Alternate Picking John Mclaughlin style guitar lesson in 4/4

QUICK ALTERNATE PICKING LICK LESSON.

Simple pattern and repeated fingering in the style of “Belo Herozonte” and “Music spoken here” by John Mclaughlin. Like the 3/4 pattern in our last alternate picking lesson this borrows the same fingering but it is in 4/4.

 

TAB/MUSIC

alternate picking guitar exercise john mclaughlin secret fingering

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Alternate picking but up

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John Mclaughlin Jazz Fusion Line Breakdown

There are two parts to this. The second lesson is a variation. The dominant chord in this 2 5 1 is altered.

This creates a nice way to create flow with the fingering when alternate picking in the style of John Mclaughlin. As you play through the Notation/Tab [below] this will become apparent very quickly.

 

John Mclaughlin guitar lesson finishing with a D flat Triad for G7 alt

 

John Mclaughlin Jazz Improvisation guitar lesson jazzimproviser

LINE BREAKDOWN: Breaking down the line into 4 note cells [Tetrachords]

TETRACHORD 1

jazzimproviser

TETRACHORD 2

this is the way I do it

TETRACHORD 3

this is the way I do it

TETRACHORD 4

This is the way I do it

TETRACHORD 5

Mclaughlin this is the way I do it

TETRACHORD 6

This is the way I do it

TETRACHORD 7

This is the way I do it John Mclaughlin

TETRACHORD 8

This is the way I do it

VARIATION of the John Mclaughlin jazz fusion improvisation guitar lesson finishing with an E flat Triad for the G7 alt

John Mclaughlin Jazz Improvisation guitar lesson. Altered scales

For more info John Mclaughlin has a DVD:

John Mclaughlin This is the way I do it

Alternate Picking right hand guitar technique lessons

In this Lesson we will look at alternate picking right hand guitar technique and the fingering needed for jazz fusion improvisation.

John Mclaughlin Alternate Picking Belo Herozonte/ Music Spoken Here Guitar lick:

alternate picking john mclaughlin lesson belo herozonte

Al di Meola Alternate Picking “Guitar Trio style” Lick

al di meola alternate picking guitar lesson

 

John Mclaughlin 3 string alternate picking guitar right hand wrist exercise.

Jazz improvisation John Mclaughlin guitar lick lesson how to

“Shakti” John Mclaughlin alternate picking “2 finger” fingering scalic ascending lick

Shakti Jazz fusion john mclaughlin alternate picking guitar lick

GUITAR TRIO CONCEPTS: ALTERNATE PICKING LINES

TRIO EXERCISES:

Performing in the style of the Guitar Trio with the plectrum requires strict ALTERNATE PICKING for the solo lines that are picked at a very high velocity. You need to be able to “Jump” straight into the rhythmic flow. The patterns below detail the best key alternate picking patterns to gain mastery for this.

The key to all of this is to “Count Time/Groupings”and “Tap your foot” as you do so. If you count time you will play what you hear. It is the key to performing this guitar trio music.

Line 1-“16ths” Alternate Picking starting on a “Down” stroke

Guitar Trio Paco de lucia John Mclaughlin Al di Meola

Line 2- Extended version of the previous line above, again starting on a “Down” stroke

Guitar Trio Paco de lucia John Mclaughlin Al di Meola alternate picking lesson

Line 3-Groups of “4” with strict Alternate Picking but this time starting with an “Upstroke” creating a “Rolling” effect as the plectrum glides across the strings.

Guitar Trio Paco de lucia John Mclaughlin Al di Meola alternate picking guitar lesson

Groups of 6 VARIATIONS:

Line 4-This is a “Variation” of our very first pattern but this time played in “Sextuplets” starting on a “Down” stroke.

6s 1

Line 5-This line can be heard as Triplets or Sextuplets. This time though we are starting on an “Upstroke”. Again, because we are starting our alternate picking on an up stroke there is a fluid rolling effect as we cross the strings.

Guitar Trio Paco de lucia John Mclaughlin Al di Meola

Line 6-This is a key signature line of Pace de Lucia and Al di Meola. It is an ascending G major scale in double timed triplets [or Sextuplets]. We are starting our picking on an “Upstroke”and ascending passionately up the scale, The better the rhythm of the alternate picking the more clean and powerful this little lick becomes.

Guitar Trio Paco de lucia John Mclaughlin Al di Meola alternate picking

Line 7-Here is another variation of the 16th note line. This time we start “Upstroke and roll the line along with tight rhythmical alternate picking. The key as always is to count good time when picking and tap your foot for precision.

Guitar Trio Paco de lucia John Mclaughlin Al di Meola alternate picking guitar lesson

Line 8-“Spanish” descending 2 string line. Really it is an ascending “Down” stroke alternate picking pattern followed by an ascending “Up” stroke rolling alternate picking pattern. If you treat it like that then it is easy to play and learn.

Spanish

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For a closer look there is a complete transcription of “Friday Night in San Franscisco” Book available AMAZON

Guitar Trio Paco de lucia John Mclaughlin Al di Meola alternate picking guitar lesson with tab, video and music notation

John Mclaughlin Acoustic Jazz Alt Dom Lick

John Mclaughlin Altered Dominant Line. Break each group into 4 note cells [Tetrachords] and learn 1 group of 4 notes at a time with the fingering and then join it all together.

6 2 “5- ALTERED” 1 

Jazz improvising altered scale alt dom lick lesson How to

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Don Mock/Brecker “Outside” Chromatics for Jazz/Fusion Guitar lines

Outside playing using approach notes/target tones.

