Messiaen’s 3rd Mode Backing Track

yt_logo_rgb_light

CLICK SUBSCRIBE!

Messiaen’s 3rd mode Backing Track

Hi Guys,

Today we will look at a backing track for Messiaen’s 3rd Mode of limited transposition.

Here is the 3rd mode in its most commonly used form in jazz/fusion: [This is a 9 note scale]

messiaen-3rd-mode-backing-track

Here is the outline to the chords in the backing track: Remember, these are all formed from the same 3rd mode.

messiaen-3rd-mode-backing-track-chords
messiaen-3rd-mode-chords-outline
messiaen-3rd-mode-backing-track-chords

Here is the Chord Chart and Video/Track:

Messiaen’s 3rd mode Backing Track

CHORD CHART:

messiaen-3rd-mode-backing-track-chord-chart

PDF DOWNLOAD:

Here is some more information/Examples on Messiaen’s 3rd Mode: [Video and Tab/Notation]

 

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Messiaen, mode 3, 2nd transposition, detailed, lesson, music theory, examples,
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson
Messiaen mode 3 lesson
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

Messiaen, 3rd mode, improvisation, composition, lesson, example, transposed, jazz, fusion, classical, music
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

INTERVALLIC IDEA: EXAMPLE 2

Messiaen, intervallic, mode, 3, example, intervals, improvisation, composition, technique, transposed, 5rd, mode,
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

Messiaen, mode, 3, transposed, Weaving, in and out, of F major 7th, lesson, improvisation, composition, how, to
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

Messiaen, mode 3, improvisation, Composition, example, for jazz, classical, music
Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below is a Short Compositional Study where I use Messaien’s Modes.

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

IF THESE EXAMPLES WERE OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Click to Donate

MAKING A DONATION ONLINE WITH PAYPAL. You may use your Credit Card or Debit Card and do not need a PayPal account.

Melodic Minor 2 5 1 Variation [Re-Post]:Alternate Picking Guitar

yt_logo_rgb_light

CLICK SUBSCRIBE!

John Mclaughlin Melodic Minor Scale Jazz Guitar Lick Lesson

Please watch video above for detailed analysis:

Hi Guys,

Just a quick re-post of a video I did a while back that a few of you wanted but couldn’t find the PDF/TAB on this website.

Here is the Chart/Tab/Download:

This is a minor ii V7 I that resolves to the I Maj7 Chord. So we have Am7b5 to D7b9 to Gmaj7 [and not Gm7]

Chord Chart for Lick:

John-Mclaughlin-chord-chart
John Mclaughlin Melodic Minor Scale Jazz Guitar Lick Lesson

Melodic “Jazz” Minor Scale Guitar Lick:

john-mclaughlin-jazz-guitar-lesson-melodic-minor-scale
John Mclaughlin Melodic Minor Scale Jazz Guitar Lick Lesson

PDF DOWNLOAD:

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

Konokol/Alternate Picking Guitar Technique [Rhythmic Subdivision/alteration]

yt_logo_rgb_light

CLICK SUBSCRIBE!

Konokol/Alternate Picking Guitar Technique [Rhythmic Subdivision/alteration]

Please watch the video above for in depth detail:

Hi Guys,

The good thing with alternate picking and the reason great players and improvisers employ it is because it offers the keys to performing rhythmically complex and fast tempo music. This is especially true with Jazz, Fusion and World Music.

Applying Indian Konokol or even Western Classical Tradition we can change the alternate picking patterns/groupings into rhythms for musical phrasing.

But, before we break these rhythms up though we need to get the basic idea and fundamentals down. This way we can nail any chords changes especially ambiguous ones.

PART 1:

This simple “Rhythmic Unit” of a group of 5 notes can be broken up. This gives clarity when nailing the changes at a very fast tempo.

konokol, guitar, alternate, picking
Alternate Picking 5’s John Mclaughlin 180 bpm jazz improv “Nailing the Changes”

The Group of 5 now becomes one “Tetrachord” and the 5th note becomes the first note of the next chord [DbMaj9]. This way the changes are “Nailed” by the rhythm which has become 4+1

konokol, guitar, alternate, picking
Alternate Picking 5’s John Mclaughlin 180 bpm jazz improv “Nailing the Changes”

So, as we can see the Ta Ka Di Me Thom or 1 2 3 4 5

konokol, guitar, alternate, picking
Alternate Picking Fives Rhythmic Subdivision

Becomes 1 e and a 2

or Ta ka di mi Ta

konokol, guitar, alternate, picking

For anybody having problems with their alternate picking at fast tempos whilst nailing the changes this will really help you because you will automatically land on the first note of the next chord.

Below we can see a few examples with John Mclaughlin employing 5’s.

konokol, guitar, alternate, picking
John Mclaughlin 5’s alternate picking rhythmic subdivision
konokol, guitar, alternate, picking, 5's
John Mclaughlin 5’s alternate picking rhythmic subdivision

PART 2:

This time we will take a group of six notes [Sextuplets] and make a tetrachord and a half from it.

This will make 4+ 2 which will make us nail the changes with 4 notes on the first chord and 2 notes on the second chord with a short rest to reset our fretting hand to repeat the pattern again on the next two chords.

Alternate picking exercise warm up in Sextuplets/Triplets

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

1 2 3 4 5 6 or 1 trip let 2 trip let

or Ta ki ta Ta ki ta or Ta ka Ta ka di me

INTO:

1 e and a 2 e

Or Ta ka di me Ta ka

The first pattern for playing through the changes in Sextuplets

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

The first pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e

or Ta ka di me Ta ka

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

The second part of the chord sequence in sextuplets

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

The second pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e

or Ta ka di me Ta ka

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

Finally, the full one bar alternate picking chord sequence nailing the changes

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

VARIATION:

konokol, guitar, alternate, picking,
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

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