Masterclass Booklet: Minor Scale Soloing Masterclass Advanced

MASTERCLASS BOOKLET
JamTrackCentral
MINOR SCALE
SOLOING
MASTERCLASS
ADVANCED
INTRODUCTION
Welcome to this JamTrackCentral masterclass!
There are three parts: Beginner, Intermediate and Advanced. You can choose your level,
but also consider working through the whole masterclass. Even if you can play the licks or
exercises from the Intermediate or Advanced parts, you could still learn something new from
the easier parts.
The format is the same for all three parts. We’ll start by looking at some theoretical concepts
with exercises to develop your technique and fretboard knowledge. Next, we’ll see how those
concepts can be used in a real musical situation with a series of short licks. Finally, we’ll throw
everything together into a cool solo that you can learn or just use for ideas. There’s also a
jamtrack so you can work on your own solos.
ADVANCED SOLO – A QUICK PEEK

The backing track for the full solo runs through a couple of harmonic concepts which provide
us with all the lessons we’ll be covering in this PDF booklet. To break you in gently, though, the
backing starts with an easy diatonic progression (Bm7-A6-Gmaj9-F#m7).
WWW.JAMTRACKCENTRAL.COM
MINOR SCALE SOLOING MASTERCLASS
JAMTRACKCENTRAL
You can solo over with just B Aeolian (B C# D E F# G A) but try to avoid simply running through
random scale lines. As before, our aim is to play solos with “musical meaning”, so you always
need to consider how your solo line relates to the underlying chord. Think about how the
melodic line might move smoothly over a chord change… for example, a D note over Bm7 will
fall beautifully to a C# note over A6.
Similarly, you also have to think about the notes you need to avoid. When you get to the
F#m7, you really don’t want to sit on the G note! On the other hand, don’t be too careful and
conservative. Simply playing the “safe” arpeggio fragments will quickly sound boring; it’s all
about finding a balance between well-chosen target notes and temporary moments of tension.
Then, with the addition of the C#m7b5, F#7b9 and finally G7b9 chords, we need a whole set of
new theory and scale strategies. Ready for some serious brain exercise?
THE MINOR ii-V-i

One of the main themes we’re going to cover in this Advanced section is the 2-5-1 progression
in a minor key. The usual convention is to use Roman numerals to denote chords, so this would
be “ii-V-i”, with the lowercase “i” to denote the minor chord.
This common musical device has the same function in a minor key as it does in a major key, but
the exact nature of the chords is slightly different. Just in case you’re not totally familiar with the
regular ii-V-I…
THE II-V-I – A QUICK REMINDER
First, imagine you’re playing a blues in A, with the regular 12-bar chord progression. The last line
of each chorus has the chords E7-D7-A7-E7, and that final E7 creates a brief moment of tension
until we relax into the A7 at the start of the next chorus.
This is an example of a cadence, a little harmonic passage that creates tension and then
resolution. Another example of a cadence is… you guessed, the ii-V-I.
As usual, the Roman numerals refer to the position of the chords within the key or scale. So if
we were in the key of C major (C D E F G A B), we would have these chords…
ii = Dm (or Dm7)
V = G7 (the tension and resolution work best when the V chord is a 7
I = C (or Cmaj7)
The tension created by the G7 (with its unsettled tritone interval between the B and F) is
resolved by the CVmaj7, the “home” chord. The nature of the three chords (minor 7th, dominant
7th, major 7th) simply follows the standard pattern of diatonic chords in a major scale.
So how does this work in a minor key?
MOVING TO MINOR
The simplest minor scale to use is the Aeolian, or natural minor. It’s the sixth mode and fits the
“relative minor” formula (A minor is relative to C major; A Aeolian has the same notes as the -
JAMTRACKCENTRAL
C major scale). But we immediately have a problem. If we take the 2nd, 5th and 1st diatonic
chords of A Aeolian, we get this…
Bm7b5 – Em7 – Am7
Perfectly nice, but it just doesn’t have the feeling of tension and resolution. There’s no
dominant 7th chord with its built-in tritone suspense. So what do we do? We add the suspense
and tension by changing the Em7 to an E7. That gives us the standard minor ii-V-i…
Bm7b5 – E7 – Am7
It’s also common to have an altered dominant chord in a minor ii-V-i. This is a chord with
a raised or lowered 9th or 5th, so you could have E7#9, E7b9, E7#5 or E7b5 (or even
combinations of those altered notes).
These three altered dominants work well because the altered notes are already in A Aeolian…
A Aeolian
E7b9 E7#9 E7#5
5 A D G C A 5 5 5
F 3 b9 3 3
B E A D B R b7 R b7 R b7
C F G C #9 #5
B E
THE WRONG NOTE?

