You know several scales and arpeggios. And yet, when you improvise, your solo just doesn't sound musical.
Improvising with musicality goes far beyond memorizing scales and arpeggios — it's about building vocabulary and knowing how to connect ideas within the progressions jazz uses most. In this course, you'll learn to build your own lines from carefully selected jazz licks, explained and applied to real repertoire.
See a lick from the course in action
You've studied the scales. Harmonic minor, melodic minor, whole tone, diminished. You know many arpeggios. And still, when you improvise, you feel like you're hitting the right notes without really making music.
Here's the part almost nobody tells you: knowing scales and arpeggios isn't enough to create musical phrases. Scales show you which notes can sound good. They don't teach you how to connect them in a way that sounds musical. For that, you need vocabulary.
Think of licks as words. You don't spell out every letter when you speak — you combine words that are already yours to form sentences. Improvising works the same way: you already have the scales, now you need the vocabulary to turn them into music.
Everything here is built on the 1–6–2–5 — the most common chord progression in jazz. And inside it lives the ii–V–I, the most-used progression in Western music: it's in countless jazz standards and in a large share of Brazilian music too.
In other words: the vocabulary you build here doesn't just apply to one song — it applies to an entire universe of tunes at once. And I don't just hand you the licks: every phrase comes with the reasoning behind it — which scale is being used, why it works over that chord, and how to turn it into lines of your own.
How to open a clear melodic idea without falling into the obvious loose major scale.
The jazz flavor — the tension that asks for resolution and gives the solo its color.
The core pattern that repeats across countless tunes — master this, and you master the essential.
The vocabulary that makes the turnaround sound complete — and brings you back to the top.
I hold a Doctor of Musical Arts (DMA) in Jazz Guitar from the USC Thornton School of Music in Los Angeles, with a master's in Classical Guitar from UNESP and a bachelor's in Music from the State University of Amazonas. I've taught guitar and improvisation for over 18 years.
This course's methodology — breaking down the reasoning behind each phrase and connecting theory to real application — comes from my experience as a guitarist and from my studies in the United States with major jazz mentors, including Bruce Forman and Bob Mintzer.
I've been awarded in international and national jazz guitar competitions — 3rd place at the Jarek Śmietana International Jazz Guitar Competition in Poland, 1st place in the jazz category at the Wilson Center Guitar Competition in the US, and 1st place at the Yamaha Samba and Guitar Competition. Beyond the classroom, I bring this vocabulary to the stage — I've performed at major jazz festivals, including the Amazonas Green Jazz Festival and the Amapá Jazz Festival.
one-time payment · lifetime access
No. Every lick also comes in tab, and each one is demonstrated on video, note by note. If you can read tab, you're ready.
Yes. The concepts and fingerings work on both electric and steel-string acoustic guitar.
Intermediate and up: you should already know several scales, arpeggios, and 7th chords. You don't need to improvise fluently yet — that's exactly what this course builds.
At your own pace. Each lick is short and specific. Most students study one at a time, with the backing track, over a few weeks. Since access is lifetime, there's no rush.
You have a 7-day guarantee. If it's not for you, request a refund through Hotmart and get everything back. The risk is on me, not you.
Move past the sameness of loose scales and start improvising with more solid, creative, and intentional musicality.
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