Messiaen Mode 4 Improvisation Concepts for jazz/20c improvisation

Messiaen’s 4th mode: Concepts for this blog are taken from the excellent:

“Dick de Graaf – Beyond Borders. Broadening the Artistic Palette of (Composing) Improvisers in Jazz”.

CLICK HERE Research Catalogue Website

Messiaen mode 4 one octave

Messiaen Mode 4 of limited transposition Scale
La technique de mon langage musical mode 4

Messiaen mode 4 Improvisation Concept 1

Messiaen Mode 4 Music Lesson
Messiaen mode 4 Improvisation Concept 1

Messiaen mode 4 Improvisation Concept 2

Messiaen mode 4 Improvisation Concept 4

Messiaen mode 4 Improvisation Concept 3

Messiaen mode 4 Improvisation Concepts lessons

Messiaen mode 4 Improvisation Concept 4

Messiaen mode 4 Improvisation Concept 4

Messiaen mode 4 Improvisation Line Development #1

4th Mode Messiaen improv jazz

VARIATION:

mode 4 messiaen jazz improvisation lick
Mode 4 Improvised line extension jazz fusion guitar

Messiaen mode 4 Improvisation Line Development #2

Messiaen 4ths mode of limited transposition

VARIATION:

Messiaen Mode 4 Classicalimprovisation

Messiaen’s Book La technique de mon langage musical “Techniques of my musical language” treatise.

 La technique de mon langage musical ("The Technique of my Musical Language")

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Alternate Picking with cycle 4ths chords guitar lesson

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Today we look at employing alternate picking with chords on the guitar.

The alternate picking group of 4 semiquavers [16ths] notes start with an upstroke. “Up Down Up Down”. This little lick/motif joins the two chords together and creates a compositional movement.

alternate picking guitar chords scale 4ths cycle

Here is the descending music notation and tab. [Chords and alternate picking]

alternate picking guitar chords scale descending

Here is the ascending music notation and tab.

ascending alternate picking guitar chords scale

Descending cycle of 4ths chord sequence [for alternate picking scales with chords].

CYCLE OF 4THA ALTERNATE PICKING SEQUENCE

Ascending cycle of 4ths chord sequence [for alternate picking scales with chords].

Cycle of 4ths alternate picking guitar sequence

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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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Chromatic Displacement?

As an antidote to enclosure here we look at some easy developing chromatic ideas for improvisation.

These ideas follow a basic 4 note D chromatic scale to an F arpeggio. They then move into a variation.

Idea 1

chromatic displacement for jazz improvisation

Idea 2

chromatic displacement for jazz improvisation

Idea 3

chromatic displacement for jazz improvisation

Idea 4

chromatic displacement for jazz improvisation
chromatic displacement for jazz improvisation

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Enclosure/Target tones/Approach notes/Encircling and How to use them #2

Exercise 1: “Off beat” enclosure starting on the 5th string of the guitar creating chromatics for a fluid jazz improvised line.

enclosure /target tones set up off the beat for jazz improvisation
Jazz Chromatic improvised line

Notice: After the first “Off beat” enclosure there are two more set-ups for enclosure starting “On” the beat. Both starting on the 3rd beat.

Enclosure target tones jazz lesson
“Off” Beat and “On” Beat Enclosure to set-up chromatics for the improvised jazz line

Off beat set-up

Off the beat Enclosure Target tones
“Off” Beat Enclosure [Anacrusis] set-up

Set-up “On” the Beat

On beat Enclosure
“On” the beat Enclosure set-up for chromatic jazz improvisation

Enclosure jazz improvisation how to use it

Variation: Starting the Enclosure/Target tones from the 6th string of the guitar.

Target Tones jazz improvisation
Enclosure/Target tones from the 6th string of the guitar

As before we start with an “Off-beat” and then employ two more sets of enclosure “On” the beat. Both starting on the 1st beat of the bar.

Target tone and jazz improvisation how to
“Off” beat and “On” beat Enclosure

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Dave Liebman: A chromatic approach to jazz harmony and melody.

 

[These are my own concepts taken from Dave Liebmans Brilliant Book A chromatic approach to jazz]

This first idea is a simple way of weaving in and out of unrelated harmony.

Here the C natural slides into the C# and then into an F# arpeggio which then revolves by letting the C# fall back into the C natural of the F major arpeggio with a flat 5 resolving to the fourth.

Dave Liebman A Chromatic approach to jazz harmony

The next example is an extended line with a substitution of a substitution creating chromatic interest.

Dave Liebman concept of chromatic jazz harmony

VARIATION:

LONGPNE

Below we see a concept of weaving through two different key centres. Thinking F for D minor and then through F# and sidestepping back to resolve the line.

Dave Liebman chromatic approach to jazz idea

VARTIATION

A chromatic Dave Liebman concept

VARIATION

 

A chromatic approach to jazz harmony and melody Dave Liebman concept

Flat 5 substitution. D minor and A flat major.

flat 5 substitution b5 sub Dave Liebman Chromatic approach to jazz line

VARIATION:

B5

Dave Liebmans book is an excellent and inspiring means of absorbing chromatic improvisational knowledge and ideas for your own playing.

511-P62qKeL copy

I am not promoting this book. But I am very grateful for its existence and for its powerful inspiration to me on a daily basis. Anyway, below is a brief overview.

This book should be seen as a method to help the artist to develop his or her own way when trying to improvise chromatically. Through the concepts and examples offered, the improvisor should be able to use this material alongside already familiar tonal ideas. Specifically, the book serves as a guide for organizing chromaticism into a coherent musical statement meant to satisfy both the intellectual and emotional needs of artistic creation.
The reader will be introduced to more than one way of conceiving chromatic lines and harmonies. There is nothing theoretically complex or new in the text, it is the organization of the material as well as many musical examples and transcriptions (Bach, Scriabin, Coltrane, Shorter, Hancock, Beirach, Liebman a.o.) which should serve to inspire musicians to expand their usual diatonic vocabulary.
This book also provides insight into the style of playing that David Liebman is known for. In addition the book contains 100 assorted solo lines and 100 chord voicings.

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Enclosure/Target Tones Jazz chromatics for the improvised line

The key to understanding this is to look where the little target tones/enclosure motif/melody starts.

Here we have two.

The first is “OFF” the BEAT

and the second is “ON” the beat

Example 1: “Off Beat” classic target tone/enclosure set-up

Jazz chromatic target tones explained

Example 2: “On the beat” and in the bar set-up in the improvised line [Target tone/Enclosure]

On the beat jazz Target tone/Enclosure for improv

THEORY:

What you will notice is that the Chord tones are “on” the beat [Strong] whilst the chromatic or unessential notes are “Off” the beat.  

This is the key to how it works and how to create beautiful flowing lines easily!

Bebop target tones enclosure jazz improvisation explanation
Chord tones on the “Strong” Beats for jazz enclosure

Full Target tones/Enclosure Jazz Chromatics improvisation lick/line

Target tones/Enclosure Jazz Chromatics improv lick/line

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