Secrets of the Jam Masters!

Hey y’all

Thanks so much for all the kind words and wishes…
I really like the suggestion: “Secrets of the Jam Masters”…
That kind of sums up what the course is all about — guitar
tricks and secrets used by great jammin’ players like Dickey Betts,
Jerry Garcia, Carlos Santana…

Here’s another sample lesson from the DVDs…

Hey, I’m Karan, welcome to my first DVD video.
We’re going to have a whole bunch of fun exploring
a bunch of different stuff. What you were just
listening to was my nod to the Allmans and a little
excursion in E major, and that’s the first stuff
we’re going to be working with. So let’s go.

I was playing against an E major, A major progression,
very simple. Evocative of a certain southern rock band.
And what I was doing was I was working in E major keys,
E major scales, using the E major pentatonic, the E major
scale itself and the chord tones from the E major. I’m
going to show you a few examples of how you might utilize
some of that and then I’ll play them for you in the context
with the jam itself.

The first one I’m going to show you is kind of a cascading
thing using the E major pentatonic scale, starting at the
octave. Then going to C sharp, then B, G sharp, F sharp, E,
C sharp and then back up. So those are all the notes in the
E major pentatonic scale and I’m just doing them in a descending
fashion, making a little pattern.

The second riff I’m doing more chord tones and the notes that
I’m actually using are C sharp,E, G sharp, B, and I’m throwing
in the A; it’s the [unintelligible – 02:14] in E. Resolving on
that B. So those are all chord tones. You have a little bit more
depth of harmony when you’re using the chord tones than you do
when you’re using a pentatonic scale. And it uses a technique
called ghosting where I’m going to take these three strings and
I’m going to sweep across them in one motion. So I’ll get more
notes in a smaller period of space than I normally would.
That’s called a ghost.

A little aside. As you’re working with the ghost, you’ll learn
that you need to get ahold of a little muting with your right
palm or all the notes ring out real sloppy. It will take a little
time, but you’ll get used to it. So there’s the second lick.

Okay, so I’m going to do another lick here. This is using basically
the E major pentatonic scale again, but it’s slipping in a connecting
note that you wouldn’t normally use, a chromatic note. So it goes
something like this.

Now, what I’m doing is I’m taking the F sharp note and bending it to
G sharp and then A. Chromatically A sharp, B, same bend but starting
from the bend, E, C sharp, B, resolving on the E.


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