Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, Guitar Jazz Fusion John Mclaughlin Al di Meoala improvisation techniques explanations in notation, tablature and video
More Mirroring contrapuntal effect of Robert Fripp and Messiaen by employing the 6th mode from the 7 modes of limited transposition [“Revisited” from previous blog]
cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]
Today is just a short blog but a very useful one in regards to improvisation because the cycle of 4ths crops up all over the place especially in standards.
Cycle of 4ths backing jam track and chart [Downwards 5ths] Chord Chart. [All major keys].
cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]
If you look at the diagram below you will see the cycle of 5ths moving clockwise and the cycle of 4ths moving anti clockwise.
Modern chromatic improvisation jazz fusion techniques: Brecker, Mclaughlin, Liebman, Fripp etc
In this blog we will look at improvising over one chord. This will be D minor [D Dorian].
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
The key is to use chromaticism, tertian harmony, superimposition and outside harmonic content in order to create interesting improvised lines and move away from the cliches of scales and modes to create originality.
For example:
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
The key for smoothness is to be aware of where the 1/2 steps [Semitones]are in the “Connections”.
If we look below we can see where the 1/2 steps connect and how to play off of the tonic note with this. In this case we play off of the tonic D note resolving straight into the Eb note for Eb melodic minor. We can then resolve down a half step to C#m and back down into D Dorian
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisationFripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisationChromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts
So as you can see it is easy to weave in and out of the harmony and get back to D Dorian via the 1/2 step.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Below is a line that beautifully weaves in and out of D minor
In this next example we will use tertian harmony and exploit superimposition. We will employ D melodic minor and and keep extending via C melodic minor.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Now we will extend the whole line:
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Lastly we will exploit the use flat 5 concepts. In this case there is an Abmaj7/D and a Cmaj7/F# with which we can be creative.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
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This blog takes a brief look at John Mclaughlin’s use of Chromaticism in regards to Jazz Fusion Guitar lines. The 2 licks are also from a video I did on Dave Liebman. They both share the same concepts. The licks are riffs doubled up with piano
John Mclaughlin Guitar Lick 1 -Employ strict alternate picking starting on a “Downstroke”
John Mclaughlin Chromatic Guitar Licks Lesson
John Mclaughlin Guitar Lick 2 -Again, employ strict alternate picking starting on a “Downstroke”
John Mclaughlin Chromatic Guitar Licks Lesson
The key is to pick each 4 note grouping [Tetrachord] in time with your foot tapping the 1/4 note.
So you have:
“1 e and a 2 e and a 3 e and a 4 e and a”
This will give you a smooth alternate picking sound and hold time with the piano [or doubling instrument].
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It’s a good idea to watch the video before or along with this blog as it will emphasise many of the key points in this blog.
In the notation diagram below you will see the Whole note called the “Semibreve” this is worth four beats or four 1/4 notes.
How to read music
We will now cut this in half and have two “Minims” or two half notes per semibreve.
How to read music
Now we will have four 1/4 notes called “Crotchets” per Semibreve
How to Read Music
The next rhythmic division is the 1/8th note called a “Quaver”
How to Read Music
They are more commonly grouped and counted like this
How to Read Music
The doubling of the 1/8th note gives us the 16th note called a “Semiquaver”
How to Read Music
Semiquavers [16ths] are more commonly seen and counted like this
How to Read MusicHow to Read Music
Lastly we will add “Triplets” to our Basic Rhythms. These are 3 notes played over one 1/4 note beat
How to Read Music
More commonly counted as:
How to Read Music
When setting out to write down music we apply a “Time Signature” in order to acknowledge how many beats there are per bar.
How to Read Music
Here we have “Three” 1/4 note beats per bar
How to Rea Music
Now we have ‘Six Eighth” notes per bar displayed by the 6/8 time signature
How to Read Music
Now let’s apply this to the Scale that we learnt in the previous blog/video “How to read music part 1”
How to Read Music
SYNCOPATION: Syncopated Common Rhythms
Some rhythms are tied as we see below: This makes them syncopated as we start “On” the beat and then accent the “Off-beat”.
