Play A Jazz Guitar Chord Melody in 3 Steps

James Melton
January 11, 2024

GOOD FOR

Nothing says jazz guitar quite like the chord melody.

Mastering chord melody arrangements of jazz standards vastly improves your musicianship and teaches you to compose, arrange, and improvise at a higher level than with single-note solos or chords alone. Chord melodies take chordal and melodic improvisation and fuse them into an all-in-one performance.

This post will break down some strategies you can use to start arranging your own chord melody arrangements. As you’ll soon discover, there isn’t one set way to play a chord melody, and chord melodies have applications beyond solo guitar playing (hello, guitar trio!).

Want to learn how to play jazz guitar but don’t know how to get your guitar playing and jazz knowledge to the next level? You should check out the Learn Jazz Standards Inner Circle!

The Inner Circle has abundant jazz theory, improvisation, and instrument-specific (yes, guitar included!) courses designed to help you ignore distractions and focus on what matters when learning jazz. The Inner Circle helps you cut through all the noise and become a better jazz player.

Check out what the Inner Circle has to offer!

Table of Contents

What You Should Know Before Starting Chord Melodies

You’ll need to have a basic understanding of some music theory before starting.

Yes, you could learn the physical shapes and memorize the sequences of frets, but that leaves little room for internalizing, understanding, and developing what you are playing into different chord melody ideas.

It will be a much easier and more fruitful process if you understand what you are playing and why it works.

That’s why you’ll want to know:

The major scale and minor scales (natural minor and melodic minor are fine to start)
Major Triads in all inversions.
Minor Triads in all inversions [link]
Diminished and Augmented Triads in all inversions [links]
Seventh Chord Voicings in all inversions [links]
Diatonic Chord Scales in Triads and Seventh Chords in all inversions

This might seem like a tall order, but you don’t need to do it all simultaneously. You can pick one jazz standard and use that as the vehicle to learn these scales, shapes, voicings, and inversions.

The following section reviews the major scale, its modes, and how to play chord scales on different string groups.

If what we’re about to discuss is already familiar to you, feel free to skip ahead!

Major Scale, Modes, and Triad Basics

Let’s review the basics. You most likely know the major scale and are familiar with its modes.

Chord Melody Basics: C major scale with Roman Numerals

To refresh, each scale degree in the major scale can act as its own root note. The major scale sequence remains the same, but the starting point (or what we feel as “home base”) is another note in the scale. There are seven notes and, therefore, seven modes.

C Ionian: C-D-E-F-G-A-B-C
D Dorian: D-E-F-G-A-B-G-D
E Phrygian: E-F-G-A-B-C-D-E
F Lydian: F-G-A-B-C-D-E-F
G Mixolydian: G-A-B-C-D-E-F-G
A Aeolian: A-B-C-D-E-F-G-A
B Locrian: B-C-D-E-F-G-A-B

Triad Basics

Taking this one step further, we can harmonize each note in the major scale by thirds to find the diatonic chords in the key of C major:

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

Chord Melody Basics: C major Triad with root note, 3rd, and 5th shown

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

Chord Melody Basics: D minor triad with root note, 3rd, and 5th shown

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

Chord Melody Basics: E minor triad with root note, 3rd, and 5th schowm

You probably get the idea by now!

Chord Scales

Here are all the diatonic triads in the key of C major. The original major scale is shown in color:

Chord Melody Basics: Diatonic triads in the key of C major

Let’s apply this chord scale to the fretboard! Notice how there are only three chord shapes in the following exercise—a major chord triad shape, a minor chord triad shape, and a diminished chord triad shape.

Chord Melody Basics: C major chord scale with fretboard diagrams and chord shapes sticking to one string group

Here, we have a root position C major chord scale on the A-D-G string group. Ideally, you’d be able to play this chord scale on any string group and across strings.

Try this on these string groups, too:

E-A-D
D-G-B
G-B-E

Here is the same chord scale, except we’ll move across the strings instead of staying on one string group.

