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STUDY

GUIDE

Luca Mantovanelli
The Jazz Masterclass: Vol.2

JTCGUITAR.COM
Luca Mantovanelli / The Jazz Masterclass: Vol.2

INTRODUCTION

Jazz improvisation is a HUGE subject, and can often seem

overwhelming. However, a lot of the concepts are pretty
simple, and you can make a lot of progress by applying them
to stuff you already know.

That’s what we’re doing in this masterclass series. We’re working through
some of the most important concepts in jazz, gradually adding them to the
notes and scales you already use in rock or blues solos.

In Volume 1, we started with jazz-blues, trying a few scales in various ways.

We then worked with triads, larger arpeggios and other scales. This time
we’re going to concentrate on just one short chord progression. But it’s a
REALLY important chord progression! This is the famous 2-5-1.

The 2-5-1 (or II-V-I) progression is so important because it encapsulates one

of the most fundamental aspects of music: tension and resolution. Without
tension, music would be bland and boring. But without resolving (releasing)
that tension, music would be uncomfortable... and again boring, but in a
different way. We need light AND shade!

Let’s start with a short reminder of the theory...

Luca Mantovanelli / The Jazz Masterclass: Vol.2

2-5-1 BASICS

Most music theory is based around the major scale, and

we number the chords built from each note of the scale,
traditionally using Roman numerals. So, for the C major
scale, we have this sequence:

C major (I), D minor (II), E minor (III), F major (IV), G major (V), A minor (VI), B
diminished (VII)

These are the “diatonic chords” for the key of C major. Diatonic means that
the chords are constructed only from the notes of one scale. We can make it
a little more jazz-friendly by extending them to 7th chords:

Cmaj7 (I), Dm7 (II), Em7 (III), Fmaj7 (IV), G7 (V), Am7 (VI), Bm7b5 (VII)

The simplest way to introduce tension is by using the V chord (G7 in this
case). This chord has an unsettled sound because of the tritone interval
(B-F) within the chord. By following it with the I chord (C major or Cmaj7) we
release the tension. In the simplest form, the B note resolves up to the C (the
root of the key) and the F note resolves down to the E (the major 3rd).

This V-I (G7-C) progression is called the “perfect cadence” or “authentic

cadence”. It’s a fundamental building block of music!

In jazz, it’s very common to add the II chord before the V chord: Dm7-G7-
Cmaj7. This is the 2-5-1. We start from a position of stability in Dm7, move to
tension in G7, then resolve the tension with Cmaj7 or C major.

Got that? Let’s get started!

Luca Mantovanelli / The Jazz Masterclass: Vol.2

CHAPTER 01

BEGINNER

PART 1: TARGET NOTES

Here’s another fundamental element of jazz. If your solos simply run up
and down through scales, your listeners will get bored very quickly! By
emphasising “target notes”, you create musical meaning. Target notes are
usually notes from the underlying chord.

EX1: For each chord in this 2-5-1 progression, I target the 3rd: F (minor
3rd) over Dm7, B (major 3rd) over G7 and E (major 3rd) over Cmaj7. A little
melody leads to the target note, then I play the full chord so you can see the
note in context.

EX2: The same idea as Ex1, but longer.

PART 2: THIRDS
Now we’ll clear away everything else and just focus on hitting those target
notes. Again, we’re just playing the 3rds for each chord.

EX1: Start with the B and G strings, playing only the 3rd of each chord: F over
Dm7, B over G7 and E over Cmaj7.

EX2: Now the 3rds on the D and A strings. See what we’re doing here? We’re
learning to see a network of target notes all over the fretboard, always
changing as the chords change. This is vitally important knowledge for the
jazz soloist!
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 1

EX3: Targetting the 3rds on the G and D strings, still following the 2-5-1 in C
major.

EX4: Thirds on the A and low E strings.

EX5: Finally, the 3rds on the high E and B strings.

PART 3: 2-5-1 PHRASES

Continuing to target the 3rd of each chord, we’ll now build some lines around
them. Don’t worry if you don’t understand all the theory behind every note.
Hopefully you’ll start to see some patterns!

EX1: A little chromatic line leads to the B target note over G7, and then I play
a G7 arpeggio. The last note (F) drops down to the E over Cmaj7.

EX2: A C major triad leads to the first target note (F over Dm7). I use a
chromatic approach (from D#) to lead into the E target note over Cmaj7.
Instead of using the full C major scale over Cmaj7, I just use major
pentatonic (C D E G A).

EX3: Full Dm7 arpeggio in the first bar.

EX4: Similar to Ex3, starting with another Dm7 arpeggio, and then simply
targetting the 3rds over G7 and Cmaj7.

EX5: A longer scale passage over Dm7: all of these notes are from the C
major scale, but you might choose to interpret it as D Dorian, because it’s
over the Dm7 chord. Same notes, just a different interpretation of what the
root is!

EX6: And once we start interpreting the C major scale as D Dorian over Dm7,
we can also use D minor pentatonic (D F G A C). The notes are already there
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 1

in the C major scale, so we’re just being selective.

EX7: Alternatively, we can just play C major pentatonic (the “home”

pentatonic scale, if you like) over the Dm7. Notice how we’re still targetting
the 3rd of each chord.

EX8: C major again over Dm7, and then I play a G major arpeggio before
ending on the E note over Cmaj7.

PART 4: EASY OUTSIDE SOUNDS

As we mentioned, the dominant (V) chord creates tension, which is then
resolved by moving to the tonic (I) chord. We can increase this tension by
adding notes from outside the key, and there are certain notes that work
really well for this: the flat 9th, sharp 9th, flat 5th and sharp 5th. Over our
G chord, these notes would be Ab, Bb, Db and D#. We can add them to the
chord, to our solo lines, or both. We’ll start here with just the solo lines.

Simply adding these “outside” notes to regular C major scale lines can
produce some pretty bad results if you’re not careful, so we’ll take a
systematic approach instead. We’re simply going to play Bb minor pentatonic
(Bb Db Eb F Ab) over the G7 chord. The wrong scale! But it contains all four
of our “outside” notes (D# is spelled here as Eb) plus the minor 7th of the G7
chord (F).

You can use this approach over the dominant chord in any 2-5-1 progression
– just remember to play the minor pentatonic a minor 3rd (three frets) above
the V chord.

EX1: Here’s our basic procedure: A minor pentatonic (A C D E G) over Dm7,

Bb minor pentatonic (Bb Db Eb F Ab) over G7 and then we resolve to a target
note (the major 3rd here) over Cmaj7.
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 1

EX2: The same shapes as Ex1, but in the opposite direction, and resolving to
the 5th (G) over Cmaj7.

EX3: The same basic concept as Ex1, but we’ll start moving through the
pentatonic shapes. This is Shape 2 for both A and Bb minor pentatonic
scales.

EX4: Shape 2 for the pentatonic scales, but moving in the opposite direction.

EX5: Shape 3 of the pentatonic scales.

EX6: Shape 3 of the pentatonic scales, reversing the direction.

EX7: Shape 4 of the pentatonic scales.

EX8: Shape 4 of the pentatonic scales, reversing the direction.

EX9: Shape 5 of the pentatonic scales.

EX10: Shape 5 of the pentatonic scales, reversing the direction.

PART 5: LICKS
We’ve played enough exercises now! Let’s put these ideas to work in a more
musical context. There are 10 licks here, played over two different backing
tracks: one is a swing groove, and the other is a slightly slower samba or
bossa nova groove.

LICK 1: For the G7 bar, I start with the regular C major scale, but then switch
to Bb minor pentatonic.

LICK 2: A long D Dorian (or C major) line over Dm7, ending on the B target
note over G7. But notice how I get there – a chromatic “enclosure”. This
means that I approach the target note via the notes above and below
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 1

(C-Bb-B). I play the Bb minor arpeggio from Bb minor pentatonic over G7,
then resolving to a C major scale (C D E F G A B) line over Cmaj7.

LICK 3: Using A and Bb minor pentatonics here, and then ending with C
major pentatonic (C D E G A) over Cmaj7.

LICK 4: Dm7 arpeggio and D minor pentatonic lead into Bb minor pentatonic.