How to Read Music
The above rhythm is more commonly written like this:
How to Read Music
SYNCOPATED RHYTHM NUMBER 2:
The other very common syncopated rhythm is this:
How to Read Music
Again, notice the tied notes. This means that the 2nd “On” beat is not played but the “And” Off-Beat is played. It is more commonly written like this:
How to Read Music
Now let’s apply these two common syncopated rhythms to our “Triads” from our previous blog/video lesson on how to read music
The first Rhythm with triad melody:
How to Read Music
The second Rhythm with triad melody:
How to Read Music
Okay, that’s the end of part 2 on “How to Read Music Rhythms and Notation”.
If you found this useful then it is a good idea to look at “How to Read Music” part 1 Blog and Video.[ Also, the Video is on Youtube and it covers the Scale/Triads notation].
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In this blog we will take a look at how to read the music lines and spaces of the treble clef.
In order to identify the notes on the 5 staff Lines we must first decide on an clef. In this case this will be the Treble Clef
The “TREBLE CLEF”
Now we can look/identify the names of the notes on the 5 lines of the treble clef.
How to read Music/Learning to read music Notation
Next, we will look at the notes in the 4 spaces of the staff lines: F A C E
How to read Music/Learning to read music Notation
If we look at the notation below we will see the C major scale and the names of the different degrees of the scale in order.
How to read Music/Learning to read music Notation
We can now add thirds to the scale notes and notate the “Triads” of the C major scale
How to read Music/Learning to read music Notation
Although we will look at this in another video/blog we can clearly see the time signature. This is 4/4, meaning that there are 4 Quarter note beats to the bar.
How to Read Music/Learn to read music
One last thing to take into consideration is Key Signature. Again we will look at these in detail in the next video, but it is a good idea to be aware of them. They move in the cycle of 5ths. So a fifth up from C major is G major. This has an F# as the key signature. This means that every F note in the key is sharpened. Unless of course there is an natural sign.
Learn to read music/How to read music
So the key signature is for us to acknowledge that specific notes will be sharpened or flattened as we play our way through the music.
This is just the basics and beginnings for learning to notate, create and read the treble clef.
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SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
Going forward with our Jacob Collier SUPER-ULTRA-HYPER-MEGA-META blogs/pages it is a good idea to look at other relevant concepts within the ideal of extension. In this blog we will look at how 12 tone, 23rd chords, tertian harmony and polytonality play a fascinating part.
We will start with the #15 Arpeggio [Superimposition as used by Lennie Tristano]. Below you will see this in action with a Cma7 and a Dmaj7 arpeggio combined. This creates a sharpened 15th [or Augmented 15th arpeggio].
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
Below, you will see the full extension of this with a full 23rd chord [The largest chord in music]. This can be viewed as polytonal, polychordal, 12 tone row, or “Tertian” harmony as a full 23rd chord.
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
All 12 notes of the chromatic scale are used, so, the following occurs [in this case in 3rds as Tertian harmony]
1 3 5 7 9 11 13 15 17 19 21 23
In terms of improvisation it can be easier on the guitar to break up 4×3 semiquaver tetrachord lines into two HEXATONIC [2×6] lines as shown below.
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
Below we have the employment of triplets and the commonly used 4 note groupings of tetrachords.
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
Below is an example of employing the jazz improvisation concept of “Chord Pairs”
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords chord pairs
Today we will look at a concept that I have been asked about a lot recently. This is a contrapuntal string skipping intervallic “Mirroring” technique. It is intervallic by design and employs a Bachian Atonal “Question and answer” effect between the “Bass and Treble” with wide intervals. The string skipping inherent within this works especially well for atonal music, awkward intervals and polytonal scales.
The key to improvising is to do something creative with the melody. To recompose it or to broaden it out or to instinctively develop the harmony. Most people take to the modes though with a compulsion to play “Carte Blanche” scale over a chord ad nauseam.
