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
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
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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.
They are E flat Major and F Major
We can immediately make Triad Pairs from them
Going the opposite way
We can Sharpen the 5th and create a more exotic and colourful sound
We can add Gm7b5 and Am7b5 to the Major or F aug arpeggio
We can employ the B flat minor 9 major 7th arpeggio
Here we can add it to the F major arpeggio
It is an even better idea to start the B flat minor 9 major 7th arpeggio on the tonic note of C
Here we will extend the Am7b5 part of the line
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 our own pentatonic scales from the mode works really well also.
Here is a short sus4 and aug Lick
Another short lick
These are the basic chords of the Dorian b2 mode
Of course we can change the chords to make them more exotic and colourful
We also have the typical jazz fusion chords contained within the Dorian flat 2 mode of the melodic minor scale
Below we create a very exotic colourful “‘al la” John Mclaughlin sound!
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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
Idea 2
Idea 3
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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.
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.
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.
Next we can employ some basic chord pairs.
C minor 7 and F major
F major and Eb major
Now we can broaden out on this with C minor and D minor
Bb and G minor
We can also employ pentatonics to bring out the flavour [melody] of a tune.
Another example =Short pentatonic scale that ends/resolves with the A natural note [Raised 6th] and played in 4 note cells [Tetrachords]
Finally it’s a good idea to look at the arpeggios available that line up one after the other.
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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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Here are some more chromatic ideas from the Dave Liebman approach
Idea 1
Idea 2
Idea 3
Idea 4
Idea 5
Idea 6
Idea 7
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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.
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 as used for this presentation.
Messiaen’s 6th mode is great for manipulating “Diminished” and “Augmented” intervals.
Mode 6 allows for this to be sequenced easily
Below is a descending Augmented 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:
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.
More examples of mixing up the Augmented and Diminished ideas to avoid the cliches and develop something fresh sounding
We can also make interesting intervallic motifs from the notes of the Messiaen mode 6
Finally, we can employ a contrapuntal counterpoint “Mirror” compositional device to really manipulate this brilliant 6th mode of Messiaen.
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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.
Another useful way to create forward movement is to accent the 5th note of each 6 note [or 2 triplets] groupings.
Lastly, we can double the scale and create a longer line.
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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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The idea that starting on a different note/degree of the C major scale gives you the modes of C is not correct.
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]
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.
We will now create an improvised line to play over these chords.
Same line Double Timed
The first 4 notes
The second 4 notes
The penultimate set of 4 notes
The last 4 notes
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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 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.
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.
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.
Next we have the fist string skipping bar.
Bar 3 we have more string skipping and awkward fingering and intervals.
The next two bars are straightforward with no string skipping.
LICK LINE COMPLETE:
Al Di Meola REH Guitar Video altered Dominant guitar lick: G7alt or
Lick taken from
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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.
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.
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.
The Locrian Mode 2 Octaves
The Locrian Mode can be broken up. This approach creates better fingering, fluency and a less cliched sound.
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.
Below is an example employing target tones and arpeggios that weave through the harmonic texture of the Locrian V harmony.
Next we have an Fm arpeggio [Chord ii of Eb] a Bb arpeggio and a couple of chromatic notes.
This time we have our old friends target tones to add colour and rhythmic forward momentum to the Fm9 arpeggio line
In this next example we employ superimposition for a chromatic triadic approach, that again weaves through the Locrian V chord.
In this last example we exploit G Minor [chord iii of Eb ]
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Here are the Melodic Minor modes “Transposed” with the note “C” as the Parent Key or Tonic.
Dorian b2 Mode
Lydian Augmented Mode
Lydian b7 Mode
Mixolydian b6 Mode
Locrian #2 Mode
Super Locrian Mode
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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.
Notice the smooth transition of the two different scales into one extended multi octave scale.
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Scale Lick 2: Chord to Scale
Scale Lick 3: Superimposition
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.
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
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
Here is a long piano version of the above that keeps ascending
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.
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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’s 5th mode [Non Transposed]
Messiaen’s 5th Mode Extended
Making Scalic runs: Messiaen mode 5:
Descending
Ascending
The next concept is to mirror the intervals and create an atonal sounding contrapuntal study. This is a great compositional device.
Cross Picking/ Chordal Picking: Notice the use of Tritones.
Picking pattern = “Down Down Up”
Cross Picking/ Chordal Picking: With an open G string.
Messiaen 5th Mode: Scale to chord Imitation device.
Messiaen 5th mode: 3 octave scale imitation descending line
Cross Picking part 2: Using 4 note tritone chords.
Picking pattern =”Down Down Down Up” Cross
Notice the two open strings :
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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
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.
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.
Basic D D U Cross Picking Pattern
The next two patterns employ Diminished and Augmented shapes in triplets with an open string.
Another example with the open string concept
This last open string cross picking pattern is a mixture:
To Finish, we will employ a basic triplet pattern without any open strings.
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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.
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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
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.
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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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]
Primary Exercises: For starting on the “Up” stroke for angular atonal guitar lines. [Compositional and Improvisational”]
Primary Exercise 2
Primary Exercise 3
Primary Exercise 4
Primary exercise 5
Robert Fripp Long line/Extension
Fripp/Andy Summers chordal alternate picking example starting on a down stroke
Intervals: Tri-tone and Augmented 8th note movments
Starting on the “Down” Stroke alternate picking “Variation” of the first exercise
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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.
1 string alternate picking “Even” guitar Pattern/grouping of notes. ‘Down Up” etc
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”.
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].
“Even” grouping: Crossing all 6 strings ascending and descending employing strict alternate picking right hand guitar technique.
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’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.
With “Even groupings” of 4 notes you will cross with the same finger in the right plucking hand every time.
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.
The next concept is to employ “Target Tones” “OFF”- the beat.
You may also find “Even” note chromaticism mixed with Arpeggios.
Lastly: a simple 1 string exercise demonstrating how to manipulate scales with the two plucking fingers from the right hand.
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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.
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.
Chords for the lick: 1st Part.
Guitar Chord Shape for 1st part
Chords for the lick: 2nd Part.
Chord Shape for 2nd Part.
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Below are the Modes of the Melodic Minor Ascending 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.
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:
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.
2 Octaves Notation and Tablature:
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:
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:
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:
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:
Music/Tab. The chord sequence is Dm7b5 G7″Altered” resolving to C major 7th
The key to joining all of this together fluently is to break each four note grouping into tetrachords, learning a group at a time.
VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.
Bebop jazz Lick/line No1
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.
Jazz bebop line/lick No2
Notice the 8th note and the two 16th notes that propel the line along for a great swinging feel.
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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.
Notation and Tab:
Start on a “Down” stroke with the plectrum and alternate pick strictly “Down up Down up” etc.
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:
CLICK SUBSCRIBE!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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