Now we have our minor ii-V-i, and we can spice it up with altered dominant chords. So far so
good, but wait… the major ii-V-I is built entirely from diatonic chords (the chords built only from
scale notes). Check out those diagrams above, and what do you see? Those altered E7 chords
all contain a major 3rd, which is the note G#. This note is the major 7th of the A minor key, and
the Aeolian scale doesn’t contain that note!
This is because we’ve “borrowed” the dominant resolution from the major key. In a major key,
the 7th note of the scale is major, which means the 3rd of the V chord is major, which is how
we get the dominant resolution. This is where the harmonic minor scale comes from.
A harmonic minor = A B C D E F G#
Way back in musical history, the harmonic minor scale evolved as a way to combine the basic
sound of the natural (Aeolian) minor with the dominant resolution of the major scale. It gives us
the best of both worlds!
Title Title Title Title
JAMTRACKCENTRAL
HARMONIC MINOR
The harmonic minor was originally intended as a solution to a harmonic problem, as above. A
classic example of this from rock/pop music is the Dire Straits song “Sultans of Swing”, where
Mark Knopfler solos over this progression…
Am – G – F – E
The first three chords are clearly from A Aeolian (A B C D E F G) but as we’ve seen above, that
E chord contains a G# note, so Knopfler simply adjusts the scale to harmonic minor (A B C D
E F G#). And as the progression loops around, the E7-Am change is our dominant resolution
again. With any progression, you have to be careful about automatically landing on the root (A),
simply because it feels safe. Over the E chord in this progression, the A will not sound good!
CHORD SCALES
Before we go any deeper, here’s a quick definition of a term you might have seen, especially in
jazz theory. The “Chord Scale” system involves interpreting a chord progression in terms of the
possible scales that fit each chord individually.
For example, looking at the turnaround in an A major blues (E7-D7-A7-E7) a blues-rock player
might just decide to play minor pentatonic licks right through. A jazz player might prefer to take
the chord scale approach, playing E Mixolydian, A Mixolydian, maybe some A blues scale licks
and then E Superlocrian to emphasise the tension on the final E7.
There’s no right or wrong approach; you can mix the simpler “one scale” approach with chord
scales, depending on the context.
OTHER SCALES FOR THE MINOR ii-V-i

To recap, we’ve found that the easiest route through the minor ii-V-i is simply to switch to
harmonic minor when we get to the V chord.
Bm7b5 (B D F A) – A Aeolian (A B C D E F G)
E7 (E G# B D) – A harmonic minor (A B C D E F G#)
Am7 (A C E G) – A Aeolian (A B C D E F G)
But with our chord scale approach, we can do more than just find a single scale for the whole
progression, adjusting dissonant notes where necessary. We can be creative.
If you have an altered dominant (see above) instead of regular E7, the Superlocrian works very
well…
E Superlocrian = E F G Ab Bb C D (same notes as F melodic minor)
If the altered dominant is E7b9 or E7#9, and therefore has a natural 5th (B), the flat 5th in the
scale (Bb) could potentially clash, but don’t worry too much. The scale has all the common
altered notes… the b9 (F), the #9 (G), the b5 (Bb) and #5 (C). Also, it sounds cool!
JAMTRACKCENTRAL
Even though the Bm7b5 is a diatonic chord, you don’t have to stick to A Aeolian. Playing A
Aeolian over B gives a B Locrian sound, but you can also use a similar scale, the Locrian natural
2.
Half-whole diminished = E F G Ab Bb B C# D
You may have encountered this scale before; it’s an eight-note scale built from alternating half-
and whole-tones, and it’s one of two possible diminished scales (the other one reverses the
order, starting with a whole-tone). The half-whole diminished scale works very well when the V
chord is a 13b9 or 13#9, where the 13th (C#) would clash with the C in the Superlocrian.
In fact, when you become more familiar with soloing over altered dominant chords, you don’t
even need to think explicitly in terms of “Superlocrian” or “diminished”. You can easily work
with a simple framework of root, 3rd, minor 7th, b9 and #9 (E, G#, D, F, G) and adjust the other
notes to suit the chord (even better, use your ears!)
B Locrian natural 2 = B C# D E F G A (same notes as D melodic minor)
It’s a matter of personal taste. The natural 2nd (C#) gives the scale a sound more like Aeolian,
so the scale works as a kind of half-way point between Aeolian and Locrian.
Even when you resolve back “home”, to the A minor, you don’t have to use Aeolian. You could
use Dorian (see the Beginner section) or how about experimenting with the flavour of melodic
minor?
A melodic minor = A B C D E F# G#
Now, this will clash with Am7 (G# vs G) so be careful. But if the progression moves to a regular
A minor chord, you don’t have that problem, and the melodic minor can offer an interesting
melodic variation.
ADVANCED EXERCISES
Once again, we’re aiming to increase fretboard knowledge, but we’re now really working on
the arpeggios, trying to get more melodic flexibility from the diatonic sequence.
EX1: Diatonic 9th arpeggios (root-3rd-5th-7th-9th), ascending and descending.

