nlg g minor blues jamtrack ebook

8/12/2019 NLG G Minor Blues Jamtrack eBook

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Learn how to Jam:

Learn why things work when determining

soloing avenues and all about how to jam ov

the G minor blues jam track using pentaton

and natural minor scales.

All about key signature:

Learn the importance of major and minor k

as well as how to jam over the minor key ja

track.

Pentatonic & Blues scale use:

Learn key pentatonic and blues scale shapeswell as how to apply them over the jam trac

scale diagrams included!

Learn the choices when soloing:

Learn what soloing avenues are possible. Als

building solos by playing what relates to the

whole song, or by treating each chord as a

separate event.

Learn about Natural Minor Scal

Learn how to apply the natural minor scale

over a jam track as well as fast ways to find scale positions in all keys - scale diagrams

included!

Learn the two key points to

determine soloing avenues.

And much more!

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his eBook goes with the G minor blues jam track included in aecent email. Its 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 whenamming. I want to arm you with the necessary tools so you will feelomfortable and confident to jam over any progression or track. Inhis eBook we will use this Gm blues jam track as a template.

irst, I will discuss key signature and chord analysis. Then we willmove making choices when soloing, followed by the G minor bluesam track lesson. These lessons will include how to use Pentatonic,lues, and Natural Minor Scales.

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

If it sounds good!..itis good!

You can let your ear guide you while you play. Remember that if it

ounds good!!

it ISgood.

or lead guitar its absolutely critical to understand the why part ofow things work. Understanding the whys and practicing using

am tracks will eventually give you the lead guitar confidence toolo over any jam.

am tracks are an invaluable tool for the practicing guitarist. Theyorce you to jam within a musical context. I highly recommendollecting great sounding jam tracks in different keys and temposnd add them to your daily practice routine.

Always analyze the choprogression. Its the chor

that give the completeroadmap that unlocks

the soloing & improvisatioavenues.

Determine the key signatOften you will be soloing

major or minor key. Knowthe key is the first step. Ewhen you are just noodl

around on the guitar, alw

know the key in which yare playing.

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


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

. Solo with what relates to all use the same scale/mode overll the chords. No matter what chord is sounding, play the samecale over each chord. You play what works overALLthe chords.

his is the most common choice and definitely what most playerso when first developing their soloing skills. Start with what relates

o all. Get proficient at this before moving on to the next choice.

OR YOU CAN:

. Treat each chord like a separate event - this choice is morehallenging but yields a more sophisticated sound. By treatingach chord as a separate event you solo with a different scale or

mode over each chord. You change your scale or mode with eachhord change. You dont stay within the confines of the samecale as with what relates to all.

With this approach you must listen to what is going on underneath

our soloing. You have to listen to which chords are sounding andlso for the changes. Then you time your playing and change yourcales depending on which chord you are soloing over.

mploy this technique when you have enough time on a givenhord. If the chords are flying by fast, you wont have enough timeo treat each as a separate event.

his technique takes practice but it will skyrocket your playing tohe next level. Practice this technique with slow temporogressions where there is lots of time on each chord and

emember to listen for the changes.

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

Be creative and keein mind that there is substitute for learninscales and studying

the sounds andrelationships

between chords anscales. Also, keepdeveloping your

ear, practice usingjam tracks andcontinually push

yourself to the nexlevel. Stay positive

you can do it!


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THE JAM TRACK

Track Title - G minor blues

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

Tempo - 82 BPM Key G minor

Time - 3:36 min

his blues jam is in the key of G minor. This is a minor keylues, not the easily identifiable major key 12-bar standardIV-V which is so common in blues music. In this case we

want to be thinking more in minor key.

Remember, its the chords that give you the full roadmap towhat to try when soloing and improvising. Get in the habit oflways analyzing the chords.

n this jam the chords are moving by fairly slow, so its greator treating each chord as a separate event. Remember, ifhe chords are flying by fast you dont have enough time toolo on each chord independently. In those cases you would

e playing more of what relates to all.