Below is a Jazzy Bebop sounding line from Don Mock. It also has that Brecker chromatic feel to it where it can easily be pushed in to a more fusion-esque line. Here we are targeting  arpeggio and scale tones

Don Mock Jazz Improvisation guitar lesson

If we look a little closer we can see all of the Target tones/Approach notes setting the line up

Don Mock Jazz Improvisation guitar lesson target tones

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Michael Brecker “Outside” Jazz/Fusion playing for guitar

Breaking down Michael Brecker!

When looking at musical notation it can seem like random notes. But if we break down each group into 4 note groupings called “Tetrachords” we can break down the music theory and play each group on our instrument.

We can then remember the “Sound and Shape” of each cell and then join them together. In turn we can then apply these cells to our own instrumental playing/improvisations.

FULL SOLO LINE/PHRASE

Jazz improvisation Michael Brecker Lesson

 

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [Mixolydian]

Jazz improvisation Michael Brecker Lesson

 

2nd Tetrachord=A flat Minor triad and 4th interval [or #11  #9 and #5] [SAME AS 7TH TETRACHORD]

Jazz improvisation Michael Brecker Lesson

 

3rd Tetrachord=Minor scale fragment [#11 Lydian]

Jazz improvisation Michael Brecker Lesson

 

4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor] [SAME AS 9TH TETRACHORD]

Jazz improvisation Michael Brecker Lesson

 

5th Tetrachord=Very “Outside” D major pentatonic/4ths

Jazz improvisation Michael Brecker Lesson

 

6th Tetrachord =D major Pentatonic sound/shape [very “Out”]

 

Jazz improvisation Michael Brecker Lesson

7th Tetrachord=C minor arpeggio and 4th

Jazz improvisation Michael Brecker Lesson

 

8th Tetrachord=B flat major Pentatonic sound/shape

Jazz improvisation Michael Brecker Lesson

 

9th Tetrachord=C Melodic “Jazz” minor [Augmented] sound/shape [same as 4th Tetrachord]

Jazz improvisation Michael Brecker Lesson

 

10th Tetrachord = Perfect 4th and major 3rd creating triad pairs sound/shape [or E flat minor 11 implication or G FLAT/a flat]

Jazz improvisation Michael Brecker Lesson

 

Lastly= Flat 6 for C minor

Jazz improvisation Michael Brecker Lesson

FULL LENGTH “INDEPTH” VIDEO BELOW

CONCLUSION:

In terms of fingering and musical application on our instruments learning shapes and “Connections” and breaking phrases down into 4 note cells [Tetrachords] is really useful because complex lines can be understood and learnt quickly.

In turn this gives us lots of patterns for improvisation and theoretical knowledge to improvise with as opposed to just playing scales and arpeggios.

If you found this easy then try and break this solo down into“Hexatonic” scale application. You might find it really interesting!

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MICHAEL BRECKER #2

CHROMATICS AND CELL [TETRACHORD] REPLICATION 

Jazz improvisation Michael Brecker lesson

Played 8va

To begin with we have a bit of standard Be Bop chromaticism

Jazz improvisation Michael Brecker lesson

BUT!

If we look further we can see that we have an exact replicated cell that descends in minor 3rds weaving in and out of the harmony.

4 note  cell

Jazz improvisation Michael Brecker lesson

2 four note cells descending in minor 3rds replicated

Jazz improvisation Michael Brecker lesson

We can now look at the whole line and see and hear where the descending replicated cells in minor 3rds start and how they serve their purpose.

Jazz improvisation Michael Brecker lesson

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Breaking Down Jazz Improvisation “OUTSIDE” Playing

Breaking down Michael Brecker!

When looking at musical notation it can seem like random notes. But if we break down each group into 4 note groupings called “Tetrachords” we can break down the music theory and play each group on our instrument.

We can then remember the “Sound and Shape” of each cell and then join them together. In turn we can then apply these cells to our own instrumental playing/improvisations.

FULL SOLO LINE/PHRASE

RE DO

 

 

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [Mixolydian]

jazz improvisation michael brecker outside solo

2nd Tetrachord=A flat Minor triad and 4th interval [or #11  #9 and #5]

jazz improvisation michael brecker outside solo

3rd Tetrachord=Minor scale fragment [#11 Lydian]

jazz improvisation michael brecker outside solo

4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor]

jazz improvisation michael brecker outside solo

5th Tetrachord=Very “Outside” D major pentatonic/4ths

jazz improvisation michael brecker outside solo

6th Tetrachord =D major Pentatonic sound/shape [very “Out”]

jazz improvisation michael brecker outside solo

 

7th Tetrachord=C minor arpeggio and 4th

jazz improvisation michael brecker outside solo

8th Tetrachord=B flat major Pentatonic sound/shape

jazz improvisation michael brecker outside solo

9th Tetrachord=C Melodic “Jazz” minor [Augmented] sound/shape [same as 4th Tetrachord]

jazz improvisation michael brecker outside solo

10th Tetrachord = Perfect 4th and major 3rd creating triad pairs sound/shape [or E flat minor 11 implication or G FLAT/a flat]

jazz improvisation michael brecker outside solo

Lastly= Flat 6 for C minor

jazz improvisation michael brecker outside solo

CONCLUSION:

In terms of fingering and musical application on our instruments learning shapes and “Connections” and breaking phrases down into 4 note cells [Tetrachords] is really useful because complex lines can be understood and learnt quickly.

In turn this gives us lots of patterns for improvisation and theoretical knowledge to improvise with as opposed to just playing scales and arpeggios.

If you found this easy then try and break this little solo down into” Hexatonic” scale application. You might find it really interesting!

Thanks for reading this post and Please subscribe to our youtube channel!

yt_logo_rgb_light CLICK SUBSCRIBE!