EX2: F melodic minor. Why? Because this also gives you the notes for E Superlocrian!
EX3: When learning any arpeggio, it’s important to look beyond simple up/down shapes. Here,
we take an Am7 voicing on the A-G-B strings and move it up through the inversions.
EX4: The same approach applied to the A-D-B strings. It’s worth spending a LOT of time on
this. Try lots of string combinations, and different arpeggio types.
EX5: Chord scales for the minor ii-V-i, using C# Locrian nat2 and F# Superlocrian. Ascending…
EX6: … and descending. Notice the final resolution to the 9th (C#) of the Bm7. Jazzy!
EX7/EX8: More work on the minor ii-V-i chord scales, but we’re also exploiting a little
symmetrical trick. The Locrian nat2 and Superlocrian are both modes of the melodic minor
scale, so we can take a melodic pattern in one scale and move it to the other. Basically,
take your pattern in C# Locrian nat2 and move it up a minor 3rd (three frets) to make it fit
F# Superlocrian. In Ex7, we dropped the 2nd pattern by an octave. If you want to be really
ambitious, you could then play B melodic minor (B C# D E F# G# A#) over the Bm7 and use -
JAMTRACKCENTRAL
- the pattern again, moving it up another major 3rd (4 frets). These tricks sound very cool, but
don’t overuse them!
EX9: Here’s a full-on scale workout, but be aware… these are not all B scales! These are the
various possible chord scales for the minor ii-V-i. There’s C# Locrian, C# Locrian nat2, F#
Superlocrian and (just for fun) B melodic minor. The important lesson is that you should be able
to play all scales in ANY position, from ANY note. We’re starting each run from the low B, but this
is an arbitrary starting point. You should learn to do this from any starting point.
ADVANCED LICKS AND SOLO

All of our theory examples have been in A minor, but the solo and licks are in B minor to give you
an extra challenge!
As we mentioned before, the backing starts with the diatonic Bm-A-G-F#m progression, which
allows you to use simply B Aeolian (B C# D E F# G A) or minor pentatonic (B D E F# A). From bar
9, the minor ii-V-i (C#m7b5-F#7b9-Bm7) is introduced, so your primary scale choices are now...
C# Locrian nat2 = C# D# E F# G A B
F# Superlocrian = F# G A Bb C D E
B harmonic minor = B C# D E F# G A#
Right at the end, we have a bVI-V change (G7-F#7). Various scales will work for the G7, including
B harmonic minor or Aeolian, but also try Lydian Dominant (G A B C# D E F).
Finally, here’s a summary of the licks…
LICK1: Starting in B minor pentatonic with the added blue note (F), Jake’s note choices outline
the C# and F# chords, slipping into F# Superlocrian at the end.
LICK2: Here’s another option… interpret the C#m7b5 as the altered G7 chord that comes later
and play G Lydian dominant (G A B C# D E F).
LICK3/LICK4: A more chromatic approach to the F#7, connecting the chord notes.
LICK5: Note the smooth progression from F# Superlocrian back into B Aeolian, just before the
chord change.
LICK6: Here’s another great example, showing smooth transitions across all chord changes,
rather than abruptly jumping from scale to scale.
LICK7: Locrian nat2 over the C#m7b5, but switching to F# Superlocrian on the final beat of
bar 3. Notice the little F# augmented triad on the first beat of bar 4 (those notes all live in the
Superlocrian).
LICK8: A longer example, with Locrian nat2 over the first C#m7b5, followed by a 7b9 arpeggio in
bar 4. We also have B melodic minor in bar 5, and a C#m7b5 arpeggio in bar 7.
LICK9: This is mostly B minor pentatonic or blues scale for the A6 and F#m7, switching to full B
Aeolian (C# Locrian) for C#m7b5 and then F# Superlocrian.
LICK10: For the final G7-F#7 change, here’s a brief blast of G Lydian Dominant over the G7.
LICK11: Dispensing with chord scales at first, using an aggressive blues-rock approach until we
hit the F# Superlocrian in bar 4.
LICK12: Here’s a more technical workout, using tapping and string-skipping. It’s just B minor
pentatonic for the first two chords, switching to our old friend F# Superlocrian at the end.
And that’s all, folks! We hope you enjoyed working through the three parts of this masterclass,
and we’ll see you in another masterclass very soon!
P.S If you scroll down, you’ll find all the TAB/Notation for the exercises, licks and solo!
ADVANCED EXERCISE 1
As recorded by jamtrackcentral.com
(From the 2017 Album MINOR SCALE SOLOING MASTERCLASS: ADVANCED)
P = 110
I 44 j V V V V V V V
V V V V V V V V V
1
V V
T 5
A 4 5 4 7 5
5 7 3 5 7
B 3 7 5 3 7
V V V V
5 7
V V V V V V V V V V V V V
4
I V V V V V V V
5 7
T 6 8 5 6 8 5
A 4 7 5 4 7 5 4 7
3 5 7 3 5 7
B 5 7
V V V V V V V V V V V V V V
7
I V V V V V V V V V V
5 8 7 5
T 6 8 5 6 8 5 6 5
A 5 4 7 5 4 7
7 5 7 3 5
B 7
I V V V V V V V
10
V V V V V V V V
T
A 5 4 7 5
7 3 5 7 3
B 5 3 7 5
7 5
JamTrackCentral Ltd 2017

