Dennis Sandole [Guitar] SCALE LORE-Poly/multi scales:

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

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Hi Guys,

In this blog we will have a brief look at scales from a different perspective.

These ideas/concepts mainly come from Dennis Sandole and his development of poly/multiple scales.

This [Guitar] scale lore as an approach is extremely useful for both composition and improvisation.

Below, we have the B Altered scale. Notice that half of it contains a Whole tone scale whilst the other half contains a Diminished scale: This creates its exotic beauty.

Next let’s look at the Diminished scale: Here we find two Mixolydian Tetrachords. The first with [C] as the root and the second with [F#] a tritone away.

Next, we will create a “Never ending” scale with Tetrachords and you will see how easy it is to be creative with a basic scale cell.

 Dennis Sandole Polytonal scales for SCALE LORE Music Theory TETRACHORDS INTERWEAVING

From the above example notice the Lydian movement that is created in the cycle of 5ths:

dennis-sandole-scale-lore-guitar-example

PolyScales and Bi-Tonal Scales:

Below we have an example of “Blending” scales. Notice how the scale connects with semitones [in blue circles] and the movement follows that of Sandoles student John Coltrane.

dennis-sandole-scale-lore-guitar-example

Now, we will mix it all up in a much more random manner:

dennis-sandole-scale-lore-guitar-example

In this next example we will go the opposite way and create smooth connecting scale fragments by employing triplets:

Now we will use this concept and create a superimposed arpeggio.

SUPER-ULTRA-HYPER-MEGA-META  "Lydian" and Multi Octave Extended Scales Lesson Explanation

Note the intervals as the two Maj7th chords/arpeggios connect:

Lennie Tristano Cmaj7.Dmaj arpeggios. #11 #15th diagram lesson
SUPER-ULTRA-HYPER-MEGA-META  "Lydian" and Multi Octave Extended Scales Lesson Explanation

SCALE COMBINATIONS

We will now join two common scales together. For this we will employ the Lydian Dominant scale and connect it with the Enigmatic scale

SUPER-ULTRA-HYPER-MEGA-META  "Lydian" and Multi Octave Extended Scales Lesson Explanation

Example 1:

Chord to short run.

dennis-sandole-scale-lore-guitar-example

Example 2:

“Double time” 16th’s ascending and descending:

dennis-sandole-scale-lore-guitar-example

Example 3:

In this last example we will employ triplets once again and create arpeggio/triads from the two connected scales:

Multi scales as arpeggios/triads:

dennis-sandole-scale-lore-guitar-example

To finish with here are a couple of examples written by Dennis Sandoles own hand:

Example 1:

Example 2:

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Polytonality:For Concerto/Orchestral Writing

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

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Polytonality: For Concerto/OrchestralWriting lesson

Hi Guys

Today, a quick look at composing with Polytonality for orchestral and concerto writing.

Polytonality is the use of two or more keys at the same time:

poly-tonality-orchestral-composing-chords-example

In this first example we have 4 bars of Polytonality with Eminor/DbMajor and EbMajor/CMajor

poly-tonality-orchestral-composing-chords-example

This then resolves itself with a “Tonal” diatonic cadence of B7/D# to Em:

Polytonality-Orchestral Example

This example explores “Implication”. In this case it is implying the melodic minor but avoiding the cliche by employing the richness of Polytonality:

polytonality-orchestral-composing-chords-example

From here, we will again employ diatonic harmony for a cadence.

To complete this short orchestral example we will go back into Polytonality with another melodic minor implication by employing Dminor/DbMajor:

polytonality-orchestral-composing-chords-example

Here is the chart:

poly-tonality-orchestral-composing-example

Polytonality-Orchestral Example

In this final example we will just “Reverse” the chords. This time it is DbMajor/Cmajor which is then played the other way around with CMajor/DbMajor.

polytonality-orchestral-composing-chords-example

finally, we will employ a slash chord for an “Implied” cadence: This will also lighten the harmony:

Here is the Chart:

polytonality-orchestral-composing-example

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Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

2 short John McLaughlin Style Acoustic Jazz Guitar Licks/Cadences

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

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2 short John McLaughlin Acoustic Jazz Guitar Licks/Cadences

Hi Guys,

Today just a couple of John McLaughlin “Style” acoustic guitar licks/cadences on ii V7 I’s

The first one has a phrasing that really feels like two groups of sextuplets. This in turn creates a sort of juxtaposed phrasing as it is picked in 4 note tetrachord groupings starting with an up beat.

But, the alternate picking pattern starting on an Upstroke pushes this juxtaposition quite naturally.

john-mclaughlin-jazz-guitar-example

The second part of the first bar simplifies this by employing basic 2 notes per string phrasing:

john-mclaughlin-jazz-guitar-example

The next bar being played over the Dominant 7th chord employs the same type of mixed phrasing as the first bar:

john-mclaughlin-jazz-guitar-example

We conclude with 2 triads of Eminor and F Major:

john-mclaughlin-jazz-guitar-example

This lick starts with an upbeat and an upstroke on the open E string:

From here we start on a downstroke with 4 note groupings of Tetrachord connections:

john-mclaughlin-jazz-guitar-example

The final phrase employs the same juxtaposed notes/groupings as the first exercise which finally rest on the tonic chord of C Maj7:

john-mclaughlin-jazz-guitar-example

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords