Making Music Theory and Jazz Improvisation work for you
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
Here are the Melodic Minor modes “Transposed” with the note “C” as the Parent Key or Tonic.
Dorian b2 Mode
Lydian Augmented Mode
Lydian b7 Mode
Mixolydian b6 Mode
Locrian #2 Mode
Super Locrian Mode
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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.
Notice the smooth transition of the two different scales into one extended multi octave scale.
Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.
Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale
Scale Lick 1 [Superimposition]
Scale Lick 2: Chord to Scale
Scale Lick 3: Superimposition
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.
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
SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature
Here is a long piano version of the above that keeps ascending
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.
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Messiaen’s 5th Mode [of limited transposition] is well known for it’s semitones, two major 3rds and it’s tritone possibilities.
Messiaen’s 5th mode [Non Transposed]
Messiaen’s 5th Mode Extended
Making Scalic runs: Messiaen mode 5:
Descending
Ascending
The next concept is to mirror the intervals and create an atonal sounding contrapuntal study. This is a great compositional device.
Cross Picking/ Chordal Picking: Notice the use of Tritones.
Picking pattern = “Down Down Up”
Cross Picking/ Chordal Picking: With an open G string.
Messiaen 5th Mode: Scale to chord Imitation device.
Messiaen 5th mode: 3 octave scale imitation descending line
Cross Picking part 2: Using 4 note tritone chords.
Picking pattern =”Down Down Down Up” Cross
Notice the two open strings :
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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
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.
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.
Basic D D U Cross Picking Pattern
The next two patterns employ Diminished and Augmented shapes in triplets with an open string.
Another example with the open string concept
This last open string cross picking pattern is a mixture:
To Finish, we will employ a basic triplet pattern without any open strings.
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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.
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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
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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