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
ADVANCED EXERCISE 2
P = 110
e fV V V V V V V V V V fV V
1
Ie e e 44 V V fV V V V V V V V V V V V
fV V
V V V V
3 4 6 8 6 4
T 3 5 6 8 6 5
A 1 3 5 7 5 3
2 3 5 6 5 3
B 1 3 5 7 5
1 3 4
V V V V V fV V V V V V
e V V fV V V fV V V
Ie e e V V V V V
V V V V V V V fV
3
6 8 10 12 10 8
T 6 8 9 11 9 8
A 5 7 9 10 9 7
5 6 8 10
B 3 5 7 8
6 4 3 4 6 8
8va
e f V V V V V V V V
5
Ie e e V V V V f V V V V V V V V V V V V fV V V V
V V V
V
10 12 13 15 13 12
T 9 11 13 15 13 11
A 9 10 12
8 6 8 10 12
B 10 8 7 8 10 11
10 8 6 8 10 12
eee V V V fV V V V V V V V V V
8va
e V V V f V
I V V fV V V V V V V V
V V V fV V
7
13 15 16 18 16
T 13 15 17
A 13 12 10 12 13 15
14 12 10 12 14 15
B 13 11 10 11 13 15
13 12 10 12 13 15
8va
e V V fV V V
9
Ie e e V V V V fV
V V V V V
V U
15
T 18 17 15
A 17 15 13
17 15 14
B 17 15 13
16 15 13 (13)

ADVANCED EXERCISE 3
P = 110
V V V V V V V V
1
I 44 V V V V V V V V
V V
let ring
T 1 5 8 10 13 10
A 0 2 5 9 12 9
B 0 3 7 10 12 10
V V V W
4
I V V V
V V
let ring
T 8 5 1
A 5 2 0
B 7 3 0

ADVANCED EXERCISE 4
P = 110
V V V V
V V V
I 44 V
V V V V V V V V
V V
1
let ring
T 1 5 8 10 13 10
A 2 5 7 10 14 10
B 0 3 7 10 12 10
V V W
4
I V V V V
V V
let ring
T 8 5 1
A 7 5 2
B 7 3 0

ADVANCED EXERCISE 5
b P `= 110 bb
fV V U
C m7 5 F79 Bm7
gg 4
I 4 V V V V V V V V } V gV
1
V e V f V V
10 9
T 10 11 13
A 9 11 12
9 11 12
B 9 10 12
9 11 12

ADVANCED EXERCISE 6
b P `= 110 bb
V f V gV } V f V
gg 4 V V V V V e V V V
C m7 5 F79 Bm7
V V V U
1
I 4
7 5 3 10 8 6
T 7 5 4 10 8 7
A 6 4 9 7 6
B

ADVANCED EXERCISE 7
b P `= 110 bb
eV V fV eV V V V
C m7 5 F79 Bm7
gg 4 V V V V V V V fV
1
I 4 gV U
11 9 12 11 9
T 12 10 8
A 11 9 12 11 9
12 10 8 9
B

ADVANCED EXERCISE 8
b P `= 110
C m7 5 bb
F79 Bm7
V V V V
8va
g V V eV V
1
I g 44 V V V V gV V } V V U
12 9 11 15 12 14
T 12 15
A 12 9 11 12 15 12 14 15 16
B

