IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Just a quick look at the “Mu” chord or the “Dan” chord in this 1st inversion example.
Here we employ a 1st inversion F Major triad[ A in the bass] and add an added 9th note G:
In the next example we create a sequence with the Mu chord. Notice the Bass moving down in 1/2 steps creating nice smooth movement.
In the next sequence we will exploit the minor chord: Again, notice the smooth chromatic bass movement. [This is also reminiscent of guitarist John Scofield]
Lastly, no “Mu chord” but a repetitive “Dan-esque” melodic chord sequence:
Modal Chords: “Chords” from Transposed Mode [C as Root] Lesson/How to/Examples
Please watch video above for detailed information and examples:
Hi Guys,
Moving on from our last blog on the Modal backing track, I have included another video [above] explanation regarding the modal chords/harmony that I employed.
IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Today we will look at Modern Jazz Fusion Chords. These are mainly based around a Triad over a different bass note commonly called “Slash” chords.
Here are the main common slash chords employed in reharmonisation.
The fist chord is C/F# and creates a colurful tri-tone timbre. This is a triad of C Major over an F# bass note.
Next we have the most common slash chord type. Here it is C/D or a 7 Sus 4 chord. This type of chord is heard a lot in pop songwriting, but is also highly prominent and best known in Herbie Hancocks composition “Maiden Voyage”.
[These chords can also function as substitutions for a dominant, e,g F/Gto CMaj]
The next chord is a Dominant 7th 3rd inversion. In this case it is D/C. Generally in Fusion these chords do not resolve and/or are played in succession.
Here we have one of John McLaughlin’s favourite Slash Chords. This is an Eb triad over an E [up 1/2 step] bass. [This is also known as a13b9 that works well with the diminished scale].
This next chord is a favourite of the late great jazz guitarist Pat Martino. With the open E note resonating in the bass this produces an extremely beautiful set of tone colours in one chord.
Here we have another John Mclaughlin voicing. This is a B Major triad over a C Bass. This also works well with the open E string ringing out.
Lastly another tri-tone voicing:
Okay, you might ask. What do we do with these chords? How to we compose with them? Re- harmonise with them? Actually use them?
Firstly, lets take a chord sequence: This will be,
iii Vi ii V7 I
For the first chord we will employ a C6/9 but just use the E A D G tones to create a “Quartal” sound.
Next we will move a tri-tone away from Am7 chord and employ Eb. In the bass we will use the 5th note of Am7, the note E.
For the chord ii [Dm7] we will have a C triad over an F bass note acting as a First inversion Dm7 chord. [You could also think of this as having an added 9th and 11th]
The dominant chord will have the dominant root in the bass with a Db Major triad, a flat 5th [tri-tone] away in the treble.
Finally this returns to the CMaj 6/9 tonic chord
Below is another example:
Notice, the reharmonisation and how the basic chords are exploited with colourful slash chords.
THE BLUES
To complete this look at slash chords let’s put them into a blues 12 bar structure [turn around] so that you can clearly see how to create composition from them:
From the above chart notice that the first 4 bars are more of a long drawn out affair in the tonic key. Next, this is repeated in a similar fashion [or a variation] with chord IV of the key.
But, now we have the last four bars of the blues and this is where the harmonic rhythm picks up.
Firstly, with 1 chord per bar for two bars and then 2 chords per bar for two bars.
Lastly, notice the “Reharmonisation” of the blues turn around. This is where you employ all of those slash chords that you’ve learnt.
BLUES CHART: Example,
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John McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]
Please watch video above for detailed info:
Hi Guys,
Today, a quick ii V7 I McLaughlin-esque lick
This is at 140 Bpm with an altered approach to harmony with strict alternate picking guitar technique.
The chords are as follows.
For the ii minor chord I employ a minor chord with a Major 7th and an added 9th.
For the V7 chord I raise the 5th [#5] and add a flattened 9th note.
And for the I chord I make this augmented by raising the 5th.
So, the ii V7 I becomes harmonically altered and creates an interesting sound
Guitar Line
The line starts on an upbeat with 3 target tones that deliberately set up the 1st note of bar one. This adds forward momentum and adds a colourful chromatic set-up.
The target tones start on an “Up stroke” so that on the first beat of bar one you will land and start a “Down stroke”
Over the DmMaj7/9 chord I start with a Dm9 arpeggio and then exploit the D Harmonic minor scale by ascending in fragments.
Over the G+b9 chord I start on the third note B and then play an Eb 4-3 arpeggio.
The Bb from this arpeggio then moves up to the B natural and then I play the b9 to tonic and #5 to5 which then finally moves down to the note C for the tonic of the next chord C+.
