Curriculum

3-Month Solo & Scale Mastery

For players who can play songs but have never improvised

Your progress

0%

0/52 days done

Week 0 · Day 1 — Orientation: Why We 'Land on the 3rd' Week 0 · Day 2 — The Blueprint for Every Warm-Up: Alternate Picking & Finger Independence Week 0 · Day 3 — Refresh the Am Pentatonic Box 1 → First Taste of 3rd Intervals Week 0 · Day 4 — Metronome Discipline + Backing Track & Recording Setup + Learning to Hear Yourself

Locking In the Am Pentatonic Box 1 + Slow 4-Note Sequences Intensive Training: 3rd-Interval (Skip) Patterns Ramping Up Sequence Speed (80–90 BPM) + Keeping Accuracy Landing on the Root / ♭3 Over an Am One-Chord Backing Track

Locking In Pentatonic Box 2 + Sliding the Box 1↔2 Bridge Locking In Pentatonic Box 3 + Sliding the Box 2↔3 Bridge A 3rd-Interval Sequence Linking Box 1-2-3 (Connection Accuracy) Cross-Box Target-Landing Improv Over an Am Backing Track

Locking In Pentatonic Box 4 + Sliding the Box 3↔4 Connection Locking In Pentatonic Box 5 + Connecting Box 4↔5↔the Octave A Full-Neck 3rd-Interval Run Connecting Boxes 1 through 5 Improvising Across the Whole Neck + Landing on the Nearest 3rd

Blue Note (♭5) Basics + Accurate-Pitch Bending Vibrato Technique (Wrist vs. Finger) + Mapping ♭5 Across Every Box Blues Phrasing — 3rd Intervals + ♭5 Passing Tone + Bend/Vibrato One-Chord Jam Recording → Self-Feedback → Month 1 Wrap-Up

Am Pentatonic Box 1 Review — Chewing It Again With '3rd Intervals,' Not Up-and-Down Adding the 2nd (B) — a Four-Note Run That Passes Through B and Lands on the 3rd (C) Adding the 6th (F) — Resolving Through F to the 5th (E) and the 3rd (C) A Natural Minor Integration Jam — B and F as Color, Landing on C

Relative Keys — Same Shape, Just Move Your Center from A to C (Dual-Key Degree Labels) C Major 3rd-Interval Sequence — Landing on the Bright 3rd (E) Am↔C Tonal Center Switch Drill — Shuttling Between Two Resolutions in 4-Note Groups Am↔C Switching Backing Jam — Land on E Over C, Land on C Over Am

Am Chord Tones (A·C·E) — Mapping the Whole Neck, Spotting the 3rd (C) C Chord Tones (C·E·G) — Mapping the Whole Neck, Spotting the 3rd (E) Am ↔ C Chord Tone Connections — Linking 3rds with Minimal Movement Chord-Tone-Only Backing Jam + Recording Analysis — Checking Your 3rd-Landing Accuracy

ii-V-I Guide Tone Concept + Locking In F·B·E Connecting the Guide Tone Line — F→B→E, the Shortest Path Improvising 3rd Landings — Arriving Exactly on the Chord Change Beat Deep-Dive Recording Analysis — Precisely Checking Landing Timing and Vibrato

Dorian's Secret in One Note: Meeting the Major 6th, F# Sweeping Dorian with 3rd Intervals + the F# Color Line 4-Note Sequences + Landing on Chord 3rds: C for Am7, F# for D7 Combining It All: An 8-Bar Improv with Major 6th Color + Chord 3rd Landings

Intro to Mixolydian + Two Identity Notes: the Tension of ♭7 (G) and the Resolution of the Major 3rd (C#) Mixolydian 4-Note Sequences + Turning Major 3rd Targeting into Muscle Memory Mixolydian Position 2 + Widening the Neck by Connecting Forms (Position Shift) Putting It Together: Targeting the 3rd for Each Chord in an A7-D7 Blues + Connecting the Neck with 3rd Intervals

Mixolydian Switching Over a Blues Backing Track + Sticky Layback Phrasing Dorian Switching Over a Funk Backing Track + Tight Rest-Driven Phrasing Mixolydian Switching Over a Rock Backing Track + Powerful Long Tones & Bold Bends Integration Medley: Switching Both Mode and Phrasing Mood in Real Time with Every Genre Change

Designing Your Original Solo — Chord Progression and Finding Your 'One Home' Position Composing Motifs and Phrases — Toss Out a Line, Then Answer It Finishing the Full Solo and Your First Recording — Stitching 8 Bars into One Self-Feedback and Retakes — Operating on Your Own Recording by Ear, Then Recording It Again