The Method
How I teach harmony.
Four principles that change the way you hear chords — and a clear path from shapes you memorised to voicings you understand.
Pillar 1
Visual, not verbal.
Most theory teaching is verbal: “the third is on the second string.” My teaching is visual. Animated chord diagrams, fretboard overlays, colour-coded chord tones. You see the voicing before you play it.
This is not a gimmick — it is how spatial instruments work. A chord voicing is a shape on the neck. If you can see the shape, the intervals, and the movement from one chord to the next, you learn in minutes what takes hours of verbal description.
Every lesson I make — every Short, every long-form video, every email in the free course — uses this approach. If you have watched my YouTube channel, you already know the format.
Pillar 2
Mechanism over memorisation.
I do not hand you 50 chord shapes to memorise. I teach you the system that generates them. Learn the Drop 2 mechanism and you can build every Drop 2 voicing in every inversion in every key — yourself.
This matters because memorised shapes are fragile. Change the key, change the string set, change the context, and the memorised shape breaks. But the mechanism travels everywhere. Once you understand why a Drop 2 voicing puts the second-highest note an octave lower, you can derive any voicing you need on the fly.
My approach is influenced by the work of Randy Felts and Mark Levine, but applied to the guitar fretboard and stripped of the academic overhead. You will not get a jazz-school theory dump. You will get the minimum you need to make musical choices — and then you will use it immediately.
Pillar 3
Apply it the same day.
Every concept is tied to a real chord progression or standard you can immediately try. Learn Drop 2 inversions in the morning, voice-lead through a ii–V–I by the afternoon.
This is not idealism — it is a design constraint. I do not publish a lesson that does not include a specific thing you can play that day. Backing tracks, chord charts, tab — whatever you need to go from “I understand the idea” to “I played the idea.”
Pillar 4
Patience over speed.
Slow practice is non-negotiable. Every voicing, every voice-leading move, every substitution — learn it at 60 BPM before you think about tempo. The hands follow the ears, not the other way around.
This is the hardest sell in guitar education, and it is the most important one. Speed is a side-effect of accuracy. If you rush the understanding phase, you end up with fast fingers and no idea why the chord you are playing resolves the way it does.
The path
Your journey.
Shapes without understanding
You can play chords but you do not know why they work or how to find better voicings.
Drop Voicings Decoded
Five free emails that teach you the Drop 2 system — the foundation of jazz voicings.
Voicings Decoded
Five video lessons that go deeper — full ii–V–I voice-leading, substitutions, and practice tracks.
Keep going
Small-group cohort for serious students — coming 2027. Join the waitlist.
Outcomes
What you will be able to do.
- ✓Build any Drop 2 or Drop 3 voicing in any key without looking it up.
- ✓Voice-lead smoothly through a ii–V–I with minimal hand movement.
- ✓Hear a chord symbol on a chart and know three ways to play it — not one memorised shape.
- ✓Understand why tritone subs, diminished passing chords, and upper structure triads work — not just where to put your fingers.
- ✓Sit in on a jazz standard and comp with voicings that sound like you know what you are doing — because you do.
Start the path
Free: Drop Voicings Decoded.
Five days. Five emails. The Drop 2 system decoded — from a guitarist who has been teaching harmony for 25 years.