PLEASE WATCH THE VIDEO ABOVE FOR A DEEPER ANALYSIS:
These exercises employ the A Harmonic Minor Scale. I use alternate picking guitar technique starting on a downstroke.
Exercise 1: Simple descending and ascending 2 finger harmonic minor scale. “Even” alternate picking pattern.
Exercise 2: Wide interval 3 finger to the simple 2 finger descending Harmonic Minor Scale
Exercise 3: Moving from a 3 finger piece of scale mid strings out to the first string with a simple 2 finger scale approach. Mixing 2 and 3 finger alternate picking.
Harmonic Minor Scale PART 2: JOHN MCLAUGHLIN GUITAR TECHNIQUE:
Exercise 4: John Mclaughlin scale guitar fingering technique. This method again employs strict alternate picking starting on a down stroke. John Mclaughlin’s guitar fingering is unique in that you can play at very fast tempo’s alternate picking due to the simple fingering and the way it repetitively crosses the guitar strings .
Exercise 5: John Mclaughlin guitar fingering technique part 2:
Excersie 6: 3 finger to simple 2 finger Harmonic Minor scale for alternate picking guitar technique starting on a down stroke.
Moving on from our last lesson on simple 2 finger alternate picking guitar scales we will now look at applying it to “Raga-Esque” improvisations. We will do this by using repeated notes to set up the fluid Raga like scales/motifs to hold time together in the beat cycle.
Both examples in this blog employ strict alternate picking guitar technique starting with a “Down” stroke.
Below we can see the whole bar of repeated notes ready to set up the 2 finger scale.
EXAMPLE 1: Indian Raga Guitar Alternate Picking with “Repeated” Notes employing simple 2 finger guitar pentatonic scales.
Moving on from our previous blog we will now extend and shift the fingering positions on the guitar fingerboard and extend our 2 finger scales. We will employ alternate picking staring on a down stroke.
Exercise: 1st Part
Exercise: 2nd Part
Now we will extend this by shifting the position even further.
PLEASE WATCH VIDEO ABOVE FOR COMPLETE EXPLANATION/DEMONSTRATION
The exercise below details the simple 2 finger guitar alternate picking fingering for fast fluid scales. This makes scales easy to play and at the same time create long fluid guitar lines. This guitar alternate picking fingering is ideal for Shakti/Indian Raga style guitar playing and jazz improvisation where is it essential to be able to play through fast chord changes rhythmically.
For anyone lost in the Maze of despair and Bewilderment OF SUCCEEDING WITH MUSIC ONLINE!
The Story usually goes like this:
The hip online marketing music kid gave you some “Cool free tips”.
You, with gusto applied them and…..
Welcome to the real world of Internet Music Marketing!
Okay, stay with me because “The Secret” to all of thisis actually quite simple and amazingly it is available to everyone!
But, to begin with you need to understand:
Generally there are five types of people who get successful on the internet, and here they are,
1] The naturally lucky person, the one out of a million who for some reason people just take a fancy to. This person seems to sail effortlessly in to every endevour and always comes out smelling of roses!
2] The Obsessive Entrepreneur Type that’s always investing in the next new strategy, chasing crazy gorilla marketing tactics and meditating on the mathematical averages from his/her obsessive analytics of algorhythms.
3] The Group of 3 who have a master craftsman in each department: The web designer, The content maker and the crafty marketeer. As a team they can penetrate the internet, because each person carries the load of their respective departments. This ensures consistency, hence, excellent results on a regular basic.
4] The Corporate Company/Band/Sport Star/Record Company, etc, with money to burn who are already globally established. They also pay for the best SEO and and have a ready made audience eager to pay.
LASTLY THOUGH, WE HAVE
5] The Persistent Bastard!……Yep, not a pleasant title but…This is Me! Persistent and proud, overdosing in blind faith. The obsessive who could’nt care a toffee or a fig about any of the above.
Because the “Persistent Bastard” is OBSESSIVE! and my dear musicain friends this is the whole secret for most of us!
This is the only way we can ensure our musical success online. This is our Ace in the hole!
So, why don’t most musicians see this?
Because most musicians get burn out and just give up.
