Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, Guitar Jazz Fusion John Mclaughlin Al di Meoala improvisation techniques explanations in notation, tablature and video
The 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.
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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]
Example 1
Example 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.
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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Here is the melody/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.
Here is the chart for jazz improvisation practice. The John Coltrane “Naima” backing track is above in the video. [85 Bpm]
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The backing track for this Miles Davis 80’s funk jazz fusion composition is in the video above.
Here is the chord chart consisting of 16 Bars.
95 Bpm
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Jazz chord chart for “Tune Up” by Miles Davis: 200 Bpm for jazz improvisation practice. Backing Track above in Youtube Video
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: cs@glarrymusic.com
Address: Shipping Dept. 200 Docks Corner Road, Suite 221 Dayton, NJ 08810
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.
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.
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.
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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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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DETAILED ANALYSIS IN THE VIDEO BELOW:
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.
For example:
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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Improvisation chart for Blue in Green by Miles Davis and Bill Evans. Backing track is 63 beats per minute and in a jazz fusion smooth style.
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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.
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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Tadd Dameron Turnaround “Tritone Cycle” in all 12 keys Jazz improvisation backwards 5ths [Moving in the cycle of 4ths] practice chart and track.
Major 7ths: 140 BPM
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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.
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.
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.
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.
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.
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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.
140 BPM
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Long ii V Coltrane Changes [110 Beats Per Minute]
CHART: [All 12 keys] Moving in Fourths
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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
VARIATION:
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PLEASE: Watch VIDEO Below to understand!
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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12 Tone Row [Hexachords]
12 Tone Row “Retrograde”
12 Tone Row “Inversion”
“Retrograde Inversion” 12 Tone Row
Building “Tri-Chords” from the first Tone Row [and carry on with all four 12 tone row bars]
Tri-chord outline chord tones
Tri-chord extension from 12 tone row
Tri-chord outline number 2
Tri-chord extension from 12 tone row [Number 2]
Combining Tri-Chords
Tri-Chords combination number 2
12 tone row as “Tetrachords” [4 note groupings]
12 tone row employing triplet figure
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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]
Below is the Music Notation and Guitar Tablature for Fripp/Messiaen 6th mode contrapuntal guitar crafted plectrum technique effect.
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Inside the House/Flats of Hendrix and Handel
Moving from one flat into the other we have the wonderful Handel residence!
The two flats side by side
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All of the Picking Patterns consist of “Down Down Up” with the guitar plectrum. Below you will see this basic pattern in a repeated loop.
In the next exercise we will move this basic “Down Down Up” Cross Picking guitar pattern along the fingerboard
Next, we can employ Augmented and Diminished triads in triplets which is a very King Crimson Frippesque 70’s guitar sound/technique.
We will now cross pick with the plectrum and employ an “Open string” concept.
Now, we will develop this open string cross picking with a variation exercise
This last pattern doesn’t employ any open string play but is useful in regards to the string crossing movement.
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Here is the chart for “Minor ii V7 I in ALL 12 Keys” for improvising and practicing to Backing Jam Track
These are a few concepts taken from the compositional thinking of composer Karlheinz Stockhausen.
The first idea is a 5/4 Vamp. This employs alternate picking starting on an upstroke.
The next idea is to employ an atonal line in triplets moving from the “Bass strings to Treble strings”
The next ideas are a variation of the beginning vamp but they employ semitones as the answer effect.
Lastly we employ our old friend the atonal triplet figure again:
This are just a few basic ideas from Stockhausen which light up the road for creative guitar thinking.
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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].
If you look at the diagram below you will see the cycle of 5ths moving clockwise and the cycle of 4ths moving anti clockwise.
FOR MORE INFO
https://jazzimproviser.com/cycle-of-4ths-method-guitar-fingerboard-mastery/
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Lick lines from modern jazz fusion improvisation guitar:
LINE 1
LINE 2
LINE 3
LINE 4
LINE 5
LINE 6
As requested, I have made a video and blog page with guitar lines only;
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I Vi ii V7 I in all 12 keys backing jam track
Jazz “Chord Chart” for improvisation practice: 120 Bpm I Vi ii V7 I in all 12 keys
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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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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.
