Learn how to Jam:Learn “why” things work when determining soloing avenues and all about how to jam over the G minor blues jam track using pentatonic and natural minor scales.

All about key signature:Learn the importance of major and minor key as well as how to jam over the minor key jam track.

Pentatonic & Blues scale use:Learn key pentatonic and blues scale shapes as well as how to apply them over the jam track - scale diagrams included!

Learn the choices when soloing:Learn what soloing avenues are possible. Also building solos by playing what relates to the whole song, or by treating each chord as a separate event.

Learn about Natural Minor Scales:Learn how to apply the natural minor scale over a jam track as well as fast ways to find the scale positions in all keys - scale diagrams included!

Learn the two key points to determine soloing avenues.

And much more!

“Tones    sound  and    roar    and  storm    about    me  until    I    have    set  them    down    in  notes”~Ludwig    van  Beethoven

   ©  2014  all  rights  reserved  -­‐  Unauthorized  copying  or  distribution  prohibited

“Music    is    what  feelings    sound  like”~Author  Unknown

This eBook goes with the G minor blues jam track included in a recent email. It’s a great sounding track that is fun to play over while honing and developing your lead guitar skills to a sharp edge.

My goal is to help you to understand the “why” things work when jamming. I want to arm you with the necessary tools so you will feel comfortable and confident to jam over any progression or track. In this eBook we will use this Gm blues jam track as a template.

First, I will discuss key signature and chord analysis. Then we will move making choices when soloing, followed by the G minor blues jam track lesson. These lessons will include how to use Pentatonic, Blues, and Natural Minor Scales.

The materials discussed throughout this eBook are guidelines to get you started, they are not rules forged in stone. Often you have to use your discretion when jamming. It is important to learn the principles and techniques to have a solid jump off point. This will allow you to get creative and bend the rules while developing your own style.

If it sounds good…..itis good!

You can let your ear guide you while you play. Remember that if it sounds good……it IS good.

For lead guitar it’s absolutely critical to understand the “why” part of how things work. Understanding the “whys” and practicing using jam tracks will eventually give you the lead guitar confidence to solo over any jam.

Jam tracks are an invaluable tool for the practicing guitarist. They force you to jam within a musical context. I highly recommend collecting great sounding jam tracks in different keys and tempos and add them to your daily practice routine.

Always analyze the chord progression. It’s the chords

that give the complete roadmap that unlocks

the soloing & improvisational avenues.

Determine the key signature. Often you will be soloing in

major or minor key. Knowing the key is the first step. Even when you are just noodling

around on the guitar, always know the key in which you

are playing.

Keep in mind that after learning the “whys” there needs to come a point when you take a break from learning scales and theory and just play music. Music is so much more than just the logical application of theories and melodies. There is a human emotional element to music and that is what you want to get across in your playing. So yes, practice up, but strike a balance and then just play and have FUN!

THE CHOICES WHEN SOLOING:When soloing or improvising there are TWO CHOICES:

1. Solo with “what relates to all” – use the same scale/mode over all the chords. No matter what chord is sounding, play the same scale over each chord. You play what works over ALL the chords.

This is the most common choice and definitely what most players do when first developing their soloing skills. Start with what relates to all. Get proficient at this before moving on to the next choice.

OR YOU CAN:2. “Treat each chord like a separate event” - this choice is more challenging but yields a more sophisticated sound. By treating each chord as a separate event you solo with a different scale or mode over each chord. You change your scale or mode with each chord change. You don’t stay within the confines of the same scale as with “what relates to all”.

With this approach you must listen to what is going on underneath your soloing. You have to listen to which chords are sounding and also for the changes. Then you time your playing and change your scales depending on which chord you are soloing over.

Employ this technique when you have enough time on a given chord. If the chords are flying by fast, you wont have enough time to treat each as a separate event.

This technique takes practice but it will skyrocket your playing to the next level. Practice this technique with slow tempo progressions where there is lots of time on each chord and remember to listen for the changes.

KEY POINT: The above two choices are NOT mutually exclusive, you can mix them both together. Treat each chord as a separate event for a while, then switch it up and play what relates to all.

Be creative and keep in mind that there is no substitute for learning scales and studying

the sounds and relationships

between chords and scales. Also, keep developing your

ear, practice using jam tracks and

continually push yourself to the next level. Stay positive,

you can do it!

