JUST JAM BOOKLET

JamTrackCentral

JUST JAM:
EASY CHANGES

A ROUGH GUIDE TO THE BACKING TRACKS

These chord charts apply to the LONG version of each track. You might find it easier to use
the long version first, to familiarise yourself with the sound of each section.

AFTERNOON DELIGHT (126 bpm)

Section 1 [0:07]
G | D/F# | Em | C D |

Section 2 [0:22-0:38]
Em7 | Bm7 | Em7 | Bm7 |
Em7 | Bm7 | Cmaj7 | D7sus4 |

We’re basically alternating between two related keys here, G major (section 1) and E minor
(section 2). That means we’re using basically the same notes for solos... G major (G A B C D
E F#) and E Aeolian (E F# G A B C D) or G major pentatonic (G A B D E) and E minor penta-
tonic (E G A B D).

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The only difference between the scales is the note used as the root (G vs E) but that actually makes
a lot of difference, because all the relationships between the notes also change. So don’t just run
up and down the scales; think about what each note does, and remember, this will change from
one chord to the next. For example, the G note is the root in section 1 and the minor 3rd in section 2
(both important notes) but it’s the 4th of the D/F# chord, and it’ll sound unsettled if you sit on it over
that chord.

DOUBLE SIDED (81 bpm)

Section 1 [0:11]
Gm9 | Bbmaj9 | Dm9 | Fmaj9 |

Section 2 [0:59-1:23]
Bbmaj9 | Cadd9 | Dm7 | Am7 |

Again, we have a pair of relative major/minor keys: G minor in section 1 and Bb major in section 2.
However, this time, the related tonalities are specifically G Dorian (G A Bb C D E F) and Bb Lydian
(Bb C D E F G A). You can still also use the appropriate minor pentatonic (G Bb C D F) and major
pentatonic (Bb C D F G) but that E note in some of the chords adds a different sound to the whole
thing.

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FUNKY FILTER (104 bpm)

Section 1 [0:09]
Ab | Ab | Ab | Ab |

Section 2 [0:27-0:46]
Ab9 | Gb6add9 | Fm7 | E9 Eb7#9 |

Section 1 is mostly A-flat major chords, but these are interspersed with Gb major and Bb minor
chords, meaning we’re in Ab Mixolydian territory (Ab Bb C Db Eb F Gb). This means you can also
use major pentatonic (Ab Bb C Eb F). This is mostly the same for Section 2, but the chromatic move
through E9 could cause brief problems. Most of the notes in Ab Mixolydian will sound like jazzy E7
altered notes, but you probably want to avoid the Eb.

GET IT ON UP (124 bpm)

Section 1 [0:15]
Cm7 | Bb7sus4 Bb7 | Fm7 | Fm7 Bb |

Section 2 [0:46-1:02]
Cm7 vamp

Despite the Cm7 chord, it’s best to use Aeolian (C D Eb F G Ab Bb) than Dorian here, because of the
Ab notes in the Bb7 and Fm7 chords. That also means you can use minor pentatonic (C Eb F G Bb)
or blues scale (C Eb F Gb G Bb). Section 2 is just a static Cm7 groove, so this could be an opportu-
nity to switch to Dorian (C D Eb F G A Bb) for a contrasting sound.

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LATIN FLAVOUR (100 bpm)

Section 1 [0:00]
E D/E | ... | E D/E | E D/E E |
E D/E | ... | E D/E | ... |
G F/G | ... | G F/G | ... |
E D/E | ... | E D/E | ... |

Section 2 [0:39-0:58]
Amaj9 | B/A | G#m7 | C#m7 |
Amaj9 | B/A | G#m7 | C#m7 B7sus4 |

Section 1 is all about the Mixolydian mode. For the E-D chord change (over a static E bass) this is
E Mixolydian (E F# G# A B C# D) and then the G-F change shifts into G Mixolydian (G A B C D E F).
Section 2 shifts to A Lydian (A B C# D# E F# G#).

