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 Jazz Approach: Licks/Ideas.

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Here are some more chromatic ideas from the Dave Liebman approach

Idea 1

Dave Liebman Chromatic Approach Idea

Idea 2

Dave Liebman Chromatic Approach Idea

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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mmm

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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Metrenome #2 Cutting the time in half for double timing

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Metrenome Video

140 Bpm: Four 16th notes on each quarter beat

16 notes on metronome

70 Bpm: Eight 32nd notes per quarter note beat

32nd notes on metronome

8th notes firmly in time with the metronome

Guitar Picking 8th notes

16th notes firmly in time with the metronome

Guitar alternate picking 16th notes

Connecting 16 notes at 140 bpm. [32nd notes at 70 Bpm]

Metrenome Practice lick

Variation

Metrenome Practice Lick

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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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Alternate Picking 16ths Acoustic Jazz/Fusion Guitar Lesson

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THE FOUR MAIN ALTERNATE PICKING GUITAR RHYTHMS FOR CREATIVE ACOUSTIC GUITAR JAZZ/FUSION IMPROVISED LINE SET-UPS

John Mclaughlin right hand  alternate picking rhythms pattersns
Basic Rhythms

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  SMOOTH ALTERNATE PICKING LICK/LINE.

John Mclaughlin alternate picking guitar right hand patterns.
Alternate Picking Guitar Set-up

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.

John Mclaughlin right hand alternate picking patterns for guitar
Alternate Picking Guitar Set-Up for Jazz/Fusion Improvisation

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]

John Mclaughlin off beat syncopated alternate picking guitar pattern
Off-Beat Alternate Picking Guitar Acoustic jazz/fusion set-up

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.

John mclaughlin alternate picking on the beat guitar pattern
Alternate Picking 16th’s Guitar Jazz/Fusion Rhythmic set-ups On the beat

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.

Recommended listening:

“BELO HEROZONTE” JOHN MCLAUGHLIN THE TRANSLATORS

John_McLaughlin_Belo_Horizonte
John Mclaughlin “Belo” Acoustic alternate picking Jazz/Fusion Masterpiece!

“MUSIC SPOKEN HERE” JOHN MCLAUGHLIN THE TRANSLATORS

McLaughlin_Music_Spoken_Here

John Mclaughlin Acoustic Alternate Picking “Music Spoken Here” C.D. brilliant Compositions, Improvisations and Alternate Picking Guitar Technique.

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Metronome BASIC ideas #1

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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

SEIMIQUAVERS 16TH NOTES

Konokol

Konokol Counting 16th notes

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.

16th note double timing metronome tetrachord connecting motifs exercise

How rhythms work against the metronome pulse.

Basic metronome Rhythmic groupings for understanding time development

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Messiaen Modes of limited Transposition

CLICK HERE Research Catalogue Website

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Today we will look at Messiaen’s 4th mode and apply it to the guitar. [La technique de mon langage musical mode 4]

MODE 4 ONE OCTAVE [Messiaen]

Messiaen Mode 4 of limited transposition Scale

MESSIAEN MODE 4 CONCEPT 1[Improvisation]

Messiaen Mode 4 Music Lesson

MESSIAEN MODE 4 IMPROVISATION CONCEPT 2

Messiaen mode 4 Improvisation Concept 4
Messiaen Mode 4

MESSIAEN MODE 4 IMPROVISATION CONCEPT 3

Messiaen mode 4 Improvisation Concepts lessons
Messiaen Mode 4

MESSIAEN MODE 4 IMPROVISATION CONCEPT 4

Messiaen mode 4 Improvisation Concept 4
Messiaen Mode 4

MESSIAEN MODE 4 IMPROVISATION LINE DEVELOPMENT #1

4th Mode Messiaen improv jazz
Messiaen Mode 4 “La technique de mon langage musical”

Mode 4 Messiaen VARIATION:mode 4 messiaen jazz improvisation lickMode 4 Improvised line:

MODE 4 IMPROVISATION LINE DEVELOPMENT #2

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

VARIATION:

Messiaen Mode 4 Classicalimprovisation
Messiaen La technique de mon langage musical mode 4

LA TECHNIQUE DE MON LANGAGE MUSICAL “TECHNIQUES OF MY MUSICAL LANGUAGE” Messiaen’s TREATISE on composition and musical language.

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

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Alternate Picking 2 Finger guitar Arpeggios lesson/concepts

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In this lesson we will look at alternate picking arpeggios with simple 2 finger concepts. When playing clean/acoustic jazz fusion or Indian style Raga Shakti lines the Rhythm is everything so arpeggios have to be picked correctly and in time.

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

2 Finger Guitar Alternate Picking Arpeggio.
2 Finger Guitar Alternate Picking Arpeggio

Exercise 2: Pentatonic Variation

Pentatonic Variation

Exercise 3: Minor 9 Variation

Exercise 4: Descending Simple two finger Arpeggio

Descending 2 finger arpeggio for alternate picking guitar

Exercise 5: Chord Pairs Ascending 2 finger Variation

Chord Pairs 2 Finger Guitar Alternate picking Arpeggio

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Picking “BACH” Guitar Lines #2

In the above video we look at a few useful ideas for picking Bach baroque lines with the guitar pick. Below these are presented in music notation and guitar tablature

Exercise 1. Bach guitar picking plectrum concept ascending.

guitar "Bach" ascending line lesson

Exercise 2. Bach guitar picking plectrum concept descending.

Bach guitar picking plectrum concept descending.

Exercise 3. Bach guitar picking plectrum melody/counterpoint “push/pull” rhythmic set-up.

Bach guitar picking plectrum melody how to

Exercise 4. Bach guitar picking plectrum melody/counterpoint “push/pull” rhythmic set-up, part 2

Pick Bach baroque guitar lines

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