Jazz Scales Guitar Workshop: 20 Essential Jazz Guitar Scales

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Ready for a comprehensive jazz scales guitar workshop? I’ve compiled 20 scales essential for learning jazz and jazz vocabulary. We’ll dive into these twenty scales and why they are critical for mastering jazz improvisation on the guitar.

We’ll cover—

  • Understanding Chord-Scale Relationships
  • Modes of the Major Scale (and why you need to start with them)
  • Melodic Minor and its Modes
  • Diminished Scales on Guitar
  • Bebop Scales on Guitar
  • Other Important Scales

Whether you play straight-ahead jazz, jazz blues, rock, fusion (or any genre), mastering scales on the guitar neck is crucial for your development as a guitarist (and as a musician, specifically). Learning scale patterns on the neck can be helpful for learning scales, but…

As a musician, you must understand how chords and scales work. To take your guitar playing to the next level, you must go beyond the bounds of your instrument.

If you want a proven method for jazz mastery, you should check out the Learn Jazz Standards Inner Circle. We have guitar-specific resources and abundant music theory, jazz theory, and improvisation courses and workshops to help you grow into the best musician you can be.

So, are you ready to learn some jazz scales? Let’s dive in.

Chord-Scale Relationships in Music Theory

Scales and chords are different representations of the same thing—in this case, a pitch environment. How we think about scales and chords helps us better understand their relationship.

It’s one thing to know that jazz guitarists use scales to play over chords, but it’s another thing entirely to understand why certain scales work over certain chords while others don’t.

It’s like the difference between knowing that gasoline fuels your car and understanding how combustion engines actually work.

Let’s get more specific about how chords and scales actually function in music theory in an effort to understand why certain jazz scales work over certain chords.

What Are Chords and Scales In Music Theory?

Literally, a chord is a specific group of notes played simultaneously, and a scale is comprised of a sequence of notes played linearly or in a scale pattern, one note at a time (let’s forget about chord scales for a second).

Chords usually isolate specific notes from a scale. Diatonic chords use the major scale as the parent tonality or pitch environment. You can take the sequence of notes in a scale (we’ll use the major scale) and “stack” notes to construct diatonic chords.

C major scale on guitar and C major chord scale on guitar

In the image above, we started with a C major scale (red) and then “stacked” a third on top of each note in the scale and stacked additional thirds above those notes. This process gives us all the diatonic triads in major keys.

Diatonic Chords in the Key of C on Guitar

Many chord progressions in jazz music are diatonic, which means the harmonic movement is based on the relationships in the major scale. Although a song’s key may change frequently, the motion of the chords is still based on the relationships found within the major scale, no matter the key.

That’s why it’s so important to learn the modes of the major scale when learning major scales on the guitar.

Diatonic Chord Progressions and Major Scale Modes

When thinking about jazz guitar improvisation, you’ll first need to know how to use major scale modes to play over diatonic chord progressions. We go much deeper into major scale modes in our article on musical modes; however, here is a brief overview:

We’ve already established that you can build seven diatonic chords from the major scale notes. Along with these chords, we can derive seven scales from the notes of the major scale. These seven scales are the musical modes. Here’s how we get there.

The C major scale sequence is just that—a sequence that repeats itself up and down in pitch:

  • C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C

Because it’s a sequence, you can start on any note within it and find your way back to the same note an octave higher or lower. This is the essence of modes. Any note in the scale sequence can be counted as the root note. We change what counts as 1, 2, 3, 4, 5, 6, and 7, but the sequence remains intact.

Here are the seven modes of the major scale (we’ll get into each one in greater detail later):

  1. Major Scale (Ionian Mode and “Parent Scale” for all the following modes; works over the I chord)
    • C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C
  2. Dorian Scale (mode built from the second scale degree; works over the ii chord)
    • D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D
  3. Phrygian Scale (mode built from the third scale degree; works over the iii chord)
    • E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E
  4. Lydian Scale (mode built from the fourth scale degree; works over a IV chord)
    • F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F
  5. Mixolydian Scale (mode bult from the fifth scale degree; works over a V chord)
    • G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G
  6. Aeolian Scale (mode built from the sixth scale degree; works over a vi chord)
    • A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A
  7. Locrian Scale (mode built from the 7th scale degree; works over a viiø chord)
    • B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B