We will now cut this in half and have two “Minims” or two half notes per semibreve.
Now we will have four 1/4 notes called “Crotchets” per Semibreve
The next rhythmic division is the 1/8th note called a “Quaver”
They are more commonly grouped and counted like this
The doubling of the 1/8th note gives us the 16th note called a “Semiquaver”
Semiquavers [16ths] are more commonly seen and counted like this
Lastly we will add “Triplets” to our Basic Rhythms. These are 3 notes played over one 1/4 note beat
More commonly counted as:
When setting out to write down music we apply a “Time Signature” in order to acknowledge how many beats there are per bar.
Here we have “Three” 1/4 note beats per bar
Now we have ‘Six Eighth” notes per bar displayed by the 6/8 time signature
Now let’s apply this to the Scale that we learnt in the previous blog/video “How to read music part 1”
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”.
The above rhythm is more commonly written like this:
SYNCOPATED RHYTHM NUMBER 2:
The other very common syncopated rhythm is this:
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:
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:
The second Rhythm with triad melody:
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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Below is the ii V7 I cadences, chord chart for jazz/fusion improvisation practice in “All 12 Keys”
Here is another variation to practice the ii V7 I’s in all 12 keys for improvisation practice.
Notice the two changes from the predictable pattern when playing through the chart.
Backing Track for this ii V7 I chart in the video below
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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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CLICK and SUBSCRIBE!THE 23RD CHORD-The LARGEST CHORD IN MUSIC!
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”
For more info click this link: https://jazzimproviser.com/23rd-chord-for-guitar-lesson-12-tone-rows-schoenberg-jazz-fusion-lessons/
CLICK and SUBSCRIBE!The video above is a quick fire John Mclaughlin jazz fusion guitar lick. The lick employs strict alternate picking starting on a downstroke.
John Mclaughlin Jazz/Fusion Lick Tab/Notation
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Today we will look at a concept that I have been asked about a lot recently. This is a contrapuntal string skipping intervallic “Mirroring” technique. It is intervallic by design and employs a Bachian Atonal “Question and answer” effect between the “Bass and Treble” with wide intervals. The string skipping inherent within this works especially well for atonal music, awkward intervals and polytonal scales.
Idea 1
Idea 2
Idea 3
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The key to improvising is to do something creative with the melody. To recompose it or to broaden it out or to instinctively develop the harmony. Most people take to the modes though with a compulsion to play “Carte Blanche” scale over a chord ad nauseam.
In this Blog/Vlog we will look at some ideas for bringing out the actual flavour of the most talked about mode of them all the “Dorian Mode”.
Most people look at the dorian mode as being a scale of C major starting on the note D. But here is how it works.
ANSWER=D is one tone up from C for D Dorian, so C is one tone up from Bb for C Dorian.
Below we see the difference between C minor and C dorian. C minor has the semitone between the 6th and 5th whereas C Dorian has a tone between the 5th and 6th notes. Dorian Raises the 6th note up a semitone. Without the raised 6th note C would just sound minor and not dorian, so bringing out this 6th note [as it will be in a melody to imply that we are in the dorian mode] is essential to creating actual music and phrasing and not just playing a scale over a chord.
In order to bring out that A natural note in C dorian an easy way is to employ an arpeggio like Bb major 7th. This is very useful, melodic and can be played in 4 note groupings.
Next we can employ some basic chord pairs.
C minor 7 and F major
F major and Eb major
Now we can broaden out on this with C minor and D minor
Bb and G minor
We can also employ pentatonics to bring out the flavour [melody] of a tune.
Another example =Short pentatonic scale that ends/resolves with the A natural note [Raised 6th] and played in 4 note cells [Tetrachords]
Finally it’s a good idea to look at the arpeggios available that line up one after the other.
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Here are some more chromatic ideas from the Dave Liebman approach
Idea 1
Idea 2
Idea 3
Idea 4
Idea 5
Idea 6
Idea 7
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The key to rapid learning and reaping the rewards of quality progress for musicians is to set “Daily, Weekly, Monthly and Yearly Goals”.
The next most important step is to write these goals down. If you do this then you will enact them and get into the habit of enacting them with greater and greater clarity. It will also instill a natural discipline, inspirational outpouring and perseverance.
These are the books that I use, but any creative goal setting book will do because the days weeks and month are already laid out for you, all you have to do is fill it in with your objectives.
If you follow this then you will rise through the levels. Talent only takes you so far. For musical development discipline and hard work account for everything. Goal setting will take you there on pleasant terms and give you back that which you craved for at the outset.
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Messiaen mode 6 as used for this presentation.
Messiaen’s 6th mode is great for manipulating “Diminished” and “Augmented” intervals.
Mode 6 allows for this to be sequenced easily
Below is a descending Augmented sequence
For common sequences: The Augmented sequences move in tones whilst the Diminished sequences move in minor 3rds.
Although, Diminished intervals can move in semitones and tones. For Example:
Getting back to our common sequences we can see below the brilliance of diminished intervals moving in minor 3rds with the employment of the simple triplet figure.
More examples of mixing up the Augmented and Diminished ideas to avoid the cliches and develop something fresh sounding
We can also make interesting intervallic motifs from the notes of the Messiaen mode 6
Finally, we can employ a contrapuntal counterpoint “Mirror” compositional device to really manipulate this brilliant 6th mode of Messiaen.
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This simple alternate picking exercise employs a C major scale starting with the note G on the sixth string of the guitar that ascends to the C note on the 1st string of the guitar. This scale then descends back to the G note on the 6th guitar string.
You can think of this scale as G mixolydian or C major starting on the note of G. But, in this lesson it is just a convenient way to cross all 6 strings of the guitar to gain fluency.
Another useful way to create forward movement is to accent the 5th note of each 6 note [or 2 triplets] groupings.
Lastly, we can double the scale and create a longer line.
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In this video I talk about musical visualisation and internalisation and how it helps me. The internalisation of music helps with the external performance of music by directing the music out from inside ourselves so that we can articulate it through the external instrument we are playing.
In terms of solo performance this is an invaluable concept.
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The idea that starting on a different note/degree of the C major scale gives you the modes of C is not correct.
As I have written about in many other posts and Vlogged in many other videos the modes have to be transposed. The parent key or root note will then be C. So for example.
[C] D E F G A B C D =D dorian and NOT C dorian
To transpose this we can say if D is the second note of C [or two 1/2 steps up from C] then what is C the second note of [or two 1/2 steps up from]? Well, it would be Bb
So we have the Bb major scale starting on C
C D Eb F G A Bb C
Now, lets take 4 chords to play over with C as the parent key or root note. Notice that C ionian [Major] only exists in one bar [Bar 3]
Now let’s put these chords into a chart and acknowledge the fast moving harmonic rhythm of 2 chords per bar and 2 chord changes per bar.
We will now create an improvised line to play over these chords.
Same line Double Timed
The first 4 notes
The second 4 notes
The penultimate set of 4 notes
The last 4 notes
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Today is a live stream podcast and video log only discussing the immortal question: “Does musical talent account for anything or does hard work, obsession clear vision and a demanding ambition pave the way to musical success”?
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The Key to Learning this type of Awkward Interval Line: Part 1
Break up the line bar by bar [or in half bars] and count time 1 and 2 and 3 and 4 and as you play.
Counting basic time will reveal where the “On” beat is and where the “Off” beat is.
It will also tell you where the “Down stroke” and “Up stroke” is whilst you are alternate picking.
Counting time also helps us visualise and feel the string skipping intervals in our wrists and fingers.
This bar is a good example because it is quite awkward and very un-guitaristic. So, again count time as you play through it.
OKAY: NOW FROM THE TOP:
The first bar is quite straight forward, but you will need to change fingers on the 4th beat from the 4th to the 3rd finger.
Next we have the fist string skipping bar.
Bar 3 we have more string skipping and awkward fingering and intervals.
The next two bars are straightforward with no string skipping.
LICK LINE COMPLETE:
Al Di Meola REH Guitar Video altered Dominant guitar lick: G7alt or
Lick taken from
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The Locrian mode is the 7th mode of the major scale. In the following examples it will be D Locrian built from the 7th degree [leading note] of the Eb Major Scale.