MORNING GLORY (78 bpm)

Section 1 [0:00]
E F#m11 | E F#m11 | E F#m11 | Bsus4 Asus2 |
E F#m11 | E F#m11 | E F#m11 | Bsus4 |

Section 2 [0:27-0:52]
E Aadd9 | E Aadd9 | E Add9 | Badd11 |

This whole track is in E major (E F# G# A B C# D#) and all the rhythm guitar chords have open E and
B strings, so those two notes can easily be used as “flavour notes” even if they’re not obvious chord
tones. For example, E wouldn’t normally be a good note to hold over a B chord (it sounds unsettled).
In this case, though, we have Bsus4 and Badd11, where the E note is an important part of the chord’s
sound, so it’ll work in your solo.

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OLD ROCK (172 bpm)

Here’s the full progression. Watch out for the third line, where there’s an extra bar in the alternating
G/D riff...

||: A5 | A5 | A5 | G5 D/F# :|| (x4)

||: E5 | E5 | E5 | G5 D/F# :||
A5 | A5 | A5 | G D/F# G | D/F# G |
A5 | (A5) | A5 | (A5) |
A5 | (A5) | E5 | E5 |

This is classic A blues-rock territory, so you have quite a few options. In that situation, the under-
standing is usually that the basic tonality is Mixolydian (A B C# D E F# G) but you can also play
bluesy minor licks, using minor pentatonic (A C D E G) or Dorian (A B C D E F# G). And of course you
can also mix in the major pentatonic (A B C# E F#).

However, there’s no clear C# (major 3rd) in the A chords, so you could interpret the basic tonality as
purely minor (Dorian & minor pentatonic). Whichever way you go, this style works best if you avoid
pure scale lines and concentrate on building licks around the primary chord changes.

SMOOTHIE (76 bpm)

Section 1 [0:19]
Fmaj9 G6 | Fmaj9 G6 | Fmaj9 G6 | Dm9 G |

Section 2 [0:44-1:09]
Am | Fmaj7 | Am | D9 |
Fmaj7 | D9/F# | Gsus4 | G |

Section 1 is F Lydian (F G A B C D E). We can use the same notes in Section 2, but with the root
shifting to A, creating A Aeolian (A B C D E F G). However, this won’t work for the D9 chords, where
you’ll need to switch to Dorian (A B C D E F# G). Alternatively, use A minor pentatonic (A C D E G)
right through Section 2.

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SORTED (6/8 time, 180 eighth notes per minute)

Section 1 [0:00]
A9 | D9 | A9 | D9 |

Section 2 [0:33-0:49]
Fmaj9 | E7#9 | Am Am/G# | Am/G Am/F# |
Fmaj9 | Fmaj9 | E7#9 | E7#9 |

This is really just a modified A major blues progression, so the usual advice applies. Think more in
terms of chord tones than scales. One strategy would be to use A minor pentatonic (A C D E G) as a
basic framework, adding target notes to follow the chords... C# over the A9, F# over the D9, F over
the Fmaj9.

If you want to use more of a jazz/fusion scale approach, the A9/D9 changes mean you could switch
between A Mixolydian (A B C# D E F# G) and D Mixolydian (D E F# G A B C). On that theme, you
could then switch to F Lydian (F G A B C D E) for the Fmaj9 chords.

The sequence of Am chords in Section 2 has a descending chromatic bassline. You could pick out
the changing bass notes in your licks, but you don’t have to do that; you can play right through that
sequence with A minor pentatonic. Your A Mixolydian or pentatonic licks will also work over the
E7#9 (“Hendrix chord”) but if you’re feeling ambitious, try the Superlocrian (E F G Ab Bb C D).

STRAIGHT AHEAD (98 bpm)

Section 1 [0:00]
Cm9 | Cm9 | Abmaj9 | Abmaj9 |
Cm9 | Cm9 | Abmaj9 | Abmaj9 |
Fm9 | Fm9 | Bb13 | Bb13 |

Section 2 [1:03-1:23]
Cm7 | Dm7b5 G7b9 | Cm7 | Dm7b5 G7b9 |
Cm7 | Dm7b5 G7b9 | Fm9 | Bb9sus4 |

Section 1 is all within C Aeolian (C D Eb F G Ab Bb) so you can also use minor pentatonic (C Eb F
G Bb). These scales will also work for Section 2, but the minor 2-5-1 (Dm7b5-G7b9-Cm7) gives you
the opportunity to work with more jazzy sounds... try G Superlocrian (G Ab Bb Cb Db Eb F) over the
G7b9 (Cb is the same note as B).

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