LICK 5: All pentatonic again: C major, Bb minor (but notice the E target note),
C major.

LICK 6: Switching to the Latin-flavour backing track, this is all C major scale.
You can also interpret as D Dorian over Dm7 and G Mixolydian over G7.

LICK 7: Using C major (or A minor) pentatonic over Dm7, but notice how
I’m using the 9th (E) as a target note, giving a more sophisticated sound.
We then switch to Bb minor pentatonic over G7 and then a C major (add9)
arpeggio over Cmaj7.

LICK 8: Lots of syncopation here! The rhythmic emphasis (often the target
notes) is mainly on the last 16th note of each beat.

LICK 9: Another pure pentatonic study: C major, Bb minor, C major.

LICK 10: Here’s another example where I use both A minor pentatonic and
Bb minor pentatonic over G7. Also check out the chromatic notes over
Cmaj7.
Luca Mantovanelli / The Jazz Masterclass: Vol.2

CHAPTER 02

INTERMEDIATE

In the Beginner part, we started adding extra tension over

the G7 chord by switching to the Bb minor pentatonic. In this
part, we’re going to access the same “outside” notes (the b9th,
#9th, b5th and #5th) with a different scale.

The Superlocrian is one of the “magic” jazz scales. It’s actually a kind of
diminished scale, the 7th mode of melodic minor...

Ab melodic minor: Ab Bb Cb [B] Db Eb F G

G Superlocrian: G Ab Bb Cb Db Eb F (same notes, different root)

If you view it as a “normal” scale, it has a minor 3rd (Bb). But we use it
differently in jazz. We skiip the minor 3rd (Bb) and use the fourth note (Cb/B)
as the major 3rd. So, with GBF, we have most of a G7 chord, and then we also
have those four “outside” notes: Ab, Bb, Db, Eb.

So now we’re going to practise playing G Superlocrian lines, resolving to

chord tones over Cmaj7. We’ll resolve to the major 3rd (E) and then the 5th
(G).
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 2

PART 1: RESOLVING TO THE MAJOR 3RD

EX1: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note
over Cmaj7.

EX2: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX3: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX4: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX5: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX6: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX7: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX8: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX9: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.

EX10: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the E note

over Cmaj7.
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 2

PART 2: RESOLVING TO THE 5TH

EX1: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note
over Cmaj7.

EX2: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX3: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX4: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX5: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX6: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX7: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX8: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX9: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.

EX10: G Superlocrian (G Ab Bb Cb Db Eb F) over G7, resolving to the G note

over Cmaj7.
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 2

PART 3: LICKS
We’ll do exactly the same as in the Beginner licks, but now using G
Superlocrian over the G7 chords. Once again, we have two backing tracks: a
fast swing groove and a slower Latin groove.

LICK 1: D Dorian (D E F G A B C) over Dm7, then G Superlocrian (G Ab Bb Cb

Db Eb F) over G7. As in the previous exercises, we resolve to G (the 5th) over
Cmaj7. I then play a Cmaj9 arpeggio, but on the repeat I do a descending C
major line instead.

LICK 2: I add some chromatic notes to the Superlocrian line over G7, and
then a two-stage Cmaj7/Cmaj9 arpeggio.

LICK 3: All pretty simple, but using an A minor triad over Cmaj7 to give a C6
sound.

LICK 4: A couple of subtle chromatic passing notes (end of bar 1, middle of

bar 3) and I end with a quick C major pentatonic phrase.

LICK 5: A Dm9 arpeggio (made by superimposing a standard Fmaj7 shape)

and then a chromatic line takes us to G7.

LICK 6: Switching to the slower Latin groove, we now have room for 16th
notes. I add the C# note to the D Dorian line, creating a little chromatic
enclosure around the D root (you could also think of this as melodic minor).
There’s a sequenced Cmaj7 arpeggio in bar 3.

LICK 7: Another chromatic enclosure over Dm7 and then a couple more
chromatic passing notes. I play a bluesy George Benson style line over
Cmaj7.

LICK 8: A chromatic enclosure leading to the F target note over Dm7, and
then that quick A minor triad gives a Dm9 sound. At the end, I play C major
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 2

pentatonic (C D E G A) over Cmaj7.

LICK 9: More chromatic approach notes in D Dorian mode over Dm7. At

the end I play notes from E minor (or G major) pentatonic over Cmaj7, as an
alternative to the standard C major pentatonic.

LICK 10: This one is all about rhythm! I start with a D Dorian pattern on just
the 2nd string. As in Lick 9, I end with E minor pentatonic (E G A B D) and an
Em7 arpeggio over Cmaj7.
Luca Mantovanelli / The Jazz Masterclass: Vol.2

CHAPTER 03

ADVANCED

Just one new skill to add here: the 2-5-1 in a minor key. Then
we’ll ramp up the tempo to scary bebop levels and work on
some extracts from a couple of classic jazz tunes!

First, the minor 2-5-1. Tonal harmony in minor keys can be a little confusing,
because we often use both minor 7th and major 7th notes. Using C minor (C
D Eb F G Ab Bb) as an example, the diatonic 2-5-1 triads are:

D diminished (II) – G minor (V) – C minor (I)

Or, extending to 7th chords:

Dm7b5 (II) – Gm7 (V) – Cm7 (I)

However, the Gm7 chord just doesn’t create the necessary tension because
there is no dissonant tritone interval in it. So the standard practice is to use
our regular dominant 7 chord instead:

Dm7b5 – G7 – Cm7

The G7 chord references the harmonic minor scale (C D Eb F G Ab B) which

exists for this purpose: playing over the dominant (V7) chord in a minor key.

In jazz, we also have several options for playing over the other two chords.
The simplest thing is just to use the natural minor (Aeolian) as above, and
this then functions as D Locrian over the II chord. However, we’re going to do
things a bit differently:
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 3

Dm7b5 – D Locrian natural 2nd (D E F G Ab Bb C)

G7 – G Superlocrian (G Ab Bb Cb Db Eb F)

Cm7 – C Dorian (C D Eb F G A Bb)

This gives us a couple of more familiar sounds: the natural 2nd (instead of
the b2nd) over the II chord, and the Dorian scale over the minor 7th chord.

PART 1: MINOR 2-5-1 SHAPES

SHAPE 1: To familiarise yourself with our three scales, we’ll start with
some simple lines, moving up through the five shapes. This is shape 1 of G
Superlocrian, and the closest shapes for the other two scales.

SHAPE 2: Minor 2-5-1 in C, shape 2.

SHAPE 3: Minor 2-5-1 in C, shape 3.

SHAPE 4: Minor 2-5-1 in C, shape 4.

SHAPE 5: Minor 2-5-1 in C, shape 5.

PART 2: MINOR 2-5-1 PHRASES

PHRASE 1: Making things harder now, the chords are changing twice as fast,
but we can be a bit looser with the phrasing. As in the Intermediate section,
we’ll play each phrase twice.

PHRASE 2: Starting on an offbeat, and running through a partial Dm9b5

arpeggio.
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 3

PHRASE 3: Always try to remember the stuff we learned in the Beginner

section: target notes are essential!

PHRASE 4: If the D note (the 9th) sounds uncomfortable as a target note

over Cm7, try creating your own phrase to resolve it.

PHRASE 5: This line demonstrates the benefit of using Locrian natural 2nd
over Dm7b5. It sounds a lot less “weird” than the regular Locrian, and if you
avoid the b5th (Ab) you can play loads of familiar Aeolian lines.

PHRASE 6: The opening passage is the same as Phrase 1, but at a different

fretboard location.

PHRASE 7: You might not have realised, but the Locrian natural 2nd scale
(like Superlocrian) is a mode of the melodic minor. D Locrian natural 2nd has
the same notes as F melodic minor.

PHRASE 8: As you get more comfortable with these scales, learn which
notes they have in common. For example, the line F-G-Ab-Bb is in D Locrian
nat.2 and G Superlocrian (and then the very similar F-G-A-Bb is in C Dorian).

PHRASE 9: Another variation on Phrases 1 and 6, in another new fretboard

position.