It’s like a boxing match. You get in the ring and your opponent beats several tons of poo out of you. You go back to your corner and think to yourself, “I don’t need this, this is pointlesss”. Then your corner man says,”Have another go, you’ve got another 3 million rounds yet”.
And you think, “3 million rounds, okay, that’s actually quite a lot of rounds, in that case, let’s go another round, it’s not over yet”. After a while you get acclimatised to the roll with the punches and get in some crafty shots of your own. Your self reliance and confidence grows and it gets a lot less daunting and a lot less lonely.
You are learning How to cope and What to do and How it works as you go along.
I will bullet point the above:
1]How to cope
2] What to do
3] How it works
Remember the old days:
Once upon a time you would spend hours writing a business plan, present it to a Bank Manager or a Money Lender or a Rich Family Member. Finally, get it off the ground and in most cases find a bricks and mortar space to house and the run the business.
But, now that’s all changed. On the internet you really do have to learn it all as you go along, becasue the websites, social media sites, apps and everything just changes constantly. What works great for marketing one day is hopeless the next.
Nothing ever stays still. A very good example of this is with my wordpress website. One day it was plain sailing and the next it had changed to the Gutenberg Blocks. Now, you could say, well, go back and use the classic editor, but that is of no use because sooner or later the classic editor will be switched off for good. This means that in order for me to carry on being a prolific blogger and web page builder I needed to re-learn it NOW!
I will say it again: Nothing stays still on the internet.
It’s not the fittest that survive. It’s ones who can Adapt.
And to Adapt leads to PERSISTING or plain keep on going regardless!
But, where does this persistence really lead?
Well, Sooner or later something will Hit or as they say go Viral.
In my early days with my blog/website I had very little traffic…Until that is….
One day out of the blue I struck Pay dirt, Oil, Gold or whatever you want to call it. I started to get 1,250+ people a day. Now, to most bloggers that’s a small number, but for a single musician with a jazz/20 Century Classical/Modern Music Theory website that’s self contained that’s pretty good going.
And, believe me I tasted victory! Because I knew from that monent on that I can do it. I also realized how this whole thing works and why my peers failed.
Persistent content uploading=KEY!
The more content you upload the better you get at making it….and….. the Algorithms get to know who YOU are, and what YOU’RE all about!
The more you upload the better and quicker you get at making ”Sellable products” down the line!
Oh, and don’t forget your Evergreens….
I have written this post out of a sort of sadness and sincerity after seeing so many gifted musicians who would have succeeded [or at least tried] in the old days just cave in.
Your success is literally in your own hands. All you need to do is keep posting great content and keep doing it . You will find avenues galore as you keep going. It is in the keeping going that you find new ways of promoting your material and getting fans and buyers to your website, youtube channel, online store and social links etc.
The power is in your hands dear musicians. Don’t listen to to the negatives. Put out your content consistently and go! Over time you will build and grow as your content/channel/website etc grows. Just do it and keep going, sooner or later it will start to give back! Good Luck!
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PLEASE WATCH THE VIDEO ABOVE FOR AN IN DEPTH EXPLANATION TO ALL THAT IS DETAILED BELOW.
This blog deals with very simple guitar fingering for playing through “Giant Steps” chord changes. Everything that I employ in this lesson consists of very simple guitar fingerings that most “Rock Guitar Players” or “Beginners of Jazz/Fusion Guitar” styles will already know or be aware of. For instance the A minor Pentatonic scale/shape.
THE RHYTHMIC SIDE OF THINGS:
For a beginner it is essential to count time whilst playing 8th note lines through the changes.
1 and 2 and 3 and 4 and
This way you will know where you are in the bar and what chord you are playing over.
To begin with I use the B major pentatonic scale. Next, I employ a simple 2 finger pentatonic scale over D7 and GMaj7. I then play the second part of it [same fingering] up a semitone and land on the note D for the EbMaj7 chord, counting 1 2 3 4 in preparation for the next chord.
For the first three chords I play what could be called “A Dorian Pentatonic”. But, I am not really thinking in that way. [I am just adding the F# note for the 3rd of D7]. This in turn creates a very simple and “Fluid” guitar fingering that is very common to most guitar players and hence easy to do.
