12 Tone Tri-Chord Improvisational and Compositional Method

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12 Tone Row [Hexachords]

12 TONE ROW Hexachords SCHOENBERG /HAUER GUITAR IMPROVISING-COMPOSITION

12 Tone Row “Retrograde”

12 TONE ROW SCHOENBERG /HAUER GUITAR IMPROVISING COMPOSITION

12 Tone Row “Inversion”

12 TONE ROW SCHOENBERG /HAUER GUITAR INVERSION

“Retrograde Inversion” 12 Tone Row

12 TONE ROW SCHOENBERG /HAUER GUITAR Retrograde Inversion

Building “Tri-Chords” from the first Tone Row [and carry on with all four 12 tone row bars]

12 Tone Row “Tri-Chords” method for 12 tone harmony and dynamic chordal sounds

Tri-chord outline chord tones

12 tone row tri chord tone outline

Tri-chord extension from 12 tone row

12 tone row tri chord extension

Tri-chord outline number 2

12 tone row tri chord outline

Tri-chord extension from 12 tone row [Number 2]

12 tone row tri chord extension

Combining Tri-Chords

Tri-Chord Combinations

Tri-Chords combination number 2

Tri-chord 12 tone row combinations

12 tone row as “Tetrachords” [4 note groupings]

12 tone row as “Tetrachords”

12 tone row employing triplet figure

12 tone row using triplets as the rhythmic unit for improvisation and composition
All four bars of 12 tone row development in Hexachords

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Robert Fripp Contrapuntal guitar plectrum technique

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]

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Fripp/Messiaen similarities for guitar picking contrapuntal effect 6th mode

Below is the Music Notation and Guitar Tablature for Fripp/Messiaen 6th mode contrapuntal guitar crafted plectrum technique effect.

Fripp/Messiaen similarities for guitar picking contrapuntal effect 6th mode

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Visiting HENDRIX AND HANDEL’S HOUSE 25 BROOK STREET LONDON

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Inside the House/Flats of Hendrix and Handel

Hendrix Handel House 25 Brook Street Mayfair London
Hendrix Handel House 25 Brook Street Mayfair London

Moving from one flat into the other we have the wonderful Handel residence!

Hendrix Handel House 25 Brook Street Mayfair London
Hendrix Handel House 25 Brook Street Mayfair London

The two flats side by side

Hendrix Handel House 25 Brook Street Mayfair London

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Robert Fripp Cross Picking Guitar craft Technique Lesson

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All of the Picking Patterns consist of “Down Down Up” with the guitar plectrum. Below you will see this basic pattern in a repeated loop.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

In the next exercise we will move this basic “Down Down Up” Cross Picking guitar pattern along the fingerboard

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

Next, we can employ Augmented and Diminished triads in triplets which is a very King Crimson Frippesque 70’s guitar sound/technique.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

We will now cross pick with the plectrum and employ an “Open string” concept.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

Now, we will develop this open string cross picking with a variation exercise

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

This last pattern doesn’t employ any open string play but is useful in regards to the string crossing movement.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

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Minor ii V7 I ALL 12 Keys chart and Backing Jam Track

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Minor ii V I ALL 12 Keys Backing Jam Track

Here is the chart for “Minor ii V7 I in ALL 12 Keys” for improvising and practicing to Backing Jam Track



Chart for “Minor ii V7 I in ALL 12 Keys” for improvising and practicing





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Stockhausen Guitar Music Improvisation/compostion Concepts

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These are a few concepts taken from the compositional thinking of composer Karlheinz Stockhausen.

The first idea is a 5/4 Vamp. This employs alternate picking starting on an upstroke.

Karlheinz Stockhausen Guitar Music 5/4 Vamp

The next idea is to employ an atonal line in triplets moving from the “Bass strings to Treble strings”

Karlheinz Stockhausen Guitar Music triplet atonal line Bass to Treble Strings

The next ideas are a variation of the beginning vamp but they employ semitones as the answer effect.

