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Guitar Techniques - - INTRO - Jam tracks by Ja­cob Quist­gaard. For free scale maps and hun­dreds more tracks, visit www.quis­torama.com. You can also sub­scribe to www.youtube.com/QuistTV to get all the lat­est tracks and licks. Or find Quist and his jam tracks on Twit­ter, In­sta­gram and Fa

➊ Smooth Mi­nor Blues (Cm)

Here we have a blues pro­gres­sion in C Mi­nor, with a smooth groove and nice jazzy feel to it. C Mi­nor scale (Ae­o­lian mode) works through­out. The notes are C-D-Eb-F-G-Ab-Bb.

Of course C Mi­nor Pen­ta­tonic and the Blues scale will work great too. You could also try out­lin­ing the ar­peg­gios for the three chords Cm7

(C-Eb-G-Bb), (F-Ab-C-Eb) Fm7

(G-Bb-D-F). and Gm7

➋ A Mixoly­dian Groove

This track is based on a two-chord vamp; A and G/A, which cre­ates a specif­i­cally Mixoly­dian con­text. A Mixoly­dian mode is the 5th mode of the D Ma­jor scale and con­tains the notes A-B-C#-D-E-F#-G. I rec­om­mend play­ing around with the Pen­ta­tonic scales in­her­ent in this har­monic con­text, namely: Em Pen­ta­tonic (E-G-A-B-D), F#m Pen­ta­tonic (F#-A-B-C#-E), and Bm Pen­ta­tonic (B-D-E-F#-A).

➌ Bossa I-II-V (Am)

This bossa style track fea­tures a con­tin­u­ous loop of two bars on the Im chord (Am), fol­lowed by one

IIm7b5 (Bm7b5) bar on the and one

V7b9 (E7b9). bar on the chord I sug­gest us­ing A Mi­nor scale (A-B-C-D-E-F-G) for the first two chords and then A Har­monic Mi­nor (A-B-C-D-E-F-G#) for the fi­nal V chord. No­tice that only one note changes: the G be­comes a G#, which ef­fec­tively ‘pulls to­wards’ and re­solves on the fol­low­ing Am chord.

➍ Funky Blues (E)

Here we have a stan­dard 12-bar blues pro­gres­sion in E with a lovely funky feel and groove. To make it sound great try mix­ing E Ma­jor Pen­ta­tonic (E-F#-G#B-C#) with E Mi­nor Pen­ta­tonic (E-G-A-B-D) for some nice bluesy colours in your solo­ing. Ma­jor Pen­ta­tonic works best on the I chord (E9) and V chord (B7), whereas the Mi­nor Pen­ta­tonic works best on the IV chord (A7).

(Bb) Add the for ex­tra flavour.

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