Hope you enjoy this one! If you think my work here on the channel might be worth supporting, I’d really appreciate it! Check out my Patreon for exclusive music, content and rewards bit.ly/Patreonnow Grab my full discography with well over 350 tracks here elevatedjamtracks.bandcamp.com Thanks for stopping by and happy jamming people! 🤘🎸
Your backing tracks are beatiful. But you should definitely consider reviewing the scale suggestion and the chord progression. They have mistakes in them that would be very confusing for the beginner-intermediate player. First of all, this is not a modal chord progression. This is, in fact, a very "classical" sounding progression that involves a typical V-I cadence. The progression simply resolves to the tonic chord, which is B minor. B dorian would only apply to the few instances where E7 occurs in the progression and even then, the B minor pentatonic would work just fine. The G chord is not G7, it is a plain old G major chord. G7 has F natural in it, which would sound rather dramatic in a B minor progression. It would be best to view this progression as something in B minor (B Aeolian if you really want to think in modal terms, but mostly B minor pentatonic). It would be a good idea to start building from there, trying to emphasize the switch to G# over E7 and C# over A. The A# would also be cool over the F#, but it may not always be necessary, since the A natural in B minor can also act as the #9 of F#7.
I had been practicing 1 hour a day a week on technique and I just noodled I’ve this with Bmin pentatonic today. OMG it felt so good, stuff just clicked into place. This will give me the motivation to continue with my routine for another week. Thanks so much
careful using dorian over this. aeolian is a way safer bet. dorian implies the natural 6 (g#) but this is going to be in constant conflict with the g7 in the harmony. the initial groove is basically a "hit the road jack" vamp which is a classic natural minor (aeolian) groove. the six is a funny bird like that.. its the note that people play "wrong" the most in minor keys, but its often where all the flavor is.
@@Anidawehi C major (making this a B locrian minor) could be way of achieving some interesting outside sounds and chromaticism. and yes, music is large and open, so none of these are strict rules. I believe that the more you understand the rules, the more of a nuanced take you'll have on how to break them. :)
@@jessatkinsguitar exactly. I never stick to one scale patern(of all five shapes) I stick other things in the mix. Lol. One lick be classical and the other a rock scale then the next I slide up to another different type scale. It all connects. Like you said.
I love this track! It's as if Dr. Dre took a blues rock pill and decided to record a backing track with John Mayer! My favorite part is the E7 to G7. If you don't try D Melodic Minor harmony over that G7, you're missing out on some really cool colors! I've been working out a G triad to a DmM7 arpeggio on the ascension, then I'll descend using an Fmaj7+5 arpeggio over that G7.
Nice! and just curious! when you say D Melodic Minor harmony over the G7 are you sticking to chord tones or any two notes from D Melodic Minor? very interesting! I will have to try some of this out. Also what do you play over C#m7b5? B locrian maybe?
@@lukehudson4482 I like playing a DmM7 arpeggio over that G7.. G Lydian Dominant is also a great choice...Lydian Dominant is the 4th mode of Melodic Minor. Over that C#m7b5, I like the Gmaj7, Em7 and the C#m7b5 arpeggios.I also like playing the F#mM7 arpeggio over the F#aug. This track has a lot of harmony to explore.
@@jamesrobinson529 Thanks! very cool stuff ! going to start working on that. I also really like playing F#phrygian dominant or altered scale over the F#aug! I love this track!
okay guys. I went ahead and did some detective work here. The key is Bm, including both G (aeolian) and G# (dorian). Omg!! What do we do? So it turns out that the difference between Aeolian and Dorian is the 6th note. With the B root note, this means a G vs a G#. So you can start this song in B Aeolian, and then on that E7 chord, you can choose to play B Dorian, or just avoid the G# note. As it also turns out, the difference between Locrian and Phrygian is the 5th note of the scale. In this case, with the root note of C# (in the key of Bm) the FIFTH of Phrygian is sharp, which is G#. Thus, you can play C# Locrian and then, when the E7 chord is played, switch to C# Phrygian. To continue, D Ionian (natural 4th, G) vs D Lydian (Sharp 4th, G#) E Dorian (natural 3rd, G) vs E Mixolydian (sharp 3rd, G#) F# Phrygian (natural 2nd, G) vs F# Aeolian (sharp 2nd, G#) G Lydian vs G# Locrian (root note) A mixolydian (natural 7th) vs A ionian (sharp 7th, G#) Thus, this is a great song to practice natural aeolian vs dorian minor. Hope this helps.
