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Ultimate Guide to Jazz Theory

Let me tell you one of the biggest myths I hear about learning how to play jazz:

You need to know a ton of music theory.


You don’t. You only need to know a little bit about music theory to get started with jazz improvisation and start learning jazz standards. You’ll learn more naturally along the way.

In fact, when it comes to playing jazz, it’s more about learning the jazz language than theory.

With that being said, having command of the basics of jazz theory will give you a massive advantage when playing jazz.

But here’s the problem: Most blogs, courses, Youtubers, and teachers make learning jazz theory way too hard.

They overcomplicate with hundreds of different ideas on chord/scale theory, verbiage that leaves many musicians in the dark, and assumptions of knowledge that intimidate the beginner jazz student.

That’s where I come in.

I’m here to make learning jazz theory simple.

Here’s what I’ll cover in this guide:

I’ll start from the beginning but you can click any of these links to skip ahead.

1. Getting Started: What Jazz Theory Is Useful For

2. Basic 7th Chord Construction

3. Basic Scales for Jazz

4. Guide tones and Voice leading

5. Jazz Chord Progressions

6. Next steps for jazz improv success

Trust me when I say, this is the only jazz theory you need to get started and start having success with learning jazz standards and crushing it with jazz improvisation.

Let’s get started!

Getting Started: What Jazz Theory Is Useful For

What Jazz Theory is Useful For

When musicians come to jazz and think that they need to learn a bunch of music theory to improvise, it is often under the assumption that jazz is a math equation needing to be solved.

Spoiler alert: it’s not.

Jazz is first and foremost a language.

Music theory is simply the grammar, sentence structure, and analysis element of understanding jazz language.

Think about it:

Before you went to school and started learning the basic theory behind whatever your native language is, you were already speaking.

Learning the theory only helped you intellectually understand it better, and expand your abilities to express and formulate your own ideas.

That is what music theory does for us with jazz.

2 Things Jazz Theory Is Useful For

Let’s first cover several great uses of music theory.

1. It helps you understand what you are playing.

Have you ever learned a jazz lick from one of your favorite players, say Sonny Rollins, and didn’t understand why it was so awesome?

Check this one out:

Well, when you understand that in bar 1 he’s basically outlining a minor 9 arpeggio, and then resolved to the 3rd of the dominant 7 from a whole step below and a half step above, and then emphasized the #9 altered extension and resolving to the 3rd of the Eb7, the veil starts to get lifted.

Don’t be intimidated if everything I just said went over your head. That’s why we start with the basics!

This is particularly important when trying to learn jazz standards. If you recognize what chord progressions you are dealing with, you can start simplifying things into categories rather than trying to remember individual chords.

2. It can help you conceptualize jazz language.

Jazz theory offers different ways to understand how to navigate chord changes.

This is especially apparent in what we call chord/scale theory, where we can match scales to chords. I’ll talk a lot more about this in the scales section.

Having this knowledge can also aid in composing your own music. If you understand the function of how things sound, it can open up a myriad of possibilities.

2 Things Jazz Theory IS NOT Useful For

While jazz theory is helpful for the reasons above, used only by itself will not be enough.

1. Learning jazz language

While theory is helpful for understanding and conceptualizing jazz language, it’s not great for actually learning it.

As I alluded to before, when you first started speaking as a child you had no idea why and how language worked.

You just heard your parents and family talk and copied them.

This is how we learn to improvise.

We listen, copy, and then try to express it our own way.

If you rely on theory to learn jazz language, trust me, you will sound calculated and like you are running a bunch of linear scales. We don’t want that.

2. Improving your ear

When it comes to becoming a great improviser, improving your ear is one of the most important things you can do.

But music theory isn’t the best way to go about this.

You want to be learning licks, solos, and standards by ear. You also want to learn some of the fundamentals of ear training to give yourself a leg up.

With all that being said let’s start jumping into the only jazz theory you need to know and start discovering step-by-step what we need to do to crush jazz theory.

Step #1: Basic 7th Chords

In my opinion, the first place to start with jazz theory is chords.

And the good news? There are only 5 you need to know to get started.

Notice I didn’t say scales. We’ll get to that later.

In particular, 7th chords are the basic chords used in jazz music.

Don’t get me wrong, triads are important (Basic 3 note chords), and I cover those in-depth in my eBook and Companion Course Zero to Improv.

