Author: Modern Music Theory and Application

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Hi Guys,

Today, the second part of the John McLaughlin style rhythmic guitar essentials.

ALTERNATE TIME SIGNATURES:

If we look at a composition like “Face to Face” by Shakti, we will find interesting rhythmic strumming patterns:

It’s unique how John creates interesting rhythmic riffs with just a couple of chords by employing a bar of 7 to a bar of 8:

You may wish to count this in different ways. For Example, you could count this as: 15/16 to 16/16 [in groups of 3 to groups of 4 in the next bar]:

And, also, Groups of 4 with the last being a grouping of 3 [or one note removed in a bar of 4/4 time]

Here, are the two chords that I have used.

These being similar to McLaughlin’s “Face to Face” composition with Shakti.

To complete this vamp I employ a little “Turn around” in the bass with a 4 note descending scale motif.

Here, is the full 2 Bar Sequence with the turn around motif:

CHORD SEQ VARIATION:

In this variation we have the previous bass scale notes played in the treble on the first string of the guitar.

We also have changed the first chord with a “Quartal” E minor voicing.

John McLaughlin Concept # 2

John McLaughlin sometimes strums quickly between two chords and the open strings. Here are a couple of examples.

Firstly, we can see how John exploits 2 simple chords of A Major and D Major between the open strings:

[This is strummed at a very quick pace by alternate strumming “Down Up“] etc

STRUMMING RIFF 3:

To finish, we will look at one last alternate strumming McLaughlin favourite.

This again follows the same principle with the quick “Down Up” fast wrist movement in the strumming hand.

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