Jam tracks tips

Use these tips to nav­i­gate our bonus back­ing tracks.

Guitar Techniques - - Intro -

1. Am­bi­ent Groove in Eb

This is largely made up of a re­peat­ing Eb maj7 to C pro­gres­sion. No sin­gle scale will suf­fice to cover both these chords, but there are notes that can link the two: G is com­mon to both, while notes like D and C will work over ei­ther. Know­ing the chord tones ( Eb maj7: Eb G Bb D and C: CEG) and where they are on the gui­tar will free you up to im­pro­vise well here. The mid­dle sec­tion fea­tures Fm7- Bb- Gm7- C which has nu­mer­ous ways to ap­proach it; try C mi­nor pen­ta­tonic ( C Eb F G Bb) for the first three chords then C Mixoly­dian pen­ta­tonic ( CDEG Bb) for the C chord.

2. Funky Jam in D

D7 is the main chord for much of this, so try D mi­nor pen­ta­tonic ( DFGAC) if you want to be bluesy and/ or D Mixoly­dian ( D E F# GABC) for longer jazz- blues phrases. The con­trast­ing sec­tion fea­tures Bb- Ab/ Bb with har­mony funk gui­tars, so Bb Mixloy­dian ( Bb C D Eb F G Ab) is ideal. A7 closes the mid­dle sec­tion, pro­pel­ling you back to the pri­mary D7 funk groove.

3. Soft Groove in G

This runs the pro­gres­sion G- Em- C- Am7G- F which is grounded in G ma­jor ( GABCDE F#) ex­cept the last chord of F, where you’ll need to tweak your scale us­age to G Mixoly­dian ( GABCDEF) or play mainly notes from the F chord ( FAC). The sec­ond sec­tion fea­tures G- Am7- G/ B- C- G- F, then C- D- Em7- GAm7D- G. The same sug­ges­tions ap­ply here; G ma­jor mostly, with some G Mixoly­dian when the F chord oc­curs.

4. Rock Groove in E

The chord pro­gres­sion here is Emaj7- C# m7- C- Am7- B7 and can be im­pro­vised over with E ma­jor ( E F# G# A B C# D#), ex­cept for a rec­om­mended ex­cur­sion to C Ly­dian ( CDE F# GAB) to cater to the C and Am7 chords. The mid­dle sec­tion is C# m7- F# m11- C# m7-F# m11- Fmaj7# 11- A, C# m7- F# m11-C# m7- F# m11- Fmaj7# 11- G- C- B7. Again, E ma­jor scale works well ex­cept for the F, G and C chords, so change to the C ma­jor scale ( CDEFGAB) then.

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