Karlheinz Stockhausen Guitar Music answer effect
Karlheinz Stockhausen Guitar Music answer effect

Lastly we employ our old friend the atonal triplet figure again:

Karlheinz Stockhausen Guitar Music triplet atonal line

This are just a few basic ideas from Stockhausen which light up the road for creative guitar thinking.

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cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]

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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.

Cycle of 5ths and Cycle of 4ths

FOR MORE INFO

https://jazzimproviser.com/cycle-of-4ths-method-guitar-fingerboard-mastery/

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Fripp, Mclaughlin, Messiaen,Stockhausen,Schoenberg jazz guitar improvisation lines

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Modern jazz fusion chromatic improvisation licks, Brecker, Liebman, Mclaughlin and Fripp etc

Lick lines from modern jazz fusion improvisation guitar:

LINE 1

Guitar Licks ONLY from Modern chromatic jazz/fusion improv

LINE 2

Target Tones Chromatic Jazz improvisation Modern approach

LINE 3

Chromatic Jazz improvisation Modern approach

LINE 4

Melodic Minor Chromatic Jazz improvisation Modern approach

LINE 5

Melodic Minor Chromatic Jazz improvisation Modern approach

LINE 6

Flat 5 Modern jazz improvisation chromatic example

As requested, I have made a video and blog page with guitar lines only;

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Modern Chromatic Jazz Fusion Improvisation harmonic techniques as used by Brecker, Mclaughlin Fripp and Liebman

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DETAILED ANALYSIS IN THE VIDEO BELOW:

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 improvisation
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Chromatic 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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I Vi ii V7 I in all 12 keys backing track and chord chart

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I Vi ii V7 I in all 12 keys backing jam track

I Vi ii V7 I in all 12 keys chord chart and Backing Track Jazz

Jazz “Chord Chart” for improvisation practice: 120 Bpm I Vi ii V7 I in all 12 keys

I Vi ii V7 I in all 12 keys chord chart and Backing Track Jazz
I Vi ii V7 I in all 12 keys chord chart and Backing Track Jazz

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John Mclaughlin Jazz Fusion Chromatic guitar Lick

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John Mclaughlin Chromatic Guitar Licks Lesson

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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How to Read Music rhythms and apply to notation PART 2

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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 Music
How 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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ii V7 I in ALL 12 KEYS jazz improvising Jam/Backing Track.

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Below is the ii V7 I cadences, chord chart for jazz/fusion improvisation practice in “All 12 Keys”

ii V7 I in ALL 12 KEYS jazz improvisation chart

Here is another variation to practice the ii V7 I’s in all 12 keys for improvisation practice.

Notice the two changes from the predictable pattern when playing through the chart.

ii V7 I in ALL 12 KEYS jazz improvisation chart

Backing Track for this ii V7 I chart in the video below

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How to Read Music.Part 1 Treble Clef Notes

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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

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THE 23RD CHORD-The LARGEST CHORD IN MUSIC!

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

For more info click this link: https://jazzimproviser.com/23rd-chord-for-guitar-lesson-12-tone-rows-schoenberg-jazz-fusion-lessons/

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

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Alternate Picking John Mclaughlin guitar jazz fusion Lick Lesson

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Alternate Picking Jazz Fusion John Mclaughlin guitar Lick Lesson

The video above is a quick fire John Mclaughlin jazz fusion guitar lick. The lick employs strict alternate picking starting on a downstroke.

John Mclaughlin Jazz/Fusion Lick Tab/Notation

Alternate Picking John Mclaughlin guitar jazz fusion Lick Lesson

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Dorian Flat 2 Mode “Improvisation” Techniques

Dorian b2 Mode of the Melodic Minor Scale

Dorian b2 Mode

C Dorian b2 Mode

Two octaves; Tab and Notation

To Begin with let’s look at the arpeggios of the Dorian b2 mode. Notice the Two Major arpeggios.

