ajannol
Verified buyer
04/20/26
Great course!
Carl Verheyen is an amazing instructor and these courses offer endless licks and lines to work on learning
S.W.A.T. Sessions: Jazz Rock
Special Weapons And Tactics for Jazz Rock Soloing & Improvisation
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About this course
Jazz Rock fuses the tone, feel, bends, hammers and other rock-centric embellishments and expressions with the sophistication of jazz harmony and improvisation. Playing over changes, the use of exotic scales and modes, crafting more complex lines and solos -- these are the Special Weapons and Tactics that Carl Verheyen will be demonstrating and breaking down for you over 14 performance studies in this Jazz Rock edition of SWAT Sessions.
You’ll examine different Jazz Rock feels, in a variety of tempos and keys, and each of the 14 Performance Studies will focus on a particular technique that you’ll want command of in your own Jazz Rock arsenal.
Carl demonstrates all of the Performance Studies over rhythm tracks and then breaks them down by stepping you through the key concepts and techniques employed in the solo.
Fusion Funk G7: 1 - ”This first study is a G7 funky vamp, starting out by playing minor and major pentatonics and adding in the Mixolydian mode as we go.”
Fusion Funk G7: 2 - ”In this study, we'll explore the diminished scale and it's use over the dominant 7 chord. I believe this is one of the quickest ways to get you into playing over a 7th chord in a more ‘altered’ way.”
C minor 6/8 Vamp: 1 - ”This study is in the key of C minor in 6/8 time, which I've always gravitated towards. Here we'll be addressing phrasing and go over why the Dorian mode sounds better on this single chord vamp.”
C minor 6/8 Vamp: 2 - ”Here we'll work on alternate pentatonics like the G minor pentatonic and the D minor pentatonic and how they're all contained in the C minor Dorian mode.”
Jazz Blues in F: 1 - ”In this study, we'll look at a jazz blues which uses a few more chords than a straight I-IV-V progression. We'll go over the chord changes that are added in the jazz world.”
Jazz Blues in F: 2 - ”For this study, we'll be focusing on the value of working out a complete solo as a jumping off point for a difficult progression, and when applied to the blues it really becomes a head, or a blues melody that you can use.”
Lucky in the South: 1 - ”This study is based around the changes to the tune Lucky Southern by Keith Jarrett. He did it as a bossa nova, but many players play it uptempo as a samba. Here I'm going to try to outline 3rds, hitting them in every bar so you hear the chord changes go by.”
Lucky in the South: 2 - ”A boutique scale is explained here: Using the melodic minor over a dominant chord a 4th up is something I use on a dominant II chord, and in this song I like to hear it over the E7 chord in bars 3 and 4.”
Dawn of Lee: 1 - ”Here we'll look at how Charlie Parker's progression for Donna Lee was a repurposed version of the changes of an old standard called Back Home in Indiana. I highly recommend learning Parker's melody in more than one position on the guitar and even transcribing it to another key like Jaco Pastorius does on his first record.”
Dawn of Lee: 2 - ”Here we discuss the boutique mode of the harmonic minor as it applies to a dominant chord a 5th above (or a 4th below). In other words, I use F harmonic minor when I play on the C7 chord in bars 21, 21, 24 and 26. It’s the gypsy jazz approved scale that fits perfectly here and in many other progressions where a V7 chord resolves to a minor chord.”
Europe: 1 - ”This study is inspired by the classic standard fusion song Spain by Chick Corea, which has a great set of changes to play over. In the opening four bars I'll be playing the Lydian mode over the G major, and then you'll hear me play the B harmonic minor over the F#7b13 chord.”
Europe: 2 - ”A steady stream of 8th notes, inspired by the great Pat Martino, is my aim on this next study.”
Sorrow: 1 - ”A slow, bluesy progression called Lament with lots of great tonal centers is used as inspiration on this study. Here we'll look at how I work out my bending ideas with all 4 fingers.”
Sorrow: 2 - ”In this study, I'll stay with the bending and soulful blues playing, but I'm going to really emphasize the correct scales to use.”
All of the Performance Studies are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can loop and/or slow any section down as you work through the lessons. Plus, Carl generously includes all of the rhythm tracks for you to work with on your own.
Grab your guitar and let’s jazz up our rock solos with Carl Verheyen!
You’ll examine different Jazz Rock feels, in a variety of tempos and keys, and each of the 14 Performance Studies will focus on a particular technique that you’ll want command of in your own Jazz Rock arsenal.
Carl demonstrates all of the Performance Studies over rhythm tracks and then breaks them down by stepping you through the key concepts and techniques employed in the solo.
Fusion Funk G7: 1 - ”This first study is a G7 funky vamp, starting out by playing minor and major pentatonics and adding in the Mixolydian mode as we go.”
Fusion Funk G7: 2 - ”In this study, we'll explore the diminished scale and it's use over the dominant 7 chord. I believe this is one of the quickest ways to get you into playing over a 7th chord in a more ‘altered’ way.”
C minor 6/8 Vamp: 1 - ”This study is in the key of C minor in 6/8 time, which I've always gravitated towards. Here we'll be addressing phrasing and go over why the Dorian mode sounds better on this single chord vamp.”
C minor 6/8 Vamp: 2 - ”Here we'll work on alternate pentatonics like the G minor pentatonic and the D minor pentatonic and how they're all contained in the C minor Dorian mode.”
Jazz Blues in F: 1 - ”In this study, we'll look at a jazz blues which uses a few more chords than a straight I-IV-V progression. We'll go over the chord changes that are added in the jazz world.”
Jazz Blues in F: 2 - ”For this study, we'll be focusing on the value of working out a complete solo as a jumping off point for a difficult progression, and when applied to the blues it really becomes a head, or a blues melody that you can use.”
