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Practice Track: A Minor Blues

Here is a practice track for beginning or intermediate guitarists to sharpen up their minor blues solos. The Key is A minor – so use the A minor Pentatonic. For a more sophisticated approach, you can also make excursions into the D minor Pentatonic over the D minor Chord. For the E7 chord, try an E minor pentatonic, with some half tone bending on the G! That will take the G up to a G# to match the chord tone in the E7 chord (E, G#, B, D)

Another approach is to use the A natural minor scale, switching to the A harmonic minor scale (or just bending the G’s to G#) over the E7. The tempo is slow and the rhythm is steady to give you plenty of scope for exploring.

A minor Blues

|Am         |               |                 |                    |

|Dm         |               |Am           |                    |

|E7           |Dm         |Am           |                    |

The chords are a standard blues progression, but in a modern style, there is no final E7 chord in bar 12. Instead you will hear four distinctive organ stabs to alert you that you are coming back to the top again.

 

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Practice Track: Groove 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!

Bass_Gm_Grrove

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.

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Practice Track: Finger Picking Blues

This practice track provides a finger style blues rhythm backing, ready for your improvisations using the E minor pentatonic scale. The chords are

||:E7         |               |A7          |             : ||

You can also try combining the E7 and A7 arpeggios over the appropriate chord, to augment the minor pentatonic. There is plenty of room for the so called “blue” notes in this style – the b3 (G), the b5 (Bb) and the b7 (D). Experiment with hammer on’s, pull offs, and combinations of hammer ons and pull offs, using them to lock into the triplet feel. Bends and reverse bends sound good on the b3 (G), the 4 (A) and the b7 (D), but stick to reverse bending the A on the A chord!

Play with these ideas, and ideas of your own, and explore what sounds good to you!

Finger Picking Blues Rhythm Track

 

 

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Practice Track: Waves of the Danube

This is a practice track for beginning to intermediate guitarists and bass players! The Waves of the Danube was also recorded as “Anniversary Song” and appears under that name in the recordings of jazz guitarist Django Reinhardt. This track is at a very slow 90 bpm, so beginning and intermediate players can work the changes with plenty of time to get their arpeggios working! In Gypsy Jazz circles, it is played much more quickly, but you have to practice slow in order to play quick! Enjoy!

Waves of the Danube

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Practice Track for Bassists: D Dorian.

This is a practice track for beginning and intermediate bassists. It is a simple slow rock rhythm track, with drums and two rhythm guitars. The chords are D minor and G:

||: Dm       |           |G           |             : ||

Start by using the root notes of each chord, and play on beat one of each bar. See if you can add to the groove with where you put your notes – listen in particular to the bass drum, and see if you can synchronize with it.

When you are comfortable with this, add the fifths of each chord (A for the D minor, and D for the G).

Then see if you can incorporate the thirds of each chord ( F for D minor and B for G).

For walking bass lines and riffs, experiment with the D minor pentatonic scale, and the Dorian mode of the C major scale.

Dm_G_slow_rock

Enjoy!

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Practice Track: E minor Pentatonic

One of the most important scales to learn for guitarists interested in rock and blues is the minor pentatonic scale. To help you polish up your licks using the E minor pentatonic scale, here is a practice track in a rock style to help you out. Here is the scale in first position: numbers indicate the fingers to use, and the squares show where the “E’s” are.

When you have memorised the scale, fire up the following practice track and see if you can play along!

Em pentatonic practice track

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Practice track for bassists

Here is a practice track for bassists interested in playing jazz. One of the fundamental building blocks of jazz is the ii-V-I progression, and practicing the ii-V-I progression in every key should be a must for every aspiring jazz musician! So here is a start for bass players, a slow (90 bpm) ii-V-I in the key of Eb, comprising a basic drum track with some rhythm guitar. Practice your walking bass lines, and then let loose with your solo ideas. First you will need to have the Eb major scale under your fingers. In the following fretboard diagram, the squares represent the tonic, or the Eb. Start with the open position scale pattern, and once you know this very well, add the 3rd position scale pattern. Once that one is known, add the next, until you have a command of all the scale patterns. If you have got that far, there is an additional scale pattern corresponding to the open position up an octave I have left you to work out for yourself! These fingerings and scale patterns are for electric bass. If you are learning double bass, use your double bass fingering patterns which are a bit different.

Once you have one (or more) of the scale patterns above under your fingers, use the practice track to explore the progression.  I would suggest identifying the root note of each chord first, and then the third, fifth and seventh of each chord. Have fun!