PHRASE 10: Taking a vertical route through the D Locrian nat 2 scale, to find
some arpeggio fragments.

PART 3: DOUBLE 2-5-1 LINES

EX1: Now we’re combining everything we’ve studied so far. This 8-bar
progression runs through a 2-5-1 in C major and then a minor 2-5-1 in A
minor. I’ve added an Fmaj9 chord to end the major 2-5-1, and then an A7(alt)
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 3

chord loops the whole thing back to the start. Can you figure out what scales
I’m using? Solution in Ex2!

EX2: As in the Intermediate exercises, ‘m using D Dorian, G Superlocrian

and C major for the major 2-5-1, and continuing the C major scale over
Fmaj9. Then, for the minor 2-5-1, I play B Locrian natural 2 (B C# D E F G A),
E Superlocrian (E F G Ab Bb C D) and A Dorian (A B C D E F# G). For the A7
turnaround, I play A Superlocrian (A Bb C D Eb F G).

PART 4: GIANT STEPS

Now we’ll really push up the tempo for a classic jazz challengeI I’ve isolated
part of the B section of John Coltrane’s “Giant Steps” cycling through four
fast 2-5-1 progressions. I’ve played three versions, which work as “etudes”,
and I’ll then break each one down into four slower exercises.

TAKE 1, ETUDE: The 2-5-1 progressions are in Eb major, G major, B major,

and then back to Eb major.

TAKE 1, EX1: We’ll play each exercise twice, to help you to digest all the
information. I’m using the standard material here: F Dorian (F G Ab Bb C D
Eb) over Fm7, Bb Superlocrian (Bb Cb Db Eb Fb Gb Ab) and then Eb major
(Eb F G Ab Bb C D) over Ebmaj7.

TAKE 1, EX2: Now the 2-5-1 in G major, so we have A Dorian (A B C D E F#

G), D Superlocrian (D Eb F Gb Ab Bb C) and G major (G A B C D E F#).

TAKE 1, EX3: For the 2-5-1 in B, we have C# Dorian (C# D# E F# G# A# B), F#

Superlocrian (F# G A Bb C D E) and B major (B C# D# E F# G# A#).

TAKE 1, EX4: Finally, we repeat the 2-5-1 in Eb major. In reality, the scales
listed for the previous exercises are a “best case scenario”. The speed of
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 3

the chord changes mean that you probably won’t have time to think in terms
of scales – think primarily in chord tones, and link them together with scale
notes... if possible!

TAKE 2, ETUDE: My basic approach here is the same, because the harmonic
structure is so unforgiving. I’ve simply moved up to a different area of the
fretboard.

TAKE 2, EX1: A little chromatic line leads up to the D target note over Bb7.

TAKE 2, EX2: For the opening minor (II) chord, the minor 7th arpeggio or a
comfortable minor pentatonic phrase are always good starting points.

TAKE 2, EX3: Here I play the same line we played in the Take 1, Ex2.
Sometimes you just find a nice idea that works, so it’s worth committing it to
memory!

TAKE 2, EX4: Over a really fast backing like this, it’s good to break the flow
sometimes. Take a breath while playing something really simple, like my
Ebmaj7 phrase here.

TAKE 3, ETUDE: As in Etude 2, I’m taking a similar approach, but exploring a

new area of the fretboard.

TAKE 3, EX1: Once again, using the same pattern as Take 1 Ex2 and Take 2
Ex3, but now in the key of Eb major.

TAKE 3, EX2: A little chromatic line approaches the F# (major 3rd) over D7.

TAKE 3, EX3: Hopefully you can see another recycled idea here! Try learning
these repeating ideas, but always think carefully about the notes. Which ones
are chord tones?

TAKE 3, EX4: For some serious practice, you could find a transcription of
John Coltrane’s original “Giant Steps” solo. He uses a lot of simple patterns
Luca Mantovanelli / The Jazz Masterclass: Vol.2
CHAPTER 3

to navigate the chord progression, often playing just root, 2nd, 3rd and 5th
over each chord.

PART 5: CHEROKEE
Shifting up to an even faster tempo, but you get longer on each chord!
We’re now playing over part of Ray Noble’s jazz standard “Cherokee”. This
runs through 2-5-1 progressions in B, A, G and... almost F major, but before
reaching Fmaj7, we then jump to a 2-5-1 in Bb major.

ETUDE: You have more room to explore melodic lines than with “Giant
Steps”. However, the even faster tempo is really punishing, and can reduce
your phrasing to a random mess if you’re not careful. As before start by
aiming to hit target notes (chord tones) on the chord changes, and then fill
the gaps with whatever convenient scale notes you can find.

EX1: You know the routine by now! We’re using C# Dorian, F# Superlocrian
and B major here. I end this phrase with B major pentatonic (B C# D# F# G#).

EX2: Now we have B Dorian (notice the major-minor shift from the previous
exericse), E Superlocrian and A major. I played a bluesy line over Amaj9,
sliding into the minor 3rd (C).

EX3: Now a 2-5-1 in G major, so we have A Dorian, D Superlocrian and G

major.

EX4: Here’s the hardest part. We start with the II and V in F major (G Dorian,
C Superlocrian) but we don’t get to the F major chord. Instead we jump to the
2-5-1 in Bb. For a change, I keep things simple here, playing Bb major (or C
Dorian, F Mixolydian) throughout.
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Luca Mantovanelli
FUNK MASTERCL ASS: BOX SE T

Everything you need to go from funk zero, to head bopping hero. Three levels
that dig into the rhythms, techniques and theoretical approaches of guitar’s
grooviest genre. Work on the exercises, play with Luca himself and nail the
etudes. This is the Funk Masterclass series, and it’s time to get busy.

AVAIL ABLE NOW

J T C G U I TA R .C O M
Target Note Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 80

B B B B
Dm7 G7 Cmaj7

AA B B B B AA B B B B ==
: 44 A A =
1

A
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) ' ' & $ $ ' & &
c & ( & % % % %
( $ &
& & $
$

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All Rights Reserved - International Copyright Secured Page 1/1
Target Note Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 80
B B B B
: 44
1

"$ "!
c "# "!

AA AAA == B B B B
B B B B B B B B
Dm G7 C
2

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AA B B B AAA B B B ==
B B
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"! * "! ( "! * *
"# "# "! * * * "!
"!

Copyright JamTrackCentral Ltd 2023

All Rights Reserved - International Copyright Secured Page 1/1
Thirds Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
Dm7 G7 Cmaj7

4 = = = A
:4
1

' &
c %

Dm7
5 = =
G7
=
Cmaj7
A
' &
%

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Thirds Exercise 2
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Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

: 44
Dm7 G7 Cmaj7

= = A
1

=
c
$ #
#

=
Dm7 G7 Cmaj7

= A
5

=
$ #
#

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Thirds Exercise 3
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Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
Dm7 G7 Cmaj7

4 = = = A
:4
1

c "! *
*

Dm7
5 = =
G7
=
Cmaj7
A

"! *
*

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Thirds Exercise 4
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Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

: 44
Dm7 G7 Cmaj7

= = A
1

=
c
) (
(

=
Dm7 G7 Cmaj7

= A
5

) (
(

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Thirds Exercise 5
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Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
Dm7 G7 Cmaj7

= = = A
: 44
1

"$ "#
"#
c

Dm7
= =
G7
=
Cmaj7
A
5

"$ "#
"#

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2-5-1 Phrase 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
Q B DB B
: 44 L
1

) ( &
c

B P B DB F B B B Q B B B B BH = Q B DB B
Dm7 G7 Cmaj7

L
2

' $ ' & ) ( &

( ' & % %
&

B P B DB FB B B Q H
B B B B =
B
Dm7 G7 Cmaj7
6

' $ ' &

( ' & % %
&

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2-5-1 Phrase 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B
: 44
1

"# "& "$

"$
c

A BB B B Q B B B DB B B B B B BBB BBBB
Dm7 G7 Cmaj7

Q L B B B B P
L
2

3
"" "# "# "& "$
"& "$ "# "$ "$ "# "$
"# "% "% "# "% "#
"% "#
"& "%

Dm7
A B B B
G7

B Q B B B DB B B B B B BBB
Cmaj7

Q L B B B A
L
6

3
"" "#
"& "$ "# "$ "$ "#
"# "% "% "# "% "#
"% "#
"& "%

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2-5-1 Phrase 3
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Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B GB B B A
Dm7 G7 Cmaj7

: 44 B B B GB B =
1

c & & ( & %

( & ( &
& )

B B GB B B A GB
Dm7 G7 Cmaj7

B B B =
5

& & ( & %

( & ( &
& )

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2-5-1 Phrase 4
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Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B =
B B
Dm7 G7 Cmaj7

: 44 B B A
1

) &
' ) &
c ( & %
(

B B B B B =
B B
Dm7 G7 Cmaj7
5

B B A
) &
' ) &
( & %
(

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2-5-1 Phrase 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B B B
B B B B B B =
Dm7 G7 Cmaj7

: 44 P

"$ "# "!

c * "! "# "# *
"# "! "# "#

B B B B B B B B B =
B B B B
Dm7 G7 Cmaj7
5
P

"$ "# "!

