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
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.
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.
The idea that starting on a different note/degree of the C major scale gives you the modes of C is not correct.
Modes of the Major Scale
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]
Modes of the Major Scale
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.
Modes of the Major Scale
We will now create an improvised line to play over these chords.
Modes of the Major Scale
Same line Double Timed
Modes of the Major Scale
The first 4 notes
Modes of the Major Scale
The second 4 notes
Modes of the Major Scale
The penultimate set of 4 notes
Modes of the Major Scale
The last 4 notes
Modes of the Major Scale
For further study: George Russell: “Lydian Chromatic Concept of Tonal Organization“
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