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Guitar Techniques - - INTRO -

Slow D Mi­nor Blues

Let’s start with this easy-to-play-on mi­nor Blues, which has a touch of Gary Moore about it. Use D Mi­nor Pen­ta­tonic (D-F-G-A-C) and D Mi­nor

(D-E-F-G-A-Bb-C) scale - Gary loved mix­ing the two. You can also use D

(D-E-F-G-A-Bb-C#) Har­monic Mi­nor to great ef­fect on the A chords, adding that cru­cial C# note, which leads nicely back to the D.

2-5-1 Jazz Jam (Cm)

Prac­tice track for that most clas­sic Jazz pro­gres­sion, the II-V-I. Use C Mi­nor scale (C-D-Eb-F-G-A -B ) for

(Dm7b5) the two and one (Cm7) chords and then C Har­monic Mi­nor (C-D-Eb-F-G-Ab-B)

for the five (G7) chords. The arpeg­gios will help

Dm7b5 (D-F-Ab-C), tremen­dously: G7

(C-Eb-G-Bb). (G-B-D-F) and Cm7

Groovin’on G Do­rian

As the ti­tle sug­gest, G Do­rian mode (G-A-Bb-C-D-E-F)

cov­ers it all here, al­though the sim­pler G Mi­nor

(G-Bb-C-D-F) Pen­ta­tonic can be used to great ef­fect. The pro­gres­sion is Gm7 to C7 and it’s worth play­ing around with the arpeg­gios too – those be­ing

(G-Bb-D-F) (C-E-G-Bb). Gm7 and C7

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