 6-Part Quartal Voicings - Melodic Minor Scale
- 3-Part Quartal Voicings - Harmonic Minor Scale
- 3-Part Quartal Voicings - Harmonic Minor Scale (2)
- 4-Part Quartal Voicings - Harmonic Minor Scale
- 4-Part Quartal Voicings - Harmonic Minor Scale (2)
- 5-Part Quartal Voicings - Harmonic Minor Scale
- 6-Part Quartal Voicings - Harmonic Minor Scale
- Skipped String Voicings
- Major Skipped String Voicings
- Melodic Minor Skipped String Voicings
- Dominant Diminished Skipped String Voicings
- F Blues Example
- Open String Voicings Lecture
- Open String Voicings
- Open String Voicings (2)
- Open String Voicings (3)
- Open String Voicings (4)
- Open String Voicings (5)
- Open String Voicings (6)
- Open String Voicings (7)
- Open String Voicings (8)
- Open String Voicings (9)
- Open String Voicings (10)
- Open String Voicings (11)
- Open String Voicings (12)
- Open String Voicings (13)
- Open String Voicings (14)
- Open String Voicings (15)
- Polychords Lecture
- Polychords
- Polychords (2)
- Polychords (3)
- Polychords (4)
- Using Comping Voicings in New Ways
- Constructing Chord Scales
- Chordal Scales
- Chordal Scales (2)
- Chordal Scales (3)
- Chordal Scales (4)
- Chordal Scales (5)
- Chordal Scales (6)
- Chordal Scales (7)
- Chordal Scales (8)
- Chordal Scales (9)
- Chordal Scales (10)
- Chordal Scales (11)
- Diminished Scale Voicings Lecture
- Diminished Scale Voicings
- Dim7 Type comping voicings
- Dim7 Type comping voicings (2)
- Dim7 Type comping voicings (3)
- Dim7 Type comping voicings (4)
- Dim7 Type comping voicings (5)
- Dim7 Type comping voicings (6)
- Stretch Voicings
- Stretch Voicings (2)
- Stretch Voicings (3)
- Stretch Voicings (4)
- Stretch Voicings (5)
- Stretch Voicings (6)
- Chordal Lines
- Chordal Lines (2)
- Chapter Video
- Mode (Scale) Practice
- Triads
- Triads (2)
- Modes of the Major Scale
- Modes of the Melodic Minor Scale
- Modes of the Harmonic Minor Scale
- Messian Modes
- Miscellaneous Scales
- Blues and Pentatonic Scales
- Blues and Pentatonic Scales (2)
- Blues and Pentatonic Scales (3)
- Blues and Pentatonic Scales (4)
- Close Position Fingerings
- Major Scale (Close Position)
- Melodic Minor (Close Position)
- Harmonic Minor (Close Position)
- Scales with Two Notes per String
- Major Scale Modes (2 notes per string)
- Melodic Minor Modes (2 notes per string)
- Harmonic Minor Modes (2 notes per string)
- Examples of Extended Range Scale Fingerings
- Diatonic Intervals
- Diatonic Arpeggios
- Diatonic Arpeggios (2)
- Spread Triad Arpeggios Introduction
- Bitonal Spread Triad Exercise
- Practicing Dominant 7th Arpeggios
- Practicing Dominant 7th Arpeggios Chart
- Seventh Chord Arpeggios
- Triads and Suspensions
- Using Triads and Pedal Point
- Seventh Chord Arpeggios (Root 6)
- Seventh Chord Arpeggios (Root 6) (2)
- Seventh Chord Arpeggios (Root 6) (3)
- Seventh Chord Arpeggios (Root 6) (4)
- Seventh Chord Arpeggios (Root 6) (5)
- Triads (Root 6)
- Triads (Root 6) (2)
- Triads (Root 6) (3)
- Seventh Chord Arpeggios (Root 5)
- Seventh Chord Arpeggios (Root 5) (2)
- Seventh Chord Arpeggios (Root 5) (3)
- Seventh Chord Arpeggios (Root 5) (4)
- Seventh Chord Arpeggios (Root 5) (5)
- Triads (Root 5)
- Triads (Root 5) (2)
- Triads (Root 5) (3)
- Bitonal Arpeggios
- Major and Minor Bitonal Arpeggios
- Major Bitonal Arpeggios
- Major Bitonal Arpeggios (2)
- Tritone Triads
- Major Bitonal Arpeggios (3)
- Minor Bitonal Arpeggios