Eb flat ii-V-I practice track

 

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Practice Track: G major – Folk Rock

Here is a practice track in a folk rock style, based on the chords to “Knockin’ on Heaven’s Door”, a perennial guitar favorite – mainly because the chords are very easy:

||:G      | D       |C        |         |G      |D       |Am       |Am       : ||

To solo over these chords the best place to start is in the key of G major, as all the chords  contain only notes from that key.  So get the G major scale under your fingers, and make use of the following track to hone your improvising skills!

G major practice track

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Practice track for Bassists

This is a practice track for beginning and intermediate bass players who are interested in playing jazz styles. I have taken the following four chords:

||:Am7 |D7 |Gmaj7 |Cmaj7 : ||

which are the chords ii V I IV in the key of G major.

These chords are common in many jazz style progressions, and can be found, for example, in the first four bars of Autumn Leaves. To construct a bass line over these chords, take the following steps.

(1) First have the G major scale under your fingers. You can use the open position, or any moveable scale shapes that you know.

(2) Play through the progression playing the tonic of each chord on beat one of each bar.

This very simple bass line is the foundation upon which many things can be built. To this we can add a note leading into each new chord.

(3) On beat 4 of each bar play the note of the G major scale below the note of the chord root you are about to change to. For example on beat 4 of the Am7 bar, play a C, the note below D.

(4) On beat 4 of each bar, we can also play the note above the chord root we are heading for:

(5) Once you are familiar with both of these, you can mix them up, leading into some notes from below, other notes from above.

This technique makes for a strong bass line, particularly when going around the cycle of fourths, as in the progression above. One reason is that the diatonic (i.e. from the major scale) leading note is either the fifth or the third of the current chord in the above progression. The only exception is the change from Cmaj7 to Am7 in point (4).

(6) Now try combining two leading notes on beats 3 and 4:


(7) To play a simple walking bass line, simply add scale notes in between in pitch, between the other notes, making sure that the note on beat 4 always leads into the next chord:

The above are only my examples – there are a great many variations on bass lines you can create using this simple technique – and they will all sound great over these chords and over many other jazz style progressions. Using this technique you can play something different on every run through the chords, but always strongly working the changes. That’s one way you can create interest and dynamism in the music!

This is only one “concept” for constructing bass lines, and you will need to develop a selection of such approaches. As you gain experience in listening and playing, your ear will tell you more and more what will sound good in any given situation.

And here is the practice track to try these techniques with – for best results, get completely comfortable with each step before going on to the next!

Autumn Leaves First 4 bars

If you find that the chords are changing too fast for you, try the following track, which has the same four chords, but each chord goes for two bars:

Autumn Leaves First 4 Bars – 2 bars per chord

Enjoy!

 

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Soloing over Scarborough Fair

The subject if this post is how to solo over the traditional tune Scarborough Fair. My arrangement of the melody puts it into the Dorian Mode of the G major scale. That is the key is A minor with a major sixth (F#) instead of the usual minor sixth (F). Note that the G is not sharpened by an accidental as it would be in the A harmonic minor scale. A simple way to think of it is as the notes of the G major scale, but with a root note of A instead of G. The tune finishes on its root of A.

The approach is simple: play using the notes of the G major scale throughout! If you are familiar with the arpeggios for the chords used (Am, G, D, and C) your solo will sound more convincing if you outline the changing chords with notes from their arpeggios. Otherwise, use your ear to pick out the notes that go with each change of chord. Use phrasing and plenty of space.

Here is my chart of the arrangement. One of the differences between written music in classical style and the jazz tradition is that classical music is meant to be played exactly as written on the printed page. However in Jazz, the solo performer often takes a lot of leeway with the written tune, adjusting the timing and feel, and even adding or subtracting notes in order to convey their artistic vision of the tune. You can observe this with the simple chart – if played exactly as written, many of the nice nuances of the original folk song will be missed. However the chart in this case gives enough of the tune for you to interpret it in your own style.

An interesting feature of the arrangement is that the tune is 19 bars long: a 4 bar phrase followed by 3 five bar phrases,  which contributes to it’s haunting quality.

Here is a practice track to hone your skills. The melody is played at the beginning and the end, with 4 repeats in between for you to practice your solo.

Scarborough Fair Rhythm Track

Here is the rhythm track again with my solo:

Scarborough Fair

Enjoy!