Dorian b2 Mode Arpeggios

They are E flat Major and F Major

We can immediately make Triad Pairs from them

Dorian b2 Triad Pairs

Going the opposite way

Dorian b2 triad pairs

We can Sharpen the 5th and create a more exotic and colourful sound

Dorian b2 triad pairs

We can add Gm7b5 and Am7b5 to the Major or F aug arpeggio

Dorian b2 Triad/Arpeggios

We can employ the B flat minor 9 major 7th arpeggio

Dorian b2 Melodic Minor

Here we can add it to the F major arpeggio

Dorian b2 Melodic Minor

It is an even better idea to start the B flat minor 9 major 7th arpeggio on the tonic note of C

Dorian b2 Mode melodic minor

Here we will extend the Am7b5 part of the line

Am7b5 for Dorian b2 Mode

We can also make scales from the mode. Below is an example of creating a scale and then adding harmonic content with wider intervals like triads.

Making scales form Dorian b2 Mode

Making our own pentatonic scales from the mode works really well also.

Pentatonic from Dorian b2 Mode

Here is a short sus4 and aug Lick

Dorian b2 Mode lick

Another short lick

These are the basic chords of the Dorian b2 mode

Dorian b2 Mode Chords

Of course we can change the chords to make them more exotic and colourful

Dorian b2 mode chord variations

We also have the typical jazz fusion chords contained within the Dorian flat 2 mode of the melodic minor scale

Dorian b2 Chordal ideas

Below we create a very exotic colourful “‘al la” John Mclaughlin sound!

Dorian b2 mode chordal idea

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Contrapuntal Atonal Guitar string skipping intervallic Concept

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Contrapuntal Atonal Guitar Mirror Concept

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.

Idea 1

Atonal string skipping guitar “Mirroring”
Atonal string skipping guitar “Mirroring”

Idea 2

Atonal string skipping guitar “Mirroring” device

Idea 3

Atonal string skipping guitar “Mirroring”

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Creating the Dorian Mode Flavour

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dorian mode

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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Major Modal Guitar Ideas

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Modal Major Scale ideas for guitar video

F major 7th idea

Modal superimposition idea from the major modes

2 Modal Extension Ideas

Modal extension ideas of the major modes

Arpeggio line descending from the Major modes

Modal Descending Arpeggio line

Ascending Modal idea

Major Modal Ascending Idea

Pentatonic Simple Guitar fingering idea

Modal Guitar Pentatonic Idea

F Major 7th Ascending Arpeggio Idea

F Major 7th Modal Arpeggio Idea

MODES OF THE MAJOR SCALE DIAGRAM: With Transpositions in C

Modes of the major scale diagram
Modes of the major scale diagram

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Dave Liebman: Chromatic approach to jazz harmony and melody: Licks/Ideas.

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Dave Liebman Chromatic approach to jazz harmony and melody

Here are some more chromatic ideas from the Dave Liebman approach

Idea 1

Chromatic approach to jazz harmony and melody

Idea 2

Dave Liebman Chromatic approach to jazz harmony and melody

Idea 3

Dave Liebman Chromatic Approach Idea

Idea 4

Dave Liebman Chromatic Approach Idea

Idea 5

Dave Liebman Chromatic Approach Idea

Idea 6

Dave Liebman Chromatic Approach Idea

Idea 7

Dave Liebman Chromatic Approach Idea

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Goal Setting for Musicians: Writing down your goals!

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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 Musicians
Goal 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 Lesson/analysis/how to use it

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Messiaen mode 6 as used for this presentation.

Messiaen mode 6 notation and guitar tab
Messiaen 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 Semitones

Messiaen 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 mix
Messiaen mode 6 diminished and augmented mix

We can also make interesting intervallic motifs from the notes of the Messiaen mode 6

Messiaen mode 6 intervallic sounds
Messiaen mode 6 intervallic sounds
Messiaen mode 6 intervallic sounds
Messiaen mode 6 intervallic sounds
Messiaen mode 6 intervallic sounds

Finally, we can employ a contrapuntal counterpoint “Mirror” compositional device to really manipulate this brilliant 6th mode of Messiaen.