knowing modes and how to mix them on the fly is a super powerful tool to have. a good rule of thumb is there are 3 minor modes, 3 major modes, and one that no one really uses (sorry locrian) major: Ionian, Lydian and Mixolydian minor: Aeolian, Phrygian, and Dorian ugly boy: Locrian and then they're are some other scales outside those of course, but those are the big ones.
Thanks a bunch man, i jammed to this track before work and didnt notice it said B Dorian till after the fact, then the confusion settled in. Decided to investigate and learned something new lol everyday is a new learning experience.
Love the track! Amazing work, dude. I've been playing guitar for a while but am very new to theory (i was one of the millions of arrogant 15 year-old pentatonic wonders, but I'm finally taking lessons in theory now, and marvelling at the many gaps in my knowledge). I was wondering if you might tell me: is the G7 a secondary dominant chord?? And are you calling this B Dorian, and not A Major, purely because the chords are all tone chords of the Dorian scale (or secondary dominants thereof?) Or is there more to it? Any clarification is very welcome - I will also try to google this, too, haha Thanks again for the track (it kinda gives me Govan Wonderful Slippery Thing vibes)! Will be purchasing post haste!
I consider this mostly an Aeolian backing track. The only time I hone in on that maj6 is when the E7 comes around. Over the F#aug7 I play G Melodic Minor harmony, focusing on the F# Altered scale. I take a similar approach to the G7; except I'm playing D Melodic Minor harmony. That Melodic Minor over dominant 7th chord hack lends some very cool colors! To more address your inquiry; I think the G7 would have to lead to a C chord of some type, in order for that G7 to be a secondary dominant
Dunno if I'm doing it right. So while listening to this track I pluck on the dark blue notes and out of those notes make a melody? I'm still so layman.
Hope you enjoy this one! If you think my work here on the channel might be worth supporting, I’d really appreciate it!
Check out my Patreon for exclusive music, content and rewards bit.ly/Patreonnow
Grab my full discography with well over 350 tracks here elevatedjamtracks.bandcamp.com
Thanks for stopping by and happy jamming people! 🤘🎸
Your backing tracks are beatiful. But you should definitely consider reviewing the scale suggestion and the chord progression. They have mistakes in them that would be very confusing for the beginner-intermediate player. First of all, this is not a modal chord progression. This is, in fact, a very "classical" sounding progression that involves a typical V-I cadence. The progression simply resolves to the tonic chord, which is B minor. B dorian would only apply to the few instances where E7 occurs in the progression and even then, the B minor pentatonic would work just fine. The G chord is not G7, it is a plain old G major chord. G7 has F natural in it, which would sound rather dramatic in a B minor progression. It would be best to view this progression as something in B minor (B Aeolian if you really want to think in modal terms, but mostly B minor pentatonic). It would be a good idea to start building from there, trying to emphasize the switch to G# over E7 and C# over A. The A# would also be cool over the F#, but it may not always be necessary, since the A natural in B minor can also act as the #9 of F#7.
That rhythm and groove is killer! Happy jamming everybody!🤘😎🤘
Thanks dude! 💪
I had been practicing 1 hour a day a week on technique and I just noodled I’ve this with Bmin pentatonic today. OMG it felt so good, stuff just clicked into place. This will give me the motivation to continue with my routine for another week. Thanks so much
Never thought B min and B min Pentatonic would become my favorite. Thanks for that.🌹
My pleasure 🙌
Yeah i thought that after this track! Bm is quite nice.
Amazig track to back up my saxophone. Once again very well made
This mode has badass written all over it. Hot stuff!
I love this track. As I have grown and changed as a guitarist, so it seems that this tune has done so right along with me. It's uncanny.