* "! "# "# *
"# "! "# "#

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2-5-1 Phrase 6
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
GB B B B
B B B B
Dm7 G7 Cmaj7

1
4
:4 B Q B B B B B =
L
"# "$ "!
"$ "!
c "# "!
"# "! * "# "! *
"# "!

GB B B B B B
Dm7 G7 Cmaj7

5
B B B Q B B B B B =
L
"# "$ "!
"$ "!
"# "!
"# "! * "# "! *
"# "!

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2-5-1 Phrase 7
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B
B B B B B Q BL B B B B =
Dm7 G7 Cmaj7

: 44
1

"$ "& "#

c "# "% "% "#
"# "% "& "# "%
"# "&

B B B B
B B B B B Q BL B B B B =
Dm7 G7 Cmaj7

"$ "& "#

"# "% "% "#
"# "% "& "# "%
"# "&

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2-5-1 Phrase 8
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
GB B B B
B B B B Q BH B B B B =
Dm7 G7 Cmaj7

: 44 B
* "! )
"! ) )
c * ( ( *
"! * *
"!

GB B B B B H B B
B B B B =
Dm7 G7 Cmaj7

5
B Q B B
* "! )
"! ) )
* ( ( *
"! * *
"!

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Outside Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B B EB B B EB EB
Dm7 G7 Cmaj7

: 44 B B EB B EB
B B B B =
1

'
c & ( ) ) '
& ( ) '
& ( ) ' (
& )

B B B EB B B E B EB EB
Dm7 G7 Cmaj7

B B B B EB =
B B
5

'
& ( ) ) '
& ( ) '
& ( ) ' (
& )

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Outside Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B B B B B B B B EB E B B B
Dm7 G7 Cmaj7

EB EB EB =
: 44 B
1

& ) & '

) & ' * * )
c ( & ' )
( )

B B B B B B B EB EB B EB EB B B =
Dm7 G7 Cmaj7

B EB
5

& ) & '

) & ' * * )
( & ' )
( )

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Outside Exercise 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B B B B EB B EB B E B EB
Dm7 G7 Cmaj7

: 44 B B B B B B =
1

*
c ( * "! "! )
( "! "! )
( "! "" ) (
) "!

B EB B E B B EB EB
B B B B
Dm7 G7 Cmaj7

B B B B B =
5

*
( * "! "! )
( "! "! )
( "! "" ) (
) "!

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Outside Exercise 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B B B EB EB B B F B
Dm7 G7 Cmaj7

4 B B EB EB =
:4
1

) "! )
"! ) * "" *
c * ( ) "! "! *
"! ""

B B B B B B E B EB B B FB
B B EB EB B =
Dm7 G7 Cmaj7

) "! )
"! ) * "" *
* ( ) "! "! *
"! ""

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Outside Exercise 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
EB
B B B B B EB EB EB E B
Dm7 G7 Cmaj7

: 44 B B B B B EB =
1

c * "# "$ "!

"! "# "$ ""
"! "# "$ ""
"! "# "$ "" "#

B B EB B EB E B EB EB
B B B
Dm7 G7 Cmaj7

B B B B EB =
5

* "# "$ "!

"! "# "$ ""
"! "# "$ ""
"! "# "$ "" "#

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Outside Exercise 6
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B
B E B E B B DB B
(F# is chromatic approach note)

B B B EB EB =
Dm7 G7 Cmaj7

: 44
1

"# "!
"$ "! ""
c "# * "! "$ "$ "" "#
"# "! "" "$

B B B B B
B B B EB B E B E B B DB B =
Dm7 G7 Cmaj7

5
EB

"# "!
"$ "! ""
"# * "! "$ "$ "" "#
"# "! "" "$

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Outside Exercise 7
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B EB EB B EB EB E B EB
B B B
Dm7 G7 Cmaj7

4 B
:4 B B B =
1

c "# "% "& "$

"# "% "& "$
"# "& "' "$
"# "& "' "$ "#

B B EB EB B E B EB EB EB
B B B
Dm7 G7 Cmaj7

B B B B =
5

"# "% "& "$

"# "% "& "$
"# "& "' "$
"# "& "' "$ "#

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Outside Exercise 8
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B B B B EB B =
u
EB EB E B
Dm7 G7 Cmaj7

: 44 B B B B EB B EB
1

"& "# "' "&

"& "$ "% "'
c "% "# "$ "&
"% "# "$ "&

B B B B EB B =
u
B
Dm7 G7 Cmaj7

B B B B B B
EB B EB
5
E E E

"& "# "' "&

"& "$ "% "'
"% "# "$ "&
"% "# "$ "&

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Outside Exercise 9
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B EB EB EB
Dm7 G7 Cmaj7

: 44 B B B B B EB E B EB E B
B B B
1

=
c # & ' $
# & ' $
$ & ' %
$ & ' % $

B B EB EB EB
Dm7 G7 Cmaj7

B B B EB EB EB EB
B B B B
5

=
# & ' $
# & ' $
$ & ' %
$ & ' % $

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Outside Exercise 10
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B B EB B E B EB B =
EB EB EB
Dm7 G7 Cmaj7

4 B B
:4
1

$ & $ % ' % $
& $ % '
c & # $ '
& '

B B B B B B B B EB EB B =
EB EB B
Dm7 G7 Cmaj7

B B E E
5

$ & $ % ' % $
& $ % '
& # $ '
& '

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Lick 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B B B B B B H B EB
Dm7 G7

: 44 G
Q B B B EB EB B B B
3

L
1

% & ' &

c ( & % % ( )
& ( ) ' ) '
)

Q H
B B B B B Q B B B B P
B
Cmaj7

B
3

L
)
( * ( ( (
( "! "! "!
(

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Lick 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d

B B DB B B EB EB EB B B
B B
Dm7 G7

: 44 B B Q L
"$ "#
"! "$ "" "# "%
c * "! "# "$ "&
"#

B B B B B B B B
Cmaj7

3
B B B B. B A
3

"$ "# "$ "#

"% "#
"% "# "#
"& "% "!

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Lick 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B B EB EB EB B EB FB
B EB B
Dm7 G7

: 44 B
"# "!
"$ "! "$ "" "%
c "# * "! "$ "$ "" "#
"# "$

B B B B.
Cmaj7
3
P B B GB B A
( &
( & & ( * &

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Lick 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
4
Dm7

B B B B B DB B
G7
B EB EB EB EB
:4 B B B B
1

' ) * '
c & ( ) '
( ) '
& ) ) (

P B B B GB B.
Cmaj7

B B B A
3

% ( $ %
& ( ( &

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Lick 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 120 d
B B B B B B B B EB EB B
Dm7 G7

: 44 EB B B B B
1

& $ $
& $ & $
c & ' $ $
' $ ' $ #

Q H B B B GB Q B B A
Cmaj7

B B. GB
3

& ( * &
& ( (
$ & (

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Lick 6
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 100

4 B B B R B. GB B B B. B. GB B B R B. B B B B B B B B B
Dm7 G7

:4
1

& ' & % & ' & % & ' & ) ' &
c ( ( ( ( & %
( &

B B B. B B B. B B A
Cmaj7

B R
( "! (
) "! )
( * (

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Lick 7
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner

B.
h = 100
B B.
1

: 44
Q M
) "!
"!
c

GB. B B R B. GB . B B. DB B EB EB E B B B B B B B
R B
Dm7 G7

2
R EB B EB EB EB
"" "# ) "! "" "# ) "! "" * *
"! "! "" * "" * *
"! ) "! )
"" )
""

B R B B B B B. B B B. B A
Cmaj7
4

* ( * & (
"! &
"! "!