Messiaen mode 6 Contrapuntal Mirror Compositional device

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Alternate Picking beginners Scale exercise lesson

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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.

Alternate picking beginners newbies Scale exercise lesson

Another useful way to create forward movement is to accent the 5th note of each 6 note [or 2 triplets] groupings.

Alternate picking beginners guitarScale exercise lesson

Lastly, we can double the scale and create a longer line.

Alternate picking beginners guitar Scale exercise lesson

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Visualisation for Music

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Visualisation for Music/Inner game of Music

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.

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A Response: to “MAJOR” Modal transposition and improv:Parent Key

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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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AL DI MEOLA ALT/DOMINANT GUITAR LINE[REH VIDEO]

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The Key to Learning this type of Awkward Interval Line: Part 1

Break up the line bar by bar [or in half bars] and count time 1 and 2 and 3 and 4 and as you play.

Al Di Meola REH Guitar Video altered Dominant guitar lick lesson

Counting basic time will reveal where the “On” beat is and where the “Off” beat is.

It will also tell you where the “Down stroke” and “Up stroke” is whilst you are alternate picking.

Counting time also helps us visualise and feel the string skipping intervals in our wrists and fingers.

This bar is a good example because it is quite awkward and very un-guitaristic. So, again count time as you play through it.

Al Di Meola REH Guitar Video altered Dominant guitar lick lesson

OKAY: NOW FROM THE TOP:

The first bar is quite straight forward, but you will need to change fingers on the 4th beat from the 4th to the 3rd finger.

Al Di Meola REH Guitar Video altered Dominant guitar lick

Next we have the fist string skipping bar.

Al Di Meola REH Guitar Video altered Dominant guitar lick lesson

Bar 3 we have more string skipping and awkward fingering and intervals.

Al Di Meola REH Guitar Video altered Dominant guitar lick lesson

The next two bars are straightforward with no string skipping.

Al Di Meola REH Guitar Video altered Dominant guitar lick lesson

LICK LINE COMPLETE:

Al Di Meola REH Guitar Video altered Dominant guitar lick: G7alt or

Al Di Meola REH Guitar Video altered Dominant guitar lick

Lick taken from

Al Di Meoal REH Video alt dominant guitar line lesson

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Locrian V Dom for Substitution Jazz Fusion Improv/Reharmonisation

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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 Major
Locrian 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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Parent Key-Transposing Modes of Melodic Minor

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Here are the Melodic Minor modes “Transposed” with the note “C” as the Parent Key or Tonic.

Dorian b2 with C as Parent Key

Dorian b2 Mode

Dorian b2 Mode of the Melodic Minor Scale
Lydian Augmented Mode of the Melodic Minor Scale

Lydian Augmented Mode

Lydian Augmented Mode
Lydian b7 Mode

Lydian b7 Mode

Lydian b7 Mode
Mixolydian b6 Mode

Mixolydian b6 Mode

Mixolydian b6 Mode
Locrian #2 Mode

Locrian #2 Mode

Locrian #2 Mode
Super Locrian Mode of the Melodic Minor Scale

Super Locrian Mode

Super Locrian Mode
Modes of the Melodic Minor Scale

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Lydian Hyper Super Mega Lydian [Jacob Collier]Multi Octave Scales:

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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 idea
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
SUPER-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 scale
SUPER-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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Messiaen’s 5th Mode. Mode 5 [Non Transposed] Lesson

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Messiaen’s 5th Mode [of limited transposition] is well known for it’s semitones, two major 3rds and it’s tritone possibilities.

