A Night in Tunisia is built around minor harmony, approached through tritone substitution. In this step, you’ll break down the tune’s harmonic framework and see how the melody interacts with the chords, giving you a clear roadmap for improvising over the tune.

Improvising on A Night in Tunisia requires real minor language, not just a knowledge of minor scales. In this step, you’ll study how Roy Hargrove builds vocabulary from small, repeatable melodic ideas that can be practiced in all keys and easily used in real time across the tune’s minor harmony.

Minor ii–V’s are a defining feature of A Night in Tunisia. In this step, you’ll learn how Bill Evans approaches these progressions using chord tones and voice leading instead of only scale-based thinking, giving you a more flexible way to navigate the harmony.

To solo well on A Night in Tunisia, acquiring bebop language is a must. So next, you’ll focus on how bebop minor language is actually built, moving beyond isolated licks and into exercises that will completely free you up over minor.

The interlude and solo break in A Night in Tunisia is one of the most challenging moments in the tune. In this step, you’ll learn how the chords work, how to hear and understand the break, and how players like Charlie Parker, Clifford Brown, and Dexter Gordon approach it, so you have a clear plan for getting through it when the band drops out.