But one of the characteristics of jazz standards are the lush, colorful chords that populate their harmonies. Jazz musicians often use chords that offer more harmonic information than simple triads. These basic types of chords are called 7th chords.

What’s a 7th chord?

A 7th chord is a triad with the 7th tone of its corresponding scale stacked on top.

Basic formula: Root-3rd-5th-7th (3rd, 5th, or 7th altered depending on quality)

There are 5 qualities of 7th chords: major 7, dominant7, minor 7, half-diminished, and diminished 7.

Let’s start with the major 7th.

Major 7 Chords

Formula for a major 7 chord: Root-3rd-5th-7th

Same as a major triad (Root-3rd-5th) but with the 7th scale degree stacked on top. Pretty simple right? If you know your major scale (we’ll get to that) it’s simple to pick out where all of the chord tones come from.

When you stack these scale degrees on top of each other you get a Cmaj7: C-E-G-B.

Of course, there are also inversions to all of the major 7 chord qualities. Because there are four chord tones, we end up having three inversions:

Here is the Cmaj7 notated in Root Position, 1st Inversion, 2nd Inversion, and 3rd Inversion.

Just to be extra clear, the 3rd Inversion has the 7th in the bass. If you see the 7th in the bass of a chord or arpeggio, it is in 3rd Inversion.

Dominant 7 Chords

Formula for a dominant 7 chord: Root-3rd-5th-b7

Same as a major 7 chord but with a b7. Dominant 7 chords play a huge role in jazz and the blues so these are important chords to have down solid! This chord comes straight out of the Mixolydian scale.

When you stack these scale degrees on top of each other you get a C7: C-E-G-Bb.

Here is the C7 notated in Root Position, 1st Inversion, 2nd Inversion, and 3rd Inversion.

Minor 7 Chords

Formula for a minor 7 chord: Root-b3-5th-b7

Like the minor triad, the 3rd is flatted. And like the dominant 7 chord, the 7th is flatted. Take a look at the natural minor scale, which is where you can draw these chord tones from.

When you stack these scale degrees on top of each other, you get a Cmin7: C-Eb-G-Bb.

Here is the Cmin7 notated in Root Position, 1st Inversion, 2nd Inversion, and 3rd Inversion.

Half-Diminished Chords

Formula for a Half-Diminished chord: Root-b3-b5-b7

Take a minor 7 chord and flat the 5, and you have what we call a half-diminished chord. This chord is also commonly known as a minor 7(b5) chord. We can draw these chord tones from the Locrian scale.

When you stack these scale degrees on top of each other you get a Cmin7(b5): C-Eb-Gb-Bb.

Here is the Cmin7(b5) notated in Root Position, 1st Inversion, 2nd Inversion, and 3rd Inversion.

Diminished 7 Chords

Formula for a Diminished 7 chord: Root-b3-b5-bb7

That’s right! If you take a half-diminished chord and flat the 7th chord tone twice, you get a fully diminished 7 chord.

I suppose it makes the meaning of half-diminished all that more clear. We can draw these chord tones straight out of the Whole-Half Diminished scale.

Mind you, when we spell out the chord, we call it a bb7 not a 6, so in the key of C, it would be a Bbb.

When you stack these scale degrees on top of each other you get a Cdim7: C-Eb-Gb-Bbb.

That’s it!

If you know how to build these 5 qualities of 7th chords you can play most jazz standards out there.

There is so much more we can do here, and in my eBook and Companion Course Zero to Improv I go over specific exercises for these chords and how to start connecting them together.

I’d encourage you to check that out if you want to go further with this.

Chord Extensions and Alterations

Now, I would be doing you a bit of a disservice if I left it there and said there was nothing more to it.

Jazz musicians will often take these basic 7th chords and add more color to them.

What’s a chord extension?

Chord extensions are essentially chord tones that are added above the basic 7th chord structure (R-3rd-5th-7th).

The possible extensions are the 9th, 11th, and 13th. These extensions don’t replace the R-3rd-5th-7th but are added in addition to achieve a desired sound. However, in some cases, an extended chord may exclude a basic chord tone to avoid dissonance.

The easiest way to understand chord extensions is to think of them as the notes in between the basic structural chord tones: the 2nd, 4th, and 6th.

The 9th is the same as the 2nd, just up an octave.

