Modes of the Major Scale and transposition blog

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What is a mode?

A mode is an “inversion” of a scale:

For instance if you start a scale on the 2nd note of the C major scale you will be playing “D dorian mode”.

THEN WHY DO PEOPLE FIND IT CONFUSING?

That is because of “transposition”.

For instance:

We can transpose that “Dorian mode of D” to any tonic we desire.

In the example below it is transposed to C as the tonic. 

How did I do this?

Well if the note D [Tonic of D dorian] is two 1/2 steps up from C then what is the note C two 1/2 steps up from? 
Answer is B flat. 
So we have a B flat scale staring on the note C.

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Below is a Clear explanation and diagram in music notation. Or for my free modes ebook CLICK HERE

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For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE

Why are the modes useful for the guitar player?

The modes [in this case of the major scale] open up the guitar fingerboard and it becomes easier and easier to connect arpeggios,
phrases, quartal, pentatonic and melodic lines together and create
smooth transitions across the guitar fingerboard.

The first example below consists of connecting the arpeggios contained within the modes. Here we have f major 7 to Dminor 7 to B Minor 7 flat 5 to F major to E minor 7 and finishing with B minor 7 flat 5 [or G9 depending on the bass note]. The Modal connections are smooth and open up the guitar fingerboard easily!

1

Below you will see how easy it is to connect together arpeggios and then create triad pairs from them.

2
Modal Arpeggios Lesson Example

Again, more arpeggio connections from the major modes

3
Modal Arpeggio connections

Below, a mix of arpeggios and triad pairs from the modes

4
Modal Triad Pairs/Arpeggios

QUARTAL HARMONY. JOHN COLTRANE 4THS DEVELOPED FROM THE DORIAN MODE. THIS IS HOW YOU GAET THAT JAZZY SOUND!

5
Modal Quatrtal Chord Lesson/Example

D Minor to E minor

6
Modal Quartal Chords Example

Simple quartal dorian mode jazz/fusion vamp

7
Modal Quartal Chord Vamp Example/Lesson

Below is a simple pentatonic line from the major mode to play over a dominant G 7 chord

pentatnic
Modes of the Major Scale Blog

Finally an extended F major 9 extended line from the major mode

F MAJ VAR
Music Modes of the Major Scale Lesson/Example

For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE

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Metrenome #2 Cutting the time in half for double timing

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Metrenome Video

140 Bpm: Four 16th notes on each quarter beat

16 notes on metronome

70 Bpm: Eight 32nd notes per quarter note beat

32nd notes on metronome

8th notes firmly in time with the metronome

Guitar Picking 8th notes

16th notes firmly in time with the metronome

Guitar alternate picking 16th notes

Connecting 16 notes at 140 bpm. [32nd notes at 70 Bpm]

Metrenome Practice lick

Variation

Metrenome Practice Lick

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John Mclaughlin Guitar Jazz/Fusion Lick/Lesson

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John Mclaughlin Alternate Picking Jazz/Fusion Guitar Lick/Lesson

This John Mclaughlin Jazz/Fusion guitar lesson employs alternate picking for solid rhythmic fluidity. I start on the down stroke with the guitar plectrum.

Alternate Picking Mclaughlin Lick in Parts.

The first part is built from simple Pentatonic cells.

John Mclaughlin Guitar Lick
John Mclaughlin Guitar Lick

The second part uses scale fragments 4ths, and Arpeggios

John Mclaughlin Guitar Lick

The last part Uses 4ths and a Pentatonic Shape

John Mclaughlin Guitar Lick

Full Score of Lick:

Alternate Picking John Mclaughlin Guitar Lick
Alternate Picking John Mclaughlin Guitar Lick

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Alternate Picking 16ths Acoustic Jazz/Fusion Guitar Lesson

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THE FOUR MAIN ALTERNATE PICKING GUITAR RHYTHMS FOR CREATIVE ACOUSTIC GUITAR JAZZ/FUSION IMPROVISED LINE SET-UPS

John Mclaughlin right hand  alternate picking rhythms pattersns
Basic Rhythms

THE FIRST ALTERNATE PICKING RHYTHMIC SET-UP EMPLOYS THE 8TH NOTE AND TWO 16TH NOTES. THIS IS A USEFUL RHYTHM AS IT GIVES YOUR PICKING RIGHT HAND A MOMENT TO SET UP THE “UP STROKE” AND FIRE THE PHRASE FORWARD LEADING TO A  SMOOTH ALTERNATE PICKING LICK/LINE.

