Fretboard Harmony: Harmonising the Dorian Mode

Posted on February 26, 2020February 27, 2020 by Jazz fusion guitar Improvisation lessons and modern music theory

Harmonising the Dorian Mode video: Please watch for explanation:

In the exercises below you will see how to make the dorian mode sound “Jazzy”. We do this by harmonising the scale [Mode] in chords made of 4ths.

Not all are perfect 4ths though as you will see in the example below:

Here is the Dorian mode harmonised in 4ths. This use of 4ths creates what is known as quartal harmony.

C DORIAN MODE HARMONISED IN 4THS [QUARTAL HARMONY]

C DORIAN MODE BROKEN UP INTO 4THS

C DORIAN MODE “CHORDAL PICKING” IN 4THS

For more on the dorian mode, quartal harmony and modal jazz in general take a listen to the great Jazz pianist Mcoy Tyner.

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John Mclaughlin Jazz Fusion Line Breakdown

Posted on December 27, 2019December 28, 2019 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

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:

Breaking Down Jazz Improvisation “OUTSIDE” Playing

Posted on December 14, 2019November 8, 2021 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” 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

RE DO

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [F 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 with #11

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= C lYDIAN [mAJOR CELL]

jazz improvisation michael brecker outside solo

6th Tetrachord =C LYDIAN/D MAJOR Pentatonic shape

jazz improvisation michael brecker outside solo

7th Tetrachord=C minor arpeggio and finishes with a 4th interval landing on the F TONIC NOTE.

jazz improvisation michael brecker outside solo

8th Tetrachord= F SCALE FRAGMENT

jazz improvisation michael brecker outside solo

9th Tetrachord= F LYDIAN FLAT 7 CELL

jazz improvisation michael brecker outside solo

10th Tetrachord = F SHARP 9 =VERY OUTSIDE SOUNDING

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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