In this Blog/Vlog we will look at some ideas for bringing out the actual flavour of the most talked about mode of them all the “Dorian Mode”.
Most people look at the dorian mode as being a scale of C major starting on the note D. But here is how it works.
ANSWER=D is one tone up from C for D Dorian, so C is one tone up from Bb for C Dorian.
C DORIAN MODE [D Dorian as people learn it]
Below we see the difference between C minor and C dorian. C minor has the semitone between the 6th and 5th whereas C Dorian has a tone between the 5th and 6th notes. Dorian Raises the 6th note up a semitone. Without the raised 6th note C would just sound minor and not dorian, so bringing out this 6th note [as it will be in a melody to imply that we are in the dorian mode] is essential to creating actual music and phrasing and not just playing a scale over a chord.
C DORIAN MODE and C Minor
In order to bring out that A natural note in C dorian an easy way is to employ an arpeggio like Bb major 7th. This is very useful, melodic and can be played in 4 note groupings.
Bb major 7th for C dorian Mode Improvising
Next we can employ some basic chord pairs.
C minor 7 and F major
Dorian Mode triad pairs
F major and Eb major
Dorian Mode triad pairs
Now we can broaden out on this with C minor and D minor
Dorian Mode Example of bringing out the flavour/sound
Bb and G minor
Dorian mode example for improvising arpeggios
We can also employ pentatonics to bring out the flavour [melody] of a tune.
Dorian Mode pentatonics example
Another example =Short pentatonic scale that ends/resolves with the A natural note [Raised 6th] and played in 4 note cells [Tetrachords]
Dorian Mode pentatonics example
Finally it’s a good idea to look at the arpeggios available that line up one after the other.
Dorian Mode Arpeggios
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The key to rapid learning and reaping the rewards of quality progress for musicians is to set “Daily, Weekly, Monthly and Yearly Goals”.
The next most important step is to write these goals down. If you do this then you will enact them and get into the habit of enacting them with greater and greater clarity. It will also instill a natural discipline, inspirational outpouring and perseverance.
These are the books that I use, but any creative goal setting book will do because the days weeks and month are already laid out for you, all you have to do is fill it in with your objectives.
Goal setting for MusiciansGoal setting for Musicians
If you follow this then you will rise through the levels. Talent only takes you so far. For musical development discipline and hard work account for everything. Goal setting will take you there on pleasant terms and give you back that which you craved for at the outset.
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Messiaen mode 6 notation and guitar tabMessiaen mode 6 with six transpositions
Messiaen’s 6th mode is great for manipulating “Diminished” and “Augmented” intervals.
Messiaen mode 6 notation and guitar tab
Mode 6 allows for this to be sequenced easily
Messiaen mode 6 Diminished and Augmented Sequences
Below is a descending Augmented sequence
Messiaen mode 6 Augmented descending sequence
For common sequences: The Augmented sequences move in tones whilst the Diminished sequences move in minor 3rds.
Although, Diminished intervals can move in semitones and tones. For Example:
Messiaen Mode 6 Diminished intervals in SemitonesMessiaen 6th mode
Getting back to our common sequences we can see below the brilliance of diminished intervals moving in minor 3rds with the employment of the simple triplet figure.
Messiaen mode 6 Diminished sequence
More examples of mixing up the Augmented and Diminished ideas to avoid the cliches and develop something fresh sounding
Messiaen mode 6 diminished and augmented mixMessiaen mode 6 diminished and augmented mix
We can also make interesting intervallic motifs from the notes of the Messiaen mode 6
This simple alternate picking exercise employs a C major scale starting with the note G on the sixth string of the guitar that ascends to the C note on the 1st string of the guitar. This scale then descends back to the G note on the 6th guitar string.
You can think of this scale as G mixolydian or C major starting on the note of G. But, in this lesson it is just a convenient way to cross all 6 strings of the guitar to gain fluency.
In this video I talk about musical visualisation and internalisation and how it helps me. The internalisation of music helps with the external performance of music by directing the music out from inside ourselves so that we can articulate it through the external instrument we are playing.
