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Here you find some exercises to work on your rock guitar timing with discipline. Learn all the timing figures which are available starting from the whole, half, quarter, 8th, 16th and sextole note and try to work with them in your soloing. The backing track is only 65 bpm so it should be possible to work out all figures with discipline and in one row.
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Here you find the basic knowledge to work with the modes on a II V I progression in jazz guitar. In this case it's Am7 / D7 / Gmaj7 / Gmaj7. Learning the modes means that you learn the grid in which a chord moves inside its mode. These are the chord notes : root, 3rd and 5th. With these exercises you can start to work with the modes by targeting the chord notes.
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Here you find some ideas how to play a cool and relaxed bottleneck guitar with a drop D tuning. You can also play it with out bottleneck but try to create the vibe of a bottleneck guitar. The backing track is with a cool acoustic bass and some nice piano.
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Here you find some basic exercises where you can start using modes on a rock guitar track. The chord progression is very simple with Am / Am / F / G . This gives you time to figure out the different modes and start to use them as showed in the exercises.
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Here you find the tabs and the backing track related to the song " Peter Gunn " by Henry Mancini. There are also other versions available but these files refer to the original version. The tabs are the original guitar track as heard on the recording. The theme played by the horns are transcribed to a guitar version.
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Here you find an arrangment of Henri Mancini's " Moonriver " for an orchestral version in the Joe Pass style. And for the beginners among you who would love to play the melody also the melody which is very easy to play. The backing track is only drum and bass.
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Here you find some tabs which show the essentials parts which you need to know to play a professional rock n roll guitar including the rhyhtm guitar and the soloing. The backing track is " Old Time Rock N Roll " by Bob Seger and it's fun to solo over that track.
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Here you find a really " bad ass " funk rock guitar riff played with a drop D tuning. All elements used in this riff match perfectly to create this really strong vibe.
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Here you find the tabs of the theme of Stevie Wonders tune " Isn't She Lovely " + the chords for a simple arrangment with only one guitar + drums played with brushes or only one guitar. You also find the scales which can be used on the improvisation but check the tutorial for my tips and tricks for the improvisation.
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Here you find 2 types of cinematic rock guitar riffs which work in a classical style. The first riff is played best with sweep picking but also works with regular alternate picking. The 2nd part are powerchords which have a modern and cinematic touch. The backing track is a own production out of my cinematic production tools : http://www.music-pictures.com
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Here you find the tabs of the theme of " Fly Me To The Moon " as written in the New Real Book 2. In fact the theme can be interpretated in many ways. I personally love the version of Frank Sinatra. You also find some basic jazz chords which work with this tune + the modes which you can use for the improvisation. The backing track is on 160 bpm but still try to make a really laid-back improvisation. This serves the vibe of this tune most.
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Here you find a cool straight blues guitar riff in the key of E. But it's not really the key - since the chords are E7 /  D7 / A7 / B7alt. So you mix the solo with mixolydian ideas and E minor blues pentatonic to make it sound great. I wrote one example how you can mix the modes and create a great and rich sound with only a few notes. The backing track is an original of mine.
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Here you find some cool pentatonic sequence runs in the style of Jimmy Page. You can use them as exercises to practice your pentatonic skills or you can also use them as sequence runs in any guitar solo. They are more or less played in the 1st position of the minor pentatonics except the C and D part where you move down to the 3rd fret to finish the sequence.
Here you find more cool pentatonic exercises :
 

Here you find the tabs and the backing track of a cool high energy rock guitar riff in the key of Em. In the 2nd part I have added some lead guitar ideas as I am talking about in the tutorial.
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Nearly 100% of the guitar players who are interested to start working with modes come from the pentatonic. Here you find an easy way to convert your pentatonic patterns into the mode of your selection. You need to know the minor and the major pentatonic and then you are ready to go.
Here you can learn about intervals in specific :
Once you know the intervals the trick is that you know your pentatonic patterns by heart and also the intervals which are played in the patterns. To move from the pentatonic patterns to modes you just need to add 2 more notes.
Which are those notes ?
Major scales :
All major scales contain the intervals of the major pentatonic which are : 1 2 3 5 6
Now you just need to add 2 more notes which define which mode you are playing. On the tabs those notes are displayed in green. The red notes are the root notes ( 1 )
Ionian Mode additional notes : 4 7
Lydian Mode additional notes : #4 7
Mixolydian Mode additional notes : 4 b7
Minor scales :
All minor scales contain the intervals of the minor pentatonic which are : 1 b3 4 5 b7
Now you just need to add 2 more notes which define which mode you are playing. On the tabs those notes are displayed in green. The red notes are the root notes ( 1 )
Aeolian Mode additional notes : 2 b6
Lydian Mode additional notes : 2 6
Mixolydian Mode additional notes : b2 b6
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If you want to move on to move mode patterns you find the 2 main and basic patterns here :
 
