August 2021 – Page 2 – modern music theory and application

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Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

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

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:

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

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.

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.

Now we will extend the whole line:

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

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.

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“Blue in Green’ Backing track and Chart. Jazz/Fusion Style

Posted on August 11, 2021November 16, 2021 by Modern Music Theory

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Blue in Green Jazz fusion Backing track and Chart [Miles Davis/BillEvans]

Improvisation chart for Blue in Green by Miles Davis and Bill Evans. Backing track is 63 beats per minute and in a jazz fusion smooth style.

Blue-in-Green-Chart “Blue in Green” CHART pdf Download

Blue, in, Green, Jazz, fusion, Backing, track, Chart, Miles, Davis,Bill, Evans, — Blue in Green Jazz fusion Backing track and Chart [Miles Davis/BillEvans

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Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1

Posted on August 4, 2021November 26, 2021 by Modern Music Theory

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Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1

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Many guitar players find learning sight reading at the guitar laborious, boring and intolerable! The reason being that many guitar players don’t have a grasp of the notes on the fingerboard.

But, many wish to go to music school or do studio work or tour with famous artists. The need to sight read music suddenly becomes very apparent and essential in order to reach the required standard.

The question is always the same. Is there something that I am already familiar with that will help me speed up the process?

Luckily the answer is a big resounding YES!

The one thing most guitar players do know very well is the A minor pentatonic scale. This gives you many of the notes of the 5th position. Not only that but you will know the fingering like the back of your hand.

Guitar, sight, reading, secret, easy, way to learn, revealed, how, to read, music, at the, guitar — Guitar Sight Reading : Faster way for frustrated Guitarists: Part 1

The next thing is to move away from the actual guitar and see, hear and feel the notes in your mind and see the notes on the guitar fingerboard and how the look in music notation.

For instance how to does the note A on the 1st string 5th fret look,

How does the note C on the 1st string 8th fret look in music notation

When visualising also “Feel” it in your fingertips and your whole hand,

Now “Fill in” all the rest of the notes in 5th position from frets 5 to 8.

Now visualise them by moving up or down in semitones going across all the 6 strings from the 5th position frets 5 to 8.

For Instance: 1st string=C B B flat A. 2nd string= G F sharp F natural E etc as we see in the notation below.

Now apply this to all six string of the guitar.

One more thing to realise is that the notes on the 1st string are the same as the notes on the 6th string but in a different octave. This in turn cuts down the amount of notes you need to learn.

This is just part 1 of this method, but it is a simple way to get started because you will already have a firm grasp of this scale and position on the guitar. Once you fill it out with the rest of the notes you will start to see patterns, arpeggios, 4ths and one 3rd [Guitar’s Tuning] and most obviously and importantly octaves as they will connect the other positions for you as you progress.

As you become aware of all of this sight reading at the guitar doesn’t seem so daunting and it all starts to make a lot more sens.

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