This is an updated version of a backing track I posted in this lesson on chromatics. I expanded each section giving us a little more time to explore and develop ideas before switching gears in the subsequent section. 

🎸 E Minor Modal Jam Track | Em7–Bm7–Am7 to G7–C7 Groove

This jam track moves between two contrasting sections:

Section 1 (8x):
Em7 (4 beats) | Bm7 (2 beats) | Am7 (2 beats)

Section 2:
G7 (8 beats) | C7 (8 beats)

The first section lives in an E minor modal world — smooth, moody, and perfect for melodic development.
The second section shifts into a dominant blues/funk pocket, creating a lift in energy before resolving back to Em7.

🎯 Soloing Suggestions

🔹 Over Em7 – Bm7 – Am7

Think E natural minor (E Aeolian):
E F# G A B C D

Great options:
• E minor pentatonic
• E natural minor
• Target chord tones (especially the 7ths!)

Chord tones:
Em7 → E G B D
Bm7 → B D F# A
Am7 → A C E G

💡 Try landing on:

• D over Em7

• F# or A over Bm7

• C over Am7

This makes your lines sound intentional instead of just “running a scale.”

🔹 Over G7 – C7

Now we’re in dominant territory.

Over G7:
• G Mixolydian
• G blues scale

Over C7:
• C Mixolydian
• C minor pentatonic for blues tension

💡 Emphasize:

• F over G7

• Bb over C7

Those notes signal the harmonic shift and make the section pop.

🎶 Practice Ideas

• Build one simple motif and develop it over all 8 repeats of Section 1
• Increase intensity when G7 hits
• Use bends and blues phrasing in Section 2
• When returning to Em7, resolve strongly to E or G

This track is great for:
✔ Modal phrasing
✔ Voice leading
✔ Connecting minor and dominant sounds
✔ Building dynamic contrast in solos

This uplifting, euphoric pop jam track is inspired by the energy and emotional lift of Pink Pony Club by Chappell Roan.

The track is in G Major and uses the following chord progression:
G – Am – Em – C

It’s designed to give you that big, theatrical, neon-pop feel — perfect for soaring melodies, expressive bends, and confident, singable lines.

I find this progression to be easy to play over, making it alot of fun!

🎸 Improvising Tips:
G Major scale works beautifully over the entire progression.
G Major pentatonic is especially strong for catchy, vocal-style phrasing.
The G major pentatonic contains five notes: G – A – B – D – E (It’s simply the G major scale with the 4th and 7th degrees removed.)

Try:
Targeting chord tones on strong beats
Building intensity as the progression cycles
Leaving space between phrases to create that “anthem chorus” feel
Plug in, turn it up, and go full spotlight mode. 

Download High Quality AIFF Audio File

The chords for this track are: E7, D7, A7, E7 however, the guitar just plays E,D & A triads with no 7th.

How to approach this?
1. E Blues Scale (the “one-scale-does-it-all” choice)
E blues: E – G – A – Bb – B – D
Why it works:
Classic blues move: dominant chords that don’t “belong” to one key
The blues scale floats over all three chords without needing to switch
👉 Perfect for: Blues, rock, roots, early rock & roll
Staying expressive without thinking too hard

2. E Minor Pentatonic
E minor pent: E – G – A – B – D
Why it works: Same logic as the blues scale, just cleaner Sounds great over all three dominant chords
👉 Tip: add the Bb occasionally for blues color.

3. Mixolydian Per Chord (outline the changes) If you want to sound more “inside” and sophisticated, switch scales with each chord:
Over E7 play E Mixolydian: E – F# – G# – A – B – C# – D
Over D7 play D Mixolydian: D – E – F# – G – A – B – C
Over A7 PLAY A Mixolydian: A – B – C# – D – E – F# – G
Why it works: Mixolydian = dominant scale Highlights each chord’s 3rd and b7, which defines the sound
👉 This is great for jazzier blues or country-blues flavors.

4. Major Pentatonic Targeting (sweet + bluesy)
You can mix major pentatonic sounds with minor/blues:
Over E7 → E major pent (E F# G# B C#)
Over D7 → D major pent (D E F# A B)
Over A7 → A major pent (A B C# E F#)
This gives: A sweeter, almost BB King / country blues vibe Great contrast when mixed with minor pentatonic

If I were soloing over this progression:
Base layer: E blues scaleZ
Add interest: Target chord tones as the chords change Color: Mix in Mixolydian or major pent for sweetness

I know this seems like a lot to be thinking about while also trying to spontaneously create in an artistic fashion AND execute everything with good feel, timing & musicality AND IT IS!!! 

That's why I approach it from a very familiar minor pentatonic framework and add all the other colors from there. Video about this coming very soonly!

I love my G&L ASAT Classic, and I'm a little sad to see G&L go the way of the Dodo.

In this video, we take a quick look at:

• The history of Fender, MusicMan, and G&L
• The arc between Leo's original solid-body guitar, and his last solid-body guitar
• Leo's unique G&L innovations
• G&L's future post FMIL purchase

Y'all have any experience with G&L guitars?