cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]

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cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]

Today is just a short blog but a very useful one in regards to improvisation because the cycle of 4ths crops up all over the place especially in standards.

Cycle of 4ths backing jam track and chart [Downwards 5ths] Chord Chart. [All major keys].

cycle of 4ths backing jam track and chart [Cycle of downwards 5ths]

If you look at the diagram below you will see the cycle of 5ths moving clockwise and the cycle of 4ths moving anti clockwise.

Cycle of 5ths and Cycle of 4ths

FOR MORE INFO

https://jazzimproviser.com/cycle-of-4ths-method-guitar-fingerboard-mastery/

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Fripp, Mclaughlin, Messiaen,Stockhausen,Schoenberg jazz guitar improvisation lines

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Modern jazz fusion chromatic improvisation licks, Brecker, Liebman, Mclaughlin and Fripp etc

Lick lines from modern jazz fusion improvisation guitar:

LINE 1

Guitar Licks ONLY from Modern chromatic jazz/fusion improv

LINE 2

Target Tones Chromatic Jazz improvisation Modern approach

LINE 3

Chromatic Jazz improvisation Modern approach

LINE 4

Melodic Minor Chromatic Jazz improvisation Modern approach

LINE 5

Melodic Minor Chromatic Jazz improvisation Modern approach

LINE 6

Flat 5 Modern jazz improvisation chromatic example

As requested, I have made a video and blog page with guitar lines only;

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Modern Chromatic Jazz Fusion Improvisation harmonic techniques as used by Brecker, Mclaughlin Fripp and Liebman

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DETAILED ANALYSIS IN THE VIDEO BELOW:

Modern chromatic improvisation jazz fusion techniques: Brecker, Mclaughlin, Liebman, Fripp etc

In this blog we will look at improvising over one chord. This will be D minor [D Dorian].

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

The key is to use chromaticism, tertian harmony, superimposition and outside harmonic content in order to create interesting improvised lines and move away from the cliches of scales and modes to create originality.

For example:

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

The key for smoothness is to be aware of where the 1/2 steps [Semitones]are in the “Connections”.

If we look below we can see where the 1/2 steps connect and how to play off of the tonic note with this. In this case we play off of the tonic D note resolving straight into the Eb note for Eb melodic minor. We can then resolve down a half step to C#m and back down into D Dorian

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Chromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts

So as you can see it is easy to weave in and out of the harmony and get back to D Dorian via the 1/2 step.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Below is a line that beautifully weaves in and out of D minor

In this next example we will use tertian harmony and exploit superimposition. We will employ D melodic minor and and keep extending via C melodic minor.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Now we will extend the whole line:

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Lastly we will exploit the use flat 5 concepts. In this case there is an Abmaj7/D and a Cmaj7/F# with which we can be creative.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

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I Vi ii V7 I in all 12 keys backing track and chord chart

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I Vi ii V7 I in all 12 keys backing jam track

I Vi ii V7 I in all 12 keys chord chart and Backing Track Jazz

Jazz “Chord Chart” for improvisation practice: 120 Bpm I Vi ii V7 I in all 12 keys

I Vi ii V7 I in all 12 keys chord chart and Backing Track Jazz
I Vi ii V7 I in all 12 keys chord chart and Backing Track Jazz

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John Mclaughlin Jazz Fusion Chromatic guitar Lick

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John Mclaughlin Chromatic Guitar Licks Lesson

This blog takes a brief look at John Mclaughlin’s use of Chromaticism in regards to Jazz Fusion Guitar lines. The 2 licks are also from a video I did on Dave Liebman. They both share the same concepts. The licks are riffs doubled up with piano

John Mclaughlin Guitar Lick 1 -Employ strict alternate picking starting on a “Downstroke”

John Mclaughlin Chromatic Guitar Licks Lesson

John Mclaughlin Guitar Lick 2 -Again, employ strict alternate picking starting on a “Downstroke”

John Mclaughlin Chromatic Guitar Licks Lesson

The key is to pick each 4 note grouping [Tetrachord] in time with your foot tapping the 1/4 note.

So you have:

“1 e and a 2 e and a 3 e and a 4 e and a”

This will give you a smooth alternate picking sound and hold time with the piano [or doubling instrument].

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How to Read Music rhythms and apply to notation PART 2

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It’s a good idea to watch the video before or along with this blog as it will emphasise many of the key points in this blog.

In the notation diagram below you will see the Whole note called the “Semibreve” this is worth four beats or four 1/4 notes.

How to read music

We will now cut this in half and have two “Minims” or two half notes per semibreve.

How to read music

Now we will have four 1/4 notes called “Crotchets” per Semibreve

How to Read Music

The next rhythmic division is the 1/8th note called a “Quaver”

How to Read Music

They are more commonly grouped and counted like this

How to Read Music

The doubling of the 1/8th note gives us the 16th note called a “Semiquaver”

How to Read Music

Semiquavers [16ths] are more commonly seen and counted like this

How to Read Music
How to Read Music

Lastly we will add “Triplets” to our Basic Rhythms. These are 3 notes played over one 1/4 note beat

How to Read Music

More commonly counted as:

How to Read Music

When setting out to write down music we apply a “Time Signature” in order to acknowledge how many beats there are per bar.

How to Read Music

Here we have “Three” 1/4 note beats per bar

How to Rea Music

Now we have ‘Six Eighth” notes per bar displayed by the 6/8 time signature

How to Read Music

Now let’s apply this to the Scale that we learnt in the previous blog/video “How to read music part 1”

How to Read Music

SYNCOPATION: Syncopated Common Rhythms

Some rhythms are tied as we see below: This makes them syncopated as we start “On” the beat and then accent the “Off-beat”.

How to Read Music

The above rhythm is more commonly written like this:

How to Read Music

SYNCOPATED RHYTHM NUMBER 2:

The other very common syncopated rhythm is this:

How to Read Music

Again, notice the tied notes. This means that the 2nd “On” beat is not played but the “And” Off-Beat is played. It is more commonly written like this:

How to Read Music

Now let’s apply these two common syncopated rhythms to our “Triads” from our previous blog/video lesson on how to read music

The first Rhythm with triad melody:

How to Read Music

The second Rhythm with triad melody:

How to Read Music

Okay, that’s the end of part 2 on “How to Read Music Rhythms and Notation”.

If you found this useful then it is a good idea to look at “How to Read Music” part 1 Blog and Video.[ Also, the Video is on Youtube and it covers the Scale/Triads notation].

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