The 2E provides more space for reading and more clearly drawn chord diagrams.

When Baker wrote his "Complete Course in Jazz Guitar" in the mid-1950s, it was one of the first—and remains one of the most enduring—methods for learning jazz guitar, staying in print for over half a century.

You can instantly jump between lessons without endless scrolling.

Baker’s method is notorious for being unforgiving. He famously wrote: “If you can’t play these chords in tempo, give up and take up the accordion.” This no-nonsense style appeals to self-disciplined learners but frustrates beginners expecting gentle guidance.

of his classic method, which features updated notation, corrected errors, and modernized commentary . While the core curriculum remains based on his 1955 masterwork, these newer versions are often preferred for their improved legibility and "Page Flip" features in digital formats.

Breaking down chords into single-note runs across the entire fretboard.

: When the book tells you to substitute one chord for another, look at the notes. Try to figure out why it works.

For modern musicians, tracking down a clean, updated format version is the fastest way to master old-school swing comping, complex chord substitutions, and single-note bebop lines directly from a tablet or computer. Why the Mickey Baker Method Matters Today

New PDF versions feature clickable tables of contents. You can jump from Lesson 1 (Chords) to Lesson 27 (Single-note soloing) in a single tap.

: You learn how to play melody and harmony simultaneously.

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In 1955, at the height of his session career, Baker did the guitar world an immense service. Frustrated by the lack of quality educational material, he spent two years writing what would become the most influential jazz guitar method of its time: . Originally published by Lewis Music Publishing Co., it’s been in print continuously for over 50 years, a testament to its enduring value. Three years later, in 1959, he followed up with Book 2, intended for advanced students.

: You will practice moving arpeggios diagonally across the neck rather than staying in one box shape.