On the F#7 chord I play an F#7 arpeggio that then resolves into an Eb minor arpeggio for the BMaj7 chord.
For then next part I again employ a simple Pentatonic to get through the first three chords. This Bb minor leaning works well though because over the Bb7 chord it gives us the “Blue note”. Finally we use our A Dorian Pentatonic again to resolve to GMaj7 for our last three chords.
Here I just use C#m pentatonic and F# Pentatonic to land on the D# to nail the change to the BMaj7 chord. Very simple and very common guitar fingering.
For the last part of this I employ an Fm9 arpeggio and a C minor pentatonic scale that then goes up a semitone and repeats our C#m7 F#7 to Bmaj7 phrase. But, this time we land on an F# for the 5th of BMaj7.
PLEASE WATCH VIDEO ABOVE FOR COMPLETE UNDERSTANDING OF THIS BLOG:
We will start with an Amaj7#11 Lydian Chord
Now we will connect 3rds with simple 2 finger and 1 finger fretting. We in turn create a superimposed arpeggio that is very easy to alternate pick with speed and precision.
Descending, we will land on either the G# [Maj7] or the F# [13th]
We can apply apply the same principles to minor keys. Here we will start with Dm7. Notice the Minor 3rds in the fretting hand fingering employing fingers 1 and 3.
We can now make it much more interesting by making it Dminor with the added Major7 [or D melodic minor] by mixing the major and minor 3rd intervals with our simple 2 finger fingering.
Longer descending extension with an added minor 9th.
Now let’s look at Gmaj#11
We will now use our simple 3rds connecting superimposition technique and create an arpeggio ideal for alternate picking over this chord.
We will now take this further by sharpening the 5th and flattening the 9th with our simple fingering.
This creates a beautiful Lydian chord with a sharpened 5th and adds colour and moves onwards to a sense of musical freshness.
This is just a taste of what is available with superimposition in regards to major and minor 3rds that are readily available on the guitar fingerboard. The possibilities are there for the taking and with a creative imagination and ear many interesting and advanced combo’s can be had.
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The “Glarry GTL Semi Hollow” guitar is a budget guitar aimed at beginners. It is also good for anyone interested in guitar “Modding” [Modifying]. It can be a hit or miss affair though as the Glarry shop is an online retailers and hence the guitars can’t be tried out as in a physical shop.
That being said, I actually had lots of fun playing my Glarry guitar. The action was low and great to play, although, I did have two strings the 1st and the 5th that had fret buzz.
After I had heightened the action slightly [On these two strings] the guitar played pretty well. The pickups are not the best but they seem to work well. The machine heads are basic but work. The body is really nice though and made of a very light bass wood that has been hollowed out with an “F Hole”‘
The neck is made of maple but completely unvarnished. This creates a satin like feel [But will get dirty over time]. There was also a blemish on the neck joint. The fingerboard was really nice and flat with 22 frets laid in very well with no noticeable sharp bits protruding out.
There is a return policy as listed below.
Most products on Glarry are returnable as long as you return all original packaging, paperwork and parts in new and unused condition. You can return them for free only when there is manufacturing defects or Glarry’s mistakes. If you need to return the item, please contact Customer service ask for returned address or a prepaid return shipping label（RL）. Please note there is a time limit: in 30 days since you receive the product. Email: email@example.com
1. Contact the customer service supporter of Glarry, explaining why you want to return the products.( Provide us with related videos or photos if you think it is an unsatisfactory product.) 2. Our customer service supporter will send RL to your email. 3. Print the RL out and send back the original package within 30 days. Otherwise the RL will become invalid. 4. Glarry would process the refund in 2 days. It may take 5-7 business days for you to receive the refund from the bank.
When we will process the refund
1. We would refund you in 2 days if the products haven’t been shipped out; if the products are already on the transportation, we won’t begin to refund until we receive and examine the returned products.
2. All refunds will be returned to the same credit card which is used to pay the order or the Paypal account.
How much we will refund
1. We will fully refund when there is quality problem or mistakes caused by us such as ship the wrong product,damage, etc. 2. We will only return 80% if you return it for personal reasons such as you chose the wrong prouct, you don’t need the product any more, you find the case is not suitable for your guitar etc. 3.The order can be cancelled for free if it hasn’t been shipped.