1. What Relates to all the chords:

A. G Minor Pentatonic & Blues Scales - whether you arelaying over the Gm7, Cm7, or Eb chords, solo with G Minor

Pentatonic & Blues scales. (Be careful around the D majorhord as its a V major chord in a minor key progression)

B. G Natural Minor Scales, (G Aeolian mode) - In minor keyminor mode usually relates to all the chords. Since we are

n minor key and the IV chord is minor (Cm7), we can play GNatural Minor scales over all the chords.

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

Minor Pentatonic &

Blues Scales -

4 great application

1. Over all chords in minor ke

(except a major V chord)

2. Over any minor type chor

when treating each chord as

separate event

3. Over all the chords in maj

key I-IV-V blues jams, swingand shuffles

4. Over all the chords in roc

jams or jams using power or 5

chords, (except major soundi

jams and ballads)

Soloing in minor ke

When playing over all thechords in minor key, (what

relates to all), you can alway

use Natural Minor Scales,

(Aeolian Mode), UNLESSthe

is a major IV chord or a mino

chord, in those cases use th

Dorian Mode.


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2. Treating each chord as a separate event:n this jam there is lots of time on most of the chords because theyhange fairly slow. Slow changing chords provide great opportunityo treat each chord as a separate event.

Dont worry if you dont know all the options listed below. Try whatou are comfortable with at this point in your guitar journey and thether 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.

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

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

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

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

Note - remember you dont have a lot of time on the Eb and Dhords.There is just enough time to rip a cool major lick or arpeggiover each chord. Be sure to get off in time when the chords changeo you dont get caught playing the wrong scale over the wronghord.

If it sounds good!..itis good!

Always analyze the choprogression. Its the chor

that give the completeroadmap that unlocks

the soloing & improvisatioavenues.

Determine the key signatOften you will be soloing

major or minor key. Knowthe key is the first step. Ewhen you are just noodl

around on the guitar, alw

know the key in which yare playing.

ut the track on and just get lost in it. At first dont try and dooo much, leave lots of space. Remember, its not just whatou play, but also what you dont play.

his track is a slow blues jam so be sure to use lots of bendsnd vibrato. Milk those half step bends and really work theotes. If you are not sure of the scales I have themiagrammed out in the coming pages of this eBook. Getreative and most of all HAVE FUN!


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Steps to determine soloing avenues for the Gm blues jam:

. 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.

.Analyze the chord progression its the chords that will give you the roadmap to what you cantilize for soloing. The chords in this jam are Gm7 - Cm7 Eb - D, turnaround on D7#9.

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

sually a minor mode will work over all the chords in a minor key jam, either Aeolian, (Natural Minr Dorian. To determine which one will work over all the chords you have to analyze the chords pply the minor key rule: When playing over all the chords in minor key, (what relates to all), you lways use Natural Minor UNLESSthere is a major IV chord or a minor ii chord, in those cases he Dorian Mode. In this jam we are in minor key and have no major IV chord or minor ii ch

Actually the IV chord is minor, (Cm7) and there is no ii chord, so we can use Natural Minor Scver the chords. So we have determined over this G minor blues jam that we can solo with th

minor pentatonic & blues scales as well as the G natural minor scale.

Two main choices when soloing:

. Play what relates to all solo with the same scale or same mode over all the chords. No ma

what chord is being played in the progression you play the same scale or mode overeach chYou are playing what works over ALLthe chords. Try G minor pentatonic & blues scales over allhords and also G Natural minor scales over all the chords. Be careful over the D chord.

