Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
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.
Please watch video the for the John Mclaughlin fingering etc. I start all of these arpeggios on a down stroke with strict alternate picking for rhythmic precision. I am counting in 16ths 1 e and a etc. Most of the arpeggios are one note per string.
Example 1: John Mclaughlin D major 7th arpeggio.
John Mclaughlin D major 7th Alternate Picking Arpeggios Guitar [One note per string]
Example 2: Adding Lydian [and 9th and 13th] to John Mclaughlin’s D Major 7th alternate picking arpeggio
John Mclaughlin Alternate Picking Arpeggios Guitar [One note per string]
Example 3: Starting Arpeggio with Pentatonic John Mclaughlin style
Alternate Picking Arpeggios Guitar John Mclaughlin [One note per string]
Example 4: Pentatonic to Lydian John Mclaughlin guitar style
Alternate Picking Arpeggios John Mclaughlin Guitar [One note per string]
Example 5: Descending Arpeggio with simple John Mclaughlin fingering counting 1 e and a etc.
John Mclaughlin Alternate Picking Arpeggios Guitar [One note per string]
Example 6: Extension
Alternate Picking Arpeggios Guitar [One note per string]
Example 7: Variation
Alternate Picking Arpeggios Guitar [One note per string]
Example 8: Simple fingering descending concept.
Alternate Picking Arpeggios Guitar [One note per string]
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In this final part of alternate picking guitar techniques for jazz fusion improvisation. We again look at the style of John Mclaughlin in order to play through the changes with 4 groups of 4, or 4 tetrachords per bar.
We can now apply this to playing through complex chord changes at a fast tempo. In the example below we will take John Coltrane’s “Countdown” and play one chord per beat as an example for setting up these 4 x 4 note groupings [Tetrachords]for quick rapid improvisation at a super fast tempo.