If you are improvising over a diatonic chord progression—let’s say an [I-vi-ii-V] in C major—you’d be able to relate each chord in the progression to its corresponding mode:

  • I chord is C = C Ionian scale
  • vi chord is A- = A Aeolian scale
  • ii chord is D- = D Dorian scale
  • V chord is G = G Mixolydian scale

These seven jazz scales are the first jazz scales you need to learn! So let’s do it:

Jazz Scales Guitar Workshop: the Seven Modes of the Major Scale

1. Ionian or Major Scale

Our first jazz guitar scale is the major scale. As we discussed above, it’s one of the most important scales to understand because all the diatonic chords and modes can be found within its intervals.

  • Notes: C-D-E-F-G-A-B-C
  • Step Formula: W-W-H-W-W-W-H
  • Scale Degrees: Rt., M2, M3, P4, P5, M6, M7

The major scale works over diatonic I chords and major chords generally. However, other major scale modes will fit better if the major chord acts as the IV or the V in a chord progression.

Jazz scales guitar: Ionian Scale in C major on guitar; Major Scale

2. Dorian Scale (Dorian minor)

The Dorian scale is the second of our jazz guitar scales. It is a minor scale with a raised 6th scale degree (major sixth interval from the root note). This scale is particularly useful as a jazz scale because it is the mode that corresponds to the ii chord.

The ii chord is often used in jazz chord progressions like the 2-5-1.

  • Notes: D-E-F-G-A-B-C-D
  • Step Formula: W-H-W-W-W-H-W
  • Scale degrees: Rt., M2, m3, P4, P5, M6, m7
Dorian minor scale on guitar; Dorian mode

The ii chord works over any minor chord functioning as the ii chord or over static modal minor harmony.

3. Phrygian Scale (Phrygian Minor)

The Phrygian scale is the third jazz guitar scale we’re studying. It’s the third mode and is based on its third scale degree.

  • Notes: E-F-G-A-B-C-D-E
  • Step Formula: H-W-W-W-H-W-W
  • Scale Degrees: Rt., m2, m3, P4, P5, m6, m7
Phrygian Mode on guitar; Phryigian Scale

This jazz scale can be played over the iii chord in jazz chord progressions like the [iii-vi-iiV] or over minor modal harmony based around the Phrygian mode.

4. Lydian Major (Lydian Scale)

Coming in at number four on our jazz guitar scales list, the Lydian mode is a major scale with a raised fourth scale degree. This raised fourth scale degree creates a tritone with the root note. Lydian major sounds brighter than its parent scale.

  • Notes: F-G-A-B-C-D-E-F
  • Step Formula: W-W-W-H-W-W-H
  • Scale Degrees: Rt., M2, M3, TT, P5, M6, M7
Jazz scales guitar: Lydian Scale on guitar; Lydian Mode

The Lydian scale will work over diatonic VI chords or maj7#11 chords. For more on the Lydian scale, check out our article explaining the Lydian mode.

5. Mixolydian Scale (Dominant Scale)

The Mixolydian mode is a major scale with a minor 7th scale degree. It is also called the dominant scale because it is the mode based on the 5th scale degree, and its corresponding chord is a dominant chord.

  • Notes: G-A-B-C-D-E-F-G
  • Step Formula: W-W-H-W-W-H-W
  • Scale Degrees: Rt., M2, M3, P4, P5, M6, m7
Mixolydian scale on guitar; Mixolydian mode

Jazz guitarists not only use the Mixolydian scale over V chords in diatonic chord progressions but also use it over the blues. The dominant sound is a crucial part of blues music. To learn more about the Mixolydian mode, check out our article on the Mixolydian scale.

6. Aeolian or Natural Minor Scale

The natural minor scale is the sixth mode of the major scale or the parent scale in minor keys.

  • Notes: A-B-C-D-E-F-G-E
  • Step Formula: W-H-W-W-H-W-W
  • Scale Degrees: Rt., M2, m3, P4, P5, m6, m7
Aeolian Scale on Guitar; natural minor scale

You can think of the Aeolian scale as a mode of the major scale or its own parent scale, where the Ionian scale becomes one of its modes.