It's so funny to play over this track, thanks dude
The Jam Tracks on this channel are just Killer!!! I´ve bee using them for a while and I can tell my soloing has grown more solid. Tasty grooves AF
Thanks! 🤘
This is my favorite backing track you've ever made great job!
careful using dorian over this. aeolian is a way safer bet. dorian implies the natural 6 (g#) but this is going to be in constant conflict with the g7 in the harmony. the initial groove is basically a "hit the road jack" vamp which is a classic natural minor (aeolian) groove. the six is a funny bird like that.. its the note that people play "wrong" the most in minor keys, but its often where all the flavor is.
C major scale can be applied. For maybe when it calls for it. Music is so open and large.
@@Anidawehi C major (making this a B locrian minor) could be way of achieving some interesting outside sounds and chromaticism. and yes, music is large and open, so none of these are strict rules. I believe that the more you understand the rules, the more of a nuanced take you'll have on how to break them. :)
@@jessatkinsguitar exactly. I never stick to one scale patern(of all five shapes) I stick other things in the mix. Lol. One lick be classical and the other a rock scale then the next I slide up to another different type scale. It all connects. Like you said.
Bruh i use the fucking pentatonic
Alfredo for the win
I found this very smooth which made it easy to create solo's to. Great work and thanks.
Love the Guthrie Govan hints
Best Tracks on the planet!
IT S SOOOO BEAUTIFUL !!! I LOVE ...ABSOLUTE BEAST GROOVE
Benny from Logic is killing it.
Really great track! Thanks again!
excellent jam , tu ^^
Awesome groove!
beautyfull!
Best backing track in TH-cam ! So amazing thanks
Thanks Pablo!
I love this track! It's as if Dr. Dre took a blues rock pill and decided to record a backing track with John Mayer! My favorite part is the E7 to G7. If you don't try D Melodic Minor harmony over that G7, you're missing out on some really cool colors! I've been working out a G triad to a DmM7 arpeggio on the ascension, then I'll descend using an Fmaj7+5 arpeggio over that G7.
Nice! and just curious! when you say D Melodic Minor harmony over the G7 are you sticking to chord tones or any two notes from D Melodic Minor? very interesting! I will have to try some of this out. Also what do you play over C#m7b5? B locrian maybe?
@@lukehudson4482 I like playing a DmM7 arpeggio over that G7.. G Lydian Dominant is also a great choice...Lydian Dominant is the 4th mode of Melodic Minor. Over that C#m7b5, I like the Gmaj7, Em7 and the C#m7b5 arpeggios.I also like playing the F#mM7 arpeggio over the F#aug. This track has a lot of harmony to explore.
@@jamesrobinson529 Thanks! very cool stuff ! going to start working on that. I also really like playing F#phrygian dominant or altered scale over the F#aug! I love this track!
okay guys. I went ahead and did some detective work here. The key is Bm, including both G (aeolian) and G# (dorian). Omg!! What do we do?
So it turns out that the difference between Aeolian and Dorian is the 6th note. With the B root note, this means a G vs a G#. So you can start this song in B Aeolian, and then on that E7 chord, you can choose to play B Dorian, or just avoid the G# note.
As it also turns out, the difference between Locrian and Phrygian is the 5th note of the scale. In this case, with the root note of C# (in the key of Bm) the FIFTH of Phrygian is sharp, which is G#. Thus, you can play C# Locrian and then, when the E7 chord is played, switch to C# Phrygian.
To continue, D Ionian (natural 4th, G) vs D Lydian (Sharp 4th, G#)
E Dorian (natural 3rd, G) vs E Mixolydian (sharp 3rd, G#)
F# Phrygian (natural 2nd, G) vs F# Aeolian (sharp 2nd, G#)
G Lydian vs G# Locrian (root note)
A mixolydian (natural 7th) vs A ionian (sharp 7th, G#)
Thus, this is a great song to practice natural aeolian vs dorian minor. Hope this helps.
knowing modes and how to mix them on the fly is a super powerful tool to have.
a good rule of thumb is there are 3 minor modes, 3 major modes, and one that no one really uses (sorry locrian)
major: Ionian, Lydian and Mixolydian
minor: Aeolian, Phrygian, and Dorian
ugly boy: Locrian
and then they're are some other scales outside those of course, but those are the big ones.