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Lick 9
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 100
1

: 44 P R B B B

c & (
(

B B B B R B B B B B B BR B B B B B B B R DB DB DB B B B B R B B B
Dm7 G7
2

& ) ' & & '

& ( & ( & ( & ( ' ) ' ) ' )
( ( ) )

B B B B B B B B B B P
Cmaj7

B B B B B B B B
4

B
* * ( ( & &
( ( & &
( ( & & $ $ # &
$

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Lick 9
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner
h = 100

B B B BBB BB EB EB B B EB B B B EB B B
B B
Dm7 G7

: 44 B B EB B EB B B
BB B B
1

& ) & '

& ) ) & ) * * ' * '
c & ( ) ) ' ) '
& ( ) ) '
& ( ) (
& )

B B B B
B B B B B B
Cmaj7

B
R B
B B B B B B B
3

3
3 3

"! ( "# "! "& "# "#

"! )
* (
"! (
"! (

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Lick 10
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Beginner

B. B
h = 100
1

: 44 P R

c "# "#

B B. B R B. B B B B. B R B. B B B B EB EB E B
B B B B B B EB
Dm7 G7

E
2
B
""
"" "%
"# "! "! * * "! * * "# "! "$
"# "# "! * "! "# "# "$
"! "#

B B B B B DB F B B DB B F B B B B.
B B B B B A
Cmaj7

"#
"$ "# "& "% "$ "& "" "#
"% "% "# "# "% "' "( "#
"% "#

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Resolving to the major 3rd: Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B EB B B B EB A
G7 Cmaj7

: 44 P 3x

' ( ' % $
' $ % &
c

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Resolving to the major 3rd: Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d

EB EB EB P
G7 Cmaj7

: 44 B EB B B B A
1 3x

c $ % '
& ' ' & $ #

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Resolving to the major 3rd: Exercise 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB EB B B EB B B A
G7 Cmaj7

: 44 P 3x

' ( * ( '
* ) ' &
c

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Resolving to the major 3rd: Exercise 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B EB EB P
: 44 EB
G7 Cmaj7

B B A
1 3x

c ' ) '
* ) ' &
) (

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Resolving to the major 3rd: Exercise 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B EB EB EB B B A
G7 Cmaj7

: 44 P 3x

* "" *
"# "" * )
c "! *

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Resolving to the major 3rd: Exercise 6
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
B B EB EB EB P
: 44 EB
G7 Cmaj7

B B A
1 3x

)
c "! )
* )
"" "! ) (

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Resolving to the major 3rd: Exercise 7
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB EB B B EB B B A
G7 Cmaj7

: 44 P 3x

"" "# "% "# ""

c "$ "# "! *

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Resolving to the major 3rd: Exercise 8
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
B EB EB EB EB P
: 44 EB
G7 Cmaj7

B B A
1 3x

c "!
"$ ""
"% "$ "" "!
"$ "#

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Resolving to the major 3rd: Exercise 9
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB EB EB B B B B A
G7 Cmaj7

: 44 P 3x

"%
c "& "' "$ "& "$ "#
"& "%

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Resolving to the major 3rd: Exercise 10
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
B EB EB EB EB P
: 44 EB
G7 Cmaj7

B B A
1 3x

c
"& "$
"' "% "$
"' "& "$ "#

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Resolving to the 5th: Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B B EB EB EB
G7 Cmaj7
1
4
:4 EB A P 3x

' % $
' %
c % $
' &

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Resolving to the 5th: Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d

: 44 EB EB P
G7 Cmaj7

B B EB
3x

EB
1

EB EB A
c $
' & $
'
( ' % $

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Resolving to the 5th: Exercise 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B B EB EB EB
G7 Cmaj7
1
4
:4 EB A P 3x

'
* ) '
c )
* ) ' &

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Resolving to the 5th: Exercise 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB EB EB B B B
B A
G7 Cmaj7

: 44 P 3x

' ( * ( '
) * * )
c

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Resolving to the 5th: Exercise 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB EB EB B B
EB B A
G7 Cmaj7

: 44 P 3x

* ""
* "" "# "# "" * )
c

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Resolving to the 5th: Exercise 6
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B B EB EB EB
G7 Cmaj7
1
4
:4 EB A P 3x

"" * )
c "! )
* )
"" "!

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Resolving to the 5th: Exercise 7
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d

EB
u
B B B EB
G7 Cmaj7

: 44 EB EB EB A P
1 3x

"" "$ "& ""

"% "# ""
c "$ "#

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Resolving to the 5th: Exercise 8
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B B EB EB EB
G7 Cmaj7
1
4
:4 EB A P 3x

""
c "$ "# "!
"$
"% "$ "" "!

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Resolving to the 5th: Exercise 9
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB B B
u
EB
G7 Cmaj7

4 EB EB EB EB P
:4 A
1 3x

"' "& "$

"' "%
c "' "& "$ "#

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Resolving to the 5th: Exercise 10
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 120 d
EB EB B B EB EB EB
G7 Cmaj7
1
4
:4 EB A P 3x

c "& "$ "#

"& "$
"% "$
"' "&

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Intermediate Lick 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 198 d
B B BB B B B B B B B B
BB E B EB B B B EB EB EB B
Dm7 G7 Cmaj7

: 44 Q
B B B P
L
) ( & ( "! (
) ' & ' ) )
c ( & ' ) ) ' *
* ) ' & * "!

B B B B B B B B B EB EB EB
B B EB E B
Dm7 G7 Cmaj7

B B B B B B B B
5

=
) ( &
) ' & '
( & ' ) ) '
* ) ' & ( &
( & $ # &
$

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Intermediate Lick 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 198 d
B BBB
B EB B E B EB EB B B B B B B B B B B
Dm7 G7 Cmaj7

4 Q H
B B B B B DB B P
3

:4 B
1

$ ( $
$ & &
c & % ( ' % & ' & % $ % % &
( ' & $ # &
& )

B B BB B B B B A
Dm7 G7 Cmaj7

Q H B B B B DB B B EB B EB EB EB B B B
3

B B B B
5

$ ( $
$ & &
& % ( ' % & ' & % $ % % &
( ' & $ # &
& )

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Intermediate Lick 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 198 d
B B B B B B
B B EB EB EB EB B B B B
Dm7 G7 Cmaj7

: 44
B B B B B B B B A P

"& "$ "#

"& "$ "# "" "% "# ""
c "% "# "$ "$ "# "! * *
"! "# "! *
"# "# "!

B B B B B B
B B EB E B EB EB B B B B
Dm7 G7 Cmaj7

5
B B B B B B B B =
"& "$ "#
"& "$ "# "" "% "# ""
"% "# "$ "$ "# "! * *
"! "# "! *
"# "# "!

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Intermediate Lick 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 198 d
BBBBBB
B DB B E B E B E B B B B DB B B B DB F B B B B
Dm7 G7 Cmaj7

: 44 BBBBB P
"$ "# "!
"$ "# "! "" "# * ) )
c "# "" "! "! ( ) * * ) (
"! ( "! (
"! "! (

B B B B B B
B DB B E B E B E B B B B DB B B B DB F B B B B
Dm7 G7 Cmaj7

5
B B B B A
"$ "# "!
"$ "# "! "" "# * ) )
"# "" "! "! ( ) * * ) (
"! ( "! (
"! "! (

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Intermediate Lick 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 198 d
B
B B B DB F B B EB EB E B
Q H B EB EB B B B B B B B DB F B B P
Dm7 G7 Cmaj7

4 A
: 4 B
1

c * "# "" "! * )

"! * "" * ) * ) ( &
) "# "" "! ) ( ( "! (
)