The 11th is the same as the 4th, up an octave.

The 13th is the same as the 6th, up an octave.

If that doesn’t quite make sense right away, hopefully, this visual will help you see what I am talking about.

Which extensions can you use on 7th chords?


The 7th chords it can be added to: Major, dominant, minor, half-diminished.

Formula: R-3rd-5th-7th-9th

Example: Cmaj9


The 7th chords it can be added to: minor, half-diminished, diminished

Rule: the 11th can be added to chords with a b3 in it. Otherwise, the 11th would clash with the major 3rd.

Formula: R-3rd-5th-7th-9th-11th

Example: Cmin11


The 7th chords it can be added to: major, dominant, minor.

Formula: R-3rd-5th-7th-9th-13th

Example: C13

Note: 13th chords usually do not include the 11th in the chord.

What’s an altered extension?

Now, many of these extensions depending on the chord quality can be altered.

While I’m not going to go as far into depth with this as I do in my book, I will demonstrate just a few examples.

Major 7(#11)

Note: While the 11th is not used in a major 7 as an un-altered extension, it is used as an altered chord tone, specifically a #11.


Dominant 7(alt)

Note: The dominant 7 chord has the most alterations possible. Also, the same as it was with the major 7, the 11th can be used with the dominant 7 as an alteration (#11).

One important chord to understand when it comes to dominant 7ths is the alt chord.

If you ever see on a piece of sheet music “C7alt” that just means that some or all of the extensions are included in the chord and altered.

Jazz musicians can choose to outline all of them, whether playing a chord or improvising, or picking and choose which ones are included.

Possible alterations for a dominant 7: b5, #5, b9, #9, #11, b13.


In summary:

  • There are only 5 basic 7th chords we need to worry about in jazz
  • Jazz musicians often add extensions and alterations to these chords to add more color

You don’t need to worry about knowing everything right away! The more that you learn jazz standards, the more you will face these chords.

But when we understand that the basic 5 7th chords are our cornerstone, we can breathe a sigh of relief and take a load off.

Step #2: Scales (aka. “Pitch Collections”)

Prepare yourself for a rant!

So many musicians, go straight to scales when starting to learn how to improvise over jazz standards.

It makes me want to curl up in a corner and start to weep.

Don’t get me wrong, scales aren’t bad. Quite the contrary!

But unfortunately, they are often misused.

Let’s start with some “pro’s and con’s” of scales in general.

What scales are useful for:

1. Learning your instrument.

Scales are essential for learning how to navigate your instrument, understanding chord qualities, how to read music, and other cornerstone elements of learning how to play. If you want to be a good jazz improviser, you need to know your instrument!

2. Technique.

Scales can help train you to move freely around your instrument without restrictions so that you can execute any musical situation you come across.

3. Conceptualizing musical ideas. 

Scales can help you identify pitch collections that conceptualize a harmonic or melodic concept. Understanding different aspects of music theory can be incredibly helpful.

What scales are NOT useful for:

1. Learning jazz language. 

To learn jazz language, you need to be listening to jazz music and learning solos and smaller musical phrases from the greats by ear.

Scales are pitch collections, not musical phrases. They will not help you learn the way jazz musicians speak and communicate with each other.

2. Learning how to play melodically. 

A scale is not a melody. A scale is a set of musical notes ordered by fundamental frequency or pitch (there’s a bland text book definition for you).

To play melodically, you need to learn melodies. Scales can show you what the “right notes” to play are, but they don’t teach you how to create actual music.

3. Improving your ear. 

One of the most important things to be equipped with as a jazz musician is a great ear. To become an extraordinary improviser, you need to be developing your ear. Scales are calculated, and therefore not great for training your ear.

Scales as “Pitch Collections”

Scales as Pitch Collections

If there is one thing I want you to take away from this section on scales, it is that scales should be thought of as “pitch collections.”

Pitch collections are simply an organized set of pitches that identifies note choices over a given chord or chord progression.

This is very different from thinking about them as scales, which insinuates playing a linear pattern.

When we think about scales this way, it is no longer “play a melodic minor scale over the minor i chord,” it’s. “Oh, look! I can target the major 7th in my line to add some color!”

That’s the difference.

If I can help you make that shift in your perspective, my job is well done.

The Only Scales You NEED to Know

This may make some people upset. But I’m not here to please everyone’s pre-conceived notions of jazz improvisation.