ADVANCED EXERCISE 9
P = 110
V V V V V V V V V V V
g V V V V V V V
1
I g 44 V V V V V V V V V V V V
V V
9 10 12 10 9
T 8 10 12 12 10 8
A 7 9 11 11 9 7
7 9 11 11 9 7
B 7 9 10 10 9 7
7 9 10
gg e V f V V V V V V eV fV eV V V V V V V eV
3
I V V V eV fV V V V V V V V V V
V
9 11 12 11 9
T 8 10 12 12 10 8
A 8 9 11 11 9 8
7 9 11 11 9 7
B 7 9 10 10
10 9 7 9 11
V V gV f V V V V V V fV V
g fV V V V V V V fV
I g V V eV V V V V gV
V gV f V V f V
5
8 10 12 10 8
T 8 10 11 11 10 8
A 7 9 11 11 9 7
7 8 10 10
B 9 7 7 9 10
11 9 7 6 8 10
gV gV V V V V V V V V V
g V V V V V
7
I g gV f V V V V V f V gV V V V gV gV V
gV V
9 10 12 10 9
T 9 11 12 12 11 9
A 7 9 11 11
8 7 8 9 11
B 10 9 7 7 9 11
10 8 6 7 9 10
gg V V V V
9
I gV gV V V V V V V
T
A 9 7
11 9 8
B 11 9 7
10 9 7

ADVANCED LICK 1
P = 97
V fV V V
(A6)
gg 4 V V V
1
I 4 k
12 13 12 10
T 12 10
A 11
B
b ` P P
Fb7`9
P
V fV V V V V V V V V eV V V V
Gmaj9 C m7 5
g V V V V V V V V V V V gV f V gV f V
2
Ig V gV V
M
1/4
10 13 10 12 10 9 12 11 9 9
T 10 12 12 12 12 12 8 11 10 9 8
A 12 11 9 9 11 12 9
11 8 11
B
gg W V
Bm7
4
I j
T 7 (7)
A
B
sl.

ADVANCED LICK 2
b P `= 97 b`
f V V gV V gV V gV f V V V V
C m7 5 F79
gg 4 l V V V V V V gV f V V V
1
I 4
V V fV V V V V f V gV
V
4 5 6 7 6 5 3 2
T 5 6 8 5 2 3
A 4 6 7 3 2
3 5 7 5 4 2
B 5 5 3 1
3 7
sl.
H
g Bm7
k
3
Ig
V
T
A
B 2

ADVANCED LICK 3
b P `= 97 b`
`P f V V e V V V V V f V
C m7 5 F79
g k z u gV f V gV V f V V V e V
1
I g 44 j V f V V gV f V V V V
11 12 11 10 9 10 11 8
T 11 10 9 8 10
A 9 9 8
11 10 9 8 7 9
B 9 9
H P P P P P sl.
Bm7
gg W j
3
I V
M
1/4
T
A 7 9
B

ADVANCED LICK 4
b P `= 97 b`
V eV V V V V V V V V f V e V f V e V V gV f V gV V f V
C m7 5 F79
gg 4 V V fV V V eV V V V eV V
1
I 4
12 11 10 9 10 11 10 9 9 8 11 12 11 10 9 8
T 12 10 11 8 10
A 12 11 10 9 8 9 9 8
11 9
B
sl. P P P P P P P H H sl. sl. P
g P V
Bm7
Ig V z k
3
u
T
7 9 11
A
B
H sl.

NE
W
RE
LE
AS
E!
S
TR
IN
GBE
NDI
NG JTCMASTERCLASS
S
TR
IN
GBE
NDI
NG
JTCMASTERCLASS BOXSET
VOL1FUNDAMENT
ALS
GETTHI
S
ASPARTOF:
JTCMASTERCLASS
STRI
NGBENDING
BOXSET!
AL
SOAVAI
LABL
EINDI
VIDUAL
LY
I
NCL UDES
I
NCL UDES Vol
.
1-Fundamental
s
JTCMASTERCLASS: Vol
.
2-ExpandedFretboar
d AVAI
LABL
ENOW 
STRINGBENDI
NG Vol
.
3-Expres
siv
eEx ecuti
on J
AMTRACKCENTRAL.
COM
ADVANCED LICK 5
P = 97
(A6)
gg 4 V
8va
j k V eV
1
I 4
3
15
T 16
A 16
B
b `C m7 5 b`
F79
gg V V V V V V fV V eV V V gV f V V V V e V
8va
2
I V V V fV gV f V V V f V V V
V
19 17 19 17 15 15 17 16 15 14
T 18 17 16 15 16 17 17 14 16
A 18 15 14
17 16 15 14 12
B 14
P P sl. P sl.
Bm7
g 8va
4
Ig V V V V
T
A 11 12 11
B 14
H P

ADVANCED LICK 6
P = 97
Bm7 A6
V V V V V V V V
8va
1
g
I g 44 k V V V V V fV V V
17 19 21 19 17 17
T 19 19 17 19 17
A 18 18 17 16
19
B
b `
C m7 5
H H P
b`
P
F79
P P sl.
gg V V V V V V V gV f V V V V V V V f V
8va
V gV f V V V V V V
3
I V V V gV V f V gV V
15 19 15 17 18 17 15 17 15 14 15 14
T 17 17 17 13 15 17 15
A 16 18 15 14 15 14 15 15
17 14 16 17 17
B
P P
Bm7
g 8va
V k j
5
Ig V V V V
u
T 14 15 14
A 16 (16)
B
H P sl.