Q B B
H B DB F B B EB EB EB B E B EB B B
B B B B B B B DB F B B
Dm7 G7 Cmaj7

=
5

* "# "" "! * )

"! * "" * ) * ) ( &
) "# "" "! ) ( ( "! (
)

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Intermediate Lick 6
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 110

B B B B B DB B Q EB E B B B EB
B
B DB B B B B B B B EB EB E B B
Dm7 G7

: 44 L B B DB
1

& ) ' ( '

& ' ) * ) '
c % & ( )
& ( * ) ' &
( % & ( ) ) & '

A
Cmaj7

B B B B B B B B
3 3

B B B
3

B
3

% % ( % ( *
& & &
( ( (
)

B B B B B DB B Q EB EB B B EB
B
B DB B B B B B B B EB EB E B B
Dm7 G7

L B B DB
5

& ) ' ( '

& ' ) * ) '
% & ( )
& ( * ) ' &
( % & ( ) ) & '

A
Cmaj7

B B B B B B B B P
3 3

B B B
3

B
7

% % ( % ( *
& & &
( ( (
)

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Intermediate Lick 7
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 110
P Q B B
: 44
1

c "!
"#

B DB B B B F B B B B B B B B EB EB EB EB EB
B B E B E B E B B B B B B F B DB
Dm7 G7

DB F B
2

) * "" "# * "" * )

* * ) "! "! ( )
"" "# "# "! * "! ) * ""
"# "! * ) ( ) "! ""

B B
. B B B B B B B
B DB F B B DB B B B
Cmaj7

4
P Q
) "# ) "! ) (
) "! ) ( ' ) % &
* "!
"#

B DB B B B F B B B B B B B B EB EB EB EB EB
B B E B E B E B B B B B B F B DB
Dm7 G7

DB F B
6

) * "" "# * "" * )

* * ) "! "! ( )
"" "# "# "! * "! ) * ""
"# "! * ) ( ) "! ""

B B
. B B B B B B B
B DB F B B DB B
Cmaj7

) "# ) "! ) (
) "! ) ( ' ) % &
*

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Intermediate Lick 8
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate

DB
h = 110
1

: 44 P Q M
""
c

B B DB B F B B B B B B B B B
B B EB EB EB EB B B B EB B B EB EB E B E B
Dm7 G7

2
B DB C
"# "& "% "# "$ "#
"$ "& "$ "# "" "# "% ""
"% "% "# "" "! "# "$ "$ "# "!
"% + "$ "$ ""
"% "$ ""

DB
R B B B B B B B GA
Cmaj7

B B B P Q M
3 3
""
* ( ( ( ( ( *
( "! "! "!
"!

B B DB B F B B B B B B B B B
B B EB EB EB EB B B B EB B B EB EB E B E B
Dm7 G7

6
B DB C
"# "& "% "# "$ "#
"$ "& "$ "# "" "# "% ""
"% "% "# "" "! "# "$ "$ "# "!
"% + "$ "$ ""
"% "$ ""

Copyright JamTrackCentral Ltd 2023

3 3

* ( ( ( ( ( *
( "! "! "!
"!

Page 2/2
Intermediate Lick 9
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate

DB
h = 110

: 44 P Q
M
1

%
c

B B B B B DB F B B DB B F B B
B B B DB EB EB EB EB
EB B B DB E B E B F B B F B DB
Dm7 G7

B B
2

& $ % ' % $
' & ) ( ' ) % & % ' ' $ %
( ( & % $ % '
( & % $ & '

B B B DB
Cmaj7

Q B B B B B B A P Q
3

M
4

3
3
$ %
& $ & $
% # %
&

B B B B B DB F B B DB B F B B
B B B DB EB EB EB EB
EB B B DB E B E B F B B F B DB
Dm7 G7

B B
6

& $ % ' % $
' & ) ( ' ) % & % ' ' $ %
( ( & % $ % '
( & % $ & '

B B B
Cmaj7

Q B B B B B B A P
3
8

3
3
$
& $ & $
% # %
&

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Intermediate Lick 10
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Intermediate
h = 110
P Q B B
: 44
1

& )
c

B B EB EB EB E B EB
B. B B B. B B B. B B B. B B B. B B E B EB EB
Dm7 G7

EB
2

"$ "&
' ' "! ) ) "# "! "! "$ "# "# "& "$ "' "%
"' "& "$ "#
"& "$
"% "$
"'

B B B B B B B B B B B
B B
Cmaj7

R B
B B B B Q
B B B
3

B
4

3 3

"# "& "& "# "& "# & )

"# "% "% "% "#
"# "% "# "%
"% "%
"& "# "&

B B EB EB EB E B EB
B. B B B. B B B. B B B. B B B. B B E B EB EB
Dm7 G7

EB
6

"$ "&
' ' "! ) ) "# "! "! "$ "# "# "& "$ "' "%
"' "& "$ "#
"& "$
"% "$
"'

Copyright JamTrackCentral Ltd 2023

R B B B B
B B B B
3
8

B P
3

"# "& "# "& "#

"# "% "%
"# "% "# "%
"% "%
"& "# "&

Page 2/2
Minor 2-5-1, Shape 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180

B B B B B B B EB
EE E 4 B B B B FB B EB B
Dm7b5 G7#9#5

: 4 B B FB B B
1

B B B
$ % ' % $
$ & ' ' %
c $ & ' % $
# $ & '
$ &
$ % '

B
Cm7

B B B EB EB
4

B B = A
' & $
' %
( ' % $

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Minor 2-5-1, Shape 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180

B B EB EB B B B B B EB
B B FB B B B
Dm7b5 G7#9#5

: EE E 4
4 B B B B B
B B
1

B F
' ) * ( '
& ' ) * * ) '
c & ( ) '
& ' )
& ( )
' )

EB B B
Cm7

B B B EB EB = A
4

* ) ' &
) '
* ( )

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Minor 2-5-1, Shape 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180

B B B EB EB B B B
B FB B B B B B B
Dm7b5 G7#9#5

E
: E E 44 B B B B B B B
B
1

F
) "! "" *
) * "" "# "" * )
c ( * "! "! )
) "!
( ) "! ""
) "!

EB EB B B B
Cm7

B B EB = A
4

"" * )
"" "! )
"" * )

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Minor 2-5-1, Shape 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180

B FB B B EB E B B B
BF B B B B B B B
Dm7b5 G7#9#5

B B B B B B
E
: E E 44 B FB
1

"! "# "$ ""

"" "$ "% "# ""
c * "! "# "$ "$ "# "!
"! "#
"! "" "$
"! "# "$

B EB EB B B
Cm7

B B B A B =
4

"$ ""
"% "$ "" "!
"$ "" "! "" )

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Minor 2-5-1, Shape 5
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180

FB B B B B E B EB B
B B B B B B B B
Dm7b5 G7#9#5

FB
B B B B B B
E
: E E 44 F B
1

"# "$ "& "$

"$ "& "' "%
c "# "$ "& "' "& "$ "#
"# "% "&
"$ "&
"# "$ "& "'

B B EB EB B B = A
Cm7

B DB
4

"& "$
"' "% "$
"' "$ "% "&

c
& #

FB B B B B B B B B FB
(faster changes than the minor 2-5-1 shapes!)

B B B A B B A
Dm7b5 G7#9#5 Cm7
2

B B B P B FB
$ % ' % $
$ & ' ' % $ %
$ & % &
$ & ' & #

B B FB B B B B B B B B FB A B B =
Dm7b5 G7#9#5 Cm7

B B B B
$ % ' % $
$ & ' ' % $ %
$ & % &
$ & '

B EB
Q H B B B FB B B B EB B
Dm7b5 G7#9#5 Cm7

E
: E E 44 B B B EB =
1

3
% ' ( $
& %
c & % $
$ & ' ' $ % &

B EB
Q H B B B FB B B B EB B
Dm7b5 G7#9#5 Cm7

B B B EB = =
5

3
% ' ( $
& %
& % $
$ & ' ' $ % &

c
'
)

B B B B B EB B
B FB B B B B B FB B P B B
Dm7b5 G7#9#5 Cm7

=
2

& ) * ) '
& )
& & ' ) * ) ' & '
( ) )

B B B B B EB B
B FB B B B B B FB B
Dm7b5 G7#9#5 Cm7

= =
6

& ) * ) '
& )
& & ' ) * ) ' &
( )

""
c

B B B B FB B
B B B EB
Dm7b5 G7#9#5 Cm7

B B B B B B EB P Q L
=
2

"$ ""
"$ "# "! *
"# "! ) * )
"" "" "! )
"" * "!