If you’ve heard of relative major and minor, this is the scale equivalent of that relationship.

Major keys:

  • I chord = C
  • ii chord = D-
  • iii chord = E-
  • IV chord = F
  • V chord = G
  • vi chord = A-
  • viiø chord = Bdim

Minor Keys:

  • i chord = A-
  • iiø chord = Bdim
  • III chord = C
  • iv chord = D-
  • v chord = E-
  • VI chord = F
  • VII chord = G

For more on the natural minor scale, check out our deep dive into natural minor.

7. Locrian or Half Diminished Scale

Locrian is the last of our guitar scales based on the major scale. It is the seventh mode and built off the seventh scale degree.

  • Notes: B-C-D-E-F-G-A-B
  • Step Formula: H-W-W-H-W-W-W
  • Scale Degrees: Rt., m2, m3, P4, TT, m6, m7
Locrian Scale on guitar; Locrian Mode

Locrian scales work well over the ii chords in minor iiø-V-i progressions. In minor keys, the iiø chord is half-diminished.

When the Modes of the Major Scale Aren’t Enough

Learning modes is an essential first step when learning jazz guitar scales. However, jazz music contains many sounds that aren’t diatonic, meaning they can’t be derived from the major scale. To truly master jazz scales, we need to learn jazz scales outside of diatonic harmony.

That’s why we will explore the melodic minor scale and some of its most important modes before digging into other essential jazz guitar scales.

BEFORE YOU CONTINUE...

If you struggle to play amazing jazz solos and want to learn the secret strategies the pros are using to improvise, our free guide will get you on the right track.

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The Melodic Minor Scale and its Modes

The melodic minor scale is often called the jazz minor scale because its sound is extremely important to jazz music. Jazz musicians who have mastered the major scale should move on to the melodic minor scale next.

Like the major modes, there are seven modes of melodic minor:

  1. Melodic Minor
  2. Dorian Flat 2
  3. Lydian Augmented
  4. Lydian Dominant
  5. Mixolydian Flat 6
  6. Locrian Flat 2
  7. Super Locrian or Altered Scale

Though these modes have unique uses, this article will only focus on the melodic minor scale, Lydian dominant, and the altered scale. Check out this article for a full breakdown of melodic minor modes.

8. Melodic Minor Scale

There are two ways jazz guitarists can think of this scale:

  1. A minor scale with a raised sixth and seventh scale degree.
  2. A “major scale” with a minor third-scale degree.

The characteristics of melodic minor are both major and minor. The beginning of the scale is minor in tonality. However, the second half is major sounding because of the raised sixth and seventh scale degrees.

  • Notes: A-B-C-D-E-F#-G#-A
  • Step Formula: W-H-W-W-W-W-H
  • Scale Degrees: Rt, M2, m3, P4, P5, M6, M7
Melodic minor scale on Guitar

Melodic minor itself is useful over minor chords with a (maj7). It also works well over the ii chord in altered [ii-V-I] chord progressions.

For example, an altered ii-V-I in G looks like this:

Altered ii-V-I Chord progression in G major

Over the V chord, the major 6th interval of melodic minor functions as the 3rd (F#), and the major 7th interval functions as the #11 (G#).

9. Lydian Dominant (4th mode of Melodic Minor)

The fourth mode of melodic minor is also an extremely important scale in jazz. It is a Mixolydian scale with a raised 4th scale degree. Lydian dominant is perfectly suited for dominant chords with a #11.

  • Notes: C-D-E-F#-G-A-Bb-C
  • Step Formula: W-W-W-H-W-H-W
  • Scale Degrees: Rt., M2, M3, TT, P5, M6, m7
Lydian Dominant on Guitar

Dominant #11 chords are often used over Dominant II chords in jazz chord progressions. Jazz tunes like Donna Lee, There Will Never Be Another You, If I Were a Bell, and But Not For Me (among many others) feature the dominant II chord.

For example, lydian dominant works really well over the F7 chord in There Will Never Be Another You:

Chord Changes to There Will Never Be Another You with F7 chord highlighted

10. Altered Scale (7th mode of Melodic Minor)

The altered scale is another vitally important scale jazz guitarists need to know. It starts like a diminished scale, alternating whole and half steps. However, it ends more like the whole tone scale with a series of whole steps.

