See What the Masters Are Actually Playing.

A note-by-note breakdown of how Wes Montgomery and Peter Bernstein move through real standards — taught through the FDA method.

You Heard the Language.

Now See How the Masters Use It.

If you’ve been through Building Blocks or Fundamental — you know the vocabulary. Shell voicings. Voice leading. The diagonal. You can see the fretboard differently now.

But put on Wes playing Four on Six. Or Bernstein working a standard. There’s still a gap — you hear lines that land exactly right, and you can’t fully explain why yet.

A person wearing a hat playing an electric guitar in a room with natural light coming through a window with curtains.
A display of various jazz vinyl records in a record store with a label reading 'JAZZ' on the front of the bin.

The problem isn’t knowledge. It’s not seeing the map.

Wes doesn’t solo from scales. He moves through the structure of the tune — following chord function, tracking direction, resolving tension at exactly the right moment. Every note earns its place. Peter Bernstein works the same way. Different vocabulary, same underlying logic.

Listening alone won’t show you this.

You can transcribe a Wes solo and still not know why each line works. A breakdown does what listening can’t — it moves through the harmony note by note and shows you the decision at every step. Not just what they played. Why that line, at that moment, over that chord, was the right move.

This is built for where you are right now.

If you’ve done the foundation work, you have the tools to understand this. This isn’t more theory — it’s the theory you already know, applied to real iconic playing at the highest level. Once you see it, you can’t unsee it.

Choose Your Breakdown

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Jazz Icon | Breakdown — Wes Montgomery: I've Grown Accustomed to Her Face
$67.00
One time

You've seen the sheet music. This isn't that. This breakdown starts where Wes started — the melody. How it moves, where it targets the 3rd, what it implies harmonically. Then see how Wes responds to that structure: the Wes Line descending through each change, the Django Line resolving the II-V, Drop 2 voicings that come directly out of the melody itself. Every move on the fretboard traced back to chord function. Not licks to copy — logic to understand. About 1h 45m.

Close-up of person playing an acoustic guitar, focusing on their hand on the fretboard and other hand strumming the strings.
Jazz Icon | Breakdown — Peter Bernstein: I'm Old Fashioned
$37.00
One time

No chord melody. No voicings. One focus: how Bernstein follows the melody through his solo — and why every phrase lands exactly where it should. This tune has an unconventional form with long sections that barely move harmonically. Most players get lost. Bernstein never sounds random. We break down exactly how he navigates it — guide tones, triads, chromaticism through static harmony. He's one of the only living jazz guitarists who keeps saying it: the melody is the answer. This solo proves it.

Both breakdowns are taught through the Functional Diagonal Approach (FDA).

You’re not memorizing licks.

You’re learning to see what these players are seeing:

chord function, direction, and resolution.

Once you see it, you can’t unsee it.