B B B B FB
B B B B E B B B B B B EB
Dm7b5 G7#9#5 Cm7

= A
6

"$
"$ "# "! *
"# "! ) * )
"" "" "! )
"" * "!

B FB B B B B B B B B B B B EB B
FB
Dm7b5 G7#9#5 Cm7

: EE E 4
4 B =
1

"! "# "! )

"$ "" ) ) * )
c "! * "! )
* )
"" "!

B FB B B B B B B B B B B B EB B
FB
Dm7b5 G7#9#5 Cm7

B = A
5

"! "# "! )

"$ "" ) ) * )
"! * "! )
* )
"" "!

c
(

B B FB B B B B EB B B B E B A B B A Q H
Dm7b5 G7#9#5 Cm7
2

B B B B P
FB

) * "" "# "" * )

( * "! ( )
) "! * "!
) "! "" (

B B FB B B B B EB B B B EB A B B =
Dm7b5 G7#9#5 Cm7

B B B B
) * "" "# "" * )
( * "! ( )
) "! * "!
) "! ""

FB B B B B EB EB B B B B B B B Q B A
: E E 44 F B B B B B B B
Dm7b5 G7#9#5 Cm7

E
L
1

"" "# "% "" "& "$

c "# "$ "$ "# "# "#
"# "% "&
"$ "&
"# "$ "& "'

B B B B EB EB B B B B B B B Q B =
Dm7b5 G7#9#5 Cm7

B B B FB
FB B B B L
5

"" "# "% "" "& "$

"# "$ "$ "# "# "#
"# "% "&
"$ "&
"# "$ "& "'

FB
h = 180
E P Q
: E E 44
1

L
c *

B B B B B B B B B B B B B
EB B B Q FB
Dm7b5 G7#9#5 Cm7
2

= A P
L
"" "$ ""
"! "# "$ "$ "# "! "$ "# "! *
"$
"% "$ "" "!

B B B B B B B B B B B B B
EB B B
Dm7b5 G7#9#5 Cm7

=
6

"" "$ ""

"! "# "$ "$ "# "! "$ "# "!
"$
"% "$ "" "!

c
"#

B B B EB EB B B B = B P
Dm7b5 G7#9#5 Cm7

B B B FB B P Q H
B B B FB
2

"%
"# "$ "& "' "' "& "$ "#
"# "% "&
"$ "&
"$ "& "' "#

B FB B B B B E B EB B B B =
Dm7b5 G7#9#5 Cm7

B B B B B

"%
"# "$ "& "' "' "& "$ "#
"# "% "&
"$ "&
"$ "& "'

All Rights Reserved - International Copyright Secured Page 1/1
Minor 2-5-1, Phrase 10
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180
B FB B B B
B B FB B B B B B E B EB B
Dm7b5 G7#9#5 Cm7

: EE E 4
4 B = B P
1

"& "#
"$ "& ""
c "$ "$ "# "$ "# "!
"% "$ ""
"% "$ "" "!

B FB B B B B B FB B B B B B EB EB B
Dm7b5 G7#9#5 Cm7

B =
5

"& "#
"$ "& ""
"$ "$ "# "$ "# "!
"% "$ ""
"% "$ "" "!

) ( '
c

B DB B B FB B B EB EB EB E B B B B B B B
B B C B B B
Dm7 G7#5#9 Cmaj9

B DB
2

3 3
$
& $ &
' ( & % ' % $ % % &
( ( & + ' $ % & # &

B EB B EB B B B B B B B B B DB B
B B EB EB B B B
Fmaj9 Bm7b5 E7b9

B DB
5

( ' & % $
& $ & ' ) &
& ( ( ' &
( ' ) ' &
) & '

B EB B B DB B
B EB
Am9 A7#5b9

B B B B B B B B
8 3

B
) ' &
) ( &
& '
& ( & (
( ( (
& )

B B
B DB B B F B B B B C EB EB EB E B
B B B B B B B B
Dm7 G7#5#9 Cmaj9

B DB
10

3 3
$
' & $ &
' ( & % ' % $ % % &
( ( & + ' $ % & # &

B DB
13

( ' & % $
& $ & ' ) &
& ( ( ' &
( ' ) ' &
) & '

B E B B B DB B =
B B
Am9 A7#5b9 Dm7

B B B B B B E
B B
16 3

B
) ' &
) ( & '
& '
& ( & (
( ( (
& )

Page 2/2
Major & minor 2-5-1, Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 210 d
P B B
: 44
1

c "!
"#

B DB B B B B B B GB Q E BL B B B DB B B B DB F B B B B B
Dm7 G7#5#9 Cmaj9
2

"! "$ "" "# * ) ) )

* * "! "# "! ( ) * * ) ( *
"" "# ( "!

B B EB B B DB B B B B B DB B
B B B B B EB EB B B B B B
Fmaj9 Bm7b5 E7b9

) "# "" "! ) *

"! "! "# ) ) * "" * )
* "! "! "! * "! "! *
"" "!

Am9

B Q B Q B B B Q
A7#5b9
H B EB B EB EB B FB
C
8

L L
3

"!
* * * "! + "! "" "$ "#
"# "# "$

B DB B B B B B B GB Q E BL B B B DB B B B DB F B B B B B
Dm7 G7#5#9 Cmaj9
10

"! "$ "" "# * ) ) )

* * "! "# "! ( ) * * ) ( *
"" "# ( "!

) "# "" "! ) *

"! "! "# ) ) * "" * )
* "! "! "! * "! "! *
"" "!

B Q B Q B B B B P
Am9 A7#5b9
16

L L

* * * "!
"# ,"#-

Page 2/2
Giant Steps, Take 1: Etude
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 228 d
Q
B
1

: 44 P L
(
c

B EB B B EB EB B B DB B F B E B B
B EB EB B B B B EB B B
Fm7 Bb13 Ebmaj7 Am7 D7 Gmaj7

EB
2

) ' (
* ) ) ) (
"! "" ( "! ( ) * "! ) (
"# "" * ) "! "!

B B B B B DB
C#m11
B DB B DB F B DB B F#7 Bmaj7

DB B B DB B B
5
B B B B DB B
3
( ) *
) "# * "! "" ) (
( * * ) * "! "" )
* * *
( "! * (

B EB EB B EB B B B D=
B EB B
Fm9 Bb13 Ebmaj7 F#7

B EB
8

"" * ) "" ) ""

) ( "! ""
"!
) ""

: 44 P L
(
c

B EB B B EB B B EB B EB = B
B EB E B EB B B
Fm7 Bb13 Ebmaj7 Am7
2
P Q L

) ' ( (
* ) )
"! "" ( "! ( )
"# "" * ) "!

B EB B B EB B B EB B EB =
B EB EB EB B B
Fm7 Bb13 Ebmaj7 Am7
6

) ' (
* ) )
"! "" ( "! ( )
"# "" * ) "!

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 1: Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
B B DB B F B E B B B B B B B D=
B
Am7 D7 Gmaj7 C#m11

: 44 B B B B
3
( ( ) *
) ( )
c * "! ) ( ( *
"! * *
( "!

B B DB B F B E B B B B B D=
B B B B B
Am7 D7 Gmaj7 C#m11
5
B B
3
( ( ) *
) ( )
* "! ) ( ( *
"! * *
( "!