ADVANCED LICK 7
P = 97
Bm7 A6
k V V V V f V gV V V V
8va
gg 4 j V V V V V V V V V fV V
1
I 4 V V V V V
v
12 13 14 12 17 14 12 12 14 12
T 12 14 15 15 15 15 15 14 13 12 12 12
A 14 14 11
B
b ` P
b` sl.
V V e V V V V V V V gV f V V V V
C m7 5 F79
g V V V V V V V V fV V V fV V V V
3
Ig V gV V
9 11 9
T 12 12 12 11 10 8 7
A 11 12 12 11 9 9 7 7 9 11 12 11 10 9
8 11 10 9 8 8
B 9 9
H P sl. P sl. sl.
Bm7
g j
5
Ig V V V V V fV V V
T
A 11 9
B 9
10 9 8 7

ADVANCED LICK 8
P = 97
V eV
Bm7 A6
g V V V V
1
I g 44 j l V V V V V
9 11
T 10 12 10 12
A 11 11
9 11 12
B
b ` b`
V V eV V V V
C m7 5 F79
gg V V V V V V V V V V V V V V fV V gV V V V V V
3
I gV V V V
12 9 11 9
T 12 12 8 7
A 12 11 9 11 9 11 12 9 11 9 9 9 7
11 11 11 11 10 9 8 8 11 9
B 9
P sl. sl. P
V f V gV V V V V V V
Bm7 A6
g V V V V V V V V V Vc k
5
Ig V V V gV V V
7 8 9 5 7 5
T 7 7 5 7 5
A 6 7 6 6 7 9 6 6
9 8 9 7 4
B
H P
b ` b`
V V V V gV f V V V V V V V
C m7 5 F79
g l gV f V V V gV V V
3
I g V V V f V gV
V V V
7
V f V V gV gV
3 7 3 6 3 6 5 3 2
T 5 6 3 5 3
A 4 6 4 5 6 3 2 3
5 4
B 4 7 5 4 3 2 1 4
H H P sl.
g
Ig
Bm7
9
W
T
A
B 2

ADVANCED LICK 9
P = 97
V V V V V V V V V V V V V V fV V
Bm7 A6
g V V V V V V V V V V V
I g 44 j
3
1
V V
3 3
M M
3
1/2 Full
7 7
T 10 10 7 7 10 7 10 7 7
A 9 9 9 10 9 7 9 7 7
9 9 9 7 9 7 7
B 9 9
P P P P P P P P
b
F m7
8va
gg V V V V
3
V V V V V V V V V V eV fV eV
3
3
I V V V V V V V V V V V gV
3 3 3
5 5
9 11 12 11 9 9
T 10 12 10 10 12 12 12 10 11
A 9 11 9 11 11 11
9 12 9 12 12
B 9 12 12
sl. H H H H P P P H H
b `
C m7 5 F79 b`
V
8va
gg V 3 5
V V
I gV f V V V V V V V V V gV
V V V V f V gV f V V gV V f V V V V V V
4
FullM
9 12 17
T 12 11 10 10 11
A 12 12 9 11 12 11 9 9 9 11 12
11 11 9 10 11 10 9 10
B 11 9 10 12
P P P H H P P P H H P P P H H H H sl.
Bm7
V
8va
gg j
5
I
T
A
B

ADVANCED LICK 10
P = 97
(A6)
g V
I g 44 j l
8va
1 V V
T 17
A 16 18
B
`
G7 9
H
gV V V V V f V V V V V
8va
gg V V e V V V V V V eV V V
2
I V fV V V V f V gV f V V V gV
15 17 16 15
T 17 15 15 17 16 15 14 15 14
A 16 16 15 15 15 14
17 15 17 17 16 14
B 17 15 13 14 16
17 14
sl.
gg W
Bm7
4
I
T
A
B 17
sl.