Below situations will charge shipping fee for returning and resending: 1. You cancel the order when the package has been shipped. 2. You refuse to receive the package when it arrives other than the reason that the package is seriously damaged during shipment.
1. Most of our products’ insurances are undertaken by our manufacturers in case there should be defects in materials or workmanship. So the longevity of warranty period varies among different products.
2. In 180 days when you receive the product, the manufacturer is responsible for its insurance. During this period, the manufacturer’s warranty policies and procedures take effect.
3. If you find the product has manufacturing defects, feel free to contact us. We will assist you to claim compensation from the manufacturer.
Buying a guitar especially a beginners guitar at a bargain price online is always going to be a hit or miss affair. My review is for the guitar that I received which [Apart from a cosmetic detail and 2 strings buzzing] was a pretty good guitar.
The important thing is to read the returns policy thoroughly before buying. That way you should be okay if the guitar arrives with any serious defaults.
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PLEASE: WATCH VIDEO AS IT WILL EXPLAIN AND DEMONSTRATE THE CONCEPT IN GREATER DETAIL.
In this 2nd part of sight reading made easier at the guitar we will employ octaves. This will reinforce our familiarity with the notes in the 5th position, frets 1 to 8. This way we can assure ourselves that our fingers will know where to go when seeing the notes on music manuscript paper. This is essential so that we can just fret the notes without having to look at the finger board and decide which finger to use.
Example 1: C to C octave. Close your eyes and visualise this as you pretend to finger those notes on the guitar fretboard:
Feel the 4th finger to the 1st finger
Now do the same, but, see it in music notation: C to C octave, Feel the fingering as if you are actually touching the guitar strings and say the names of the notes to yourself.
4th finger to the 1st finger
As you do this you will familiarise your mind, fingers and sight with where to fret.
Now let’s do the same with the other simple octaves from the A minor pentatonic scale.
4th finger to the 1st finger
NOW: 3rd finger to 1st finger
3rd finger to 1st finger
The octaves in 5th position. Frets 1 to 8
The octaves give concrete knowledge of the notes in this 5th position and which fingers to use. This way we can read the music and not panic or fuss about looking for the notes or which fingers to employ. For example when we see a note of D
We can be assured that all we need to do is fret with the “First finger” on the 5th fret of the 5th string.
Or up an octave=”3rd finger ” 4th string 7th fret
In the next part we will look at 4ths, 5ths and arpeggio shapes in this position.
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Please watch video the for the John Mclaughlin fingering etc. I start all of these arpeggios on a down stroke with strict alternate picking for rhythmic precision. I am counting in 16ths 1 e and a etc. Most of the arpeggios are one note per string.
Example 1: John Mclaughlin D major 7th arpeggio.
Example 2: Adding Lydian [and 9th and 13th] to John Mclaughlin’s D Major 7th alternate picking arpeggio
Example 3: Starting Arpeggio with Pentatonic John Mclaughlin style
Example 4: Pentatonic to Lydian John Mclaughlin guitar style
Example 5: Descending Arpeggio with simple John Mclaughlin fingering counting 1 e and a etc.
Example 6: Extension
Example 7: Variation
Example 8: Simple fingering descending concept.
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In this final part of alternate picking guitar techniques for jazz fusion improvisation. We again look at the style of John Mclaughlin in order to play through the changes with 4 groups of 4, or 4 tetrachords per bar.
Alternate picking tetrachords all start on a downstroke.
First 4 note grouping[1st Tetrachord]:
Second 4 note grouping [2 Tetrachords]
Third 4 note grouping of 16ths alternate picking [3 Tetrachords]
Finally, 4 groups of 4 [or 4 Tetrachords].
We can now apply this to playing through complex chord changes at a fast tempo. In the example below we will take John Coltrane’s “Countdown” and play one chord per beat as an example for setting up these 4 x 4 note groupings [Tetrachords]for quick rapid improvisation at a super fast tempo.