Messiaen Mode 5 [5th mode 6 transpositions]

Messiaen’s 5th mode [Non Transposed]

Messiaen Mode 5 [5th mode of limited transposition]

Messiaen’s 5th Mode Extended

Messiaen’s 5th mode extended

Making Scalic runs: Messiaen mode 5:

Descending

Descending Messiaen Mode 5

Ascending

Messiaen 5th mode Ascending

The next concept is to mirror the intervals and create an atonal sounding contrapuntal study. This is a great compositional device.

Messiaen 5th Mode Contrapuntal Etude “Mirroring” concept

Cross Picking/ Chordal Picking: Notice the use of Tritones.

Picking pattern = “Down Down Up”

Messiaen 5th mode Cross Picking

Cross Picking/ Chordal Picking: With an open G string.

Messiaen 5th mode Cross Picking/ Chordal Picking:

Messiaen 5th Mode: Scale to chord Imitation device.

Messiaen 5th Mode: Scale to Chord Imitation Compositional device.

Messiaen 5th mode: 3 octave scale imitation descending line

5th mode Messiaen Descending Run [Immitation]

Cross Picking part 2: Using 4 note tritone chords.

Picking pattern =”Down Down Down Up” Cross

Messiaen Mode 5 D D D U Cross Picking Tritone guitar
Messiaen Mode 5 Cross Picking Guitar Tritones

Notice the two open strings :

Open Strings Messiaen chords Mode 5 Guitar

Messiaen Mode 5 Cross Picking Guitar Tritones Open Strings

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Pierre Boulez Guitar Concepts; Atonality for improvisation and Composition

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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 Concepts
Pierre 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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Pat Metheny Chords [Classic guitar sequence with pick]

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Pat Metheny Guitar Chords Lesson

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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Chordal Picking/Cross Picking Guitar Arpeggios Lesson 4/4 Time

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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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Altered Scale Jazz Fusion Guitar/piano unison lick/Line

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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.

Jazz/Fusion altered scale chromatic guitar/piano unison riff

Although this line is D altered in terms of scalic concept it could also be thought of as shifting between D minor, D Dorian and Eb Melodic Minor.

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Robert Fripp [of Guitar Craft] guitar style angular idioms/primaries

Angular and Atonal guitar lines from primary exercises in the style of guitar craft maestro Robert Fripp.

Exercise 1: Example of alternate picking starting on the “Up” stroke [Odd patterns]

Robert Fripp [Guitar Craft] style angular phrase

Primary Exercises: For starting on the “Up” stroke for angular atonal guitar lines. [Compositional and Improvisational”]

Fripp “Upstroke” primary exercise 1

Primary Exercise 2

Fripp”Upstroke” primary 2

Primary Exercise 3

Fripp Primary exercise 3

Primary Exercise 4

Fripp primary exercise 4

Primary exercise 5

Fripp Primary exercise 5

Robert Fripp Long line/Extension

Robert Fripp Primary Exercises Application line

Fripp/Andy Summers chordal alternate picking example starting on a down stroke

Fripp/Summers Chordal picking example/exercise

Intervals: Tri-tone and Augmented 8th note movments

Tri Tone/Augmented Fripp 8th note applicationsThanks for

Starting on the “Down” Stroke alternate picking “Variation” of the first exercise

Fripp starting on the “Down” stroke alternate picking

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How to: Alternate picking Basics for newbies, beginners, starter guitarists!

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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.

alternate picking how to basics lesson

1 string alternate picking “Even” guitar Pattern/grouping of notes. ‘Down Up” etc

Alternate Picking “Even” grouping exercise [1 String]

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

Crossing 2 guitar string alternate picking “Odd” grouping

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.

“Even” alternate picking guitar technique exercise

Final exercise: “Odd” pattern/grouping repeated.

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 Guitar Style Lesson How to?

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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.

Matteo Mancuso Guitar Style lesson “Odd” Groupings

With “Even groupings” of 4 notes you will cross with the same finger in the right plucking hand every time.

Matteo Mancuso Guitar Style Lesson

A good example is to think of it this way when beginning. Groupings of 3 as your Triplets

Groupings of 4 as your Jazz time or Double timed line.

