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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ii V7 I in ALL 12 KEYS jazz improvising Jam/Backing Track.

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Below is the ii V7 I cadences, chord chart for jazz/fusion improvisation practice in “All 12 Keys”

ii V7 I in ALL 12 KEYS jazz improvisation chart

Here is another variation to practice the ii V7 I’s in all 12 keys for improvisation practice.

Notice the two changes from the predictable pattern when playing through the chart.

ii V7 I in ALL 12 KEYS jazz improvisation chart

Backing Track for this ii V7 I chart in the video below

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How to Read Music.Part 1 Treble Clef Notes

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In this blog we will take a look at how to read the music lines and spaces of the treble clef.

In order to identify the notes on the 5 staff Lines we must first decide on an clef. In this case this will be the Treble Clef

The “TREBLE CLEF”

Now we can look/identify the names of the notes on the 5 lines of the treble clef.

How to read Music/Learning to read music Notation

Next, we will look at the notes in the 4 spaces of the staff lines: F A C E

How to read Music/Learning to read music Notation

If we look at the notation below we will see the C major scale and the names of the different degrees of the scale in order.

How to read Music/Learning to read music Notation

We can now add thirds to the scale notes and notate the “Triads” of the C major scale

How to read Music/Learning to read music Notation

Although we will look at this in another video/blog we can clearly see the time signature. This is 4/4, meaning that there are 4 Quarter note beats to the bar.

How to Read Music/Learn to read music

One last thing to take into consideration is Key Signature. Again we will look at these in detail in the next video, but it is a good idea to be aware of them. They move in the cycle of 5ths. So a fifth up from C major is G major. This has an F# as the key signature. This means that every F note in the key is sharpened. Unless of course there is an natural sign.

Learn to read music/How to read music

So the key signature is for us to acknowledge that specific notes will be sharpened or flattened as we play our way through the music.

This is just the basics and beginnings for learning to notate, create and read the treble clef.

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SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

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THE 23RD CHORD-The LARGEST CHORD IN MUSIC!

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

Going forward with our Jacob Collier SUPER-ULTRA-HYPER-MEGA-META blogs/pages it is a good idea to look at other relevant concepts within the ideal of extension. In this blog we will look at how 12 tone, 23rd chords, tertian harmony and polytonality play a fascinating part.

We will start with the #15 Arpeggio [Superimposition as used by Lennie Tristano]. Below you will see this in action with a Cma7 and a Dmaj7 arpeggio combined. This creates a sharpened 15th [or Augmented 15th arpeggio].

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

Below, you will see the full extension of this with a full 23rd chord [The largest chord in music]. This can be viewed as polytonal, polychordal, 12 tone row, or “Tertian” harmony as a full 23rd chord.

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

All 12 notes of the chromatic scale are used, so, the following occurs [in this case in 3rds as Tertian harmony]

1 3 5 7 9 11 13 15 17 19 21 23

In terms of improvisation it can be easier on the guitar to break up 4×3 semiquaver tetrachord lines into two HEXATONIC [2×6] lines as shown below.

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

Below we have the employment of triplets and the commonly used 4 note groupings of tetrachords.

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

Below is an example of employing the jazz improvisation concept of “Chord Pairs”

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords chord pairs

For more info click this link: https://jazzimproviser.com/23rd-chord-for-guitar-lesson-12-tone-rows-schoenberg-jazz-fusion-lessons/

SUPER-ULTRA-HYPER-MEGA-META-meets 12 tone and polychords

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Alternate Picking John Mclaughlin guitar jazz fusion Lick Lesson

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Alternate Picking Jazz Fusion John Mclaughlin guitar Lick Lesson

The video above is a quick fire John Mclaughlin jazz fusion guitar lick. The lick employs strict alternate picking starting on a downstroke.

John Mclaughlin Jazz/Fusion Lick Tab/Notation

Alternate Picking John Mclaughlin guitar jazz fusion Lick Lesson

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Dorian Flat 2 Mode “Improvisation” Techniques

Dorian b2 Mode of the Melodic Minor Scale

Dorian b2 Mode

C Dorian b2 Mode

Two octaves; Tab and Notation

To Begin with let’s look at the arpeggios of the Dorian b2 mode. Notice the Two Major arpeggios.

Dorian b2 Mode Arpeggios

They are E flat Major and F Major

We can immediately make Triad Pairs from them

Dorian b2 Triad Pairs

Going the opposite way

Dorian b2 triad pairs

We can Sharpen the 5th and create a more exotic and colourful sound

Dorian b2 triad pairs

We can add Gm7b5 and Am7b5 to the Major or F aug arpeggio

Dorian b2 Triad/Arpeggios

We can employ the B flat minor 9 major 7th arpeggio

Dorian b2 Melodic Minor

Here we can add it to the F major arpeggio

Dorian b2 Melodic Minor

It is an even better idea to start the B flat minor 9 major 7th arpeggio on the tonic note of C

Dorian b2 Mode melodic minor

Here we will extend the Am7b5 part of the line

Am7b5 for Dorian b2 Mode

We can also make scales from the mode. Below is an example of creating a scale and then adding harmonic content with wider intervals like triads.

Making scales form Dorian b2 Mode

Making our own pentatonic scales from the mode works really well also.

Pentatonic from Dorian b2 Mode

Here is a short sus4 and aug Lick

Dorian b2 Mode lick

Another short lick

These are the basic chords of the Dorian b2 mode

Dorian b2 Mode Chords

Of course we can change the chords to make them more exotic and colourful

Dorian b2 mode chord variations

We also have the typical jazz fusion chords contained within the Dorian flat 2 mode of the melodic minor scale

Dorian b2 Chordal ideas

Below we create a very exotic colourful “‘al la” John Mclaughlin sound!

Dorian b2 mode chordal idea

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