Blue in Green Chords:John McLaughlin Guitar Voicing’s

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the unique chord voicing’s of John McLaughlin’s take on the Bill Evans/Miles Davis classic tune “Blue in Green”.

These, are taken from Rob Carroll’s transcription from live at the Royal Festival Hall London album.

PART 1:

Here, are the chord voicing’s with the odd variation.

The first chord voicing has a barred shape that has the 4th finger fret the high note of G

Musical notation image showing John McLaughlin guitar chord voicing of D minor 11. Diagram highlighting essential chord notes.
Chord diagram for Dm11, illustrating finger placements and positions on the guitar fretboard.

From here, we have a lovely G7b9 chord voicing.

Musical notation depicting a John Mclaughlin G7b9 guitar chord voicing with corresponding fret numbers and tablature.
Chord voicing for G7b9 featured in John McLaughlin’s interpretation of ‘Blue in Green’.

This shape then falls nicely into the Cm9 shape,

Chord diagram for C minor 9 (Cm9) with finger positions shown on guitar strings for John McLaughlin's interpretation of 'Blue in Green'.
Chord voicing diagram for Cm9 used in John McLaughlin’s interpretation of ‘Blue in Green’.

From here, we have one of John’s favourite chords the 13b9. [In this case it is F13b9]

Chord diagram for F13b9 with chord tones indicated on a guitar fretboard. John McLaughlin's guitar chord voicing for 'Blue in Green'.
Chord diagram of F13b9, showcasing the voicing for this jazz chord.

This leads us nicely to BbMaj#11

Music notation for B♭ major chord including #11, with tablature for guitar showing frets 5, 7, and 6. John McLaughlin's chord for Blue in Green
B♭Maj#11 chord diagram, illustrating its unique voicing in the context of jazz guitar.

The next chord is A13 where the C natural note is then added creating A13#9

Sheet music showing the A13 chord notation and tablature, featuring notes and finger positions.
Chord diagram for the A13#9 chord, showcasing its unique voicing.

Once again, we have a barred chord with quite a wide stretch,

Musical sheet notation showing John McLaughlin's D minor 7 chord with numbers 12 and 15 circled in red for blue in green.
Chord diagram for Dm7 showcasing finger placements and fret numbers.

Now we employ the classic 7#9 chord. In this case it is E7#9

And finally, we cadence to a lovely AmMaj7 with a 9th voicing

Guitar chord diagram for AmMaj7, showing finger placement on the fretboard with labeled frets for John McLaughlin's Blue in Green guitar chords..
Diagram illustrating the AmMaj7 chord with a 9th voicing for enhanced tonal richness.

PART 2:

OTHER VAIOUS CHORD VOICING’S USED IN DIFFERENT VERSES:

Here, we have another voicing for Dm9 with the bass resolving a half step to a 1st inversion A+ chord:

Musical sheet displaying the chords Dm9 and A/C# with a highlighted sharp note indicated by a red arrow.
Chord voicing for Dm9 leading to A/C# in a guitar lesson.

Here we have another simple barring chord for Cm9

Musical notation showing Cm9 and F7b9 chords on staff, with corresponding fretboard diagram for guitar.
Chord voicing for Cm9 and F7b9 in the context of John McLaughlin’s interpretation of ‘Blue in Green’.

The next voicing, is a lovely A7b9 voicing that resonates beautifully on the guitar

John McLaughlin's guitar chord diagram for A7b9 guitar chord showing finger positions and fret numbers.
A7b9 chord voicing for John McLaughlin’s Blue in Green guitar chords

This falls naturally into a diminished 7th voicing

Musical notation for E diminished seventh chord over A, showing finger placements for guitar.
Chord diagram of E7 diminished/A, showcasing a complex voicing that requires a wide stretch on the guitar.

This chord is probably the most difficult as it requires a wide stretch. [Please see video above for safe detailed fretting explanation]

John McLaughlin's blue in green Chord diagram for D7sus with tablature indicating finger placement on guitar.
Chord diagram for Dsus7, highlighting its voicing and finger placement.

To complete this verse we have a nice colourful cadence

Sheet music displaying the D7b9 and GMaj7#11 chord notations with corresponding finger positions on a guitar fretboard.
Chord voicings for D7b9 and GMaj7#11, including fretboard diagram.

FREE PDF DOWNLOAD:

blue in green chordsDownload

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Frank Zappa:Octave Displacement Composition/Improvisation Techniques

Posted on by Modern Music Theory and Application
Frank Zappa Octave Displacement Composition/Improvisation Concepts

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at the way Frank Zappa exploits octave displacement.

This, is a really useful compositional device especially when writing for a string quartet or stringed instruments.

EXAMPLE 1:

In this example we can see the use of the displaced octave [or Maj7th interval].

Musical notation showing a Frank Zappa transition between Maj7th chords, octave displacement with notes and annotations indicating 'O/D' and direction arrows.
Musical notation illustrating Frank Zappa’s octave displacement used in string instrument compositions.

With further analysis, we will notice the employment of the minor 3rd interval as a means of connection and predictive avoidance.

Musical notation displaying a Frank Zappa melody with highlighted minor third intervals, with annotations indicating their locations on the staff with octave displacement.
Musical notation illustrating frank Zappa minor 3rd intervals in a compositional example.

Although, this phrase/motif descends a minor 3rd it is actually, [quite cleverly] copied up a semitone:

Music notation displaying two Frank Zappa motifs with labels indicating connections and copy relationships, by employing octave displacement.
Musical notation illustrating Frank Zappa’s octave displacement and minor 3rd connections

FULL LINE:

Sheet music showing a Frank Zappa guitar piece in 4/4 time signature, including standard notation and tablature for performance with octave displacement.
Musical notation illustrating octave displacement for string instruments, highlighting the use of minor 3rd intervals.

EXAMPLE 2:

This example is the same as that found in Pat Martino’s 12 chromatic forms:

This amazing shape creates a really nice resonance/blend on the guitar. It’s also useful for various inversions and shifting positions around on the fingerboard.

Here, once again we see the exploitation of the minor 3rd interval to move and connect the shape.

A musical notation image displaying Guitarist Frank Zappa's use of octave displacement.
Musical notation demonstrating frank Zappa’s minor 3rd interval and octave displacement

EXAMPLE 3:

This application employs everything that we have looked at so far in one short example.

Notice, the minor 3rd connection, the open string, the shape, etc. It all becomes familiar.

A segment of sheet music displaying Frank Zappa's musical notes in standard notation and tablature, labeled with annotations including 'M3rd' and 'Shape.' The time signature is 4/4.
Example illustrating the application of minor 3rd intervals and octave displacement shape.

EXAMPLE 4:

The final example is similar in concept to our first one.

It has a motif/phrase which is connected by the minor 3rd interval, that, then copies it up a half step.

Sheet music showing Frank Zappa's musical notation with labeled sections indicating a phrase or motif, a minor third connection, and a directive to copy up a step, along with the corresponding tablature for guitar.
Frank Zappa illustrating the connection of phrase/motif using a minor 3rd interval, copied up a half step.

Full Example:

Sheet music featuring musical notes and tablature for guitar octave displacement in 4/4 time signature.
Frank Zappa illustrating a composition example using octave displacement and minor third intervals.

FREE PDF DOWNLOAD:

frank_zappaDownload

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Hexatonic Scale building from the Harmonic Minor Scale Part 1

Posted on by Modern Music Theory and Application
John McLaughlin Hexatonic Harmonic minor Guitar Scales Lesson and Explanation

Hi Guys,

Today, a quick look at creating a 6 note Hexatonic scale from the harmonic minor scale.

This works really well on the guitar as the harmonic minor scale is generally a clumpy and awkward affair in regards to the fingering.

So, if we take a look at the Harmonic minor scale in its classic, stock form, we have:

But, for effective guitar fingering, especially on a clean guitar or acoustic guitar this is not the most fluid way for the fretting hand.

So, what to do?

Well, the key is to break it up in the most Shakti way possible:

Here’s what we will do: We will employ 6 notes only of the scale. These will be: G# A B D E F

Musical notation illustrating a hexatonic scale built from the harmonic minor scale for music theory.
Hexatonic scale diagram with notation showing finger placements for guitar.

This simple 6 note Hexatonic scale gives us an easy 3 notes per string repetitive figure/pattern to alternate pick.

We can now play this across all 6 strings and create a nice line/phrase/scale that is easy to execute, pick and fret.

ASCENDING:

Sheet music displaying musical notes and tablature for a hexatonic guitar scale built from the harmonic minor scale.
Notated example of ascending and descending patterns for the Hexatonic scale on guitar.
Sheet music featuring a sequence of musical notes form the hexatonic harmonic minor scale.
Hexatonic scale notation for guitar, showcasing ascending and descending patterns.

DESCENDING:

Way 1:

Sheet music featuring guitar tablature and standard notation, for the hexatonic guitar scale built from the harmonic minor scale.
Musical notation illustrating the descending pattern for the Hexatonic scale in harmonic minor.

WAY 2:

Sheet music displaying John McLaughlin's hexatonic guitar scale built form the harmonic minor scale
Notation for the Hexatonic scale, illustrating finger placement and notes on guitar.

In Part 2 we will look at composition and improvisational techniques with the Hexatonic.

FREE PDF DOWNLOAD:

Hexatonic 2 (1)Download

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