Jam tracks tips

Guitar Techniques - - INTRO -

1. B Mi­nor Blues

Here we have a blues pro­gres­sion in B mi­nor. Chords are Bm (Im), Em (IVm), G (bVI) and F# (V). For scales, I’d sug­gest start­ing with B mi­nor Pen­ta­tonic (B-D-E-F#-A) as well as the B Mi­nor scale (B-C#-D-E-F#-G-A). For the F# chords you can also use B Har­monic mi­nor (B-C#-D-E-F#G-A#), em­pha­sis­ing the A# in the process, which leads nicely back to the B mi­nor chord fol­low­ing it.

2. Bossa (Cm)

This is a bossa style back­ing track for a II-V-I pro­gres­sion in C Mi­nor. If you want to con­quer the clas­sic tune Blue Bossa or just get some more jazz in your sys­tem, learn­ing how to play on a II-V-I pro­gres­sion is a great place to start. Chords are Cm9-Cm9Dm7b5-G7(#5). Use C Mi­nor scale (C-D-Eb-F-G-Ab-Bb) on Cm9 and Dm7b5 chords and then C Har­monic mi­nor (C-D-Eb-F-G-Ab-B) over the G7 chord.

3. Groovin’ On Phry­gian Mode

This track con­sists of a specif­i­cally Phry­gian-based two-chord vamp, mov­ing be­tween Bm and C. B Phry­gian mode (B-C-D-E-F#-G-A) stems from the G Ma­jor scale – and be­ing Phry­gian, you will prob­a­bly no­tice a ‘Span­ishey’ vibe hap­pen­ing. You can also use B mi­nor Pen­ta­tonic and B mi­nor Blues scale for some cool colour­ing!

4. Mixoly­dian b6 Jam

Here we have a bit of an ex­otic sound hap­pen­ing. The pro­gres­sion is based around E and A Mi­nor chords and the har­mony is drawn from E Mixoly­dian b6 mode – aka the Hindu scale. The notes are E-F#-G#-A-B-C and D. The DNA of Mixoly­dian b6 is 1-2-3-4-5-b6-b7, in re­la­tion to the stan­dard Ma­jor scale. It’s ba­si­cally the 5th mode of the Melodic mi­nor scale, so in this case A Melodic mi­nor. Ex­per­i­ment with ten­sion and re­lease. As a rule of thumb, you can land”on any note of an E Ma­jor arpeg­gio (E-G#-B) ev­ery four bars and ex­pect a sense of res­o­lu­tion. Happy jamming!

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