I’m here to make jazz easier.

The good news: I’ve already covered a handful of the scales when I talked about the chords. But there are a few new ones.

Here they are:

Major Scale

Intervallic formula: W-W-H-W-W-W-H

Scale tone formula: 1-2-3-4-5-6-7

C major scale: C-D-E-F-G-A-B

Chords you can play it over: any major 7 chord, or any chord in the major diatonic series (I’ll talk about this in a second)

Dorian Scale (2nd mode of Major Scale)

Dorian is the 2nd mode of the major scale and starts on the second scale degree.

Modes don’t have to be confusing. Just think: If I have a starting note, what major scale is that the second scale degree of?

You can also think of this mode as a natural minor scale with a raised 6th.

Intervallic formula: W-H-W-W-W-H-W

Scale tone formula: 1-2-b3-4-5-6-b7

D Dorian: D-E-F-G-A-B-C

Chords you can play it over: Dmin7 (ii) or Dmin7 (i)

Mixolydian (5th mode of Major Scale)

Mixolydian is the 5th mode of the major scale and starts on the fifth scale degree. You can think of this mode as a major scale with a flatted 7th.

Intervallic formula: W-W-H-W-W-H-W

Scale tone formula: 1-2-3-4-5-6-b7

G Mixolydian: G-A-B-C-D-E-F

Chords you can play it over: G7 (V) or any dominant 7 chord.

Locrian (7th mode of Major Scale)

Locrian is the 7th and last mode of the major scale and starts on the seventh scale degree. The Locrian mode is a bit of a more obscure one. The best way to think of it is a major scale starting and ending on the leading tone (the preceding and last tone of the scale).

Intervallic formula: H-W-W-H-W-W-W

Scale tone formula: 1-b2-b3-4-b5-b6-b7

B Locrian: B-C-D-E-F-G-A

Chords you can play it over: Half diminished- aka. Minor 7(b5)

Note: You can also play what is called a Locrian #2 scale over a half-diminished chord. It’s spelled as it sounds. Just sharp the 2!

Whole Half Diminished Scale

Diminished 7 chords show up in a variety of different circumstances in jazz.

Intervallic formula: W-H-W-H-W-H-W-H

Scale tone formula: 1-2-b3-4-#4-#5-6-7-8

C whole half diminished scale: C-D-Eb-F-Gb-G#-A-B

Chords you can play it over: Any diminished 7 chord

That’s it! Those cover all 5 qualities of 7th chords and are the most common options.

Please don’t get me wrong.

There are a lot more scales that you can apply over different kinds of chords, and if you’re looking for a slightly larger list that covers common chord alterations and such, check out this list of 16.

But since I fundamentally don’t believe we should rely too heavily on scales for jazz improvisation, I’m leaving it here.

In fact, I’ve even had the audacity to suggest you only need to know 2 scales for jazz improv (gasp)! 

I won’t go into that further in this guide, but here is a video I did on the subject.

One important note:

I intentionally started with chords vs. scales because scales don’t necessarily spell out chord changes.

If you were paying attention, 4/5 of the chord qualities were essentially using the major scale, just starting on different scale degrees.

Chord tones are what matter.

The scales just represent notes you can play in between.

Step #3: Guide Tones and Voice Leading

Guidetones and How to Use Them

When it comes down to it when improvising over jazz standards we want to hear the chord changes come out in our solos.

At least, that’s what I remember feeling when I first started out playing jazz. I would hear my favorite musicians play, and a big distinction between me and them was that I would be able to hear the chord changes even if there was no accompaniment.

So we’ve already identified the chord tones of the 5 basic 7th chords, and we’ve already figured out the notes in between (scales).

But we need to dig deeper and discover the notes that really make a difference.

That’s where guide tones and voice leading comes in.

What are guide tones?

Guide tones are notes within a chord structure that both help define a chord, and can be used to transition to another chord melodically.

In jazz, the guide tones are the 3rds and 7ths.

These two notes are your best friends when it comes to jazz improvisation. Why?

Take a look again at the 7th chord formulas:

Major 7: Root-3rd-5th-7th

Dominant 7: Root-3rd-5th-b7

Minor 7: Root-b3-5th-b7

Half diminished: Root-b3-b5-b7

Diminished 7: Root-b3-b5-bb7

Now look through them and identify which notes are changing chord to chord.

