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
Author: Jazz fusion guitar Improvisation lessons and modern music theory
Jazz Fusion Guitarist, Educator and Composer. Alternate Picking guitar in the styles of John Mclaughlin and Al di Meola for powerful modern guitar improvisation.
The first idea is to join two different scales together.
Here we have the Lydian Dominant scale joined at the octave by the “SAME” tonic note C. It is joined by/with the Enigmatic scale.
Multi Octave Scale Lydian Dominant/Enigmatic
Notice the smooth transition of the two different scales into one extended multi octave scale.
Extended Scales Multi Octave Scales
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Lydian Dominat/Enigmatic Multi Octave extended scale
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Lydian Dom/Enigmatic Multi Octave Scale Lick
Scale Lick 2: Chord to Scale
Multi Octave Scales Lick
Scale Lick 3: Superimposition
Superimposition Multi Octave Extended Scales Lydian Dom/ Enigmatic
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier ideaSUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5thsSUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc
Multi Octave Scale Different Tonic notes at the Octave
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar
Here is a long piano version of the above that keeps ascending
Lydian SUPER-ULTRA-HYPER-MEGA-META Jacob Collier never ending scaleSUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
This scale concept could also be looked at as being Mixolydian and a ModulatingScale.
We have A7-D E7-A B7-E F#7-B C#7-F# etc.
V-1 V-1 V-1 V-1 ETC.
Modulating Extended Jacob Collier Scale Concept
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In this blog/vlog we will look at applying the style of the Great French composer Pierre Boulez to the guitar.
The first example is a flat 5 or diminished 5th added to the perfect 5th. The use of intervals also employs augmentation #5 and the semitone.
Example 1
Boulez guitar improvisation and composition lesson
In the next example we employ wide intervals. This example exploits semitones and other intervals by creating wide intervallic shapes which create a fresh intervallic sound.
Boulez Guitar Music ConceptsPierre Boulez Intervallic guitar composing
In the next example we employ “Cross Picking”. This is very similar to that taught by guitarist Robert Fripp in his guitar craft. This concept can also be found in some of the King Crimson recordings.
The concept is a very simple one that can be applied to execute some very odd/complex musical ideas on the guitar. The picking pattern with the guitar plectrum is:
“Down Down Up”
Example: D D U Repeated loop pattern.
Pierre Boulez Guitar Cross Picking Pattern
Basic D D U Cross Picking Pattern
Boulez Down Down Up Guitar Picking Pattern
The next two patterns employ Diminished and Augmented shapes in triplets with an open string.
Boulez guitarPicking pattern open string style
Another example with the open string concept
Boulez Open string cross picking guitar pattern
This last open string cross picking pattern is a mixture:
Boulez mixture guitar cross picking patterns
To Finish, we will employ a basic triplet pattern without any open strings.
Basic Boulez Guitar Pattern
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In this short blog we will look at a classic Pat Metheny chord sequence. This is a simple skeletal but very melodic chord melody that blends in with the piano or keyboards/Synth. It is played simply with the guitar plectrum picking out the bass mid and treble melody note.
Pat Metheny Guitar Chords and classic melodic sequence
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In this lesson we pick through some melodic arpeggiation. We do this by employing chordal picking/cross picking.
The picking pattern with the plectrum is,
Down Down Down
Up Up Up
Down Up
CrossPicking/Chordal Picking Arpeggio Guitar Loop
The above example is very useful to get the chordal/cross picking right hand guitar pattern down. It is just a loop that is brilliant to get a really confident 4/4 time in your picking hand.
The whole 4/4 Chordal/Cross picking melodic arpeggio pattern/piece.
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