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
Guitar HARMONIC MINOR fingering for scales in jazz and world music improvisation
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.
Guitar fingering for fluid scales for jazz and world music improvisation EVEN Alternate Picking
Exercise 2: Wide interval 3 finger to the simple 2 finger descending Harmonic Minor Scale
Guitar HARMONIC MINOR fingering for scales in jazz and world music improvisation
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.
Guitar fingering for fluid scales for jazz alternate picking and world music improvisation even patterns Harmonic Minor
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 .
John Mclaughlin Harmonic Minor Alternate Picking Guitar Technique fingering lesson
Exercise 5: John Mclaughlin guitar fingering technique part 2:
John Mclaughlin Harmonic Minor Alternate Picking Guitar Technique fingering lesson
Excersie 6: 3 finger to simple 2 finger Harmonic Minor scale for alternate picking guitar technique starting on a down stroke.
Guitar fingering for fluid scales for jazz alternate picking and world music improvisation even patterns
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.
INDIAN GUITAR SCALES RAGA EASY 2 FINGER “SHAKTI” MCLAUGHLIN STYLE
Below we can see the whole bar of repeated notes ready to set up the 2 finger scale.
INDIAN GUITAR SCALES RAGA EASY 2 FINGER “SHAKTI” MCLAUGHLIN STYLE
EXAMPLE 1: Indian Raga Guitar Alternate Picking with “Repeated” Notes employing simple 2 finger guitar pentatonic scales.
INDIAN GUITAR SCALES RAGA EASY 2 FINGER “SHAKTI” MCLAUGHLIN STYLE
2 finger alternate picking scales guitar position shifting for easy speed picking and improvising
Please watch video above for detailed analysis:
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
2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed
Exercise: 2nd Part
2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed
Full Exercise:
2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed
Now we will extend this by shifting the position even further.
2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed
2 FINGER ALTERNATE PICKING GUITAR SCALES FOR FAST FLUID EASY PLAYING
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.
2 FINGER ALTERNATE PICKING GUITAR SCALES FOR FAST FLUID EASY PLAYING. Shakti/Indian Raga and Jazz Improv guitar style
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…..
Hey presto….Nothing!
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.
WHY?
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.
metaphorically speaking:
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.
To Reiterate:
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!
ALSO:
The more you upload the better and quicker you get at making ”Sellable products” down the line!
Oh, and don’t forget your Evergreens….
Conclusion
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.
IN SUMMATION:
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.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
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.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
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.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
On the F#7 chord I play an F#7 arpeggio that then resolves into an Eb minor arpeggio for the BMaj7 chord.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
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.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
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.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
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.
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for BeginnersHow to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
Pat Metheny Style Backing Track and Chart [120 BPM] for Improvisation Practice
Here is the Pat Metheny Chord Chart to the Backing Track in the Video Above. It is at 120 BPM. [The first four bars are only an intro to the main tune].
Pat Metheny Style Backing Track and Chord Chart for pop jazz improvisation
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“Giant steps” Coltrane Play along backing track and chart for jazz improvisation practice
The Backing/Play along track music for this “Giant Steps” chord chart is in the youtube video above. The track is at 150 Beats per minute in basic jazz trio style.
“Giant Steps” Coltrane chart for jazz improvisation practice for all musical instruments.
“Giant steps” Coltrane Play along backing track and chart for jazz improvisation practice
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“Giant steps” Coltrane Play along backing track and chart for jazz improvisation practice
PLEASE WATCH VIDEO ABOVE FOR COMPLETE UNDERSTANDING OF THIS BLOG:
We will start with an Amaj7#11 Lydian Chord
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
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.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
Descending, we will land on either the G# [Maj7] or the F# [13th]
Example 1
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
Example 2
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
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.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
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.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
Longer descending extension with an added minor 9th.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
Now let’s look at Gmaj#11
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
We will now use our simple 3rds connecting superimposition technique and create an arpeggio ideal for alternate picking over this chord.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
We will now take this further by sharpening the 5th and flattening the 9th with our simple fingering.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
This creates a beautiful Lydian chord with a sharpened 5th and adds colour and moves onwards to a sense of musical freshness.
Alternate Picking Arpeggios guitar technique and Modal superimpositions part 2
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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“Naima” Play along Coltrane track and chart/music notation
Backing Track Version Track 2
“Naima” Play along Coltrane track and chord chart/music notation
Here is the melody/chord chart for John Coltrane’s “Naima”. The Backing track [in the video above] has a Fusion/Smooth Jazz esque flavour and is at 85 Bpm.