In terms of solo performance this is an invaluable concept.
The idea that starting on a different note/degree of the C major scale gives you the modes of C is not correct.
Modes of the Major Scale
As I have written about in many other posts and Vlogged in many other videos the modes have to be transposed. The parent key or root note will then be C. So for example.
[C] D E F G A B C D =D dorian and NOT C dorian
To transpose this we can say if D is the second note of C [or two 1/2 steps up from C] then what is C the second note of [or two 1/2 steps up from]? Well, it would be Bb
So we have the Bb major scale starting on C
C D Eb F G A Bb C
Now, lets take 4 chords to play over with C as the parent key or root note. Notice that C ionian [Major] only exists in one bar [Bar 3]
Modes of the Major Scale
Now let’s put these chords into a chart and acknowledge the fast moving harmonic rhythm of 2 chords per bar and 2 chord changes per bar.
Modes of the Major Scale
We will now create an improvised line to play over these chords.
Modes of the Major Scale
Same line Double Timed
Modes of the Major Scale
The first 4 notes
Modes of the Major Scale
The second 4 notes
Modes of the Major Scale
The penultimate set of 4 notes
Modes of the Major Scale
The last 4 notes
Modes of the Major Scale
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Today is a live stream podcast and video log only discussing the immortal question: “Does musical talent account for anything or does hard work, obsession clear vision and a demanding ambition pave the way to musical success”?
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The Locrian mode is the 7th mode of the major scale. In the following examples it will be D Locrian built from the 7th degree [leading note] of the Eb Major Scale.
D Locrian 7th Mode of Eb MajorLocrian v Dom Substitution reharmonisation
If we look at the diagram above and below we will see the Sub-Dominant chord of Eb Major [Ab Major] played over the 7th degree note[ D ] as the bass note or more commonly seen as a slash chord Ab/D resolving to the new key [or implied key] G Major.
Locrian v Dom Substitution Improv Chord
In the example below you will see that all of the notes of Ab Major resolve in semitones to the new [or implied] tonic G major. Although we employ the Locrian Mode this also gives a very Phrygian flavour because of the semitone resolution. Also the bass D can also be used in both chords with Ab/D to D in the bass of G for a second inversion chord.
Locrian v Dom Substitution RESOLVES to Tonic in Semitones
The Locrian Mode 2 Octaves
D Locrian mode 2 octaves
The Locrian Mode can be broken up. This approach creates better fingering, fluency and a less cliched sound.
Breaking up the Locrian Mode [D Locrian]
In this example there is an up beat added to create a more colourful character to the line. This up beat is built using a chromatic set up from target tones.
Adding Target Tones-Breaking up the Locrian Mode [D Locrian]
Below is an example employing target tones and arpeggios that weave through the harmonic texture of the Locrian V harmony.
Target Tones/Arpeggios through Locrian V Substitution
Next we have an Fm arpeggio [Chord ii of Eb] a Bb arpeggio and a couple of chromatic notes.
Fm9 Arpeggio idea [Locrian V]
This time we have our old friends target tones to add colour and rhythmic forward momentum to the Fm9 arpeggio line
Approach notes to Fm9 Arpeggio idea [Locrian V]
In this next example we employ superimposition for a chromatic triadic approach, that again weaves through the Locrian V chord.
Locrian V Triad Ideas
In this last example we exploit G Minor [chord iii of Eb ]
Locrian V Triad Ideas
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The first idea is to join two different scales together.
Here we have the Lydian Dominant scale joined at the octave by the “SAME” tonic note C. It is joined by/with the Enigmatic scale.
Multi Octave Scale Lydian Dominant/Enigmatic
Notice the smooth transition of the two different scales into one extended multi octave scale.