It’s the 3rds and 7ths.

The only exception would be the b5 in the half-diminished and diminished 7, which would make the b5 a possible guide tone as well. But still, the 5th really isn’t the strongest of chord tones.

The 3rds and 7ths define whether a chord is major, minor, or dominant. In jazz harmony, this is incredibly important.

So do you think using the 3rds and 7ths in your musical lines is going to be important? You bet it is.

Let’s take a look at the 3rds and 7ths guide tones over a Cmaj7 to get started.

Now let’s take things up to the next level and introduce a ii-V-I chord progression (I’ll talk about those in a second- bear with me). We’ll stay in the key of C and use the chords Dmin7-G7-Cmaj7.

Dmin7 guide tones: F and C

G7 guide tones: F and B

Cmaj7 guide tones: E and B

Now I want you to pay close attention to something very important.

Did you notice how I started the Dmin7 with the 3rd in the bass, but then when we moved to the G7 the 7th was in the bass?

The reason I did this is to demonstrate good voice leading.

What is voice leading?

Voice leading is the smooth melodic movement of notes (or voices) from one chord to the next.

The reason I put the 7th of the G7 in the bass is because the F was already there. Also, see how the 7th of Dmin7 (C) moves in an easy stepwise motion into the 3rd of G7 (B)?

The key term there was stepwise motion.

Take a look at how these voices move.

Now let’s make these guide tones with voice leading melodic rather than chordal.

Now, I dig into this with much further depth and explore even more possibilities in my eBook and Companion Course Zero to Improv, but this should give you a good idea of what these concepts are about.

If you can start thinking about the guide tones and how you can target them in your lines, you WILL start to hear the chord changes come out in your solos.

There are many techniques and approaches for doing this, such as enclosure.

But having this basic knowledge will give you the tools you need to start to understand the music you are hearing and learning by ear.

Step #4: Jazz Chord Progressions

Jazz Chord Progressions

When it comes down to it, what do jazz musicians improvise over?

Chord progressions.

We already know the basic chords that are used in jazz standards, now it’s time to put the puzzle pieces together.

How to build chord progressions

I don’t want to leave anyone in the dark, so I will briefly explain a fundamental of music theory which is how to derive chord progressions.

In order to know how to build chord progressions, we need to start by harmonizing scales with 7th chords.

If we are in a major key, we will need to harmonize the major scale.

I’m skipping a few steps here, but essentially you start with a C major scale (key of C) and then stack 3rds on top of each scale degree.

When you do this, it automatically spells out different qualities of 7th chords.

Now, when we put this all together and add Roman numerals under each scale degree, we get what I call the “Major Diatonic Series of 7th Chords.”

The Roman numerals are important, so keep this in mind when I discuss the basic jazz chord progressions in just one second.

Unfortunately, minor harmony isn’t quite so simple.

Why? Because there are 3 minor scales we can harmonize:

  1. Natural Minor
  2. Harmonic Minor
  3. Melodic Minor

Here they are harmonized:

Natural Minor Harmonized

Harmonic Minor Harmonized

Melodic Minor Harmonized

If you’re paying attention you can already see the problem.

There isn’t one set of possible changes!

For example, the natural minor has the V chord (Gmin7) as a minor 7 chord. In no world, universe, or alternate universe is a V chord ever anything but a dominant 7 chord.

At the end of the day, it’s about understanding the possibilities and then recognizing which combinations of the harmonizations are most common.

Here is what I believe to be some of the most common:

Note: Unlike the Major Diatonic Series, the top line does NOT represent a scale. It simply represents the root notes of each chord.

This being said, there are other chords that are used depending on the circumstance or the composition. This chart is just to help you have a basic understanding of what you commonly will see come up in jazz chord progressions.

For a more detailed explanation of minor harmony check out this video:

I also did a fantastic podcast interview with one of my old college professors on this subject:

4 Basic Jazz Chord Progressions

Once again, I’m going to boil things down and make this as simple as possible.

I’m going to show you the 4 most basic jazz chord progressions you will find come up time and time again in jazz standards.

1. Major ii-V-I

The major ii-V-I is easily the most important chord progression to get a handle on when it comes to jazz.

This chord progression is also important in other styles of music as well. You’ll want to spend plenty of time working on ii-V-I’s.


