November 15, 2021 – The Jazz improviser and modern music theory application

Mahavishnu John Mclaughlin 80’s Acoustic Guitar LICK 160 BPM ALTERNATE PICKING Lesson

PLEASE WATCH VIDEO FOR DETAILED ANALYSIS:

The Key is to ACCENT the 1st note of each 4 note grouping [Cell/Tetrachord]. This way you will be on the beat and in time.

John. Mclaughlin, 80's. acoustic, guitar, run, alternate, picking, lesson, Mahvishnu, V — Mahavishnu John Mclaughlin 80’s Acoustic Guitar LICK 160 BPM ALTERNATE PICKING Lesson

The next important consideration is to count time when playing each 4 note cell/tetrachord.

1 e and a 2 e and a 3 e and a 4 e and a

Ta ka di mi [Konokol]

Mahavishnu John Mclaughlin 80’s Alternate Picking Guitar Unison Lick

Mahavishnu Mclaughlin PDF Mahavishnu ORCHESTRA PDF Download

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2 Note Jazz Ensemble “COMPING” ii V I’s etc Guitar Chord Voicing’s sequences

There is a misconception that jazz guitarists play chords with lots of notes in them, or as they are described, “Jazz chords”.

But, the opposite is actually true in most cases. Thick “jazzy” chords are muddy, un rhythmical and clutter the sound whilst getting in the way of everybody else in the ensemble.

So, let’s look at the way good comping is done.

The employment of simple 2 note voicing’s create clarity and allow for sequences of, 4th’s, 3rds, etc to be rhythmically shifted about on the guitar fingerboard easily.

Basic 2note voicing’s-Guitar Comping 2 5 1’s

ii V7 I to Maj 7th

2, Note, Jazz , comping, ii V I's, Guitar Voicing's, Maj,7th — 2 Note Jazz Ensemble “COMPING” ii V I’s etc Guitar Chord Voicing’s sequences [Maj 7th]

ii V7 I to Dom 7th

2, Note, Jazz , comping, ii V I', Guitar Voicing's, Dom, 7th — 2 Note Jazz Ensemble “COMPING” ii V I’s etc Guitar Chord Voicing’s sequences [Dom 7th]

V7 I7 Cycle of Fourths: Example 1

2, Note, Jazz , comping, V 7, I7, Guitar Voicing's, Dom, 7th — V7 17 Cycle of Fourths 2 note guitar voicing’s comping method

V7 I Cycle of Fourths: Example 2:

The Tonic chord only implies by Tonic and Mediant, so, it can employed for the Maj7 or Dom7, especially if the soloist is playing the 7th, around it or the upper notes.