Here is a practice track for practicing your myxolidian mode. Seventh chords occur as the chord built on the 5th degree of the major scale, and usually resolve to the Tonic chord, or the 1 chord of the major key. However in the blues and modal tunes, their may be no such resolution. There may be a change to another 7th chord. Or as in this track, there is just one chord the whole way. Notice how interest is built by having a melodic rhythm backing that varies.
The track is built on the D7 chord. So use the myxolidian mode of the G major scale. Or in other words, a D major scale with a flattened 7th. And listen to the next bass track as well, if you want to hear my ideas for soloing!
Here is the track without a bass line for the bass players. Listen to the other track too, with my Bass line, and see if you can copy aspects of it!
Here is a practice track for guitar players in the key of G minor. Its a G minor groove built around a Gm7 chord. Perfect for jamming away on a G minor pentatonic scale. For a different flavour, try a G dorian (Dorian mode of F major) or a G natural minor.
Here is the same track minus the bass line, and with a lead guitar part, especially for Bass players to jam away on. Try coming up with your own bass lines. Also see if you can hear my bass line from the track above, and reproduce it. The chromatically desending organ line that comes around periodically sounds extra good if you double that on the bass.
Hi Here is a practice track for Bass players. Building on our G major scale knowledge, this track uses an Am7 and a Bm7 chord, the II chord and the III chord of the G major scale. Start building a bass line with your root notes, and when you are comfortable with knowing where all your rote notes are in a position, add other chord tones. To find the chord notes, first you need to know your G major scale. Then starting at the root note of the chord, take every second note up the scale for four notes. These are the chord notes!
The track follows this sequence, and the first chord you here is Bm7.
Here is a practice track for Bass Players in C major. The Chords are
||:C | |F | :||
Try playing a bass line with just the root notes first, and when you can hear the chord changes well, try putting in some runs with the C major scale. You can also try working off your chord tones… the 1,3 and 5 of each chord. It sounds good adding a 6th or a 2nd to the chord tones as well. Experiment and have some fun!
Here is another practice track for the bass players. It is an E 12 Bar blues. The rhythm part is played with all dominant 7th chords, while the lead guitar plays with the E minor pentatonic scale. Here are the chords:-
|E7 | | | |
|A7 | |E7 | |
|B7 |A7 |E7 |E7 |
Try constructing bass lines from your dominant 7th chord arpeggios. Add in the 6th for a classic blues bass line. For your runs, try the the myxolydian mode from the root of each chord.
This practice track is intended for bass players who are getting to grips with there II-V-I progressions. The key is G major, with a basic jazz feel, the backing track contains guitar playing the chords and drums doing a slow tempo swing. The chords are
||: Am7 |D7 |Gmaj7 | : ||
You can try some of the following exercises:
(1) Play the root note of each chord on beat one of each bar. Find as many different root notes as you can in different regions of the neck.
(2) Modify exercise 1 by playing up or down the scale from the root note when you land on the chord Gmaj7. Play one neat per beat.
(3) Repeat exercise 2, but playing up or down from the root note of the other chords.
(4) Try playing up or down from the root notes of each chord in the progression.
(5) Once the first four exercises are going comfortably, try exercise 1 again, but this time land on the 3rd of each chord. Repeat exercise 3 and 4, but playing up or down from the 3rd.
(6) Repeat exercise (5), but landing on the 5th, and again landing on the 7th.
Repeat all exercises using all 5 moveable major scale fingerings, and the open fingering.
I thought it would be cool for my bass students to play along with a track that I am working on for an album by “The Robert Bloodwood Experience”, which is the name of my blues and groove band. So I have taken out the bass and the vocals, leaving just the drums and guitars.
It is predominantly an E minor groove, occasionally changing to G and then to A. See if you can figure out where by listening. Play along using the E minor Pentatonic scale. Remember that simple with a good feel is often the best option for bass.
Here is a practice track for bass players. It is in the key of G minor, at a medium tempo. There is only one chord – a G minor played throughout, but interest is created by interspersing rhythm accompaniments and lead tracks using various guitar sounds and organ styles. This track is ideal for sharpening up the G minor pentatonic chops. The minor pentatonic scale is great for all kinds of groove based music, and is also useful for rock and blues as well. There is no bass line recorded on this track, so see if you can play along, and create some bass lines using the G minor Pentatonic scale. A good rule of thumb to start with is to play the root note on beat one of each bar. Have fun exploring!
If you are not familiar with the G minor pentatonic scale, here is a fret board diagram. It shows two scale shapes that you can play with just fingers 1 and 3, which is easiest for less experienced players. In each case, start with your third finger on a G, and use your first finger to slide between fret one and fret 3 on the A string, or fret 8 and 10 on the D string.
Here is another practice track for beginning guitarists wanting to sharpen up their E minor pentatonic scale! It is a 16 bar pattern:
|Em | | | |
|Am | | | |
|Em | | | |
|B | | | : ||
It is at a pretty slow pace, around 55bpm, so you can relax and concentrate on getting the right notes sounding good. In case you need a reminder, here is the E minor pentatonic scale in open position: