Author: Modern Music Theory and Application

Clifford Martin is a trained classical musician and composer. His 1st study being piano and composition and a deep study in the application of modern music theory. He also studied jazz piano and jazz drums privately. This website is a catalogue of ideas and musical concepts for improvisation and composition.

How to play Shakti Indian Guitar Scales

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at the first of a few Shakti Indian guitar scales for tabla and guitar improvisation.

The first one that we will look at today is the A Mixolydian Mode exploited in a pentatonic form.

“The guitar technique employed is strict alternate picking”.

A MIXOLYDIAN:

Here, is the basic scale ascending. The G natural gives the unique flavour and colour as it possesses the dominant sound, but, in a non resolving from.

how_to_play_shakti_indian_guitar_scales_lesson

DESCENDING SCALE:

In this first exercise we will descend with the A mixolydian mode and employ imitation with the pentatonic form.

This example exploits strict alternate picking guitar technique. And, it works really well for two reasons:

A] It start on an “Up stroke”

B] It starts in the bar and on the “Off” beat

This creates a nice, smooth phrasing and is easy to copy and repeat down the octave.

EXERCISE 1:

how_to_play_shakti_indian_guitar_scales_lesson

As you can see below, it is repeated, and copied down an octave starting on the upstroke and on the off beat:

how_to_play_shakti_indian_guitar_scales_lesson

Finally, a variation/implication of this is played, due to the guitar running out of notes to fully copy it.

how_to_play_shakti_indian_guitar_scales_lesson

Counting Time example:

EXAMPLE 2: “Down” Stroke

In this next example we will vary what we have just played in the example above.

But,

with two differences,

A] We will start on a “Down” stroke

B] We will play “On” the beat.

EXERCISE 2:

how_to_play_shakti_indian_guitar_scales_lesson

As with the previous example, we will now imitate what we have just played and copy it exactly down an octave:

how_to_play_shakti_indian_guitar_scales_lesson

Counting Example:

QUICK SCALE FINGERINGS:

Here, is another form/fingering of the scale in descent: Notice that this is starting on an “Up” stroke.

how_to_play_shakti_indian_guitar_scales_lesson

And finally, an ascending form/sequence starting on a “Down” stroke.

how_to_play_shakti_indian_guitar_scales_lesson

FREE PDF DOWNLOAD:

Shakti_guitar_scalesDownload

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Alternate Picking from Ascending 5’s

Posted on by Modern Music Theory and Application

PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:

Hi Guys,

Today, a quick look at building from the “Ascending group of 5” with alternate picking guitar technique.

This group of 5 exploits the “Up” stroke. It works well as a tool for building longer and longer lines/phrases.

This is NOT shred and is really only for jazz, fusion and world-esque music like John McLaughlin’s super creative outlet Shakti. It is an improvisers tool.

ASCENDING 5:

Here is an example of the 5 figure. It consists of an open string and starts on an upstroke.

This 4 note + 1 sets up the upstroke for the string cross.

alternate_picking_guitar_technique_example

Here’s how it would be as a tetrachord to the next beat. [As opposed to a quintuplet or Ta ka di mi Thom.

alternate_picking_guitar_technique_example

EXAMPLE/EXERCISE 1:

Let’s now build off of the ascending 5 figure.

In the example below, we can clearly see the extension from the 5’s to 7’s to two groups of 4 note tetrachords.

alternate_picking_guitar_technique_example

From here, we will add a Dom7th chord to the scale/phrase.

alternate_picking_guitar_technique_example

This sets us up nicely to descend smoothly starting on the upstroke.

alternate_picking_guitar_technique_example

EXAMPLE/EXERCISE 2:

Here, we will do exactly the same thing, except that this time we are moving from G7 to C Major. [Notice the open string and 5 figure extended].

alternate_picking_guitar_technique_example

Once again, the descent is on the upstroke.

alternate_picking_guitar_technique_example

FULL EXAMPLE:

alternate_picking_guitar_technique_example

EXAMPLE/EXERCISE 3:

Here, we see the process in action again. The line building from the 5 figure.

alternate_picking_guitar_technique_example

The descent starts on the upstroke as before, but, this time leads to a perfect V I cadence:

alternate_picking_guitar_technique_example

VARIATION:

Here is a variation, but, this time in the key of A Major.

alternate_picking_guitar_technique_example

The same form of descent is employed that once again ends in a V I cadence.

alternate_picking_guitar_technique_example

FREE PDF DOWNLOAD:

5-GuitarDownload

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Exploring John McLaughlin’s Unique Guitar Chordal Harmony

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at some of John McLaughlin’s amazing altered, slash and ambiguous guitar chords.

Johns harmony is a very rich palette indeed.

In the little example above in the video, I play about with some of Johns harmonic movement and colour.

EXAMPLE 1:

Although, I could employ diminished harmony, I am instead aiming at “Implication”….Why?…This is in order to bring out the big “Rich” resonance of the guitar.

F/F# [/A]

Eb/E [/B]

john_mclaughlin_guitar_chord_example_lesson

It is an ethereal sound where the natural harmonics and overtones can ring out of the guitars sound hole harmoniously.

SHORT CONNECTING RUN:

Next, we employ a Bb Major run with a few chromatic notes. These being, the B natural and the E natural chordal tones.

john_mclaughlin_guitar_chord_example_lesson

EXAMPLE 2:

Now, let’s add two more resonant chords,

A/Bb

john_mclaughlin_guitar_chord_example_lesson

B/C

john_mclaughlin_guitar_chord_example_lesson

ARPEGGIO CONNECTION:

We will now connect to the next part together.

This will be with an arpeggio of Ebm mostly [or D#m] implying BMaj7. [Although there is an implied resolution to B7 also].

This juxtaposition, creates another ambiguous move that opens up a fresh and unique sounding harmony.

john_mclaughlin_guitar_arpeggio_example_lesson

From here, we can manipulate and resolve into the Bb minor full barre harmony:

john_mclaughlin_guitar_chord_example_lesson

Now, let’s create a sequence. This will be, C#7sus4 to C7 with a sharpened 4th and a Maj7th.

Notice, the chromatic movement in the bass as we sequence this.

john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson

Finally, this resolves from CMaj7#11 to CMaj7 with open string guitar chords.

john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson

PDF DOWNLOAD:

ChordDownload

IN CONCLUSION:

In conclusion, this was just a quick look at Johns unique take on harmony and how to apply some scale and arpeggio movement to connect it all together.

John’s harmony is a lovely combination of ambiguity and resonance with a sense of calm.

The magical ethereal tone opens doors to really interesting solo applications that exploit implied harmonies and dissonances. These I find are met with with lingering resolutions that are never quite met.

It’s a sort of pairing of opposites that you can’t quite put your finger on that give it that alluring yet elusive quality.

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