Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, Guitar Jazz Fusion John Mclaughlin Al di Meoala improvisation techniques explanations in notation, tablature and video
Category: Jazz fusion guitar music theory lessons, guitar technique and improvisation.
How to improvise over altered dominant chords. How to employ chromatic jazz and fusion harmony. Apply twentieth century classical composition techniques to modern jazz music and improv. How to exploit modes of the major. minor and diminished scales. Lesson in alternate picking guitar techniques as used by John Mclaughlin and Al di Meola. How to do metal rock and all styles of alternate picking on the guitar. Plectrum pick technique for electric and acoustic guitarists. alternate guitar style of picking lessons.
Today we will look at a concept that I have been asked about a lot recently. This is a contrapuntal string skipping intervallic “Mirroring” technique. It is intervallic by design and employs a Bachian Atonal “Question and answer” effect between the “Bass and Treble” with wide intervals. The string skipping inherent within this works especially well for atonal music, awkward intervals and polytonal scales.
If you enjoyed this Blog/Vlog then please subscribe to us on Youtube Below
The key to improvising is to do something creative with the melody. To recompose it or to broaden it out or to instinctively develop the harmony. Most people take to the modes though with a compulsion to play “Carte Blanche” scale over a chord ad nauseam.
In this Blog/Vlog we will look at some ideas for bringing out the actual flavour of the most talked about mode of them all the “Dorian Mode”.
Most people look at the dorian mode as being a scale of C major starting on the note D. But here is how it works.
ANSWER=D is one tone up from C for D Dorian, so C is one tone up from Bb for C Dorian.
Below we see the difference between C minor and C dorian. C minor has the semitone between the 6th and 5th whereas C Dorian has a tone between the 5th and 6th notes. Dorian Raises the 6th note up a semitone. Without the raised 6th note C would just sound minor and not dorian, so bringing out this 6th note [as it will be in a melody to imply that we are in the dorian mode] is essential to creating actual music and phrasing and not just playing a scale over a chord.
In order to bring out that A natural note in C dorian an easy way is to employ an arpeggio like Bb major 7th. This is very useful, melodic and can be played in 4 note groupings.
Next we can employ some basic chord pairs.
C minor 7 and F major
F major and Eb major
Now we can broaden out on this with C minor and D minor
Bb and G minor
We can also employ pentatonics to bring out the flavour [melody] of a tune.
Another example =Short pentatonic scale that ends/resolves with the A natural note [Raised 6th] and played in 4 note cells [Tetrachords]
Finally it’s a good idea to look at the arpeggios available that line up one after the other.
Thanks for viewing this Blog. If it was of interest to you then please Subscribe to us on Youtube. Click Below!
The key to rapid learning and reaping the rewards of quality progress for musicians is to set “Daily, Weekly, Monthly and Yearly Goals”.
The next most important step is to write these goals down. If you do this then you will enact them and get into the habit of enacting them with greater and greater clarity. It will also instill a natural discipline, inspirational outpouring and perseverance.
These are the books that I use, but any creative goal setting book will do because the days weeks and month are already laid out for you, all you have to do is fill it in with your objectives.
If you follow this then you will rise through the levels. Talent only takes you so far. For musical development discipline and hard work account for everything. Goal setting will take you there on pleasant terms and give you back that which you craved for at the outset.
If you enjoyed this vlog/blog then please subscribe to us below on Youtube!