Chord Melody Basics: C major scale harmonized with fretboard diagrams and chord shapes moving across three string groups

The chord shapes above represent one way of playing this chord scale across the strings. Because of the unique nature of the guitar, there are many ways to play the same thing. It’s important to familiarize yourself with multiple ways of doing things!

We are being so thorough because we want to practice as many ways as possible when playing these chord scales. The more variations you’ve practiced, the more choices you have when performing or improvising in the chord-melody style.

Triad Inversions

So far, we’ve kept our chord scales in root position, but this isn’t always practical or necessary when playing chord melodies.

Usually, a guitarist will position melody notes at the top of chord voicings so the melody is clear and distinct. You’ll need to know triad inversions to place the root notes, thirds, and sevenths at the top of your chord voicings.

Here are first inversion and second inversion C major chord scales:

First Inversion Chord Scale

Chord Melody Basics: First Inversion Harmonized C Major Scale in C

Notice that we are sticking to one string group for this exercise. In line with the previous examples, be sure to transfer this first inversion chord scale onto other string groups and play it across string groups.

Second Inversion Chord Scale

Chord Melody Basics: Second Inversion Chord Scale in C

Eventually, you should be able to play these chord scales in all twelve keys and on any string group or combination of string groups. This will take time, so don’t rush, and trust the process! You don’t need to master this concept before you learn a chord melody.

Seventh Chords and Beyond

After getting comfortable with triads, you’ll want to apply the same practice to seventh chords, which are triads plus the root note’s seventh scale degree.

C triad plus a B note

When we take a C triad and add the seventh scale degree (B), we get a Cmaj7 chord:

C triad + B = Cmaj7

C triad plus a B note = Cmaj7

Much in the way we practiced triad chord scales, you’ll want to practice 7th chords the same way:

Up and down different string groups
Across multiple string groups
all inversions—1st inversion, 2nd inversion, 3rd inversion

By doing this, you are building a solid foundation for developing chord melody skills.

But there is one more thing you should be doing…

The Importance of Listening and Transcribing

We’ve talked a lot of theory so far.

However, you’ll need to listen to actual chord melodies to hear the real-world applications of what we’ve discussed.

Your output is only as good as your input.

You need to feed your ears music in order to grow! Luckily, there are many great examples of chord melody arrangments from the jazz guitar greats. This musical broccoli will help inspire and expand your chord melody playing as you develop your own jazz guitar voice.

Chord Melody Arrangements

Finally! Let’s start thinking about different ways we can play a chord melody. First, our approach depends on the jazz tune we are playing.

Is it a ballad? A bebop head? A bossa? A blues or medium swing?

Ballads, medium swing tunes, and bossa nova tunes are probably the way to go for beginners. It’s really hard to play melodies and chords simultaneously over an up-tempo bebop tune (though it’s been done!).

Pick a harmonically simple tune with an easy melody line when deciding on your own arrangement.

Here are some examples:

Autumn Leaves
Days of Wine and Roses
There is No Greater Love
How Insensitive
Beautiful Love

The ideal jazz tunes will have simple melodies that stick primarily to chord tones.

Things To Keep In Mind When Starting Your Chord Melody Arrangement

Prioritize the melody notes by keeping them at the top of chord voicings—remember your chord inversions!
You don’t need a chord under every melody note—you can often state the harmony by playing chords at the beginning of harmonic changes (usually beat 1 of a measure).
Try to find different ways of playing the same thing—move your chord melody to a different string group and figure out how it lays on the fretboard
Practice slowly! There’s no rush.

Different Approaches to Chord Melody Playing

As you listen to different guitar players, you’ll realize there are many ways to outline the harmony and melody at any given moment. Some players will stick to one approach, while others will blend various approaches.

There are the bold and infectious block chords and chord soloing of Wes Montgomery or the intricate classical guitar-sounding arrangements of Joe Pass, which weave in and out of harmonized melodies and single-note runs.

