Master Blaster Guitar Lessons and Backing Track

Master Blaster (Jammin’)

Live Band Backing Track

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‘Master Blaster (Jammin’)’ in the course

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Learn how to play Master Blaster (Jammin’)

In the step by step course, I’ll first take you through how to play each section, all over the neck.

This involves building rhythm parts for the verse and the chorus. Using my examples as a starting point you will soon be able play ‘Master Blaster’ in an improvised way, or as the title suggest – Jammin’.

The instrumental sections take some serious work to get up to speed. Playing them all over the neck and discovering how to play the Minor Pentatonic in sequences really helps.

We also look at a Spytunes exclusive scale called Conspirian. This is a great scale to use when soloing over Master Blaster’s verse.

This is the last song in the course, when you can play this you are set up for the final lesson – To play all thirteen songs in a row, with a band, just like you would in a gig with a Motown/Soul band.

Chord progression

The chord progressions of ‘Master Blaster (Jammin’)’ break all sorts of harmonic rules.


||: Cm | Cm Bb | Ab | Ab G | F | F | Cm | Bb :||


||: Cm  | G7 | F6 | F7 :||

The last two bars of the chorus could have F, F6 or F7 chords. The G7 could also be a G.

The harmonic structure of the verse is too complex to discuss here, find out more in the course.

The Minor Pentatonic in sequences

The most challenging part of playing ‘Master Blaster’ is the second instrumental section. This part has become so famous among musicians it is by many seen as a benchmark of your ability.

To learn it, you must first play the Minor Pentatonic in sequences, meaning moving up three notes, back one. Do this in all shapes followed by the opposite direction of three notes down, one up.

This final way of playing down the scale in sequences is the main foundation of Master Blaster’s riff.

It does get more complicated than just moving in this pattern, but as a starting point, practicing the concept is essential.

The best part is that this way of phrasing can be incorporated into most solos and licks with great a success. I’ll even go as far as saying that being able to play a Minor Pentatonic scale in sequences is essential for successful phrasing.

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