Extended Scales Multi Octave Scales
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Lydian Dominat/Enigmatic Multi Octave extended scale
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Lydian Dom/Enigmatic Multi Octave Scale Lick
Scale Lick 2: Chord to Scale
Multi Octave Scales Lick
Scale Lick 3: Superimposition
Superimposition Multi Octave Extended Scales Lydian Dom/ Enigmatic
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier ideaSUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5thsSUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc
Multi Octave Scale Different Tonic notes at the Octave
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar
Here is a long piano version of the above that keeps ascending
Lydian SUPER-ULTRA-HYPER-MEGA-META Jacob Collier never ending scaleSUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
This scale concept could also be looked at as being Mixolydian and a ModulatingScale.
We have A7-D E7-A B7-E F#7-B C#7-F# etc.
V-1 V-1 V-1 V-1 ETC.
Modulating Extended Jacob Collier Scale Concept
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In this blog/vlog we will look at applying the style of the Great French composer Pierre Boulez to the guitar.
The first example is a flat 5 or diminished 5th added to the perfect 5th. The use of intervals also employs augmentation #5 and the semitone.
Example 1
Boulez guitar improvisation and composition lesson
In the next example we employ wide intervals. This example exploits semitones and other intervals by creating wide intervallic shapes which create a fresh intervallic sound.
Boulez Guitar Music ConceptsPierre Boulez Intervallic guitar composing
In the next example we employ “Cross Picking”. This is very similar to that taught by guitarist Robert Fripp in his guitar craft. This concept can also be found in some of the King Crimson recordings.
The concept is a very simple one that can be applied to execute some very odd/complex musical ideas on the guitar. The picking pattern with the guitar plectrum is:
“Down Down Up”
Example: D D U Repeated loop pattern.
Pierre Boulez Guitar Cross Picking Pattern
Basic D D U Cross Picking Pattern
Boulez Down Down Up Guitar Picking Pattern
The next two patterns employ Diminished and Augmented shapes in triplets with an open string.
Boulez guitarPicking pattern open string style
Another example with the open string concept
Boulez Open string cross picking guitar pattern
This last open string cross picking pattern is a mixture:
Boulez mixture guitar cross picking patterns
To Finish, we will employ a basic triplet pattern without any open strings.
Basic Boulez Guitar Pattern
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In this short blog we will look at a classic Pat Metheny chord sequence. This is a simple skeletal but very melodic chord melody that blends in with the piano or keyboards/Synth. It is played simply with the guitar plectrum picking out the bass mid and treble melody note.
Pat Metheny Guitar Chords and classic melodic sequence
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In this lesson we pick through some melodic arpeggiation. We do this by employing chordal picking/cross picking.
The picking pattern with the plectrum is,
Down Down Down
Up Up Up
Down Up
CrossPicking/Chordal Picking Arpeggio Guitar Loop
The above example is very useful to get the chordal/cross picking right hand guitar pattern down. It is just a loop that is brilliant to get a really confident 4/4 time in your picking hand.
The whole 4/4 Chordal/Cross picking melodic arpeggio pattern/piece.
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In this riff/line I employ alternate Picking but I start with an upstroke for the first phrase. After that I start the remaining phrases on a down stroke.
Please watch the video below for the full demonstration of how to employ the basics and true mechanics of the strict “Alternate Picking” right hand guitar technique.
Open string exercise. Pluck “Down up” repetitively alternating strictly with the guitar pick. The plucking comes from the wrist. Also, do this exercise the other way with, “Up Down” alternating with the guitar plectrum. This is the basis of strict alternate picking right hand guitar technique.
With “Odd” groupings of notes notice that every time you pluck the pattern again you will be starting on a different picking stroke than you started with previously. So, “Down up down” will then become “Up down up”.
“Odd” Alternate Picking guitar pattern [1String]
Exercise: “Odd” grouping crossing 2 strings on the guitar. Again, notice the reversal of the pattern
3 notes per string “Odd” pattern crossing all 6 guitar strings alternate picking strictly starting on a down stroke with the guitar pick. [Ascending and Descending].
Alternate Picking “Odd” grouping across 6 strings
“Even” grouping: Crossing all 6 strings ascending and descending employing strict alternate picking right hand guitar technique.
IMPORTANT: This now becomes an “Even” pattern because it has been “Doubled”.