“Naima” Play along Coltrane track and chart/music notation
Here is the chart for jazz improvisation practice. The John Coltrane “Naima” backing track is above in the video. [85 Bpm]
“Naima” Play along Coltrane track and chart/music notation
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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”‘
Glarry GTL Semi Hollow Guitar Review/Demo
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.
Glarry GTL Semi Hollow Guitar Review/Demo
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: cs@glarrymusic.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.
Warranty Policies
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.
IN CONCLUSION:
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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Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
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
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
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
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
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
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
NOW: 3rd finger to 1st finger
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
3rd finger to 1st finger
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
The octaves in 5th position. Frets 1 to 8
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
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
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
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
Sight Reading Guitar Music: Faster way for frustrated Guitarists: Part 2
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.
John Mclaughlin D major 7th Alternate Picking Arpeggios Guitar [One note per string]
Example 2: Adding Lydian [and 9th and 13th] to John Mclaughlin’s D Major 7th alternate picking arpeggio
John Mclaughlin Alternate Picking Arpeggios Guitar [One note per string]
Example 3: Starting Arpeggio with Pentatonic John Mclaughlin style
Alternate Picking Arpeggios Guitar John Mclaughlin [One note per string]
Example 4: Pentatonic to Lydian John Mclaughlin guitar style
Alternate Picking Arpeggios John Mclaughlin Guitar [One note per string]
Example 5: Descending Arpeggio with simple John Mclaughlin fingering counting 1 e and a etc.
John Mclaughlin Alternate Picking Arpeggios Guitar [One note per string]
Example 6: Extension
Alternate Picking Arpeggios Guitar [One note per string]
Example 7: Variation
Alternate Picking Arpeggios Guitar [One note per string]
Example 8: Simple fingering descending concept.
Alternate Picking Arpeggios Guitar [One note per string]
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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.
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.
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
In this blog we will look at improvising over one chord. This will be D minor [D Dorian].
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
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.
For example:
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
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
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic conceptsFripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisationChromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts
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.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Below is a line that beautifully weaves in and out of D minor
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
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.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Now we will extend the whole line:
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
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.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
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Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
PLEASE WATCH VIDEO AS IT WILL REALLY HELP:
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.
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
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.
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
For instance how to does the note A on the 1st string 5th fret look,
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
How does the note C on the 1st string 8th fret look in music notation
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
When visualising also “Feel” it in your fingertips and your whole hand,
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
Now “Fill in” all the rest of the notes in 5th position from frets 5 to 8.
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
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.
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
Now apply this to all six string of the guitar.
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
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.
Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1
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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To begin with we will use our group of 5 notes starting with an up stroke [from our previous video] alternate picking and add 2 extra notes to make our group of 7.
John Mclaughlin 5+2 Alternate Picking Guitar Rhythms
Next rather, than count 7 we will break the group of 7 up into semiquavers [16ths] making a group of 4+3 and a rest.
John Mclaughlin 5+2 Alternate Picking Guitar Rhythms
We will now make logical musical phrasing with 16ths and add notation. Counting 1 e and a 2 e and [Rest]starting with an “Upstroke” alternate picking.
Alternate Picking jazz fusionGuitar “Nailing the changes” 7’s into 4+3
If we look at the chord bar below we will see that the chord changes are 1 chord per beat. Harmonically this is moving at a very fast rate.
John Mclaughlin 5+2 Alternate Picking Guitar Rhythms
Now, we will apply two groups of 7’s broken up into 16ths so that we can play rhythmically through this ambiguous set of chord changes.
Alternate Picking jazz fusionGuitar “Nailing the changes” 7’s into 4+3
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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 changes to blues chart and track and analysis
Coltrane Chord chart analysis: Notice the C7alt [Alt Dom] for the Fm7 as the Coltrane changes set-up!
Coltrane changes to blues chart and track and analysis
Finally, here is the 12 Bar “Coltrane Blues” Chord Chart for jazz improvisation: 140 Bpm.
140 BPM
Coltrane changes to blues chart and track and analysis for improvisation
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Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
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
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
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
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
The first pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
The second part of the chord sequence in sextuplets
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
The second pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
Finally, the full one bar alternate picking chord sequence nailing the changes
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
VARIATION:
Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking
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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,
Alternate Picking 5’s John Mclaughlin 180 bpm jazz improv “Nailing the Changes”
The Group of 5 now becomes one “Tetrachord” and the 5th note becomes the first note of the next chord [Dbmaj9]. This way the changes are “Nailed” by the rhythmic subdivision.