ADVANCED LICK 11
P = 97
Bm7 A6
g k V V V V V V V V V V V V V V
8va
1
I g 44 j
u
M
Full M
Full M
Full FullM FullM FullM M
Full
14 14 14 14 14 14
T 17 (17) 17 17 17 17 17 17
A
B
`
G7 9
V gV V
8va
g V V V V V V V V V V V V V V V V
3
Ig
M M M M M M
3
Full Full Full Full Full Full
14 14 14 14 14 14 14 15 18 15 14 14
T 17 17 17 17 17 17 17
A
B
H H P P
b` F79
8va
gg V V V V V V V V V V V V
V gV V f V
3
4
I V f V V V gV f V V f V V gV V V V V gV
14
T 17 14 15 17 15 14 14 14
A 16 16 14 15 16 15 14
16 15 14 15 16 15 16
B 16 15 14 16 17 14 16 17
P H H P P P H H P P H H P P H H P H H
Bm7
V V W
8va
g V V
5
Ig V V V V V
M
3
Full
14 17 (17)
T 15
A 14 18 14 16 18
B
H P H

MAJ
OR
SE!
LEA
RE
EW
SC
AL
E
N
S
OL
OI
NG
JTCMASTERCLASS
BOXSET
AL
SOAVAI
LABL
EINDI
VIDUAL
LY
I
NCL
UDES
Maj
orSc
aleSol
oing:BEGI
NNER
Maj
orSc
aleSol
oing:I
NTERMEDIATE AVAI
LABL
ENOW 
Maj
orSc
aleSol
oing:ADVANCED J
AMTRACKCENTRAL.
COM
ADVANCED LICK 12
P = 97
Bm7
8va
g
I g 44
6 3
V
3
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
1
T
A 7 9 11 14 11 9 7
7 9 12 14 12 9 7 9 12 14
B 9 12 14 12 9 7 9 12 14
7 10 12 14 12 10 7 10 12 14
H H TP P P H TP P P H H T H H TP P P H T P
H H TP P P H H T
A6
8va
gg V V V V V V V V gV
3 3
V V V V V V V V V V V V V V V V V V
I V
V V V V V V
2
M
3
1/2
7 10 12 14 12 10 7 10 12 14 12 18
T 7 10 12 15 12 10 7
A 9 12 14 12 9 7 9 12 14
12 9 7 9 12 14
B
P P H H T H H TP P P H TP P P H H T H H TP P P H H TP sl.
b ` C m7 5 b`
F79
gg gW V fV V fV V V V eV
V f V V V V V V gV V gV f V V
8va
I V f V gV V
3
19 17 15 15 17 15 14
T 18 18 17 16 15 17 17 14 15
A 17 15 14 16
17 14 15 16
B
sl. sl. P
Bm7
gg
8va
I R j
5
P V V
1/4 M
T
A 16 14 12
B
sl.

ADVANCED SOLO
x x x x x x x
b x x x
b `
Bm7 10 fr. A6 10 fr. Gmaj9 9 fr. F m7 9 fr. C m7 5 8 fr. F 7 9 8 fr. G7 9 9 fr.
x x x x
b` `
P = 97
Bm7 A6
g d
1
I g 44 k
V V V
V V V V V V k V V V V
u
3
T
A 4 6 7 (7) 4 6 4 6
4 (4) 7
B
H H
Gmaj9 F m7b
g j j l j k d V V V
3
Ig V V V V V V V V V
T 5
A 4 6 7
(7) 9 2 4 2 (2) 4 4
B
sl. sl. H
gg V V V W l V l V fV V V V V V
Bm7 A6
5
I
3
1/4 M
T 5 7 7 10
A 9 10 9 7 9 (9) 7
B
H sl. sl. P P
b
V V VV VV VV VV V
Gmaj9 F m7
g V V V V V V V V V
I g k l l j l u k l
7
v
M
1/4
10 12 14 12 10 12 10
T 10 12 12 12 (12) 10 10 12 10 10 12 10
A 11
B
sl. P sl. sl.

ADVANCED SOLO - jamtrackcentral.com Page 2 of 4
VV VV V
Bm7 A6
g V V V V V V V V
9
Ig j j l V k j
M
1/4 1/4M M
1/4
(10) 12 10
T (10) 12 12 12 (12) 10
A 11 9 7 9
B
sl. sl. P
b ` b`
V V V V V V V V f V gV f V V
Gmaj9 C m7 5 F79
g V V V V V V V ck
11
Ig V V V V V V V V V V
3
FullM M
1/4
7 7
T 10 7 7 10 7 7
A 9 10 10 9 7 9 7 (7)
9 9 9 7 9 7
B 9 9 9 7 5
7
sl. P sl. P
V V V V V fV V V V V V V V V V V fV V
Bm7 A6
g V V
13
Ig V V ck l u V
V V V 3 3 3 3 3
P.M.
1/2 M M
1/2
7 9 7 8 7 7
T 10 (10) 10 7 10 10 7 10 7 7
A 9 9 10 9 7
B 7 5
7 7 (7)
P H P P P P P H
sl.
b ` Fb7`9
V V fV V V f V V V V V gV f V V
Gmaj9 C m7 5
g W V e V V gV
15
Ig 3 V V V
FullM M
1/2
7 8 9 7 8 7 7
T 10 10 10 9 8 7
A 9 9 8 7
8 9
B 9 7
H P sl. sl.
V V V V f V V V gV f V V
Bm7 A6
gg W V V V V V f V gV V V
17
I V V V V
M
1/2
T 10 12 14 (14) 14
O 13 12
A 11 14 13 12 11 11 12 10 11 11
11 (11) 9 11 12 14 12
B
sl. P H sl. P P sl. P

