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Lyle Ronglien >> Jam Sessions - Funk Style >>



Jam Sessions - Funk Style - Lesson 2

Lyle: Listen or watch the media clips below to see and hear what you'll learn in this lesson:

Jam Sessions - Funk Style - Lesson 2

Jam Sessions - Funk Style - Lesson 2



Lyle: Here's your jam track in Gm:

Jam Track in Gm

Lyle: I'like to show you all the guitar parts for this groove, then a bunch of scale options, and then a solo made from these scales. The first riff to learn is this funky Gm jam is the bass riff. A clean guitar sound is used, bridge or middle pickup:

bass riff

bass riff

Lyle: Notice you're copying the bass guitar, playing exactly what the bass is doing.

Mark_T: I notice that you use Brian Moore guitar for rock, then smooth jazz and now funk. Is it that versatile?

Lyle: Yes, it is a very versatile guitar. I also use it for all the keyboard parts, bass parts, and some drums and percussion too since it is also a midi guitar.

Lyle: Loop the TAB file to play along with each of these riffs until you've mastered them, then try playing along to the regular looping Jam Track.

Lyle: The next riff is made from two chords:

rhythm riff 1

rhythm riff 1

Lyle: Pretty simple. The next riff reminds me of a Hendrix/Lenny Kravitz style guitar part:

rhythm riff 2

rhythm riff 2

Lyle: The x's are all muted. I used a wah-wah pedal to create that scatchy sound while muting the strings. Rock the wha pedal back and forth to the beat, pushing it down for all the down beats, 1 - 2 - 3 - 4. That's how you normaly use it in a rhythm riff.

Lyle: So now we have three guitar parts all playing together, the bass riff, the chords, and this wah-wah part. Here's another wah-wah part but with a new riff:

rhythm riff 3

rhythm riff 3

Lyle: Remember you can loop the TAB file to play along with each of these riffs until you've mastered them, then try playing along to the regular looping Jam Track.

Lyle: Now the test. See if you can play riffs 2 and 3 together like this:

rhythm riffs 2 and 3 together

rhythm riffs 2 and 3 together

Lyle: Ready for scales? The common scales to use during this jam in G minor is the G minor pentatonic and the G minor blues scales:

G minor blues scale

Lyle: Take away the flatted 5ths in the minor blues scale and you have the regular minor pentatonic.

Lyle: When you look at the TAB file played back on the virtual fret board you'll see the b5 notes are highlighted in light blue. All the red notes are just the minor pentatonic.

Lyle: Since the two chords being used are both minor, Gm7 and Gm6, then there should be a minor mode we could use. Who knows which minor mode we could use here against these two chords?

skip: dorian?

roy: dorian

Lyle: Yes! The minor 6 chord is a dead give away to telling you that it belongs as the ii chord of a key, therefore the G Dorian minor mode is great to use:

G Dorian minor

roy: How about an F major scale?

Lyle: Yes! The F major works perfect here since the Gm7 and Gm6 are the ii chords in the key of F major:

F major scale

Lyle: How about playing the relative minor of F major over this, should work, right?

D Aeolian minor

Lyle: Since the D relative/Aeolian minor works, you could also use the D minor pentatonic:

D minor pentatonic

Steven_K: This is where solely ear based playing has limited me, short of relative minor, and major options based on the tonic, I'd have never pondered F major as an option, and it seems alot of rock guitarists layer their playing with similar embellishments. I need an easy book on modes.

roy: Check out the Riff CD called Understanding Modes ....great!!!

Lyle: Here's the solo I made from some of these scales we just talked about:

solo

solo

Eric: How do you come up with stuff like that? Do you hear it in your head or does it just flow out?

Lyle: Eric, that is a good question. I made up the rhythm riffs and jam track in about a half hour while messing around to the drum beat. Then I spent a little more time refining it. Then I started jamming to the jam track and using the scales we just went over. I decided to make a couple riffs using them just as demonstration riffs.

Steven_K: Lyle, Does that type of lead playing out've the blues box require limited theory knowledge ? It seems to transcend what one can pickup by ear ?

Lyle: Steve, it is harder to pick that stuff up by ear. It's easier to pick up stuff by ear when the guy is just using the minor pentatonic.

Lyle: I have a seperate solo that I recorded but didn't tab out. I didn't like all the riffs in it. Here's the alternate solo riffs I was working on using these scales:

solo - alternate

Ben: That was awesome Lyle. Both solos......WOW

Dion: Right!! that is awesome

Lyle: Thanks, it was all improvised and done in one take.

Ben: That's so good it's allmost depressing.

Lyle: No, no, stop that. Just practice these riffs and scales along to the jam track Get good at switching between patterns, it will help you come up with new melodies and riff ideas.

Lyle: I'm going to take a break for now. See you again at the next lesson. Email lyle@theguitar.net me if you run into questions about this or other lessons. Thanks and good night!

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