Lucky in the South: 1 - ”This study is based around the changes to the tune Lucky Southern by Keith Jarrett. He did it as a bossa nova, but many players play it uptempo as a samba. Here I'm going to try to outline 3rds, hitting them in every bar so you hear the chord changes go by.”
Lucky in the South: 2 - ”A boutique scale is explained here: Using the melodic minor over a dominant chord a 4th up is something I use on a dominant II chord, and in this song I like to hear it over the E7 chord in bars 3 and 4.”
Dawn of Lee: 1 - ”Here we'll look at how Charlie Parker's progression for Donna Lee was a repurposed version of the changes of an old standard called Back Home in Indiana. I highly recommend learning Parker's melody in more than one position on the guitar and even transcribing it to another key like Jaco Pastorius does on his first record.”
Dawn of Lee: 2 - ”Here we discuss the boutique mode of the harmonic minor as it applies to a dominant chord a 5th above (or a 4th below). In other words, I use F harmonic minor when I play on the C7 chord in bars 21, 21, 24 and 26. It’s the gypsy jazz approved scale that fits perfectly here and in many other progressions where a V7 chord resolves to a minor chord.”
Europe: 1 - ”This study is inspired by the classic standard fusion song Spain by Chick Corea, which has a great set of changes to play over. In the opening four bars I'll be playing the Lydian mode over the G major, and then you'll hear me play the B harmonic minor over the F#7b13 chord.”
Europe: 2 - ”A steady stream of 8th notes, inspired by the great Pat Martino, is my aim on this next study.”
Sorrow: 1 - ”A slow, bluesy progression called Lament with lots of great tonal centers is used as inspiration on this study. Here we'll look at how I work out my bending ideas with all 4 fingers.”
Sorrow: 2 - ”In this study, I'll stay with the bending and soulful blues playing, but I'm going to really emphasize the correct scales to use.”
All of the Performance Studies are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can loop and/or slow any section down as you work through the lessons. Plus, Carl generously includes all of the rhythm tracks for you to work with on your own.
Grab your guitar and let’s jazz up our rock solos with Carl Verheyen!
What you'll learn
- Apply diminished scale techniques
- Navigate different rhythmic feels
- Use thirds and sevenths for melodic emphasis
- Apply jazz harmony to rock techniques
- Explore full guitar range in soloing
Release date: 02/26/2016 • 1h 53m runtime
Sample lessons
Fusion Funk G7: 1
Overview
Fusion Funk G7: 1
Performance
Fusion Funk G7: 1
Breakdown
C minor 6/8 Vamp: 2
Overview
What's included
44 lessons • 14 charts • 7 Jam Tracks
SWAT Sessions: Jazz Rock
Hi, I'm Carl Verheyen and welcome to the Jazz Rock edition of SWAT Sessions. Jazz rock fuses the tone, feel, bends, hammer-ons, and other rock-centric embellishments and expressions with the sophistication of jazz harmony and improvisation. Playing over changes, the use of exotic scales and modes, crafting more complex and interesting lines and solos are the special weapons and tactics that I'll be demonstrating and breaking down for you over 14 performance studies. We'll examine different feels and a variety of tempos and keys, with each study focusing on a particular technique you'll need for your own jazz rock arsenal.
For each of the performances, I'll break down a few of my key techniques and approaches, plus you'll get standard notation, tab, and rhythm tracks to work with on your own. Alright, get yourself tuned up and plugged in, put a little grit on your tone, and let's play some jazz rock.
For each of the performances, I'll break down a few of my key techniques and approaches, plus you'll get standard notation, tab, and rhythm tracks to work with on your own. Alright, get yourself tuned up and plugged in, put a little grit on your tone, and let's play some jazz rock.
Fusion Funk G7: 1
This first track is a G7 funky vamp, starting out by playing minor and major pentatonics and adding in the Mixolydian mode as we go. But first, let's look at a quick little warm up exercise that I like.
Fusion Funk G7: 1
Using minor pentatonic to start, I shift pretty quickly into the Mixolydian mode. Towards the end, I use major and minor pentatonics again and play some interesting intervallic lines in the Mixolydian mode.
Fusion Funk G7: 1
Here I'll focus on the Mixolydian mode in G and discuss range. Make your modes move up and down the neck and try to get away from being a "top-3-strings-1-position" player.
Fusion Funk G7: 2
In this lesson, we'll talk about the diminished scale and it's use over the dominant 7 chord. I believe this is one of the quickest ways to get you into playing over a 7th chord in a more "altered" way.
Fusion Funk G7: 2
Starting with a melodic statement in major pentatonic and Mixolydian, I move into a diminished tonal center a half step up from the root. This gives me the following tensions: flat 9, #9, 3rd, b5, 5th, 13th, and root.
Fusion Funk G7: 2
Now we'll go over a few of the lines and I'll explain the symmetry of the diminished scale.
+ 37 more lessons
Reviews
10 results
GuitarPablo
Verified buyer
01/21/26
Fantastic
There's a lot to learn from Carl He has become my mentor thanks to True Fire I haven't stopped to listen to his music and getting involved in his knowledge
rick77836
Verified buyer
03/20/22
Greatly improve your Phrasing through this course.
Great refresher on some lessons and a great new way to approach things on other lessons. Phrasing is the name of the game and my phrasing has improved by implementing what i have learned in this course.
WMBeaty
Verified buyer
11/23/20
Excellent course
Geetar78
Verified buyer
11/18/20
Good way to get “hands on” info and tips how Carl approaches different styles of tunes and chord changes etc. Definitely got handful of ideas for my own playing.
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