  • Notes: B-C-D-Eb-F-G-A-B
  • Step Formula: H-W-H-W-W-W-W
  • Scale Degrees: Rt., m2, m3, M3, TT, +5, m7
Altered Scale on Guitar

The altered scale gets its name because it is perfect for altered dominant chords. The diminished series at the beginning of the scale hits altered chord tones like the b9 and the #9, while the whole steps at the end of the scale provide a b5, #5, and b7.

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The Diminished Scales on Guitar

Two other jazz scales guitarists need to know are the two diminished scales. Depending on which scale you choose, you can play over altered dominant or fully-diminished chords.

The diminished scale consists of alternating whole steps and half steps. As a result, it is symmetrical and has only two modes—one that starts on a half step and one that starts on a whole step.

11. Half-Whole Diminished or Dominant Diminished Scale

The half-whole or dominant diminished scale works well over altered dominant chords with a natural 5. Every note is either a chord tone, extension, or altered extension:

Half-Whole Diminished Scale on Guitar

12. Whole-Half Diminished Scale

The whole-half diminished scale is best used over fully-diminished chords:

Whole-Hald diminished scale on Guitar

Bebop Scales (Essential For Jazz Vocabulary)

So, we’ve covered scales that work well over specific chords and tonal centers, but what about Bebop scales? Bebop language is notorious for using “technically wrong” notes very specifically to add propulsion and momentum to jazz improvisation.

Bebop lines use chromaticism to keep certain chord tones on the downbeats. Here’s how:

The typical rhythmic unit of choice in bebop vocabulary is the eighth note. If you were to play a line of 8th notes over a C7 chord, you’d probably opt for a Mixolydian scale:

Chord Tones of a C7 chord shown over two measures with Mixolydian Scale

However, after one measure, your chord tones (C, E, G, Bb) are on the upbeats, and the whole thing sounds a bit weird.

By adding a chromatic passing tone into the mix, we can get back on track:

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Because bebop scales have chromatic passing tones, we can perpetually keep chord tones on downbeats.

Technically, any scale can incorporate chromatic passing tones. However, over the years, jazz musicians have standardized where these chromatic passing tones usually fit into the picture. Here are four commonly used bebop scales:

13. Major Bebop Scale

The major bebop scale puts a chromatic passing tone between the 5th and 6th scale degrees:

Major Bebop scale on guitar

14. Minor Bebop Scale (Dorian Bebop)

The Dorian bebop scale has a chromatic passing tone between the minor third and the fourth scale degree. Yes, it’s a major third, but you won’t be staying there for long!

Minor bebop scale on Guitar

15. Bebop Dominant Scale

The Bebop dominant scale has a passing tone between the minor 7th scale degree and the root:

Bebop Dominant Scale on guitar

26. Bebop Melodic Minor

The bebop melodic minor scale has a chromatic passing tone between the 5th and 6th scale degrees:

Melodic minor bebop scale on Guitar

Want to learn more about bebop language on guitar? Check out our article on 10 jazz guitar licks you need to know!

Other Jazz Guitar Scales

Let’s cover some other useful jazz scales you need to learn to master jazz guitar!

17. Whole-Tone Scale

The whole tone scale is comprised of whole steps! It is a hexatonic scale, meaning it has six notes. The whole tone scale works well over dominant chords with a natural 9, a #11/b5, and a #5/b13.

Whole-Tone Scale on Guitar

18. Minor Pentatonic Scale (And All Pentatonic Scales)

This wouldn’t be a guitar article if we didn’t cover old reliable—the minor pentatonic scale. Pentatonic scales are five-note scales that don’t have any half-steps. They have no 2nd or 6th (sometimes 7th, depending on the mode).

An A minor pentatonic scale has a Rt., a 3rd, a 4th, a 5th and a 7th:

Minor Pentatonic Scale on Guitar

The minor pentatonic scale and other pentatonics are like “scaffold” or “skeleton” scales. They lack defining information, which makes them more ambiguous. You can play an A minor pentatonic over a ii chord, a iii chord, or a vi chord, as it’s often the 2nd and 6th that make minor scales distinct.

