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
Category: Altered dominant scale chord theory and application lesson
Breaking Down Jazz Improvisation “OUTSIDE” Playing
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” or “CELLS” 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
1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [F Mixolydian]
2nd Tetrachord=A flat Minor triad and 4th interval [or #11 #9 and #5]
3rd Tetrachord=Minor scale fragment with #11
4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor]
5th Tetrachord= C lYDIAN [mAJOR CELL]
6th Tetrachord =C LYDIAN/D MAJOR Pentatonic shape
7th Tetrachord=C minor arpeggio and finishes with a 4th interval landing on the F TONIC NOTE.
8th Tetrachord= F SCALE FRAGMENT
9th Tetrachord= F LYDIAN FLAT 7 CELL
10th Tetrachord = F SHARP 9 =VERY OUTSIDE SOUNDING
Lastly= Flat 6 for C minor
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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Jazz/fusion improvisation Altered scale Theory Lesson
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Today we will look at a John Mclaughlin alternate picking Jazz/Fusion improvisation cadence employing the altered dominant chord! Please watch the video below and then try it out yourself.
As you will see this cadence employs the Altered scale. It is a 2 [minor 7 flat 5] going to 5 [ “Altered Dominant”] 1 [major 7th]. This being Dm7 flat 5 G7 altered resolving to C major7.
I also employ a flat 5 substitution on the Dm7 flat 5. All of this resolves though and slips nicely into the altered dominant 5 chord. I also use pentatonics within the altered scale for rhythmic flow. Please look at the TAB/MUSIC below and play through it yourself to see and feel how it all “Naturally” unfolds. I employ alternate picking the same as John Mclaughlin.
John Mclaughlin alternate picking altered scale line Music/Tab
VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.
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