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Guitar Techniques - - Intro - Jam tracks by Ja­cob Quist­gaard

1) 12-bar Blues (C) Here we have a ba­sic 12-bar blues pro­gres­sion in the key of C. Your ba­sic C Mi­nor Pen­ta­tonic scale will work great (C Eb F G Bb), but you can of course also treat each chord as a dom­i­nant 7th and use Mixoly­dian mode (C mixo, F mixo and G mixo re­spec­tively for the I, IV and V chord of the blues pro­gres­sion). Al­ter­na­tively, try sim­ple mix­ing in key chord tones – the arpeg­gios: C7 (C E G Bb), F7 (F A C Eb) and G7 (G B D F). 2) Groove Time (Am) The pro­gres­sion for this track is Am – D9 – Fmaj7 – E7. You can use a va­ri­ety of modes here, but your ba­sic A Mi­nor Pen­ta­tonic scale is still great (A C D E G). Do­rian mode (A B C D E F# G) works per­fectly over the Am and D9 chords, whereas you’d want to switch to A Ae­o­lian – ie the mi­nor scale – for the Fmaj7 (A B C D E F G). Fi­nally, A Har­monic Mi­nor is a great way of ne­go­ti­at­ing the E7 chords (A B C D E F G#). 3) Span­ish Flavour (C# Phry­gian) Here’s a Span­ish-sound­ing track, which is per­fect for div­ing into the 3rd of the ma­jor scale modes, namely Phry­gian (C# Phry­gian con­sists of C# D E F# G# A B). Us­ing C# Mi­nor Pen­ta­tonic (C# E F# G# B) and C# Blues scale (C# E F# G G# B) are also great op­tions. Try play­ing around with spell­ing out a C# mi­nor ar­peg­gio (C# E G#) and a D ma­jor ar­peg­gio (D F# A) for max­i­mum ‘Phry­gian ef­fect’. 4) 7/8 Groove (Em/Gm) This fairly chal­leng­ing 7/8 groove track shifts con­tin­u­ously between E mi­nor and G mi­nor. The E mi­nor pro­gres­sion is Em7 to A7, and there­fore E Do­rian mode (E F# G A B C# D) is a top scale op­tion, as well as E Mi­nor Pen­ta­tonic (E G A B D). The G mi­nor pro­gres­sion is also of a ‘Do­rian’ na­ture, with the chords be­ing Gm7 to C9. G Do­rian mode (G A Bb C D E F) and G Mi­nor Pen­ta­tonic (G Bb C D F) are the win­ners here. En­joy.

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