Locrian V Dom for Substitution Jazz Fusion Improv/Reharmonisation

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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.

D Locrian 7th Mode of Eb Major
Locrian v Dom Substitution reharmonisation

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.

Locrian v Dom Substitution Improv Chord

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.

Locrian v Dom Substitution RESOLVES to Tonic in Semitones

The Locrian Mode 2 Octaves

D Locrian mode 2 octaves

The Locrian Mode can be broken up. This approach creates better fingering, fluency and a less cliched sound.

Breaking up the Locrian Mode [D Locrian]

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.

Adding Target Tones-Breaking up the Locrian Mode [D Locrian]

Below is an example employing target tones and arpeggios that weave through the harmonic texture of the Locrian V harmony.

Target Tones/Arpeggios through Locrian V Substitution

Next we have an Fm arpeggio [Chord ii of Eb] a Bb arpeggio and a couple of chromatic notes.

Fm9 Arpeggio idea [Locrian V]

This time we have our old friends target tones to add colour and rhythmic forward momentum to the Fm9 arpeggio line

Approach notes to Fm9 Arpeggio idea [Locrian V]

In this next example we employ superimposition for a chromatic triadic approach, that again weaves through the Locrian V chord.

Locrian V Triad Ideas

In this last example we exploit G Minor [chord iii of Eb ]

Locrian V Triad Ideas

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Parent Key-Transposing Modes of Melodic Minor

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Here are the Melodic Minor modes “Transposed” with the note “C” as the Parent Key or Tonic.

Dorian b2 with C as Parent Key

Dorian b2 Mode

Dorian b2 Mode of the Melodic Minor Scale
Lydian Augmented Mode of the Melodic Minor Scale

Lydian Augmented Mode

Lydian Augmented Mode
Lydian b7 Mode

Lydian b7 Mode

Lydian b7 Mode
Mixolydian b6 Mode

Mixolydian b6 Mode

Mixolydian b6 Mode
Locrian #2 Mode

Locrian #2 Mode

Locrian #2 Mode
Super Locrian Mode of the Melodic Minor Scale

Super Locrian Mode

Super Locrian Mode
Modes of the Melodic Minor Scale

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Lydian Hyper Super Mega Lydian [Jacob Collier]Multi Octave Scales:

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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.

Multi Octave Scale Lydian Dominant/Enigmatic

Notice the smooth transition of the two different scales into one extended multi octave scale.

Extended Scales Multi Octave Scales

Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.

Lydian Dominat/Enigmatic Multi Octave extended scale

Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale

Scale Lick 1 [Superimposition]

Lydian Dom/Enigmatic Multi Octave Scale Lick

Scale Lick 2: Chord to Scale

Multi Octave Scales Lick

Scale Lick 3: Superimposition

Superimposition Multi Octave Extended Scales Lydian Dom/ Enigmatic

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.

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier 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

Multi Octave Scale Different Tonic notes at the Octave

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar

Here is a long piano version of the above that keeps ascending

Lydian SUPER-ULTRA-HYPER-MEGA-META Jacob Collier never ending scale
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths

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.

Modulating Extended Jacob Collier Scale Concept

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Messiaen’s 5th Mode. Mode 5 [Non Transposed] Lesson

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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 Mode 5 [5th mode 6 transpositions]

Messiaen’s 5th mode [Non Transposed]

Messiaen Mode 5 [5th mode of limited transposition]

Messiaen’s 5th Mode Extended

Messiaen’s 5th mode extended

Making Scalic runs: Messiaen mode 5:

Descending

Descending Messiaen Mode 5

Ascending

Messiaen 5th mode Ascending

The next concept is to mirror the intervals and create an atonal sounding contrapuntal study. This is a great compositional device.

Messiaen 5th Mode Contrapuntal Etude “Mirroring” concept

Cross Picking/ Chordal Picking: Notice the use of Tritones.

Picking pattern = “Down Down Up”

Messiaen 5th mode Cross Picking

Cross Picking/ Chordal Picking: With an open G string.

Messiaen 5th mode Cross Picking/ Chordal Picking:

Messiaen 5th Mode: Scale to chord Imitation device.

Messiaen 5th Mode: Scale to Chord Imitation Compositional device.

Messiaen 5th mode: 3 octave scale imitation descending line

5th mode Messiaen Descending Run [Immitation]

Cross Picking part 2: Using 4 note tritone chords.

Picking pattern =”Down Down Down Up” Cross

Messiaen Mode 5 D D D U Cross Picking Tritone guitar
Messiaen Mode 5 Cross Picking Guitar Tritones

Notice the two open strings :

Open Strings Messiaen chords Mode 5 Guitar

Messiaen Mode 5 Cross Picking Guitar Tritones Open Strings

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Pierre Boulez Guitar Concepts; Atonality for improvisation and Composition

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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

Boulez guitar improvisation and composition lesson

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.

Boulez Guitar Music Concepts
Pierre Boulez Intervallic guitar composing

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.

Pierre Boulez Guitar Cross Picking Pattern

Basic D D U Cross Picking Pattern

Boulez Down Down Up Guitar Picking Pattern

The next two patterns employ Diminished and Augmented shapes in triplets with an open string.

Boulez guitarPicking pattern open string style

Another example with the open string concept

Boulez Open string cross picking guitar pattern

This last open string cross picking pattern is a mixture:

Boulez mixture guitar cross picking patterns

To Finish, we will employ a basic triplet pattern without any open strings.

Basic Boulez Guitar Pattern

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Pat Metheny Chords [Classic guitar sequence with pick]

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Pat Metheny Guitar Chords Lesson

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.

Pat Metheny Guitar Chords and classic melodic sequence

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