Then there are the modern players who imply the chord changes by pairing the melody note with one or two other notes in a minimalistic fashion in a guitar trio setting. It’s probably a good idea to try your hand(s) at many different styles to see which ones resonate the most with you.

Next, you’ll want to consider how you’ll play it. Will you play it in time or rubato? Will you use a pick or your fingers, or will you take a hybrid picking approach?

With all these considerations in mind, let’s break down some great places to start when devising your own chord melody arrangement.

Step 1: Bass Notes With Melody on There Will Never Be Another You

Chord Changes For There Will Never Be Another You

A great place to start is combining the melody with the bass line and filling in the harmony afterward.

Let’s try playing a melody while simultaneously playing bass notes. There are multiple ways to approach this with your picking hand—you can use finger picking, hybrid picking, or strum through multiple strings while muting unwanted strings with your fretboard hand.

There Will Never Be Another You Basic Root Notes and Melody

We’ll use the tune There Will Never Be Another You for this particular example. Here are the first 8 bars showing the melody and root notes of the harmony:

Bars 1-4

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes; bars 1-4

Bars 5-8

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes; bars 5-8

The idea here is to get comfortable spitting up your picking hand into two voices—the bass and melody notes.

We are only hitting the root notes of the chords underneath the melody so that it may sound harmonically ambiguous. But there is enough information in the melody line that your brain will fill in any gaps, especially if you are familiar with the tune.

Bars 9-12

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes; bars 9-12

Bars 13-16

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes; bars 13-16

For context, here are all 16 bars together:

This bass note/melody line approach seems straightforward enough, especially on chords that last two whole measures, like the Ebmaj7 at the beginning of the tune, the C-7 in bars 5 and 6, or the F7#11 in bars 13 and 14.

These longer stretches of static harmony in the chord progression allow us to add more chord tones to the bass line.

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.

There Will Never Be Another You Basic Root Notes and Fifths With Melody

Here are sections of the tune where one chord lasts two measures. Instead of staying on the root as we did in the previous examples, now we’ll move from the root to the fifth on the second measure of each two-measure chord.

Bars 1-4

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes version 2; bars 1-4

Bars 5-8

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes Version 2; bars 5-8

Bars 13-16

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes Version 2; bars 13-16

There Will Never Be Another You Basic Root Notes, 3rds, 5ths, and 7ths With Melody

We can further progress this bass note/melody line concept by changing the root note every two beats. This will allow us to hit even more of the harmony in our chord melody.

Bars 1-4

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes Version 3; bars 1-4

Bars 5-8

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes Version 3; bars 5-8

Bars 9-12

Chord Melody Guitar: There Will Never Be Another You Melody and Bass Notes Version 3; bars 9-12

Bars 13-16

Screenshot 2024 01 11 at 11.43.50 AM

For context, here are all 16 bars together:

You likely wouldn’t want to play an entire chord melody arrangement in this fashion during a performance. However, as an exercise, doing this will help bolster your chord melody skills and help you think in multiple voices, leading to immense creative possibilities on your guitar.

So far, we’ve worked on playing with two voices, which is a crucial part of playing in the chord melody style, but we haven’t yet played traditional chords.

Let’s add chords into the mix!

Step 2: Using Triads And Keeping the Melody Note the Top Voice

In this next section, we will mix triad shapes with a melody to practice combining each in a way that flows naturally. Let’s switch standards since we have a new concept to work on.

Fly Me To The Moon is a popular and simple standard through which we can practice this concept, as it is (mostly) diatonic, and the melody is fairly straightforward.

Chord Changes For Fly Me To The Moon

Punctuating The Melody With Triads On Chord Changes

Bars 1-4

Chord Melody Guitar: Fly Me To The Moon Triads and Melody; bars 1-4

You’ll notice that the melody note on beat one of each measure falls on the 3rd of each chord.