Simple 4 note tetrachord pattern for reference:
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In this blog we will look at improvising over one chord. This will be D minor [D Dorian].
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.
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
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.
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.
Now we will extend the whole line:
As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.
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.
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Many guitar players find learning sight reading at the guitar laborious, boring and intolerable! The reason being that many guitar players don’t have a grasp of the notes on the fingerboard.
But, many wish to go to music school or do studio work or tour with famous artists. The need to sight read music suddenly becomes very apparent and essential in order to reach the required standard.
The question is always the same. Is there something that I am already familiar with that will help me speed up the process?
Luckily the answer is a big resounding YES!
The one thing most guitar players do know very well is the A minor pentatonic scale. This gives you many of the notes of the 5th position. Not only that but you will know the fingering like the back of your hand.
The next thing is to move away from the actual guitar and see, hear and feel the notes in your mind and see the notes on the guitar fingerboard and how the look in music notation.
For instance how to does the note A on the 1st string 5th fret look,
How does the note C on the 1st string 8th fret look in music notation
When visualising also “Feel” it in your fingertips and your whole hand,
Now “Fill in” all the rest of the notes in 5th position from frets 5 to 8.
Now visualise them by moving up or down in semitones going across all the 6 strings from the 5th position frets 5 to 8.
For Instance: 1st string=C B B flat A. 2nd string= G F sharp F natural E etc as we see in the notation below.
Now apply this to all six string of the guitar.
One more thing to realise is that the notes on the 1st string are the same as the notes on the 6th string but in a different octave. This in turn cuts down the amount of notes you need to learn.
This is just part 1 of this method, but it is a simple way to get started because you will already have a firm grasp of this scale and position on the guitar. Once you fill it out with the rest of the notes you will start to see patterns, arpeggios, 4ths and one 3rd [Guitar’s Tuning] and most obviously and importantly octaves as they will connect the other positions for you as you progress.
As you become aware of all of this sight reading at the guitar doesn’t seem so daunting and it all starts to make a lot more sens.
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Just a quick blog today, But a great one with a great backing track for improvisers!
This starts as a common blues, but it adds interest by employing “Coltrane Changes” to the last 4 bars. A great compositional device that adds extra interest to a blues. It’s also a cool improvisational concept for the improviser whilst adding colour as a turnaround.
Coltrane Chord chart analysis: Notice the C7alt [Alt Dom] for the Fm7 as the Coltrane changes set-up!
Finally, here is the 12 Bar “Coltrane Blues” Chord Chart for jazz improvisation: 140 Bpm.
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In this post we will go one further than the last post. This time we will take a group of six [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
Why do this?
Because the groups of six are quite easy to play on the guitar and there a heaps of variations on each pattern. They flow easily and can be alternate picked rhythmically to create musical phrasing.
The first pattern for playing through the changes in Sextuplets
The first pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
The second part of the chord sequence in sextuplets
The second pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
Finally, the full one bar alternate picking chord sequence nailing the changes
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This simple “Rhythmic Unit” of a group of 5 notes can be broken up into sub divisions to give clarity when nailing the changes when alternate picking at a very fast tempo of 180 BPM Plus at the guitar when improvising.
Although we might view and hear this as alternate picking and plucking a group of 5 on the guitar like the example below,
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 rhythmic subdivision.
So, as we can see the “Ta Ka Di Me Thom” or 1 2 3 4 5
Becomes, “1 e and a” ” 2″
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.
There are many more rhythms that are employed like 6’s, 7’s and 2×4 groupings. But I will go into these in another blog. In the meantime her are a few examples from John Mclaughlin himself phrasing by employing 5’s.
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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 Guitar Lick 2 -Again, employ strict alternate picking starting on a “Downstroke”
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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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
Now we can look/identify the names of the notes on the 5 lines of the treble clef.
Next, we will look at the notes in the 4 spaces of the staff lines: F A C E
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.
We can now add thirds to the scale notes and notate the “Triads” of the C major scale
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.
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.
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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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].
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.
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.
Below we have the employment of triplets and the commonly used 4 note groupings of tetrachords.
Below is an example of employing the jazz improvisation concept of “Chord Pairs”
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.
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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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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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