Modern Music Theory Improvisation and Application

Jared E Davis: “Atonal Improvisation and Jazz” Techniques Explained

Posted on August 11, 2026August 11, 2026 by Modern Music Theory and Application

Jared E Davis Atonal Improvisation and Jazz music examples and analysis

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at “Atonal improvisation and jazz” book by Jared E Davis.

Atonal Jazz analysis with examples from webpage — Jared E Davis Atonal Improvisation and Jazz

Please note: This Blog won’t contain a Pdf download due to any copyright infringement.

PART 1:

Jared’s book, is similar in some ways to John ‘O’ Gallagher’s book 12 tone improvisation

Screenshot 2026-08-07 at 18.34.23 — 12 tone improvisation book John ‘O’ Gallagher

But, also differs due to being atonal [interval pairs] and not 12 tone.

BASIC PROCEDURE:

This concept works with the 12 chromatic notes.

So, for example if we were to start on the note C it would be,

C=O C#=1 D=2 D#/Eb=3 E=4 F=5 etc.

Resulting in a minor 3rd =3 or a Major 7th = 11 or Unison = 0 etc.

We are just counting the minor 2nds/semitones as in the chart below:

CHART:

Jared E Davis Atonal Improvisation and Jazz

What to be aware of:

If we were to have singular intervals like 11111 etc, we would end up with a chromatic scale:

Or, for example, 3333 we would end up with Diminished 7ths:

Below, is a list of techniques explained:

In this blog in order to avoid any copyright infringements I am going to look at interval pairs in the main.

Etude 1-6

Exercise in “Interval Pairs”

In order to get really fluid with this it’s a great idea to write an etude.

But, before we can do this we need to learn/practice an etude already prepared.

So, in this case I am going to take one from the book which consists of the interval pair 1-6

In this example we will master 1= minor 2nd and 6= Tritone

EXAMPLE:

From the example above we can see our interval pair of 1-6 in action.

Notice also, where there =1 it can be inverted to/create octave displacement.

Example of Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.

Below, is the full etude that I have starting on a down stroke for strict alternate picking.

Full Etude:

An example of tonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.

Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.

TRI-CHORDS

We can also build some amazing chords from atonal techniques.

I am going to look at a couple of Tri-Chords. [Although, we can create, tetrachords and pentachords etc].

EXAMPLE 1: “016“

Below we have the “Retrograde” of the above: “056”

ii V7 I Example

Let’s now apply this to a ii V7 I cadence:

Again, sticking to our minor 2nd and tritone 1-6 interval pairs from our Etude:

ii V7 I Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques. — Jared E Davis Atonal Improvisation and Jazz ii V7 I 1-6 Cadence Example

2 SCHOENBERG EXAMPLES

Lastly, here is a couple of real life examples by the great composer Arnold Schoenberg.

Interval Pair 1-5 [Perfect 4th and minor 2nd]:

Finally, we have interval pairs 3-4

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Mastering Slash Chords: The B/C Explained

Posted on August 1, 2026August 1, 2026 by Modern Music Theory and Application

B/C GUITAR SLASH CHORDS GUITAR LESSON AND EXAMPLES

Please watch video above for detailed info:

Hi guys,

Today, a quick look at the idea of employing slash chords.

To do this we will focus on one specific chord that of B/C.

CHORD VOICING:

In the notation/tablature below, notice the use of a B Major triad over a C bass:

John McLaughlin guitar Slash Chord B/C Example in TAB and music notation

Here, are a few more voicing’s:

John McLaughlin B/C guiatr slash chord example

SOLO LINE EXAMPLES:

This chord works well with the diminished scale. But, in order to come up with something unique we are going to take a different approach.

Because, we have the B Major chord we can exploit Pat Martino’s minor conversion technique.

In this case, we will employ the minor a Major 3rd up. This will be D#/Eb as the minor key:

IDEA 1:

Here, we will employ the simple Eb minor arpeggio:

John McLaughlin B/C slash chord improviisation example

IDEA 2:

This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.

diagram depicting guitarist John McLaughlin improvisation over Slash Chord B/C Example in music notation and guitar tablature

IDEA 3:

Let’s do the same, but, play with the notation and give it a diminished flavour:

John McLauglin guitar improv example for slash chord B/C

IDEA 4:

Now, let’s take a B Major arpeggio and ascend it by making sure our C bass note is within it.

NOTE: There are also two open string notes of D natural [minor 3rd] and the open E. I used these as they make the arpeggio flow easily when alternate picking.

How to play a John McLaughlin guitar arpeggio example for altered slash chord of B/C

IDEA 5:

We can also add some chromaticism for smooth movement.

Chromatic John McLaughlin guitar example

COMPOSITION- APPLICATION IN CADENCE

Finally, let’s see how composition can be exploited with our slash chord.

To do this, we will create a ii V7 I cadence:

diagram depicting guitarist John McLaughlin cadence and jazz composition

NOTICE: In the example above, we can see that the minor becomes diminished and the Dominant becomes 13b9 and the I chord becomes our slash chord that resolves yet hangs in the air.

PDF DOWNLOAD:

pdf Download Download

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Mastering John McLaughlin’s Guitar Motif Techniques Part 2:

Posted on July 21, 2026July 22, 2026 by Modern Music Theory and Application

Hi Guys,

Here, is the extended version for the 2nd finger John McLaughlin motif:

MOTIF:

The motif is a 4 note [Tetrachord] in 16th notes- D C# D E

John McLaughlin shakti guitar lesson with music notation and guitar tab example

Notice that this starts with the 2nd finger on the first note:

Now, let’s extend this and add a “set up” by employing the Mixo-lydian mode to create a more Indian/Shakti flavour to the phrase:

I am starting this on an upstroke with strict alternate picking guitar technique:

This time, we will replicate/imitate the 4 note motif and use it as material to create/extend the phrase into a longer line.

John McLaughlin shakti guitar lesson with music notation and guitar tab example for guitar fingering

Below, is the full line/lick:

John McLaughlin shakti guitar motif and fingering lesson with music notation and guitar tab example

Let’s now, extend the motif and descend as far as we can down the fingerboard with the motif:

Finally, we will add our little set-up and create a full phrase:

MOTIF: Starting on a down stroke:

We can also start on a downstroke. This works best and is most natural when picked/phrased in triplets/sextuplets like this:

John McLaughlin alternate picking guitar lesson with music notation and guitar tab example

Full Phrase starting on a downstroke:

John McLaughlin shakti alternate picking guitar lesson with music notation and guitar tab example

IN CONCLUSION:

This little motif/concept is only a small detail, but, it is a good representation of how a lot of material can be created/repeated or imitated from such a small cell. It is like a little hinge that can swing a big door.

This way of building solid lines is really useful for the alternate picking guitar technique as it means that we can unfold material quite easily and if we ever do get lost we can slot back in with simple motif material and rebuild our phrases and keep our lines going.

FREE PDF DOWNLOAD:

motif Download

ASC/DESC:

PATREON 2 Download

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