Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
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.
IMPORTANT: Please watch video above for Guitar Lick:
Hi Guys
Just a short John Mclaughlin jazz fusion acoustic guitar lick from my youtube shorts. This, as per usual, employs strict alternate picking starting on a “Down stroke”.
Also notice that the phrase starts in the bar with an anacrusis:
The Dominant chord G7 has been altered and resolves nicely to the tonic chord via the notes Eb to E natural.
Full Lick:
John Mclaughlin Altered style ii V7 I alternate picking guitar lick
IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Just a quick look at the “Mu” chord or the “Dan” chord in this 1st inversion example.
Here, we employ a 1st inversion F Major triad[ A in the bass] with an added 9th note G. So we have Fadd9:[Fadd9/A]
This is also referred to as Add 2:[In this case the note G being the second note of F Major]
In the next example we will create a sequence with the Mu chord. Notice the Bass moving down in 1/2 steps creating a nice smooth movement.
In the next sequence, we will exploit the minor chord: Again, notice the smooth chromatic bass movement. [This is also reminiscent of guitarist John Scofield]
Lastly, no “Mu chord” but a repetitive “Dan-esque” melodic chord sequence:
John McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]
Please watch video above for detailed info:
Hi Guys,
Today, a quick ii V7 I McLaughlin-esque lick
This is at 140 Bpm with an altered approach to harmony with strict alternate picking guitar technique.
The chords are as follows.
For the ii minor chord I employ a minor chord with a Major 7th and an added 9th.
For the V7 chord I raise the 5th [#5] and add a flattened 9th note.
And for the I chord I make this augmented by raising the 5th.
So, the ii V7 I becomes harmonically altered and creates an interesting sound
Guitar Line
The line starts on an upbeat with 3 target tones that deliberately set up the 1st note of bar one. This adds forward momentum and adds a colourful chromatic set-up.
The target tones start on an “Up stroke” so that on the first beat of bar one you will land and start a “Down stroke”
Over the DmMaj7/9 chord I start with a Dm9 arpeggio and then exploit the D Harmonic minor scale by ascending in fragments.
Over the G+b9 chord I start on the third note B and then play an Eb 4-3 arpeggio.
The Bb from this arpeggio then moves up to the B natural and then I play the b9 to tonic and #5 to5 which then finally moves down to the note C for the tonic of the next chord C+.