- Minor Bitonal Arpeggios (2)
- Minor Bitonal Arpeggios (3)
- Diminished Bitonal Arpeggios
- Diminished Bitonal Arpeggios (2)
- Diminished Bitonal Arpeggios (3)
- Augmented Bitonal Arpeggios
- Augmented Bitonal Arpeggios (2)
- Augmented Bitonal Arpeggios (3)
- More About Practicing Scales and Arpeggios
- Chapter Video
- ii-V-I Progressions
- ii-V's in One Measure
- ii-V's in One Measure (2)
- One Measure ii-V-i's in Major
- One Measure ii-V-i's in Major (2)
- One Measure ii-V-i's in Major (3)
- One Measure ii-V-i's in Minor
- One Measure ii-V-i's in Minor (2)
- ii-V-I Substitute Patterns
- Turnarounds
- Imaj7-VI7-ii7-V7 Exercise
- Imaj7-VI7-ii7-V7 Exercise Video
- Turnarounds Over 4 Measures
- Turnarounds Over 4 Measures (2)
- Turnaround Substitutions
- Cycle of Fifths
- Cycle of Fifths (2)
- Pentatonic Scales
- Pentatonic Scales (2)
- Melodic Minor Pentatonics
- Triadic Superimposition
- Triadic Superimposition Charts
- Triadic Superimposition Chart (2)
- Triadic Improvisation
- Seventh Chord Superimposition
- Seventh Chord Superimposition Chart
- Seventh Chord Superimposition Chart (2)
- Seventh Chord Superimposition Chart (3)
- Seventh Chord Superimposition Chart (4)
- Hybrid Arpeggios
- Hybrid Arpeggios Charts
- Hybrid Arpeggios Charts (2)
- Playing Over Unusual Resolutions
- Playing Over Unusual Resolutions (2)
- Playing Over Unusual Resolutions (3)
- Melodic Ideas
- Melodic Ideas (2)
- Melodic Ideas in Natural Minor
- Major Scale Impressions Video
- Major Scale Impressions
- Major Scale Impressions (2)
- Major Scale Impressions (3)
- Major Scale Impressions (4)
- Modes: Linear Approach
- Modal Lines
- Modal Lines (2)
- Modal Lines (3)
- Modal Lines (4)
- Modal Lines (5)
- Modal Lines (6)
- Blues Sounds
- Blues Sounds (2)
- Diminished Sounds
- Diminished Sounds (2)
- Diminished Sounds (3)
- Whole Tone Lines
- Modal Mixture
- Modal Mixture (2)
- Using One Interval Set Over Many Chords
- Using One Interval Set Over Many Chords (2)
- Using One Interval Set Over Many Chords (3)
- Outside Playing Over One Chord
- Outside Playing Over One Chord (2)
- Chromaticism and Twelve-Tone Applications
- Chromaticism and Twelve-Tone Applications (2)
- Chromaticism and Twelve-Tone Applications (3)
- Chromaticism and Twelve-Tone Applications (4)
- Twelve-Tone Triadic Formulas
- Twelve-Tone Triadic Formulas (2)
- Twelve-Tone Formulas Using Seventh Chords
- Non-Tertian Twelve-Tone Rows
- Non-Systematic Row
- Twelve-Tone Triad Etude
- Modal Shapes
- Modal Shapes (2)
- Tonic and Dominant Diminished Scale Shapes
- Tonic and Dominant Diminished Scale Shapes (2)
- Unorthodox Left Hand Techniques
- Modern Linear Examples
- Modern Linear Examples (2)
- Neo Classical Spread Triads
- Pedal Point Soloing
- Studies/Improvisations
- Studies/Improvisations (2)
- Studies/Improvisations (3)
- Studies/Improvisations (4)
- Studies/Improvisations (5)
- Studies/Improvisations (6)
- Studies/Improvisations (7)
- Studies/Improvisations (8)
- Studies/Improvisations (9)
- Studies/Improvisations (10)
- Studies/Improvisations (11)
- Studies/Improvisations (12)
- Chapter Video
- Bass Lines
- Bass Lines (2)
- Bass Lines (3)
- Pedal Points
- Rhythm Changes Bassline
- Rhythm Changes Bassline (2)
- Walking Bassline
- Comping Rhythms
- Solos Over Standard Forms
- Solo No. 1
- Solo No. 2
- Solo No. 3
- Blues Solo
- Rhythm Changes Solo
- Modern Approach to Rhythm Changes
- Practicing
- Practicing (2)
- Practicing (3)