. Treat each chord like a separate event - By treating each chord as a separate event you 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 tto play over each one separately. Try changing root of the scale to match the root over the chThere is so much you can try here. Try C mpentatonic, Blues, and C Natural Minor over the Cchord. Try Eb major arpeggio over the Eb chord anmajor arpeggio over the D chord. Get creative as thare just a few suggestions of the infinite possibilities


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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 t

root note be utilize

#

THE NATURAL MINOR SCALE:

he Natural Minor Scale is a seven-note scale often used inlues, rock and many other musical genres. It is also called Pure

Minor or the Aeolian Mode.

you only use pentatonic scales, try adding Natural Minor to yourlaying repertoire. It adds melodic half steps and also additionalck and string bending opportunities. The scale produces aeautiful dark, minor, and modern sound that is very differentounding than minor pentatonic.

Minor pentatonic takes its five notes from the Natural Minorcale. Natural Minor adds the 2nd and b6 to Minor Pentatonic.he scale degrees are 1, 2, b3, 4, 5, b6, and b7.

or application, play this scale over minor chords when treatingach chord as a separate event. Also utilize Natural Minor over

ALL the chords in a minor key jam UNLESS the IV chord ismajor, the ii chord is minor.

ustrated on the right are two moveable scale patterns foratural Minor. The first one has the low root note on the low E-tring and the second has the low root on the A-string.

hese two patterns are easy and fast to find by utilizing your firstnger on the low root. Commit these to memory and eventually

earn the scale over the entire neck.

ry G Natural Minor over the G minor blues jam track. To play therst shape in G minor put your first finger on the 3rd fret of the

ow E-string. That is a G note. Then play the shape as per theiagram.

o play the second shape in G minor put your first finger on the0th fret of the A-string. That is a G note. Then play the shape aser the diagram. To play these scales in other keys just movehat first finger to the desired root note and blast away from thereremember they are moveable shapes!

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


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

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

2

2

1 1

3

1

3

ust like the box patterns thesexpanded scales are moveable.gain, the root note determines

he key.

ame principle applies to findinghese scales in the proper key.o play these in G minor over all

he chords in the G minor blues

am, first find the G notes.

o play the expanded I scale in Gminor, start with your third fingern the 3rd fret of the low E-stringnd play the shape from there.hat third fret low E-string is a G-ote.

o play the expanded II scale inG minor, start with your third

nger on the 10th fret of the A-tring and play the shape fromhere. The 10th fret A-string is aG-note.

Remember to locate these scalesast just find the low root note.he expanded I uses 3rd finger

oot on the low E-string and thexpanded II uses 3rd finger rootn the A-string. Find the root

otes and blast away from there!

ets build on the minor pentatonic & blues scale that you learned in the previous lesson. Now we will exphe scale two frets in each direction thus combining three box shapes and doubling the playing area. Th

xpanded 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 ound and sets up more additional runs and licks than just staying solely in one box shape. You cert

want to have all the box patterns in your arsenal, but these expanded scales really open the pathways ead 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 encapsulwithin the longer shapes. The shape is expanded two frets in each direction combining three adjacent bo

he expanded I scale combines boxes 5, 1, and 2 while the expanded II scale combines boxes 3, 4, and 5

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


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hope this eBook and coinciding jam track will help you along in your guitar journey. As a teacher

oal is to educate, empower, and inspire students to help them reach their guitar and musical goa

wish you all the best in all your musical endeavors. Please feel free to email me any questionhe email address listed below. Keep up all the hard work on that guitar and remember that y

uitar playing is an evolution. It takes time, patience, and dedication. Go after your dreams, b

musical and otherwise, like your life depends on itbecause it does!

ake care, rock on, and swing for the fences!

David Taub, co-creator

Next 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 comple

structured guitar curriculum for all level players and all genres of music - check it out today!

Questions? Email us at [email protected]

Check out all our DVD and other instructional products at http://www.nextlevelguitar.com/shop

2014 all rights reserved - Unauthorized copying or distribution is prohibited

Next Level Guitar Inc.
http://www.nextlevelguitar.com/http://www.nextlevelguitar.com/shophttp://www.nextlevelguitar.com/

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