3 = odd But 2×3=6 which is now Even.
Meaning, that the two “Odd” patterns form one “Even” pattern which means that every time you cross the strings you will be “Repeating” the same strokes and not starting on a different one.
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Matteo Mancuso’s guitar style is a mixture of Classical and the Jazz style of Wes Montgomery. I would look at it as more of a mixture of Flamenco “Picado” and a Bass 2 finger plucking concept though.
The main reason that guitar players may find this brilliant way of playing the guitar a bit confusing is that when it comes to “Jazz” or Improvisation you will need to be aware of “Odd and Even” patterns due to the “Chromaticism” inherent in the jazz line.
Fingerstyle Consideration 1:
Notice that every time you cross the strings playing in groups of 3 notes you will cross with a different finger in the right plucking hand. This is because you are dealing with an ODD Pattern. So the pattern in the plucking hand will be: 1 2 1 2 1 2 1 2 1 etc.
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In the video above I look at how I write 20th century classical atonal music at the piano. Although this video touches on the basics it does point out the essential compositional elements and emotional make up needed for successful atonal compositions. Regardless of the atonal style which could be, 12 tone serial music, Messiaen modes or Boulez atonality, for the composer/writer the building blocks and perception remain the same.
This lick requires a bit of patience because the fingering is quite finickety due to the un- guitarist nature of the quartal set up, pentatonics and the nature of the intervals and their positioning on the guitar fingerboard.
McCoy Tyner Piano Lick employing alternate guitar picking for rhythmic fluency.
McCoy Tyner Piano Lick for Guitar
Chords for the lick: 1st Part.
McCoy Tyner 4ths triads for guitar
Guitar Chord Shape for 1st part
Chords for the lick: 2nd Part.
McCoy Tyner triadic 4ths chording for guitar
Chord Shape for 2nd Part.
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Below are the Modes of the Melodic Minor Ascending Scale:
Mode of the Ascending Melodic Minor Scale
This is all good and well but what happens when we want to transpose them or employ them with a different parent key.
The ANSWER= count down from the Tonic note of the new parent key. So, for example we will take C. So, if it’s the second mode then count down a 2nd and use that melodic minor scale [Bb Melodic Minor] or if it’s the 4th mode then count down a 4th [G Melodic Minor Scale] etc.
Let’s look at the melodic minor modes transposed to a new parent key of C:
C Melodic Minor “Ascending”. Note: 1st half of the scale is minor whilst the second half is major.
C Melodic Minor ScaleC melodic “Jazz” Minor
The C melodic Minor 2nd Mode transposed with C as the parent key root note. We now have “Dorian b2” this being the same as Bb melodic minor but starting on the parent key root note of C.
2 Octaves Notation and Tablature:
DORIAN b2 MELODIC MINOR MODE
The 3rd Mode: Starting from the parent key root note of C this becomes C Lydian Augmented. We have the F# for the Lydian and the G# that augments/raises up the 5th note. This is also A Melodic Minor.
F# for Lydian and G# for augmented
2 Octaves Notation and Tablature:
LYDIAN AUGMENTED MODE
The 4th mode. We have the F# making Lydian and the Bb as the flattened 7th. [Starting on G this will make the G Melodic Minor Scale].
2 Octaves Notation and Tablature:
LYDIAN b7 MODE
The 5th Mode. Notice the Ab note creating the flattened 6th. Also we have the flattened 7th with the Bb note for the Mixolydian. This mode is also the same as the F Melodic Minor scale.
2 Octaves Notation and Tablature:
MIXOLYDIAN b6 MODE
The 6th Mode. This mode has a raised 2nd with the D natural note. This is also the same as the Eb Melodic Minor Scale.
2 Octaves Notation and Tablature:
LOCRIAN #2 MODE
The 7th Mode. Notice that the F note is flattened [or E natural]. This is the same as Db Melodic Minor Scale.
2 Octaves Notation and Tablature:
SUPER LOCRIAN MODE
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Notice the off-beat set up and triplet figure that pushes the line along. This is a typical bebop phrasing technique. These simple little rhythmic figures are very common but give good command to jazz bebop phrasing.
