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Guitar Techniques - - INTRO -

Chicago Blues Shuf­fle (C)

Here’s a fun Chicago style shuf­fle to get us started. You can mix C Mi­nor

(C-Eb-F-G-Bb) Pen­ta­tonic and C Ma­jor Pen­ta­tonic (C-D-E-G-A) for that clas­sic blues vibe. Know­ing the main 7th arpeg­gios will also come in

(C-E-G-Bb), handy: C7 F7 (F-A-CEb)

and G7 (G-B-D-F). En­joy!

Al­tered Scale Groove Jam (Am)

This track was made for prac­tis­ing the art of mu­si­cal ten­sion & re­lease. Re­lease = A mi­nor chords Tten­sion = E7alt chords. Use A Mi­nor Pen­ta­tonic (A-C-DE-G), A Mi­nor (A-B-C-D-E-F-G) and A Do­rian (A-B-C-D-E-F#-G) as your ‘re­lease’ and E Al­tered scale (E-F-G-G#-Bb-C-D)

for the E7alt chords as your ‘ten­sion’.

G Jazz-Blues

This is a stan­dard jazz-blues pro­gres­sion, but as it’s ba­si­cally just a slighly more so­phis­ti­cated blues you can use G Mi­nor Blues scale (G-Bb-C-C#-D-F)

as your go-to scale, adding in some G Ma­jor Pen­ta­tonic too (G-A-B-D-E). How­ever, the real jazzy colours don’t come out till you start chas­ing the chord tones and adding chro­matic ideas as well.

Blues Bal­lad (Bm)

Slow Blues in B Mi­nor with an F#-G-F# turn­around. Use B Mi­nor Pen­ta­tonic (B-D-E-F#-A) as a b5 start­ing point, adding the (F) to the mix as well. The ba­sic tri­ads will come in handy: Bm (B-D-F#); Em (E-G-B); F# (F#-A#-C#); and G (G-B-D). You can also search for ‘Bm Blues quist­jam’ on YouTube to watch and learn a solo for this track.

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