C in the first measure (A-7)
F in the second measure (D-7)
B in the third measure (G7)
E in the fourth measure (Cmaj7)

This means we can use second inversion triads (over the 5th) to punctuate the harmony on the downbeats of each measure.

The same goes for the next four bars:

Bars 5-8

Chord Melody Guitar: Fly Me To The Moon Triads and Melody; bars 5-8

A in the fifth measure (Fmaj7)
D in the sixth measure (B-7b5)
G# in the seventh measure (E7)
C and C# in the eighth measure (A-7 and A7)

Here are all 8 bars together:

This great exercise will help exponentially improve your chord melody playing. However, we aren’t limited to basic triads—this concept also works for seventh chords.

Punctuating The Harmony With Seventh Chords On Chord Changes

For the following section, we are using root position seventh chords to punctuate the harmony on downbeats.

You’ll notice first inversion triads in parenthesis written in between the tablature and the staff. These show the same 7th chord voicings with the root removed. When playing a chord melody in a setting like a guitar trio, you can usually omit the root as the bass player will grab it.

Bars 1-4

Chord Melody Guitar: Fly Me To The Moon 7th chords and Melody; bars 1-4

With these particular root position seventh chord voicings, the third is always the top voice, which helps with this particular standard.

C in the first measure (A-7)
F in the second measure (D-7)
B in the third measure (G7)
E in the fourth measure (Cmaj7)

Bars 5-8

Chord Melody Guitar: Fly Me To The Moon 7th Chords and Melody; bars 5-8

A in the fifth measure (Fmaj7)
D in the sixth measure (B-7b5)
G# in the seventh measure (E7)
C and C# in the eighth measure (A-7 and A7)

Here are all 8 bars together:

In the previous examples, we’ve placed chords on the downbeats of harmonic changes, but you aren’t limited to this when devising your own chord melody arrangements.

Step 3: Putting It All Together

There is a big difference between practicing a concept and performing a tune. The exercises we’ve discussed above are meant to help you understand concepts you can employ when performing a jazz standard as a solo guitarist.

You wouldn’t want to play an entire song with block chords on downbeats or with a strong bass line. However, you need to practice this way to master these concepts. Then, when you feel confident, you need to forget all that and play.

After practicing concepts like bass lines or block chords rigidly, you should practice playing as if you were performing.

In the following example, I’ll blend these concepts and employ them in a one chorus chord melody on Fly Me To The Moon. However, the chord melody won’t be comprised entirely of block chords or strict bass lines.

Some things to listen for:

I’ll take some liberties with the melody and avoid the rigid quarter-note feel found in the Real Book.
Sometimes, I play the melody all by itself and only hit important chords to push the harmony forward. However, these chords are rarely larger than three notes. Sometimes, I play rootless shell voicings (3rds and 7ths) to keep the harmony moving without overloading the tune.
Sometimes, I throw a bass line in to have a dialogue with the melody, but the bass line is never constant. I use it to accentuate the melody and add a larger range to my chord melody.
I’m never doing one thing for long! I’m always trying to change things up and keep it fresh.
In this particular recording, I’m keeping time (until the very end) and swinging (unlike earlier exercise examples where I played it straight).

Check it out:

More Chord Melody Resources

Also, check out these LJS resources on chord melody arrangements:

Polkadots and Moonbeams podcast episode

Also, check out this supplementary video that discusses chord melody basics. This video will go over some other things you should think about when crafting your own chord melodies:

Ready to Take Your Chord Melody Skills To The Next Level? Join the Inner Circle!

If you want to improve your jazz guitar chops, master the fretboard, and learn jazz theory, then you should join the Learn Jazz Standards Inner Circle.

The Inner Circle has everything you need to master jazz guitar and become the best jazz musician you can be—including guitar-specific courses designed to help take your jazz guitar skills to the next level.

Ready to master the art of the chord melody? Check out what the Inner Circle has to offer!

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

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

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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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: October 02, 2020

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

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.
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.
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.
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.
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.
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.
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]