THE JAM TRACKTrack Title - G minor blues

Chords: Gm7 - Cm7 – Eb - D turnaround on D7#9

Tempo - 82 BPM Key – G minor

Time - 3:36 min

This blues jam is in the key of G minor. This is a minor key blues, not the easily identifiable major key 12-bar standard I-IV-V which is so common in blues music. In this case we want to be thinking more in minor key.

Remember, it’s the chords that give you the full roadmap to what to try when soloing and improvising. Get in the habit of always analyzing the chords.

In this jam the chords are moving by fairly slow, so it’s great for treating each chord as a separate event. Remember, if the chords are flying by fast you don’t have enough time to solo on each chord independently. In those cases you would be playing more of what relates to all.

1. What Relates to all the chords:

A. G Minor Pentatonic & Blues Scales - whether you are playing over the Gm7, Cm7, or Eb chords, solo with G Minor Pentatonic & Blues scales. (Be careful around the D major chord as it’s a V major chord in a minor key progression)

B. G Natural Minor Scales, (G Aeolian mode) - In minor key a minor mode usually relates to all the chords. Since we are in minor key and the IV chord is minor (Cm7), we can play G Natural Minor scales over all the chords.

C. Mix both G Aeolian and G Minor Pentatonic & Blues Scales over all the chords for some killer sounds.

Minor Pentatonic & Blues Scales -

4 great applications:

1. Over all chords in minor key (except a major V chord)

2. Over any minor type chord when treating each chord as a

separate event

3. Over all the chords in major key I-IV-V blues jams, swings,

and shuffles

4. Over all the chords in rock jams or jams using power or 5th chords, (except major sounding

jams and ballads)

Soloing in minor key:When playing over all the chords in minor key, (what

relates to all), you can always use Natural Minor Scales,

(Aeolian Mode), UNLESS there is a major IV chord or a minor ii chord, in those cases use the

Dorian Mode.

2. Treating each chord as a separate event: In this jam there is lots of time on most of the chords because they change fairly slow. Slow changing chords provide great opportunity to treat each chord as a separate event.

Don’t worry if you dont know all the options listed below. Try what you are comfortable with at this point in your guitar journey and the other options can be attempted down the road in your playing.

A. Over the Gm7 chord try G Minor Pentatonic & Blues, G Natural Minor, G Dorian, or G minor arpeggios.

B. Over the Cm7 chord try C Minor Pentatonic & Blues, C Natural Minor, C Dorian or C minor arpeggios.

C. Over the Eb chord try some Eb major licks or an Eb major arpeggio.

D. Over the D chord try some D major licks or a D major arpeggio, or G Harmonic Minor Scale, Harmonic Minor works killer over the V chord in a minor key progression.

E. On the turnaround D7#9 chord, treat that chord like a minor chord and play Minor Pentatonic & Blues or Natural Minor.

*Note - remember you don’t have a lot of time on the Eb and D chords.There is just enough time to rip a cool major lick or arpeggio over each chord. Be sure to get off in time when the chords change so you don’t get caught playing the wrong scale over the wrong chord.

If it sounds good…..itis good!

Always analyze the chord progression. It’s the chords

that give the complete roadmap that unlocks

the soloing & improvisational avenues.

Determine the key signature. Often you will be soloing in

major or minor key. Knowing the key is the first step. Even when you are just noodling

around on the guitar, always know the key in which you

are playing.

Put the track on and just get lost in it. At first dont try and do too much, leave lots of space. Remember, it’s not just what you play, but also what you dont play.

This track is a slow blues jam so be sure to use lots of bends and vibrato. Milk those half step bends and really work the notes. If you are not sure of the scales I have them diagrammed out in the coming pages of this eBook. Get creative and most of all HAVE FUN!

Steps to determine soloing avenues for the Gm blues jam:1. Determine the key signature - most of the time you will be soloing in minor key or major key. Knowing the key is the first step. In this jam we are in the key of G minor.

2. Analyze the chord progression – it’s the chords that will give you the roadmap to what you can utilize for soloing. The chords in this jam are Gm7 - Cm7 – Eb - D, turnaround on D7#9.

