Jazz Backing Track #25 - G скачать в хорошем качестве

Jazz Backing Track #25 - G

G# natural minor (Aeolian) at 95 BPM with a sultry smooth jazz pocket. Built for guitarists mapping the board, shaping phrases with space, and controlling avoid notes with taste. Core Sound — sing first, decorate second. State G#m7 chord tones clearly: G#, B, D#, F#. Put the 3rd (B) and 7th (F#) on strong beats or at cadences. Add shimmer with 9 (A#) and 11 (C#) on weak beats or as passing tones. Treat b6 (E) as a fleeting color: touch it and resolve to D# or F#. If you sustain E, hint G#m7(b6) briefly, then relax to D#. Keep your longest notes on B or F# for instant clarity. Jazz-inspired Progression — create motion inside one chord. Imply a mini ii–V–i toward G#m: A#m7b5 → D#7 → G#m. On A#m7b5, favor C# and E. On D#7, always touch the 3rd (G) or 7th (C#) so the ear hears “dominant” before you resolve to G# or B on G#m. Rotate dominant colors: • D#7(b9,b13) from G# harmonic minor • D#7alt (Super‑Locrian from E melodic minor): b9 E, #9 F#, b5 A, #5 B • Tritone sub A7alt → G#m Anchor each by aiming for G or C#, then release to B or G#. Guide‑tone lines — memorize these resolution shapes. A) G#m: F# → D#7: G → G#m: G# (chromatic rise) B) A#m7b5: E → D#7: D# → G#m: D# (descending ease) C) D#7: C# → G#m: B → G# (sweet landing) Avoid management — practical fretboard rules. On G#m7, E smears if sustained; resolve quickly to D# or F#. On D#7/D#7alt, G# (4th) often clashes; pass over it or resolve by half‑step. Use chromatic approaches briefly, then land on chord tones. Practice menu (10–30 min) — compressible routine. 1) Target‑tone cycle (5 min): | G#m7 (2 bars) | D#7alt (1) | G#m7 (1) |. Land on D#7 G or C#, then resolve to B or G#. Four rounds, change targets each round. 2) Tension‑limited solo (5 min): Over G#m7, allow only chord tones plus 9 (A#) and 11 (C#). Let E appear only as a quick approach to D# or F#. Enforce rests. 3) Guide‑tone line build (10 min): Connect A#m7b5–D#7alt–G#m7 using only 3rds and 7ths. Move the same two‑note skeleton through three positions. 4) Blues merge (5 min): Use G#‑blues b5 (D) as a pre‑landing into D# or C#. Once or twice per chorus keeps it classy. 5) Time and touch (5 min): Add tiny slides on offbeats and vary note lengths (2:1 ratios) to create subtle stickiness in the pocket. Tone suggestions — intimate and clear. Neck or neck‑middle pickup, low‑medium gain, light compression, rounded EQ. Let articulation, not distortion, carry the line. Suggested lick cells (text only, adapt fingering): G#m7: G# B A# C# | B D# F# D# | A# C# B G# D#7alt: G A# C# B | A# G F E | A C# B G A#m7b5: C# E G# F# | E C# A# G# → (connect to D#7) Summary — how to sound confident quickly. Center your longest notes on B and F#, season with A# and C#, and treat E as a brief color that resolves. Create inner motion with mini ii–V–i and confirm dominance by touching G or C# on D#7 before resolving. Leave space. Let the line breathe.