Bebop off-beat and triplet figure for good rhythmical jazz phrasing
Jazz bebop line/lick No2
Jazz guitar Bebop Line
Notice the 8th note and the two 16th notes that propel the line along for a great swinging feel.
Bebop Jazz line
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John Mclaughlin Guitar Scale/Concept for left hand fingering and right hand alternate picking
Notice that the scale concept consists of crossing the strings with the “SAME” fingering every time making it easy to remember and play.
John Mclaughlin Guitar Scale alternate picking
Notation and Tab:
Start on a “Down” stroke with the plectrum and alternate pick strictly “Down up Down up” etc.
Alternate Picking John Mclaughlin Guitar Scale Concept
This fingering for the fretting guitar hand is a repetitive pattern. It’s the same pattern crossing the strings with the same finger ascending and descending. It employs strict alternate picking with the plectrum. It is a concept that John Mclaughlin employs a lot in various forms. It is heard in it’s bare form a lot in the early “Shakti” recordings/live performances.
Although this is just a short lesson, there is wealth of information in that simple scale and fingering. It can easily be employed with fourths and chromaticism.
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For instance if you start a scale on the 2nd note of the C major scale you will be playing “D dorian mode”.
THEN WHY DO PEOPLE FIND IT CONFUSING?
That is because of “transposition”.
For instance:
We can transpose that “Dorian mode of D” to any tonic we desire.
In the example below it is transposed to C as the tonic.
How did I do this?
Well if the note D [Tonic of D dorian] is two 1/2 steps up from C then what is the note C two 1/2 steps up from?
Answer is B flat.
So we have a B flat scale staring on the note C.
Below is a Clear explanation and diagram in music notation. Or for my free modes ebook CLICK HERE
For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE
Why are the modes useful for the guitar player?
The modes [in this case of the major scale] open up the guitar fingerboard and it becomes easier and easier to connect arpeggios,
phrases, quartal, pentatonic and melodic lines together and create
smooth transitions across the guitar fingerboard.
The first example below consists of connecting the arpeggios contained within the modes. Here we have f major 7 to Dminor 7 to B Minor 7 flat 5 to F major to E minor 7 and finishing with B minor 7 flat 5 [or G9 depending on the bass note]. The Modal connections are smooth and open up the guitar fingerboard easily!
Below you will see how easy it is to connect together arpeggios and then create triad pairs from them.
Modal Arpeggios Lesson Example
Again, more arpeggio connections from the major modes
Modal Arpeggio connections
Below, a mix of arpeggios and triad pairs from the modes
Modal Triad Pairs/Arpeggios
QUARTAL HARMONY. JOHN COLTRANE 4THS DEVELOPED FROM THE DORIAN MODE. THIS IS HOW YOU GAET THAT JAZZY SOUND!
Modal Quatrtal Chord Lesson/Example
D Minor to E minor
Modal Quartal Chords Example
Simple quartal dorian mode jazz/fusion vamp
Modal Quartal Chord Vamp Example/Lesson
Below is a simple pentatonic line from the major mode to play over a dominant G 7 chord
Modes of the Major Scale Blog
Finally an extended F major 9 extended line from the major mode
Music Modes of the Major Scale Lesson/Example
For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE
John Mclaughlin Alternate Picking Jazz/Fusion Guitar Lick/Lesson
This John Mclaughlin Jazz/Fusion guitar lesson employs alternate picking for solid rhythmic fluidity. I start on the down stroke with the guitar plectrum.
Alternate Picking Mclaughlin Lick in Parts.
The first part is built from simple Pentatonic cells.
John Mclaughlin Guitar Lick
The second part uses scale fragments 4ths, and Arpeggios
John Mclaughlin Guitar Lick
The last part Uses 4ths and a Pentatonic Shape
John Mclaughlin Guitar Lick
Full Score of Lick:
Alternate Picking John Mclaughlin Guitar Lick
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