If a jam is in minor key or if it’s a major key I-IV-V blues, swing, or shuffle you can solo using Minor Pentatonic & Blues over all the chords. An exception to this rule is if there is a major V chord, then one option is to use Harmonic Minor over just that chord. In this jam we can solo with G minor pentatonic & blues scales over all the chords and G harmonic minor over the D chord.

Usually a minor mode will work over all the chords in a minor key jam, either Aeolian, (Natural Minor), or Dorian. To determine which one will work over all the chords you have to analyze the chords and apply the minor key rule: When playing over all the chords in minor key, (what relates to all), you can always use Natural Minor UNLESS there is a major IV chord or a minor ii chord, in those cases use the Dorian Mode. In this jam we are in minor key and have no major IV chord or minor ii chord. Actually the IV chord is minor, (Cm7) and there is no ii chord, so we can use Natural Minor Scales over the chords. So we have determined over this G minor blues jam that we can solo with the G minor pentatonic & blues scales as well as the G natural minor scale.

Two main choices when soloing:1. Play “what relates to all” – solo with the same scale or same mode over all the chords. No matter what chord is being played in the progression you play the same scale or mode over each chord. You are playing what works over ALL the chords. Try G minor pentatonic & blues scales over all the chords and also G Natural minor scales over all the chords. Be careful over the D chord.

2. “Treat each chord like a separate event” - By treating each chord as a separate event you solo with a different scale or mode over each chord. You change your scale with each chord change.

Because the chords are changing slowly there is time to play over each one separately. Try changing the root of the scale to match the root over the chord. There is so much you can try here. Try C minor pentatonic, Blues, and C Natural Minor over the Cm7 chord. Try Eb major arpeggio over the Eb chord and D major arpeggio over the D chord. Get creative as these are just a few suggestions of the infinite possibilities!

Low E-string root(first finger)

4

11

3 3

4

11 2

3

1

4

2

1

1 1

33

4 4 4

3

A-string root(first finger)

111

22

3

4 4 4

fingering to root note be utilized

#

THE NATURAL MINOR SCALE:

The Natural Minor Scale is a seven-note scale often used in blues, rock and many other musical genres. It is also called Pure Minor or the Aeolian Mode.

If you only use pentatonic scales, try adding Natural Minor to your playing repertoire. It adds melodic half steps and also additional lick and string bending opportunities. The scale produces a beautiful dark, minor, and modern sound that is very different sounding than minor pentatonic.

Minor pentatonic takes it’s five notes from the Natural Minor Scale. Natural Minor adds the 2nd and b6 to Minor Pentatonic. The scale degrees are 1, 2, b3, 4, 5, b6, and b7.

For application, play this scale over minor chords when treating each chord as a separate event. Also utilize Natural Minor over ALL the chords in a minor key jam UNLESS the IV chord is major, the ii chord is minor.

Illustrated on the right are two moveable scale patterns for Natural Minor. The first one has the low root note on the low E-string and the second has the low root on the A-string.

These two patterns are easy and fast to find by utilizing your first finger on the low root. Commit these to memory and eventually learn the scale over the entire neck.

Try G Natural Minor over the G minor blues jam track. To play the first shape in G minor put your first finger on the 3rd fret of the low E-string. That is a G note. Then play the shape as per the diagram.

To play the second shape in G minor put your first finger on the 10th fret of the A-string. That is a G note. Then play the shape as per the diagram. To play these scales in other keys just move that first finger to the desired root note and blast away from there - remember they are moveable shapes!

Make a mental note when you pass through a root note as they are great notes to land on to resolve your licks.

#1 Box

1

4

33

111

4

2

4

1 1

3

4

root notes

#

blue notes (b5)

fingering to utilize

Pentatonic & Blues scales are some of the most commonly used scales in all genres of music. The Minor Pentatonic scale is constructed of five notes from the Natural Minor Scale, (root or 1, b3rd, 4th, 5th, b7th).

We can add the flat 5, (b5), or blue note, making it a six-note scale called the Blues Scale. The blue note adds tension and color to the scale. These are “must-know” scales especially for blues and rock.

There are five box shapes illustrated below that cover the entire neck with the #1 box being the most common shape. These five shapes are the architecture on which to build licks and runs as well as to connect into longer expanded scales. To work freely across the entire neck you will want to memorize all five positions as well as the two expanded positions taught on the next page in this eBook.

