You also have a few options available for backing tracks with a USB port as well as an auxiliary jack. With the Fender Mustang LT-25, you’ll get the fantastic tone of a fender in an excellent package. It leaves out the bells and whistles like applications and Bluetooth audio playback, but it’s a great little amplifier. Best Amps for Backing Tracks Best Option: Positive Grid, SparkĪ little less high-tech, and a little more budget-friendly, the Fender Mustang LT-25 is going to get the job done just fine. The last thing you want is a backing track that makes you sound worse.Īfter I go a little more in-depth on each amplifier that’s great at playing backing tracks, we’re going to get deep into the details of playing with backing tracks, amplifiers, and alternatives. Whether you’re practicing or playing live, you need an amplifier that can really handle the job. There are tons of reasons a guitarist might play with a backing track. At their worst, backing tracks just muddy up your entire performance (or practice session). At their best, backing tracks add serious oomph to whatever you’re playing. When music is played in the background, it’s called a backing track. Speaking of practice… here’s a great resource I’ve found that you can use to make the most out of your practice sessions and significantly improve your guitar playing ability. You know when you watch someone play guitar alone, but the rest of the music is playing in the background? You may have seen this either in person or maybe on a YouTube video and not realized it was even happening. These amps are great for playing with backing tracks but may not be best for live use. It ’ s followed by the Yamaha THR10II and the Fender Mustang LT-25. The best guitar amplifier for backing tracks is the Positive Grid Spark. 1.6.3 Back and Forth – Backing Track or No Backing Track.1.6.2 You Don’t Necessarily NEED a Special Amplifier.1.6 Different Amps are Good for Different Things.1.5 Are There Issues With Using Amps for Backing Tracks?. 1.3 Budget Option: Fender Mustang LT-25.King’s famous rendition of ‘Thrill is Gone’. In the key of A, this would be F to E7, than back to Am7 for the final bars 11 and 12. The descending effect of the progression is similar, but the mood is a lot more minor sounding. Instead of the classic V then IV in bars 9 and 10, the Minor Blues substitution is for a VI followed by a dominant V in these bars. VI-V Chord Turnaround: The last four bars is where the most common Minor Blues variation takes place. Dominant V chords in a this context sound slightly more sophisticated, and increase the sense of ‘pull’ back to the home chord. Major or Dominant V Chord: The V chord in a minor key is naturally a Minor 7th, however, in Minor Blues, this is frequently substituted for a Dominant V chord – a common minor-key variation that comes from the Harmonic Minor scale. However, when it comes to Blues, there are a couple of main minor-key variations you need to be aware of that happen so often as to be standard. All sorts of variations can be stacked upon each other, ultimately taking things so far away from Blues that you start to move into the realm of Jazz. Minor Blues has lots of possibilities, owing to the fact that there is more than one type of minor scale. (The Natural Minor can also sound extremely good, but you need to use it well.) The best fitting scales for Minor Blues are the Minor Pentatonic and Minor Blues scales, and, if you want to start adding a little extra spice, the Dorian scale. In contrast to Dominant Blues, in Minor Blues, you generally want to avoid the Major Pentatonic scale (unless of course you know what you’re doing and are going for a specific effect).
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