Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, explanations in notation, tablature and video
F major 7th idea
2 Modal Extension Ideas
Arpeggio line descending from the Major modes
Ascending Modal idea
Pentatonic Simple Guitar fingering idea
F Major 7th Ascending Arpeggio Idea
MODES OF THE MAJOR SCALE DIAGRAM: With Transpositions in C
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John Mclaughlin Guitar Scale/Concept for left hand fingering and right hand alternate picking
Notation and Tab:
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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 CLICK SUBSCRIBE! CLICK SUBSCRIBE!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.
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.
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70 Bpm: Eight 32nd notes per quarter note beat
8th notes firmly in time with the metronome
16th notes firmly in time with the metronome
Connecting 16 notes at 140 bpm. [32nd notes at 70 Bpm]
Variation
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This John Mclaughlin Jazz/Fusion guitar lesson employs alternate picking for solid rhythmic fluidity. I start on the down stroke with the guitar plectrum.
The first part is built from simple Pentatonic cells.
The second part uses scale fragments 4ths, and Arpeggios
The last part Uses 4ths and a Pentatonic Shape
Full Score of Lick:
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CLICK SUBSCRIBE!THE FOUR MAIN ALTERNATE PICKING GUITAR RHYTHMS FOR CREATIVE ACOUSTIC GUITAR JAZZ/FUSION IMPROVISED LINE SET-UPS
THE FIRST ALTERNATE PICKING RHYTHMIC SET-UP EMPLOYS THE 8TH NOTE AND TWO 16TH NOTES. THIS IS A USEFUL RHYTHM AS IT GIVES YOUR PICKING RIGHT HAND A MOMENT TO SET UP THE “UP STROKE” AND FIRE THE PHRASE FORWARD LEADING TO A Â SMOOTH ALTERNATE PICKING LICK/LINE.
THE NEXT RHYTHMIC SET UP EMPLOYS A DOTTED 8TH NOTE AND A 16TH NOTE. AGAIN THIS SLIGHT DELAY BEFORE THE PHRASE TAKES OFF GIVES YOUR RIGHT HAND TIME TO FLICK UP AND FIRE OFF THE PHRASE WITH CONFIDENT ALTERNATE PICKING.
THE PHRASE BELOW IS THE “OFF-BEAT” PHRASE AND IS ONE OF THE MOST IMPORTANT BECAUSE IT CREATES ANTICIPATION AND SYNCOPATION IN YOUR ALTERNATE PICKING WHICH IS ESSENTIAL FOR JAZZ AND FUSION GUITAR PLAYING. [AS I SUGGEST IN THE VIDEO YOU WILL FIND THIS A LOT IN THE JOHN MCLAUGHLIN ALBUM/CD CALLED “BELO HEROZONTE]
FINALLY WE HAVE BASIC ALTERNATE PICKING 16THS STARTING ON THE BEAT. I SAT ON THE DOWN STROKE WITH THE PLECTRUM ON MY GUITAR FOR THIS PHRASE.
ALL OF THESE PHRASES USE A SIMPLE PENTATONIC SCALE BECAUSE THIS IS THE BEST WAY TO GET THESE RHYTHMS PRECISE WHEN STARTING OUT WITH ALTERNATE PICKING.
ALL OF THESE PHRASES USE A SIMPLE PENTATONIC SCALE BECAUSE THIS IS THE BEST WAY TO GET THESE RHYTHMS PRECISE WHEN STARTING OUT WITH ALTERNATE PICKING.
“BELO HEROZONTE” JOHN MCLAUGHLIN THE TRANSLATORS
“MUSIC SPOKEN HERE” JOHN MCLAUGHLIN THE TRANSLATORS
John Mclaughlin Acoustic Alternate Picking “Music Spoken Here” C.D. brilliant Compositions, Improvisations and Alternate Picking Guitar Technique.
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The keys to start metronome practice on the first basic level.
1] Hear the first Beat of the bar
2] Hear the group of 4 notes [Tetrachords]
Western Classical tradition
Konokol
Hear the difference between 8th notes and double timed 16th notes
8th Notes [Quavers]
16th Notes [Semiquavers] Same exercise but twice as fast [Double Timed]
Exercise to “Connect” 4 note [Tetrachord] Motifs. Hear the connection “On” the beat as you go from the first to the second bar.
How rhythms work against the metronome pulse.
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Mode 4 Improvised line:
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The Tab/Notation and the video above gives all the info to get started now! Good Luck!
Exercise 1: Two finger arpeggio Ascending and Descending
Exercise 2: Pentatonic Variation
Exercise 3: Minor 9 Variation
Exercise 4: Descending Simple two finger Arpeggio
Exercise 5: Chord Pairs Ascending 2 finger Variation
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