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Lyle Ronglien >> Jam Sessions - Smooth Jazz >>

Jam Sessions - Smooth Jazz Style II

Lesson 7 - Jam in Gm

Lyle: This jam has two parts, one section in Gm, the other in Cm. Let's work on one section at a time. Here's your jam track in Gm:

Lyle: There are only two chords in that jam track:


Lyle: Now you're going to learn all the solo riffs from the lesson sample. I'll be showing you many ideas of things to play against this simple little jam. The first riff is made from the G minor pentatonic scale:

Lyle: If you're new to playing that scale, or new to "jamming" just fiddle around with the notes from the scale while the looping jam track is playing in the background.

Lyle: Here's the first riff which is all made from the G minor pentatonic scale:

Lyle: Since the two chords are Gm7 and Gm6, this tells you that you are in the key of F major because of the Gm6 chord. Minor 6 chords are the second chord of a key. So Gm6 is the second chord in the key of F.

Lyle: This means you can play ANY mode in the key of F major. I like to use the Locrian minor which is based off the vii of the major scale. In this case you can play E Locrian. Here's an arpeggio pattern for it:

Lyle: Try playing that arpeggio while the jam track is playing. Notice how "funky" it sounds.

Lyle: The second riff in the solo/lesson sample is made right from this arpeggio:

Lyle: Notice in riff 2 the sliding technique.

Lyle: You can play in Gm but the two chords in the jam are related to the key of F major.

Lyle: Since the two chords in the jam Gm7 and Gm6 are the ii chords in the key of F major, you can use the F major scale to improvise with against the jam track. Try noodling around with this scale, the F major scale and notice all the notes sound good with the jam:

Lyle: Here's the third riff from the lesson sample that's made right from this scale pattern:

Lyle: The next riff uses two chords way up high on the neck. I use these chord voicings many times with funk jams like the Prince style of guitar rhythm:

Lyle: All 4 of those riffs make up the first half of the lesson sample, then it changes to Cm. Same thing - Cm7 to Cm6. Here's a new jam track so you can start working in Cm:

Lyle: Here's the chords for this jam track:

Lyle: Who can tell me what major scale these two chords are related to?

rsgoldsmith: Bb

Lyle: Correct! Just like earlier, these two chords are the ii chords of a major scale. In this case Cm7 and Cm6 are the ii chords in the key of Bb major.

Lyle: So what would be the relative minor?

rsgoldsmith: Gm

Lyle: Yes, very good:

Lyle: This means you could play the G relative minor over the jam in Cm. Here's a riff that uses this scale:

Lyle: The C Dorian minor scale is an option too since the Dorian is the second mode in the key of Bb.

Lyle: Here's the next riff which is made right from this scale:

Adam: what does the "P" mean?

Lyle: pull-off

Adam: okay thank you

Lyle: welcome!

Lyle: The next riff is made from both the G relative minor and Bb major scale, both against the jam in Cm:

zz: you really got to know your modes for jazz

Lyle: Yes, it helps.

Lyle: This last riff from the lesson sample is a mixture of different little things:

Lyle: Now you're ready to put both jams together. You'll jam in Gm for 16 bars, then Cm for 16 bars:

chord chart

jax: Question, back on riff 3 - F maj scale riff, are you using "skip a string picking" or hybrid picking?

Lyle: String skipping. Watch the video and you'll see me picking riff 3.

Lyle: I'm going to take a break for now but you can stick around and jam. All the jam tracks from this series are available in MP3 format and for download off my web site - . That way you can burn them to a CD and take the jam tracks to your home stereo and crack it up!
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