Because of their ambiguity, you can utilize pentatonics in creative ways. Here is a [ii-V-I] lick that uses chromatic ascending minor pentatonic scales to hit various chord tones:

chromatic ascending pentatonic scale lick

19. Blues Scales

The traditional blues scale is a minor pentatonic scale with a chromatic passing tone between the 4th and 5th scale degree. However, its applications go beyond blues music.

Blues Scale on Guitar

20. Harmonic Minor Scale

The harmonic minor scale is another minor scale with a unique property: a minor 6th and major 7th interval. This means a minor 3rd gap exists between the 6th and 7th scale degrees.

  • Notes: A-B-C-D-E-F-G#-A
  • Step Formula: W-H-W-W-H-m3*-H
  • Scale Degrees: Rt., M2, m3, P4, P5, m6, M7
Harmonic Minor Scale on Guitar

Harmonic minor has its own modes, which can also be useful for playing over jazz chords:

  1. Aeolian Natural 7
  2. Locrian ♮6
  3. Ionian #5
  4. Altered Dorian
  5. Phrygian Dominant
  6. Lydian #2
  7. Super-Locrian bb7

Want to learn more about the harmonic minor scale and its modes? Check out our guide.

And, if you are new to jazz guitar and feeling overwhelmed, check out our intro to jazz guitar article. It will help you focus on the essentials in the practice room and at the jam session!

Want to Supercharge Your Jazz Guitar Skills? Join the Inner Circle.

If you found this article helpful and want to take your jazz guitar skills to the next level, check out the Learn Jazz Standards Inner Circle.

The Inner Circle is designed to help you become the best jazz musician you can be. When you join, you get access to over a decade of incredible jazz education resources, including masterclasses, guitar-specific courses, and monthly jazz standard deep dives.

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TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in as little as 30 days without mind-numbing hours of practice or the overwhelm.

“Jazz music is the power of now. There is no script. It’s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.”
WYNTON MARSALIS

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In short, your information is safe with us, and we greatly value your trust.

Thanks for using Learn Jazz Standards!

Terms of Use

Welcome to LearnJazzStandards.com!

We’ve created this page so that you (and any visitor to LearnJazzStandards.com) will understand the terms and conditions that govern your use of this website.

If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy comprise our (LearnJazzStandards.com’s) entire relationship with you.

Exclusion of Liability

The content found on any page of this website is for your general information and use only, and it is subject to change without notice.

Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose.

You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law.

Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.

Indemnity

By accessing our website, you agree to indemnify and hold us harmless from all claims, actions, damages, costs and expenses including legal fees arising from or in connection with your use of our website.

Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions.

All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com.

In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense.

Thanks, and enjoy LearnJazzStandards.com!

Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

14 Day 100% Money Back Guarantee

  • This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
  • We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
  • If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

Learn Jazz Standards Messaging Terms & Conditions

Effective Date:

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

  1. General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
  2. Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
  3. Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
  4. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
  5. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
  6. Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
  7. Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]

OUR PROVEN PROCESS FOR LEARNING JAZZ STANDARDS LIKE A PRO

Get our FREE eGuide “Learn Jazz Standards the Smart Way” and follow the 5 simple steps for crushing it with jazz standards.

Learn Jazz Standards The Smart Way Cover

OUR PROVEN PROCESS FOR IMPROVISING JAZZ SOLOS LIKE A PRO

Get our FREE “Jazz Improv Made Easy Fast Track Guide” and follow the 3 simple steps for improvising amazing jazz solos.

Jazz Improv Made Easy Fast Track Guide Ebook Cover

OUR PROVEN PROCESS FOR LEARNING JAZZ THEORY LIKE A PRO

Get our FREE “Jazz Theory Made Easy Fast Track Guide” and follow the 4 simple steps that make learning jazz theory easy.

Jazz Theory Made Easy Fast Track Guide Ebook Cover

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Scales Guitar Workshop: 20 Essential Jazz Guitar Scales" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Scales Guitar Workshop: 20 Essential Jazz Guitar Scales" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Scales Guitar Workshop: 20 Essential Jazz Guitar Scales" chord chart and our entire library of 200+ jazz standards!

Chord Chart