Pete Bray Music

I'm a guitar tutor, composer, session musician and writer from Essex. Lessons available contact me for information.
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More videos are coming but some problems have arisen:

  • Working on a full release for Bandcamp has eaten into time I can put into videos.
  • It has been INCREDIBLY HOT in the only place I can record video or sound i my house meaning that I have a vastly diminished time during the day to record. If you go back to my music I released during my 2012 project in the months of June - September are some of my most derivative music (in my opinion). This is because of how hot it was and difficult to come up with new ideas.
  • An entire house is being built next to mine which causes a lot of noise that gets picked up (drilling, dropping things, swearing and singing from builders).

Once these issues have been solved more videos will come, along with, more music in general and I can’t wait! 

Finally, I have a new video and it’s Is There Anybody Out There? by Pink Floyd.

The chord progression is essentially Am for the first section with some chromatic movements and a downward cycle from to A. The second section starts with a C Major and moves down to an ASus2

I really enjoyed this song as it was simple but I got to write the backing track in Cubase which was a lot of fun.

This week’s music is Three Views of a Secret by Jaco Pastorius.

I decided to do something a little different with this one as my electric guitar amp had gone kaput! A little slide guitar on my acoustic seemed like the right thing to do to mix thing up a little.

As far as this song goes it has a meandering feel by changing keys twice but still drives forward with it’s 3/4 time signature. I would definately suggest listening to the Weather report version of this song if you’re going to attempt it in a band or the big band version if you just want to hear the definitive version for fun!

Only one video this week and it’s Watermelon Man by Herbie Hancock.

This is a pretty easy tune that is essentially a blues in F with the last chord  progression being C7 - Bb7 repeated. Suggested scales if you’d like to play a solo yourself are:

F Minor Pentatonic

F Major Pentatonic

The relevant Mixolydian mode for each Chord (F7, Bb7 & C7)

At one point or another I’m using all of these and trying my best not to think about it.

I uploaded a new song to YouTube and it is Mercy, Mercy, Mercy by Cannonball Adderley (written by Joe Zawinul). It’s a fairly easy song as there’s not any weird “out” chords or changes, just some jazzy jamming in Bb.

I mostly used Bb Pentatonic or Bb Mixolydian for the solo with some chromatic notes thrown in for a bit of funkiness.

I’ve started uploading videos of me playing guitar! I’m starting with my rendition of Robben Ford’s Revelation. This was fun to play, wish I had that would indulge me!

In lieu of an article this week I thought I’d post some music I really like. This is Red Baron by Billy Cobham.

The chords to this tune are pretty much Gm7/C7(9) throughout most of the verses and all of the solos. There’s an Eb7b5 and Db7b5 at the end of the verse too but they aren’t used for the solos (you’ll hear them, they’re pretty distinct.

As far as soloing over this goes you can hear some great examples in the video above: you can keep it simple with G Minor Pentatonic/Blues scale, add some Dorian for a bit more jazzy flavour or even add some diminished over the 4th/8th bar to lead back to the G Minor 7th chord. In that case I’d use the C Diminished scale as the IVdim chord leads nicely back to the Im chord.

There’s plenty of backing tracks for this song on YouTube if you wanted to try your hand at it and the melody is pretty easy to find too (hint: do a Google image search!), at least compared to Crosswind which I’d LOVE to have a copy of!

So you’ve got your little melody/rhythm/chord change that you think can be further expanded upon into a full length song. Great! But you don’t know where to go next? Try some of these ideas.

Chord Progressions

The following are sets of chords that are mostly derived from the C Major scale. Terms such as I – IV – V refer to the 1st, 4th and 5th degrees of the chosen scale with diatonic 3rds stacked on top of them to create chords. If you have any trouble with this theory let me know and I’ll gladly do a lesson on it.

Over the years some chord progressions have prevailed as more popular than others. The following are just a small selection or examples you could use.

I – IV – V:


Seen in most blues music it is arguably the most popular chord progression around, Listen to Crossroads by Cream and you’ll notice the only chords used are the Dominant (7th) versions of I – IV – V in the key of A.

II – V – I


The most popular progression for Jazz, just listen to Autumn Leaves or Fly Me To The Moon and you’ll hear nothing but a series of II – V- I chords! Some songs will rock between the II – V for a long time before going to the I. Billy Cobham’s Red Baron can be seen as a constant series of II – V's in F Major. However, F is never played meaning that G minor 7 is heard as the de facto I chord throughout the song.

I – VI – IV – V


The four chord song is a much parodied song structure but still has relevance today with songs such as Baby and Every Breath You Take using the sequence. The I – VI – IV – V Progression became popular in the 50’s as watching Back to the Future will show you: it’s the chord sequence in Earth Angel (also, Johnny B. Goode is a I – IV – V progression in B Flat, not B like Marty says).

Try putting these sets of chords into your songs by changing the key signature and seeing how they fit. For example a I – VI – IV – V in G Major would be:


And the same in G Minor would be:


Did you notice that the last chord was a D7 instead of a Dm? This is called a substitution and is used to create a little bit more tension to bring us back to the I chord that the diatonic V chord doesn’t provide. As a result the sequence would be written out at I – VI – IV - V7. Substitutions are a lesson all on their own but remembering their purpose and what chord has been substituted make using and understanding them a lot easier.

That’s all for this lesson, next time we’ll look at how to make a melody work and not sound like a jumbled mess.

Another section from a song I’m writing. This one is in 13/8 for the most part, but I count it in alternating bars of 6/8 and then 7/8 so my head doesn’t explode!

This is a small section of a song I’m writing for my album. It’s tricky because of the odd meter, but a lot of fun to play! I made this for my better students to practice without the solo and then did a separate one where I get to shred!