Alternate Picking 5’s John Mclaughlin 180 bpm jazz improv “Nailing the Changes”
So, as we can see the “Ta Ka Di Me Thom” or 1 2 3 4 5
Alternate Picking Fives Rhythmic Subdivision
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.
More Mirroring contrapuntal effect of Robert Fripp and Messiaen by employing the 6th mode from the 7 modes of limited transposition [“Revisited” from previous blog]
cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]
Today is just a short blog but a very useful one in regards to improvisation because the cycle of 4ths crops up all over the place especially in standards.
Cycle of 4ths backing jam track and chart [Downwards 5ths] Chord Chart. [All major keys].
cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]
If you look at the diagram below you will see the cycle of 5ths moving clockwise and the cycle of 4ths moving anti clockwise.
John Mclaughlin Chromatic Guitar Jazz Fusion Licks Lesson
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 Chromatic Guitar Licks Lesson
John Mclaughlin Guitar Lick 2 -Again, employ strict alternate picking starting on a “Downstroke”
John Mclaughlin Chromatic Guitar Licks Lesson
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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It’s a good idea to watch the video before or along with this blog as it will emphasise many of the key points in this blog.
In the notation diagram below you will see the Whole note called the “Semibreve” this is worth four beats or four 1/4 notes.
How to read music
We will now cut this in half and have two “Minims” or two half notes per semibreve.
How to read music
Now we will have four 1/4 notes called “Crotchets” per Semibreve
How to Read Music
The next rhythmic division is the 1/8th note called a “Quaver”
How to Read Music
They are more commonly grouped and counted like this
How to Read Music
The doubling of the 1/8th note gives us the 16th note called a “Semiquaver”
How to Read Music
Semiquavers [16ths] are more commonly seen and counted like this
How to Read MusicHow to Read Music
Lastly we will add “Triplets” to our Basic Rhythms. These are 3 notes played over one 1/4 note beat
How to Read Music
More commonly counted as:
How to Read Music
When setting out to write down music we apply a “Time Signature” in order to acknowledge how many beats there are per bar.
How to Read Music
Here we have “Three” 1/4 note beats per bar
How to Rea Music
Now we have ‘Six Eighth” notes per bar displayed by the 6/8 time signature
How to Read Music
Now let’s apply this to the Scale that we learnt in the previous blog/video “How to read music part 1”
How to Read Music
SYNCOPATION: Syncopated Common Rhythms
Some rhythms are tied as we see below: This makes them syncopated as we start “On” the beat and then accent the “Off-beat”.
How to Read Music
The above rhythm is more commonly written like this:
How to Read Music
SYNCOPATED RHYTHM NUMBER 2:
The other very common syncopated rhythm is this:
How to Read Music
Again, notice the tied notes. This means that the 2nd “On” beat is not played but the “And” Off-Beat is played. It is more commonly written like this:
How to Read Music
Now let’s apply these two common syncopated rhythms to our “Triads” from our previous blog/video lesson on how to read music
The first Rhythm with triad melody:
How to Read Music
The second Rhythm with triad melody:
How to Read Music
Okay, that’s the end of part 2 on “How to Read Music Rhythms and Notation”.
If you found this useful then it is a good idea to look at “How to Read Music” part 1 Blog and Video.[ Also, the Video is on Youtube and it covers the Scale/Triads notation].
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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
The “TREBLE CLEF”
Now we can look/identify the names of the notes on the 5 lines of the treble clef.
How to read Music/Learning to read music Notation
Next, we will look at the notes in the 4 spaces of the staff lines: F A C E
How to read Music/Learning to read music Notation
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.
How to read Music/Learning to read music Notation
We can now add thirds to the scale notes and notate the “Triads” of the C major scale
How to read Music/Learning to read music Notation
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.
How to Read Music/Learn to read music
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.
Learn to read music/How to read music
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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SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
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].
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
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.
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
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.
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
Below we have the employment of triplets and the commonly used 4 note groupings of tetrachords.
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords
Below is an example of employing the jazz improvisation concept of “Chord Pairs”
SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords 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.
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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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 MusiciansGoal 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 notation and guitar tabMessiaen 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 SemitonesMessiaen 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 mixMessiaen mode 6 diminished and augmented mix
We can also make interesting intervallic motifs from the notes of the Messiaen mode 6