If we look at the diagram above and below we will see the Sub-Dominant chord of Eb Major [Ab Major] played over the 7th degree note[ D ] as the bass note or more commonly seen as a slash chord Ab/D resolving to the new key [or implied key] G Major.
In the example below you will see that all of the notes of Ab Major resolve in semitones to the new [or implied] tonic G major. Although we employ the Locrian Mode this also gives a very Phrygian flavour because of the semitone resolution. Also the bass D can also be used in both chords with Ab/D to D in the bass of G for a second inversion chord.
The Locrian Mode 2 Octaves
The Locrian Mode can be broken up. This approach creates better fingering, fluency and a less cliched sound.
In this example there is an up beat added to create a more colourful character to the line. This up beat is built using a chromatic set up from target tones.
Below is an example employing target tones and arpeggios that weave through the harmonic texture of the Locrian V harmony.
Next we have an Fm arpeggio [Chord ii of Eb] a Bb arpeggio and a couple of chromatic notes.
This time we have our old friends target tones to add colour and rhythmic forward momentum to the Fm9 arpeggio line
In this next example we employ superimposition for a chromatic triadic approach, that again weaves through the Locrian V chord.
In this last example we exploit G Minor [chord iii of Eb ]
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Here are the Melodic Minor modes “Transposed” with the note “C” as the Parent Key or Tonic.
Dorian b2 Mode
Lydian Augmented Mode
Lydian b7 Mode
Mixolydian b6 Mode
Locrian #2 Mode
Super Locrian Mode
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The first idea is to join two different scales together.
Here we have the Lydian Dominant scale joined at the octave by the “SAME” tonic note C. It is joined by/with the Enigmatic scale.
Notice the smooth transition of the two different scales into one extended multi octave scale.
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Scale Lick 2: Chord to Scale
Scale Lick 3: Superimposition
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.
Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
Here is a long piano version of the above that keeps ascending
This scale concept could also be looked at as being Mixolydian and a ModulatingScale.
We have A7-D E7-A B7-E F#7-B C#7-F# etc.
V-1 V-1 V-1 V-1 ETC.
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Messiaen’s 5th Mode [of limited transposition] is well known for it’s semitones, two major 3rds and it’s tritone possibilities.
Messiaen’s 5th mode [Non Transposed]
Messiaen’s 5th Mode Extended
Making Scalic runs: Messiaen mode 5:
Descending
Ascending
The next concept is to mirror the intervals and create an atonal sounding contrapuntal study. This is a great compositional device.
Cross Picking/ Chordal Picking: Notice the use of Tritones.
Picking pattern = “Down Down Up”
Cross Picking/ Chordal Picking: With an open G string.
Messiaen 5th Mode: Scale to chord Imitation device.
Messiaen 5th mode: 3 octave scale imitation descending line
Cross Picking part 2: Using 4 note tritone chords.
Picking pattern =”Down Down Down Up” Cross
Notice the two open strings :
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In this blog/vlog we will look at applying the style of the Great French composer Pierre Boulez to the guitar.
The first example is a flat 5 or diminished 5th added to the perfect 5th. The use of intervals also employs augmentation #5 and the semitone.
Example 1
In the next example we employ wide intervals. This example exploits semitones and other intervals by creating wide intervallic shapes which create a fresh intervallic sound.
In the next example we employ “Cross Picking”. This is very similar to that taught by guitarist Robert Fripp in his guitar craft. This concept can also be found in some of the King Crimson recordings.
The concept is a very simple one that can be applied to execute some very odd/complex musical ideas on the guitar. The picking pattern with the guitar plectrum is:
“Down Down Up”
Example: D D U Repeated loop pattern.
Basic D D U Cross Picking Pattern
The next two patterns employ Diminished and Augmented shapes in triplets with an open string.
Another example with the open string concept
This last open string cross picking pattern is a mixture:
To Finish, we will employ a basic triplet pattern without any open strings.
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In this short blog we will look at a classic Pat Metheny chord sequence. This is a simple skeletal but very melodic chord melody that blends in with the piano or keyboards/Synth. It is played simply with the guitar plectrum picking out the bass mid and treble melody note.
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