 

Here you find the diatonic chord progressions of harmonic minor in the key of Cm and Gm. These 2 keys represent all patterns which start either on the E or A string. Even harmonic minor is mostly used in way of having the focus on the minor pattern of the key it really also makes sense to learn those patterns related to the diatonic chord progressions.
To understand harmonic minor it's really important to understand it's historical importance. The origin of all chord progressions is the classical cadence :
 
In any major key you have the classic cadence leading from tonica ( I ) to subdominant ( IV ) to dominant ( V ). The dominant is either a major or a major 7 chord which creates a strong tension which leads back to the tonica ( I ). In minor keys I IV V are all minor chords which can work as a nice progression but to get a stronger resolution to the I somebody came up with the idea to have a " classic " dominant on the V in a minor progression. Now the minor key does not cover this alteration of the progression and when a V7 ( dominant ) chord is played in a minor progression the scale which normally would be phrygian on the V has to be altered by one note. This leads us to harmonic minor with the typical 1 1/2 tone step. Harmonic Minor is mostly played on the V7 chord but can also be used in other ways or even in a diatonic chord progressions setting. But the traditional way is to use Harmonic Minor when I V7 chord.
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Here you find the tabs of this selection of beatiful spanish guitar chords in the key a Bm. You can play them either with finger picking or with the pick. The backing track is an original of mine and is not played exactly as you can see in the tabs. It's more a combination of the movements displayed in the tabs but you can of course use the backing track for the soling.
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Here you find the tabs of some adaptiv blues guitar double stops. They follow the chords of the progression of the backing track which is :
Bb7 / Eb7 / Bb7 / Eb7
This technique is called " voice leading ". The cool thing is that mostly you only have to change one note to follow the chord which makes it sound great. There are also chord examples which work with a very nice voice leading technique following the chords.
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Here you find the tabs of a cool and modern sounding rock guitar riff which starts from the classic way of playing it with E5 / E5 / D5 / A5 and takes it to different stages of expression. The backing track is only drum and bass.
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Here you find the tabs of the rhythm guitar of " I Shot The Sheriff " by Bob Marley or Eric Clapton.
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Here you find 3 mixolydian jazz guitar licks for Bb7 and Eb7. They represent the 3 main methods how you use the mixolyidan mode in a jazz guitar context. The backing track is a great training backing track with these chords :
Bb7 / Bb7 / Bb7 / Bb7
Eb7 / Eb7 / Eb7 / Eb7
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Here you find some tabs and the backing of a slow blues in G which help you to work on your timing skills on any slow blues. This is challenging for many players since the tempo is very slow with 40bpm and the backing track with an extended form and only with drum and bass. So you better have to know what you are doing on your guitar.
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Here you find the tabs of a cool intermediate rock guitar riff in the tempo of 80 bpm + some ideas for soloing. Try to play this as precise as possible or also use those rhythm figures to play something else but still using the original rhythm figure.
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Here you find a really cool and fun blues rock guitar riff played with a drop D tuning. On the solo you can use the phrygian Nat. 3 scale. I wrote one version of it down + a quit managable high speed lick which you can play with that pattern.
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Here you find the available secondary dominants in major and minor. What  is a secondary dominant ? This is a dominant which you find on any levels of the diatonic chord progression either in major or minor which resolves on a level of the major or minor diatonic chord progression. That's the basic rule - if you have any other dominant chord somewhere which does not fullfil this rule it is treated differently. 
The available modes of any secondary dominant relays to the original mode of the level you find the secondary placed on. As an example : 
V7 / IV in major : The original mode is ionian. The nearest available dominant mode is mixolydian
V7 / VI in major : The original mode is phyrgian. The nearest available dominant mode is phyrgian nat. 3 
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