Modern Music Theory Improvisation and Application

Mastering Motif Cycling in Jazz Improvisation

Posted on February 21, 2025February 28, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a look at “Motif Cycling”……

What is this?……you may well ask,

Well, it’s an amazing creative and colourful concept for exploiting arpeggios or in this case 4 note tetrachords and shifting them up or down by a specific interval.

This creates interest with the row/line going outside of the harmony and at the same time creating an almost composed sense of thematic material as it rises or descends.

It’s an amazing improvisational tool, not just for jazz, but, also rock and any other genre!

EXAMPLE 1:

In this first example, we will employ our motif cycling concept over a G7 Dominant Chord.

To do this, we will take a G6 arpeggio and have it cycling up in minor 3rds.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

HOW TO MAKE THIS WORK LIKE A PRO!

The key to making this work effectively is to play the line at a fast tempo!

By making the line “Quick” it tricks the ear of the listener into following the line as opposed to discriminating and trying to make sense of it.

EXAMPLE 2:

In this next example, we will be cycling up in flattened 5ths. This will be with root position arpeggios of A Major and Eb Major.

FULL LINE:

EXAMPLE 3:

Now, we will vary it a bit.

To start with, we will take diminished 7th arpeggios and have them cycling up in perfect 4ths.

From here, we will the go up a 4th to Dm and then up a minor 3rd for F7 where the Eb note [7th] resolves to the E natural note of the next chord [Em]

EXAMPLE 4:

In this example, we will take a Bsus4 Arp/Motif which will descend cycling “Down” in Major 3rds.

This has a very Brecker-esque sound and feel to it.

EXAMPLE 5:

Now, let’s take a longer example…..

To start this, we will employ a 4 note tetrachord motif that is cycling up in semitones.

To create interest, we will exploit tones, a fourth and back to tones: [Also, notice when the semitones resolve]

Finally, let’s keep ascending and have this cycling in semitones to the top of the neck:

EXAMPLE 6:

Lastly, let’s mix up a quartal triadic sound of inversions, but, with 4 note groupings. This creates a lovely chromatic Coltrane-esque cycle.

IN CONCLUSION;

This was just a quick look at the brilliance of Motif Cycling. It is such a useful, colourful and creative improvisational tool as exploited by Herbie Hancock, Michael Brecker and Pat Metheny.

The key though, is to use it sparingly and with a double time quick feel as it glides through the harmony with it’s colourful chromatic charm.

It is best used when the harmony is quite static [one chord] or if the chord sequence/changes have a predictable and pedestrian quality.

Motif cycling adds excitement and freshness, whilst giving a new direction and flavour to where the solo line is going and what it has to say!

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Harmonizing Minor Scales for Guitarists:

Posted on February 14, 2025September 7, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a quick look at creating colourful and interesting harmonisations of the minor scale.

We will employ the A minor scale for simplicities sake and see where this leads….

EXAMPLE 1:

In this first example, we will stack fourths on top of each other and harmonise A Dorian:

Here, is the outlining chord of Am7add6. Here, we see the Dorian implication by the F# note.

harmonising_minor_scales_guitar_lesson_example

A Dorian as scale:

Now, let’s harmonise the scale with Quartal Dorian Voicings:

Sheet music notation for the dorian mode "Quartal Dorian" voicing's for harmonising chords on the guitar with tablature — Quartal Dorian Voicing’s.

EXERCISE 2:

We will now exploit the melodic minor scale:

Once again, we will stack 4th’s together. This creates a cool minor/major harmonic approach.

Am/Maj7 melodic minor implication. Notice the C natural [imply minor]and the F# and G# [imply Major]

quartal_harmonising_minor_scales_guitar_lesson_example

A melodic minor scale:

Here, is the chordal harmonisation:

Sheet music depicting the A melodic minor scale chordal harmonisation, with standard notation for the melody and tablature for guitar. — Chordal harmonisation example for the A melodic minor scale, showcasing its unique minor/major harmonic approach.

EXAMPLE 3:

In this example we will add a three note voicing to A Dorian. This will be a root with a 2nd and then a 3rd up.

BEWARE: This employs quite wide stretches.

cluster_harmonising_minor_scales_guitar_lesson_example

EXERCISE 4:

In this last example, we will harmonise the A natural minor scale.

harmonising_minor_scales_guitar_lesson_example_chord

A natural minor scale:

Once again: BEWARE: There is some stretching.

Conclusion:

This was just a quick look at how to harmonise a scale and what can be done with it.

This, is a great idea for use when stuck in one minor key or on one minor chord, as, this creates colour and movement.

The quartal harmonisation work especially well for syncopated and quick chord movement over a static chord.

FREE PDF DOWNLOAD:

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Earl Klugh Style Guitar Composing

Posted on February 6, 2025February 6, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a quick look at the unique compositional and playing style of guitar maestro Earl Klugh.

EXAMPLE 1:

In the first example we will take a basic I IV V I [C to F to G to C] chord sequence and employ “Inversions”.

The employment of simple chord inversions are the key to getting creative in this beautiful, skeletal and spacious guitar style, along with the compositional process.

First we will create a short piece of music to then elaborate on:

Let’s begin with a simple C root position chord that then moves up into its 1st inversion with a melody note of B natural, which, will resolve down to the note A for chord IV [F Major].

From here we will employ a root position chord of G Major.

Now, we need to create a cadence.

In this case we could make this V7d or G/F or employ a simple F Major chord that resolves back to C/E or C 1st inversion.

Here, is the whole little structure that we can embellish in the next part.

PART 2: EMBELLISHMENTS:

Now, that we have a base, a little melody and a structure to work from, we can start to fill it out and colour it in.

First, we will add some simple melodic slides: These, are outlining – C Dm and C/E – and create percussive/melodic movement.

Next, we will exploit chord iii and make it Major and a Dominant 7th: From here, we will use this to modulate to chord Vi [A minor] the relative minor of C Major.

This gives a new emotional colour and pull as it moves away from the Major key.

Finally, we need to cadence. We will employ a ii V chord sequence to get us back to chord I [C Major].

To create a climax to the cadence, we will add colour with 6ths as melodic and rhythmic embellishments that push us to resolve to the tonic chord of C Major.

FULL EXAMPLE:

IN CONCLUSION:

This was just a brief look at this amazing style that is employed by the likes of Earl Klugh and Pat Metheny.

The use of chord inversions and basic harmony creates a very melodic and rhythmic world where composition presents itself naturally, within the movement of the chords themselves.

This is because, the melodies or melodic inflections result from the way that the chord inversion connect and resolve, thus, making the compositional process a natural and fluid one, resulting in spacious, rich melodic sounds that compliment the guitars resonance and fingerboard shapes.

FREE PDF DOWNLOAD:

earl_klugh Download

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