In this case, we are in the key of C major. Dmin7 is the ii chord; G7 is the V chord and Cmaj7 is the I chord.

Refer back to the Major Diatonic Series chart to see where these come from!

2. Minor ii-V-i

This chord progression has the same function as the previous major ii-V-I, but of course, is in a minor key.

In many jazz standards, you will find major and minor ii-V-I’s in the song form.


The V chord can be altered, meaning, you can add a b9, #9, or #5 (sometimes #11). In this case, I notated the V as just a regular G7 chord, but know that jazz musicians will often manipulate this.

3. Major I-vi-ii-V

This chord progression you see all of the time. You can find it most naturally in any rhythm changes tune, such as Oleo.


It’s important to note that the vi chord, to be diatonically correct, is a minor chord. However, jazz musicians will often turn it into a dominant 7 chord.

This is common practice, and so I have listed it as an option above. This is important to be aware of.

4. Minor i-vi-ii-V

Now let’s bring this progression into the minor.


Remember that the vi chord in the minor diatonic series is being borrowed from the melodic minor harmonization of 7th chords. Therefore it is a half diminished chord.

These are the basic 4 jazz chord progressions.

Please don’t get me wrong. There are plenty of other chord progressions and alterations that come up in jazz standards, but if you know these, you will have a solid foundation.

If you want a slightly larger list with some other possibilities, check out my 9 Jazz Chord Progressions You Need to Master post.

So how do I start improvising over chord progressions?

Given what we’ve learned in this guide, here are some options:

  1. Learn licks by ear over these important chord progressions that you find on recordings.
  2. Map out the chord tones and connect them together with voice leading.
  3. Map out the guide tones and connect them together with voice leading.
  4. Map out the scales and connect them together with voice leading.

This is where we come full circle to what jazz theory is good for and not good for.

First and foremost you need to learn jazz language, which is best done by learning it by ear.

However, armed with this jazz theory knowledge, you now have the ability to understand the sentence structures and understand how jazz standards are constructed.

Next Steps for Jazz Improv Success

Missing Puzzle PieceThe heart of my message in this Ultimate Guide to Jazz Theory has been this:

Jazz theory can be made simple.

I’ve given you the essentials, and you don’t need to know much more in order to start succeeding as a jazz musician. I strongly believe that.

But knowledge without action is essentially useless.

Here are some options to dig deeper and start taking action.

Option #1: Dig deeper and take action on your jazz theory studies.

I’ve been mentioning my eBook and Companion Course Zero to Improv throughout this guide. It is my basic jazz theory book that goes much further in-depth with some of the topics we’ve discussed, but more importantly, it is designed to help you take action with exercises and improv tools.

>>>Get Zero to Improv<<<

Option #2: Start studying jazz standards.

One of the most effective ways to learn how to improvise and learn more about jazz theory is to simply study jazz standards. Check out my Jazz Standards Playbook Vol. 1 which goes over 10 in-depth studies of essential jazz standards.

>>Get The Jazz Standards Playbook<<<

Option #3: Start mastering a jazz blues.

One of the most important song forms in jazz is the blues. The blues also covers some of the most important harmonic movements in jazz as discussed in this guide. So the blues is important to know forwards and backward. My free “Boost Your Jazz Blues” masterclass will teach you how to start mastering a jazz blues to give you an unfair advantage with all the rest of jazz improv.

>>>Get My Free Boost Your Jazz Blues masterclass<<<

Option #4: Start an intensive jazz practice program.

If you’re really serious about improving as a jazz musician consider my flagship practice program 30 Steps to Better Jazz Playing. Keep in mind, it doesn’t focus on jazz theory much, so if that is what you need, consider some of the other options. This is a program that has you working on a well-rounded program of jazz essentials.

>>>Get 30 Steps to Better Jazz Playing<<<

I trust that this Ultimate Guide to Jazz Theory has helped you discover the essentials of music theory you need for this music.

Remember, to take action and enjoy the adventure of learning jazz music!

Brent Vaartstra
Brent Vaartstra
Brent Vaartstra is a professional jazz guitarist and educator living in New York City. He is the head blogger and podcast host for which he owns and operates. He actively performs around the New York metropolitan area and is the author of the Hal Leonard publication "Visual Improvisation for Jazz Guitar." He's also the host of the music entrepreneurship podcast "Passive Income Musician."

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