modern music theory and application

“Minor-isation”For Backing Track Improvisation:

Posted on April 30, 2024April 30, 2024 by Modern Music Theory

“Minor-isation”or the minor topic.[Backing Track]

Hi Guys,

Today, a quick look at applying minor-isation for improvisation over a backing track:

This is a very useful way to play over ambiguous harmony or Jazz fusion chord progressions, slash chords and sometimes illogical movement/chord shifts.

So, what do we do? and how does this work?

ANSWER=Employ the minor key for everything!

Let’s say we take this chord FMaj#11 – we will go to chord iii of F Major and use that for our improvisational point. In this case it’s A minor.

minor-topic-pat-martino-minorisation-track

Let’s apply the same principle to DbMaj7#11

If we apply chord iii we have F minor:

This time we will apply it to B Maj7#11

Chord iii being D#minor [Although I have notated it enharmonically with Eb minor as some people find that easier to visualise on the guitar fingerboard]

BARS 9 TO 12

In bars 9 to 12 you will see slash chords. For these we will go to chord Vi. So for instance on Db/Eb we will use Bb minor.

Bars 9 to 11: Chord Vi:

And on C/D chord Vi will be A minor:

We could also use chord iii as we did in the first 8 bars:

Bars 9 to 11: Chord iii Employed:

LAST 4 BARS

For the last part we will employ chord iii of Db Major throughout: This of course being F minor:

Here is the chart for the full backing track and you will see how all of this works:

IN CONCLUSION:

This is just a basic example of how “minor-isation” can be exploited to create really fluid improvisation especially on the guitar in a modern smooth jazz fusion context:

FREE PDF DOWNLOAD:

minor-isation Download

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2 Part Counterpoint Guitar Strumming

Posted on April 15, 2024April 30, 2024 by Modern Music Theory

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2 Part Counterpoint Guitar Strumming: songwriting guitar style lesson

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at contrapuntal 2 part guitar strumming. This involves employing contrary motion technique where 2 parts move in different directions

This is not traditional Bach counterpoint but using and exploiting what works naturally on the guitar’s traditional tuning EADGBE.

In the first exercise we will just pluck some simple 2 part voicing’s leading to a plagal cadence.

counterpoint-songwriting-guitar-lesson-example

In the next exercise we will brings out the inner voicing’s whilst strumming rhythms on all the guitar strings.

Now, we will move up to the next three strings and strum some more patterns.

In the following exercise you will see how easy it is to create contrary motion through the different registers with the plectrum as [simple dyads or] 2 note voicing’s.

Now, we will move up to the first and second strings,

Here is a chordal variation with an added pedal note:

The next example is in G major and produces a really lovely sound that resonates on the first two strings.

Let’s now add a G pedal: Notice the ascending [but falling] scale motifs:

Finally, we can employ another useful technique by using a pedal note with a chord. This is not contrapuntal, but it is useful for creating a clear sense of harmony with rhythmic drive.

Here we will add a little a “Down Down Up” plucked triplet motif to break it up.

Full Exercise:

Free PDF DOWNLOAD:

2-part-guitar-strumming Download

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Jazz Guitar Alternate Picking Exercises: ii V7 i [Double Time]

Posted on April 4, 2024April 6, 2024 by Modern Music Theory

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Jazz Guitar Alternate Picking Exercises: ii v7 I [Double Time]

Please watch video above for detailed info:

Hi Guys,

Today, we will look at some alternate picking guitar technique exercises for jazz improvisation when double timing

We will exploit ii V7 I’s as a basis for honing our alternate picking skills whilst employing 4 note tetrachord groupings.

In the first exercise it’s a good idea to accent the third note in each four note grouping. We are also starting on a downstroke:

jazz-guitar-alternate-picking-lesson-exercies

Here is the same exercise but with a variation in the second bar:

SEXTUPLETS EXERCISE:

The next exercise will employ groups of 6 notes called sextuplets: As an exercise we will start with an “Upstroke” this time. This will be played over an AmMaj7 pad:

First Part:

jazz-guitar-alternate-picking-lesson-exercies-sextuplets

2nd Part:

Full Exercise/Line:

CHROMATICISM/PENTATONIC

The following exercise uses some chromatic movement that smoothly connects to pentatonic movement starting on a downstroke:

PENTATONIC/ARPEGGIO MOVEMENT

In our final exercise we will join together some of these principles.

jazz-guitar-alternate-picking-lesson-exercies-double-time

In Conclusion

This was just a brief look at how to create alternate picking guitar exercises for improvisation through chord changes by applying simple patterns/fingerings that work naturally.

This was only around 140 bpm. But, this is essential before moving onto much quicker tempos with the alternate picking guitar technique.

With the 4 note “Tetrachord” groupings you will get fluidity through the changes. They will give you stability. They can then be broken up to create anticipation and syncopation-which will in turn create the natural expression of musical phrasing.

Free PDF DOWNLOAD:

pdf-jazz-guitar-alternate-picking-exercises-Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!