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 1: Exercise 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
DB B DB B DB F B DB B DB B B DB B B
C#m11 F#7 Bmaj7 Fm9

: 44 DB B =
1

*
"# * "! "" ) (
c * ) * "! "" )
*
* ( )

DB B DB B DB F B DB B DB B B DB B B
C#m11 F#7 Bmaj7 Fm9

DB B =
5

*
"# * "! "" ) (
* ) * "! "" )
*
* ( )

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 1: Exercise 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
EB E B B EB B B B
B EB B B D=
Fm9 Bb13 Ebmaj7 F#7

4 EB
:4 B
1

"" * ) "" ) ""

c ) ( "! ""
"!
) ""

B EB EB B EB B B B D=
B EB B
Fm9 Bb13 Ebmaj7 F#7

B EB
5

"" * ) "" ) ""

) ( "! ""
"!
) ""

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 2: Etude
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 228 d
B E B B DB B E B E B B B B
B B B EB B B B B B B B
Fm7 Bb13 Ebmaj7 Am7 D7 Gmaj7

: 44 B B B D

"$
"' "$ "% "& "& "$
c "& "$ "# "# "# "" "%
"& "$ "& "$ "# "%
"& "& "# "&

B B B B B B B B DB B DB DB F B F B DB B DB DB B DB B
C#m11 F#7 Bmaj7

DB B B
DB
4

3
"# "" "" "#
"# "# "& "# "$ "# "" "#
"# "% "$ "% "# "" "" "$
"% "$ "$
"" "%

B EB B B EB EB B B B B B D=
Fm9 Bb13 Ebmaj7 F#7

7
EB B B
"$
"' "& "$
"& "$ "# "# "# ""
"& "$ "$ "$

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 2: Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
B E B B DB B E B E B
B B B EB B B B B B
Fm7 Bb13 Ebmaj7 Am7

: 44 =
1

"$
"' "$ "% "&
c "& "$ "# "#
"& "$ "& "$ "#
"& "& "#

B E B B DB B E B E B
B B B EB B B B B B
Fm7 Bb13 Ebmaj7 Am7

=
5

"$
"' "$ "% "&
"& "$ "# "#
"& "$ "& "$ "#
"& "& "#

B B B B B B B B
Am7 D7 Gmaj7 C#m11

B B B B B D=
1

: 44 B B B D

"# ""
"& "$ "# "# "& "# "$
c "# "" "% "# "%
"%
"# "&

B B B B B B B B B B B B B D=
B B B
Am7 D7 Gmaj7 C#m11

5 D

"# ""
"& "$ "# "# "& "# "$
"# "" "% "# "%
"%
"# "&

DB B DB DB F B F B DB B B DB B =
DB DB DB
1

: 44 DB B B
3
"" "" "# "$
"# "" "#
c "$ "% "# "" "" "$
"% "$ "$
"" "%

DB B DB DB F B F B DB B B DB B =
DB
B B DB
C#m11 F#7 Bmaj7 Fm9

DB
DB
5

3
"" "" "# "$
"# "" "#
"$ "% "# "" "" "$
"% "$ "$
"" "%

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 2: Exercise 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
B EB B B EB EB
B B B B B B B D=
Fm9 Bb13 Ebmaj7 F#7

EB
: 44
1

"$
"' "& "$
c "& "$ "# "# "# ""
"& "$ "$ "$

B EB B B EB EB B B B B B D=
Fm9 Bb13 Ebmaj7 F#7

5
EB B B
"$
"' "& "$
"& "$ "# "# "# ""
"& "$ "$ "$

DB
h = 228 d
: 44 P Q
L
1

#
c

B EB B B EB EB EB B EB B EB B B B B DB E B B B
Fm7 Bb13 Ebmaj7 Am7 D7 Gmaj7

EB B B EB B EB
3
2

$ $ % &
% $ % ) & ' ( % $
& ' % $ $ & &
' & &
$ '

B B DB B B B B B DB DB B DB B DB B DB B B DB
C#m11 F#7 Bmaj7

B DB B
DB DB
5

%
( & % % ( % &
% & ' ( % % $ ' % '
& '
( $ % (

B EB B DB EB EB EB EB B
Fm9 Bb13 Ebmaj7 F#7

EB B B B C D=
8

$
% $
& ' % $ $ $
' & & + %

DB
h = 147 d
: 44 P Q
L
1

#
c

B E B B EB =
Fm7 Bb13 Ebmaj7 Am7

B EB B B E B E B E B EB P Q DB
EB B B EB B
3

L
2

$ $ % & #
% $ %
& ' % $ $ &
' & &
$ '

B EB B B EB EB EB EB B EB =
Fm7 Bb13 Ebmaj7 Am7

EB B B EB B
3

B EB
6

$ $ % &
% $ %
& ' % $ $ &
' & &
$ '

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 3: Exercise 2
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
B B B B DB E B B B
B B DB B B B B
Am7 D7 Gmaj7 C#m11

: 44 B D=
1

&
) & ' ( % $
c & % & ' ( %
&
( $ %

B B B B DB E B B B
B B DB B B B B
Am7 D7 Gmaj7 C#m11

B D=
5

&
) & ' ( % $
& % & ' ( %
&
( $ %

: 44 DB B DB B DB DB DB B DB B DB B DB B B DB =

% $
( & % % ( % &
c % $ ' % '
'
% (

B B DB B DB B DB B DB B B DB =
C#m11 F#7 Bmaj7 Fm9

DB B
DB DB D
5

% $
( & % % ( % &
% $ ' % '
'
% (

All Rights Reserved - International Copyright Secured Page 1/1
Giant Steps, Take 3: Exercise 4
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 147 d
B E B B DB E B E B E B
Fm9 Bb13 Ebmaj7 F#7

: 44 EB B EB B B B C D=
1

$
% $
c & ' % $ $ $
' & & + %

B EB B DB EB EB EB EB B
Fm9 Bb13 Ebmaj7 F#7

EB B B B C D=
5

$
% $
& ' % $ $ $
' & & + %

c *
+

FB DB B B F B DB F B
DB DB DB B F B DB DB DB B DB DB B F B DB F B DB DB
C#m7 F#13 Bmaj7
2

* "# * "! "" ) ( (

) ) * "" * ' ( ) ) ( '
"! "" * '
*

B B FB B B B
Bm7 E7

F B DB DB B B P Q H DB F B DB DB F B DB F B
3

DB DB F B C
5

' &
( ( % &
* ' ' * ) ( ' *
* ' * "" * +
* "#

FB DB B FB B FB B B DB B B
DB B C
Amaj9
8

L Q P
3

& ( ) ( & ( & &

& ( (
' ' +

FB B B B B F B DB B B B B B EB E B B B B B F B DB B B B FB B
Am7 D7 Gmaj7

( ) ( & & ( "!

) & ( ) ' ( * ( ' ( "! ( )
( ) ) ( *

13
B F B DB B B B F B B FB
3 3

"% "! ) * "" )

"# "! *
"# "" "! * "# * )
"# "# "" ) *
"% * "! "$

AA
B B B FB E B B B B B B B B B B AA
Cm7 F7 Bbmaj7 Bb6add9

B B A
16

A
let ring
? '
'
( "! * ) ( &
"! ) "! ) ( &
"! "! ) ' & &
) '

Page 2/2
Cherokee: Exercise 1
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
d
FB
h = 180
1
E
: E 44 P C

c *
+

FB B B
DB DB DB B F B DB DB DB FB DB FB DB B
C#m7 F#13
2

* "# * "! "" ) (

) ) * "" * ' (
"! ""

DB DB B FB DB FB FB
Bmaj7

DB DB DB DB B B P
DB
4

(
) ) ( '
* ' * ' '
* * ' *

B FB B B B
Bm7 E7

E Q
: E 44 H DB F B DB DB FB C BD F B B
3

DB B
1

' &
c ( ( % &
* ) ( ' *
"" * +
* "#

FB DB B FB B FB B B DB B B
DB B
Amaj9
3

L Q Q L P
3

& ( ) ( & ( & &

& ( (
' '

All Rights Reserved - International Copyright Secured Page 1/1
Cherokee: Exercise 3
JTCguitar.com
Luca Mantovanelli: The Jazz Masterclass: Vol 2, Advanced
h = 180 d
FB B B B B F B DB B B B B EB EB B B B
B
Am7 D7

: 4 EE 4
1

( ) ( & &
) & ( ) ' ( * ( '
c ( ) )

DB
F B DB B B B FB B B F B B DB
Gmaj7 Gm9

3
B B FB EB =
3