Category: Altered dominant scale chord theory and application lesson

John Mclaughlin Jazz/Fusion Improvisation Guitar Line

Posted on by Jazz fusion guitar Improvisation lessons and modern music theory

A short line from jazz fusion pioneer and guitar great john mclaughlin

John Mclaughlin Jazz fusion guitar improvisation tab and music notation

John Mclaughlin Improvisation guitar lick
John Mclaughlin Alt Dom jazz fusion guitar lick/line

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Dennis Sandole Polytonal/Extended Scales

Posted on by Jazz fusion guitar Improvisation lessons and modern music theory

When looking at even the most well known scales we still find other scales embedded within them.

B Altered Scale contains a whole tone scale and a Diminished scale giving it an exotic sound.

dennis sandole scale lore

C Diminished scale contains two mixolydian tetrachords. The first being of the root and the second being of the flat 5:

dennis sandole scale lore

We can of course extend scales as we have looked at in Jazz Scale Extensions

dennis sandole scale lore

DENNIS SANDOLE:  Bi tonal scales, polyscales[MULTI] scales concepts/ideas.

Dennis Sandole Scale Lore: Developing Poly/multiple scales. Although being most noted as John Coltrane’s Mentor/Teacher Dennis Sandole was unique in his musical thinking.

Here is an example of a polytonal scale idea:

dennis sandole scale lore

Here we have another  polytonal/multiple scale idea:

dennis sandole scale lore

Here we employ triplets.

dennis sandole scale lore

Below are some “Mixed up” ideas as concepts to get a flow and to syncopate and get a feel for it. These are only exercises but create interest by the way the different scales appear and move.

dennis sandole scale lore

16ths mix #2

dennis sandole scale lore

16ths mix #3

dennis sandole scale lore

Here are some of Dennis Sandole’s own sketches/ideas

dennis sandole scale lore

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John Mclaughlin Jazz Fusion Line Breakdown

Posted on by Jazz fusion guitar Improvisation lessons and modern music theory

There are two parts to this. The second lesson is a variation. The dominant chord in this 2 5 1 is altered.

This creates a nice way to create flow with the fingering when alternate picking in the style of John Mclaughlin. As you play through the Notation/Tab [below] this will become apparent very quickly.

 

John Mclaughlin guitar lesson finishing with a D flat Triad for G7 alt

 

John Mclaughlin Jazz Improvisation guitar lesson jazzimproviser

LINE BREAKDOWN: Breaking down the line into 4 note cells [Tetrachords]

TETRACHORD 1

jazzimproviser

TETRACHORD 2

this is the way I do it

TETRACHORD 3

this is the way I do it

TETRACHORD 4

This is the way I do it

TETRACHORD 5

Mclaughlin this is the way I do it

TETRACHORD 6

This is the way I do it

TETRACHORD 7

This is the way I do it John Mclaughlin

TETRACHORD 8

This is the way I do it

VARIATION of the John Mclaughlin jazz fusion improvisation guitar lesson finishing with an E flat Triad for the G7 alt

John Mclaughlin Jazz Improvisation guitar lesson. Altered scales

For more info John Mclaughlin has a DVD:

John Mclaughlin This is the way I do it

John Mclaughlin Acoustic Jazz Alt Dom Lick

Posted on by Jazz fusion guitar Improvisation lessons and modern music theory

John Mclaughlin Altered Dominant Line. Break each group into 4 note cells [Tetrachords] and learn 1 group of 4 notes at a time with the fingering and then join it all together.

6 2 “5- ALTERED” 1 

Jazz improvising altered scale alt dom lick lesson How to

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Breaking Down Jazz Improvisation “OUTSIDE” Playing

Posted on by Jazz fusion guitar Improvisation lessons and modern music theory

Breaking down Michael Brecker!

When looking at musical notation it can seem like random notes. But if we break down each group into 4 note groupings called “Tetrachords” we can break down the music theory and play each group on our instrument.

We can then remember the “Sound and Shape” of each cell and then join them together. In turn we can then apply these cells to our own instrumental playing/improvisations.

FULL SOLO LINE/PHRASE

RE DO

 

 

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [Mixolydian]

jazz improvisation michael brecker outside solo

2nd Tetrachord=A flat Minor triad and 4th interval [or #11  #9 and #5]

jazz improvisation michael brecker outside solo

3rd Tetrachord=Minor scale fragment [#11 Lydian]

jazz improvisation michael brecker outside solo

4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor]

jazz improvisation michael brecker outside solo

5th Tetrachord=Very “Outside” D major pentatonic/4ths

jazz improvisation michael brecker outside solo

6th Tetrachord =D major Pentatonic sound/shape [very “Out”]

jazz improvisation michael brecker outside solo

 

7th Tetrachord=C minor arpeggio and 4th

jazz improvisation michael brecker outside solo

8th Tetrachord=B flat major Pentatonic sound/shape

jazz improvisation michael brecker outside solo

9th Tetrachord=C Melodic “Jazz” minor [Augmented] sound/shape [same as 4th Tetrachord]

jazz improvisation michael brecker outside solo

10th Tetrachord = Perfect 4th and major 3rd creating triad pairs sound/shape [or E flat minor 11 implication or G FLAT/a flat]

jazz improvisation michael brecker outside solo

Lastly= Flat 6 for C minor

jazz improvisation michael brecker outside solo

CONCLUSION:

In terms of fingering and musical application on our instruments learning shapes and “Connections” and breaking phrases down into 4 note cells [Tetrachords] is really useful because complex lines can be understood and learnt quickly.

In turn this gives us lots of patterns for improvisation and theoretical knowledge to improvise with as opposed to just playing scales and arpeggios.

If you found this easy then try and break this little solo down into” Hexatonic” scale application. You might find it really interesting!

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