Thanks a bunch man, i jammed to this track before work and didnt notice it said B Dorian till after the fact, then the confusion settled in. Decided to investigate and learned something new lol everyday is a new learning experience.
OMGGG this iss the best of the bestt trackk i wantt thiss tabbs omgg...!!!!!
literally wonderful slippery thing lol
This is so good mate big props!
Thanks brother!
You should make a real music track from this amazing groove!
I agree
damnn so fking good man, u re on the next level, still like that u re awsome :D
exelente maestro!!!!!!!
Love the track! Amazing work, dude.
I've been playing guitar for a while but am very new to theory (i was one of the millions of arrogant 15 year-old pentatonic wonders, but I'm finally taking lessons in theory now, and marvelling at the many gaps in my knowledge).
I was wondering if you might tell me: is the G7 a secondary dominant chord?? And are you calling this B Dorian, and not A Major, purely because the chords are all tone chords of the Dorian scale (or secondary dominants thereof?) Or is there more to it? Any clarification is very welcome - I will also try to google this, too, haha
Thanks again for the track (it kinda gives me Govan Wonderful Slippery Thing vibes)! Will be purchasing post haste!
I consider this mostly an Aeolian backing track. The only time I hone in on that maj6 is when the E7 comes around. Over the F#aug7 I play G Melodic Minor harmony, focusing on the F# Altered scale. I take a similar approach to the G7; except I'm playing D Melodic Minor harmony. That Melodic Minor over dominant 7th chord hack lends some very cool colors!
To more address your inquiry; I think the G7 would have to lead to a C chord of some type, in order for that G7 to be a secondary dominant
Cool!
Yeah baby!
🔥🔥🔥
Me parece que en este caso la escala Natural en Bm entra mejor! Saludos! Me encantan tus Backing tracks amigo!
Coincido, aunque tampoco va mal el dorico mas que nada porque el acorde de G lo usa como nota de paso
I'd suggest B eolian, B pentablues and B harmonic minor.
Dunno if I'm doing it right. So while listening to this track I pluck on the dark blue notes and out of those notes make a melody? I'm still so layman.
Idk if your still at it but yes
🤘🤘🤘 funk 🤘🤘🤘 1rst
THIS SHIT IS FUCKING AWSOME KEEP UP THE GREAT MUSIC WOOOOO
Thanks!
Don't like playing in B Minor (kinda stuck in A and G). But man I love this track. Sounds like a song by some girl but i can't put my finger on it.
GOT IT!!!!! Fiona Apple.... feeling like a criminal
Esse estilo de guitarra é muito bacana
Omg ı love it✌✌✌
What about using it for commercial purposes? Where is the exclusive rights buying link or something similar?
saying its B Dorian is wrong, its B Aeolian. The song is very nice anyways!
its both
@@hmcccpp no, it's not both, it's Aeolian. Aeolian has G and Dorian has G#. Doesn't make sense to play G# over a G major chord...
@@MrVARhythm its b dorian but in parts of the song you can go also b aeolian , its funk, its dorian , are you deaf?
@@hmcccpp literally the difference between Dorian and Aeolian is the G# note. If you are playing G# you are deaf...
@@MrVARhythm of course its g#,
o groove é ótimo mas está em B menor (B Eólio), é B dorio só no E7.
Gott tiden flyter i kalvdans
Is there any tabs available???
can use for a song?
Veryyy nice but f#aug7 ? f#7#9 no ?
Very nice. Thank man. But i don t understand g7 ??
A 7 chord has the dominant 7 which is the 7th note in the scale down half a step. So it's G-B-D-F to make a G7
I swear its a g6 cos it has an e in the chord (g b e)
@@markbonner1517 no cause it's a g major cause it has the g major 1-3-5-b7 notes
Brandon Becker nah it doesnt it doesnt have the fifth, it has 1 3 and 6, g b and e
I can use the chords? Pleaseee
1:44
E Dorian** B Minor/D Major
Fiona Apple - Criminal
How the bpm??
Can I use this track in my song? I have lyrics, but I don't have any backing tracks.
:)
Ionian is Major, Dorian is minor, Phrygian is minor etc...
So use Dorian over Bmin.... Easy-peasy Japanese