Mixing up the rhythmic groupings: Notice the group of 3 [Triplets] and Group of 4 [8th notes]

The next step is to use “Target Tones” [or Enclosure/Approach notes]. Notice that the first set starts “ON” the beat, employing even 4 note grouping.

Matteo Mancuso Guitar Style Lesson

The next concept is to employ “Target Tones” “OFF”- the beat.

Matteo Mancuso Guitar Style”Target Tones”

You may also find “Even” note chromaticism mixed with Arpeggios.

Matteo Mancuso guitar arpeggio/chromatics Style Lesson

Lastly: a simple 1 string exercise demonstrating how to manipulate scales with the two plucking fingers from the right hand.

Matteo Mancuso Guitar Style Lesson Triplets

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Why Do I Do Alternate Picking?

Hi guys, I hope you enjoyed my two stories about why I like to use the plectrum and why I do alternate picking. If you did then please click the link below and Subscribe to our youtube channel, Thanks.

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How I write atonal music at the piano

How I compose atonal music at the piano

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.

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McCoy Tyner Jazz Piano Lick For Guitar

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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Transposed Modes of the Melodic Minor With C as Parent key.

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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 Scale
C 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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Altered Scale Jazz Fusion Guitar Concepts [John Mclaughlin lick]

Video Lesson/Performance of lick:

Music/Tab. The chord sequence is Dm7b5 G7″Altered” resolving to C major 7th

John Mclaughlin Jazz fusion altered scale guitar lick

The key to joining all of this together fluently is to break each four note grouping into tetrachords, learning a group at a time.

Tetrachords: Breaking the improvised line down into easy to learn chunks

VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.

John Mclaughlin Jazz fusion altered scale guitar lick “Variation”.

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2 Short Bebop Jazz Guitar Lines [Breakdown]

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Bebop jazz Lick/line No1

Bebop Jazz guitar Line

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:

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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John Mclaughlin “QUICK” Lick #1

Today we will take a look at a John Mclaughlin jazz fusion acoustic guitar lick in the style of the “Belo Herozonte” C.D/LP.

It consists of a “Pentatonic scale” and an “Arpeggio” fingering.

John Mclaughlin Quick Lick #1

alternate picking John Mclaughlin guitar lesson
“Belo Herozonte” John Mclaughlin style guitar lick #1

Notice the 2 finger Pentatonic ascending shape and the Arpeggio Descending shape

Shakti John Mclaughlin guitar lick lesson
“Pentatonic” 2 finger guitar shape and “Arpeggio” shape

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Modes of the Major Scale and transposition blog

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What is a mode?

A mode is an “inversion” of a scale:

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.

screen shot 2019-01-15 at 12.53.04

Below is a Clear explanation and diagram in music notation. Or for my free modes ebook CLICK HERE

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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!

1

Below you will see how easy it is to connect together arpeggios and then create triad pairs from them.

2
Modal Arpeggios Lesson Example

Again, more arpeggio connections from the major modes

3
Modal Arpeggio connections

Below, a mix of arpeggios and triad pairs from the modes

4
Modal Triad Pairs/Arpeggios

QUARTAL HARMONY. JOHN COLTRANE 4THS DEVELOPED FROM THE DORIAN MODE. THIS IS HOW YOU GAET THAT JAZZY SOUND!

5
Modal Quatrtal Chord Lesson/Example

D Minor to E minor

6
Modal Quartal Chords Example

Simple quartal dorian mode jazz/fusion vamp

7
Modal Quartal Chord Vamp Example/Lesson

Below is a simple pentatonic line from the major mode to play over a dominant G 7 chord

pentatnic
Modes of the Major Scale Blog

Finally an extended F major 9 extended line from the major mode

F MAJ VAR
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

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John Mclaughlin Guitar Jazz/Fusion Lick/Lesson

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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
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
Alternate Picking John Mclaughlin Guitar Lick

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