Much like moveable bar chords these scale shapes are moveable. The key signature is determined by the root notes illustrated in black. For example, if you want to solo in the key of G minor over all the chords in the jam track then play box #1 using your first finger starting at the third fret on the low E-string. Third fret low-E string is a G note, that makes the scale a G Minor Pentatonic & Blues scale, (G, Bb, C, D, F).

If you want to solo in C Minor Pentatonic & Blues, perhaps over the Cm7 chord in the jam track. Play box #1 using your first finger starting at the eighth fret on the low E-string. Eighth fret low-E string is a C note, that makes the scale a C Minor Pentatonic & Blues scale, (C, Eb, F, G, Bb)

Please remember that along with knowing the scale shapes it is also critical to memorize what notes you are playing. Too often, guitarists memorize only shapes and forget what notes they are actually playing. Don’t just learn shapes, take the time to also learn the notes. In the end it will make you a better musician.

To avoid getting stuck in one position, be sure to learn ALL the shapes and practice them in different keys over various jam tracks. Be creative and give yourself plenty of “fun time” on that guitar!

4

3

1

4

2

4

2

4 44

2

1

2

#5 Box

1

1

3

4

1

1

3

2

4

4

34

1

2

#2 Box

#4 Box

4

3 3

2

11

4

2

4

1 1

4

1

#3 Box

11

43

1

1

3

1

3

2

3

1

2

44

Minor Pentatonic & Blues Expanded II Scale:(combines box shapes #3,#4,#5)

Minor Pentatonic & Blues Expanded I Scale:

(combines box shapes #5,#1,#2 )

1 1 13

2

1

3 3

1

1 1

3

3

1

2

3

4

root notes

#

blue notes (b5)

fingering to utilize

1 13

2

3 3

1

1

1

3

2

2

1 1

3

1

3

Just like the box patterns these expanded scales are moveable. Again, the root note determines the key.

Same principle applies to finding these scales in the proper key. To play these in G minor over all the chords in the G minor blues jam, first find the G notes.

To play the expanded I scale in G minor, start with your third finger on the 3rd fret of the low E-string and play the shape from there. That third fret low E-string is a G-note.

To play the expanded II scale in G minor, start with your third finger on the 10th fret of the A-string and play the shape from there. The 10th fret A-string is a G-note.

Remember to locate these scales fast just find the low root note. The expanded I uses 3rd finger root on the low E-string and the expanded II uses 3rd finger root on the A-string. Find the root notes and blast away from there!

Let’s build on the minor pentatonic & blues scale that you learned in the previous lesson. Now we will expand the scale two frets in each direction thus combining three box shapes and doubling the playing area. These expanded scales will get you playing ACROSS the neck and eliminate the “stuck in the box” scenario.

We are still going to play the same six-note scale. However, the expanded scale exudes a much more fluid sound and sets up more additional runs and licks than just staying solely in one box shape. You certainly want to have all the box patterns in your arsenal, but these expanded scales really open the pathways and lead guitar avenues. You will find yourself using these expanded scales all the time – they are invaluable.

When analyzing the expanded scales illustrated below you can see part of the box patterns encapsulated within the longer shapes. The shape is expanded two frets in each direction combining three adjacent boxes. The expanded I scale combines boxes 5, 1, and 2 while the expanded II scale combines boxes 3, 4, and 5.

These expanded scales give you Pentatonic shapes that double the fret span of the box patterns. Practice these in different keys and add them to your playing arsenal.

I hope this eBook and coinciding jam track will help you along in your guitar journey. As a teacher my goal is to educate, empower, and inspire students to help them reach their guitar and musical goals.

I wish you all the best in all your musical endeavors. Please feel free to email me any questions at the email address listed below. Keep up all the hard work on that guitar and remember that your guitar playing is an evolution. It takes time, patience, and dedication. Go after your dreams, both musical and otherwise, like your life depends on it……because it does!

Take care, rock on, and swing for the fences!-David Taub, co-creatorNext Level Guitar Inc.

Check out our full-on video instructional website at:http://www.nextlevelguitar.com

The site has over 1500 video lessons, written lessons, jam tracks, and much more! Its a complete structured guitar curriculum for all level players and all genres of music - check it out today!

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