My Al di Meola Intervallic Picking Style “SHORTS” Explanation:

Posted on March 27, 2023 by Jazz fusion guitar Improvisation lessons and modern music theory

Al di Meola Intervallic Picking Style Explanation: Right Hand Technique

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

This is a response and explanation to the Youtube “Shorts” video I posted employing Al Di Meola’s wide intervallic string skipping right hand guitar technique.

The first part of the pattern is:

Down Down Up Up Up Down

al-di-meola-intervallic-string-skipping-guitar-explanation

But, why pick like this?

Surely, just stick to strict alternate picking?

In theory yes: But in practice there is a chance with alternate picking that open strings will get plucked/struck by mistake due to the down stroke.

The Upstroke means that this is cancelled out: [please see video above]

The next part employs:

Down Down Up:

Also notice the change in rhythm from 3/4 to 6/8. This is a simple concept that works really well with wide intervallic playing and composing.

BOTH PARTS: 3/4 and 6/8 Rhythmic Feel

Finally we finish with the “Down Down Up” pattern again.

al-di-meola-intervallic-right-hand-guitar-technique

Also an up-beat works well with this sort of playing: Here I pluck the low open E.

FULL PHRASE:

al-di-meola-intervallic-right-hand-guitar-technique-example-lesson

PDF DOWNLOAD:

al-di-meola-intervallic-string-skipping-lesson al di meola Download

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How to apply Simple Target Tones as Jazz Chromatics:

Posted on March 24, 2023March 27, 2023 by Jazz fusion guitar Improvisation lessons and modern music theory

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How to apply Target Tones for jazz chromaticism in improvisation

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Today a repost on how to apply and set up Jazz chromatics with target tones/enclosure/approach notes:

The key to understanding this is to look where the little target tones/enclosure motif/melody starts.

Here we have two.

The first is “OFF” the BEAT

and the second is “ON” the beat

Example 1: “Off Beat” classic target tone/enclosure set-up

target-tones-jazz-chromatics-how-to-example-off-beat

Example 2: “On the beat” and in the bar set-up in the improvised line [Target tone/Enclosure]

target-tones-jazz-chromatics-how-to-example-on-beat

THEORY:

What you will notice is that the Chord tones are “on” the beat [Strong] whilst the chromatic or unessential notes are “Off” the beat.

This is the key to how it works and how to create beautiful flowing lines easily!

target-tones-jazz-chromatics-how-to-example — Chord tones on the “Strong” Beats for jazz enclosure

Full Target tones/Enclosure Jazz Chromatics improvisation lick/line

target-tones-jazz-chromatics-how-to-example-guitar

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Messiaen’s 3rd Mode Backing Track

Posted on March 17, 2023March 24, 2023 by Jazz fusion guitar Improvisation lessons and modern music theory

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Messiaen’s 3rd mode Backing Track

Hi Guys,

Today we will look at a backing track for Messiaen’s 3rd Mode of limited transposition.

Here is the 3rd mode in its most commonly used form in jazz/fusion: [This is a 9 note scale]

Here is the outline to the chords in the backing track: Remember, these are all formed from the same 3rd mode.

Here is the Chord Chart and Video/Track:

Messiaen’s 3rd mode Backing Track

CHORD CHART:

PDF DOWNLOAD:

messiaen-mode-3-chart Messiaen Mode 3 Download

Here is some more information/Examples on Messiaen’s 3rd Mode: [Video and Tab/Notation]

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Messiaen, mode 3, 2nd transposition, detailed, lesson, music theory, examples, — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Messiaen mode 3 lesson — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

Messiaen, 3rd mode, improvisation, composition, lesson, example, transposed, jazz, fusion, classical, music — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

INTERVALLIC IDEA: EXAMPLE 2

Messiaen, intervallic, mode, 3, example, intervals, improvisation, composition, technique, transposed, 5rd, mode, — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

Messiaen, mode, 3, transposed, Weaving, in and out, of F major 7th, lesson, improvisation, composition, how, to — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

Messiaen, mode 3, improvisation, Composition, example, for jazz, classical, music — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below is a Short Compositional Study where I use Messaien’s Modes.

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

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The key to understanding this is to look where the little target tones/enclosure motif/melody starts.

Here we have two.

The first is “OFF” the BEAT

and the second is “ON” the beat

Example 1: “Off Beat” classic target tone/enclosure set-up

Example 2: “On the beat” and in the bar set-up in the improvised line [Target tone/Enclosure]

THEORY:

What you will notice is that the Chord tones are “on” the beat [Strong] whilst the chromatic or unessential notes are “Off” the beat.

This is the key to how it works and how to create beautiful flowing lines easily!

Full Target tones/Enclosure Jazz Chromatics improvisation lick/line

Share this:

Like this:

Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

INTERVALLIC IDEA: EXAMPLE 2

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

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