b ` b`
V e V V V V gV f V V
C m7 5 F79
g f V V gV V V V V V V V l V eV V V fV V
19
Ig V gV V V V fV V
9 11
T 12 12 11 10 8 8 8 7
A 10 9 11 12 12 11 9 9 9 8 9 7
11 11 8 8 11 8
B 9 8 7
sl. sl. P P H
Bm7 A6
gg l l V V V V V V V V V
I V V V V V
V } V V V V V V
21
V V } V V 3
M
1/4 M
1/4 M
1/4 M
Full
T 10
O
12 (12) (12) 10
A 9 11 9 9
7 9 11
B 5 5 5 7 7
7 5 x 7 5 x 7 5 7 9
sl. H P P
sl.
b `
V eV V fV
C m7 5
g V V V V V fV
23
Ig
12 11 10 9 8 12
T 12 10 10
A
B
P sl.
b`
V f V gV f V V V gV V V V V V V V V V V V f V gV f V V
F79
gg V V V f V gV f V V V
24
I 3 5
V
3
10 8 8 12 8 10 12 10 8 8
T 11 10 8 10 11 11 11 8 10 11 10 8
A 11 0 11 9 10 11 10 9 7
B
P P H H H P H H P P P H H P P P H P H H P P sl.
Bm7 A6
8va
V
g V fV V V V V V V V V
Ig V V V V V V V gV V V V V V V V V V V V V V V V
25
V
1/4M
12 14 12
T 10 12 10 10 12 14 15 15
A 9 10 9 7 9 7 7 9 9 11 9 11 11 11
9 9 9 7 9 11 12 12 12
B 9
H P P P sl. sl. H H P sl. sl.

b `
C m7 5
V V V V V V fV V V V V V V V V V V V V V
8va
g V gV
27
Ig V gV V
3
14 15 17 19 17 15 15 14
T 18 18 15 17 18 17 15 14 15 14 14 15
A 16 16 14 15
B
H H P P P H H P sl. P H P P H
b` F79
gg V gV f V gV f V V V V V
8va
gV f V V V gV V V fV V V V V V
28
I V f V V gV V V
3 3
3 3
17 18 17 16 15 14 14 17
T 15 17 15 15
A 15 14 15 14 18 14 16 18
16 16
B 17 16 15 14 16 17
sl. P P P sl. P P P P sl. H P H H H sl.
Bm7 A6
V V V V V V V V P V V gV V V
8va 8va
29
g
Ig j k Pz u z V V V V V
M
1/2 1/2 M
21 (21) 19 17 19 17 19 (19) 17 14 15 16 17 19
T 19 17 15 15 17
A 16
B
sl. sl. H P sl. P
` G7 9 F79 b`
8va
gg V gV f V V f V V V V V e V f V V V V V V V V V V
31
I V V f V V V V gV V V gV V
(19) 18 17 15 15 14
T 18 17 16 15 15 17 14 15
A 18 16 18 17 16 14 15 16
17 16 15 14 14 16 17 16
B 17
P P P sl. H H H P
g U
Ig
Bm7
33
T
A 14
B

Masterclass Booklet: Minor Scale Soloing Masterclass Advanced

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Masterclass Booklet: Minor Scale Soloing Masterclass Advanced

Uploaded by

Copyright:

Available Formats

MASTERCLASS BOOKLET

ADVANCED SOLO – A QUICK PEEK

THE MINOR ii-V-i

THE II-V-I – A QUICK REMINDER

So how does this work in a minor key?

Bm7b5 – Em7 – Am7

THE WRONG NOTE?

OTHER SCALES FOR THE MINOR ii-V-i

E Superlocrian = E F G Ab Bb C D (same notes as F melodic minor)

B Locrian natural 2 = B C# D E F G A (same notes as D melodic minor)

EX1: Diatonic 9th arpeggios (root-3rd-5th-7th-9th), ascending and descending.

ADVANCED LICKS AND SOLO

Finally, here’s a summary of the licks…

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

You might also like