John Mclaughlin alternate picking guitar right hand patterns.
Alternate Picking Guitar Set-up

THE NEXT RHYTHMIC SET UP EMPLOYS A DOTTED 8TH NOTE AND A 16TH NOTE. AGAIN THIS SLIGHT DELAY BEFORE THE PHRASE TAKES OFF GIVES YOUR RIGHT HAND TIME TO FLICK UP AND FIRE OFF THE PHRASE WITH CONFIDENT ALTERNATE PICKING.

John Mclaughlin right hand alternate picking patterns for guitar
Alternate Picking Guitar Set-Up for Jazz/Fusion Improvisation

THE PHRASE BELOW IS THE “OFF-BEAT” PHRASE AND IS ONE OF THE MOST IMPORTANT BECAUSE IT CREATES ANTICIPATION AND SYNCOPATION IN YOUR ALTERNATE PICKING WHICH IS ESSENTIAL FOR JAZZ AND FUSION GUITAR PLAYING. [AS I SUGGEST IN THE VIDEO YOU WILL FIND THIS A LOT IN THE JOHN MCLAUGHLIN ALBUM/CD CALLED “BELO HEROZONTE]

John Mclaughlin off beat syncopated alternate picking guitar pattern
Off-Beat Alternate Picking Guitar Acoustic jazz/fusion set-up

FINALLY WE HAVE BASIC ALTERNATE PICKING 16THS STARTING ON THE BEAT. I SAT ON THE DOWN STROKE WITH THE PLECTRUM ON MY GUITAR FOR THIS PHRASE.

John mclaughlin alternate picking on the beat guitar pattern
Alternate Picking 16th’s Guitar Jazz/Fusion Rhythmic set-ups On the beat

ALL OF THESE PHRASES USE A SIMPLE PENTATONIC SCALE BECAUSE THIS IS THE BEST WAY TO GET THESE RHYTHMS PRECISE WHEN STARTING OUT WITH ALTERNATE PICKING.

ALL OF THESE PHRASES USE A SIMPLE PENTATONIC SCALE BECAUSE THIS IS THE BEST WAY TO GET THESE RHYTHMS PRECISE WHEN STARTING OUT WITH ALTERNATE PICKING.

Recommended listening:

“BELO HEROZONTE” JOHN MCLAUGHLIN THE TRANSLATORS

John_McLaughlin_Belo_Horizonte
John Mclaughlin “Belo” Acoustic alternate picking Jazz/Fusion Masterpiece!

“MUSIC SPOKEN HERE” JOHN MCLAUGHLIN THE TRANSLATORS

McLaughlin_Music_Spoken_Here

John Mclaughlin Acoustic Alternate Picking “Music Spoken Here” C.D. brilliant Compositions, Improvisations and Alternate Picking Guitar Technique.

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Metronome BASIC ideas #1

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The keys to start metronome practice on the first basic level.

1] Hear the first Beat of the bar

2] Hear the group of 4 notes [Tetrachords]

Western Classical tradition

SEIMIQUAVERS 16TH NOTES

Konokol

Konokol Counting 16th notes

Hear the difference between 8th notes and double timed 16th notes

8th Notes [Quavers]

16th Notes [Semiquavers] Same exercise but twice as fast [Double Timed]

Exercise to “Connect” 4 note [Tetrachord] Motifs. Hear the connection “On” the beat as you go from the first to the second bar.

16th note double timing metronome tetrachord connecting motifs exercise

How rhythms work against the metronome pulse.

Basic metronome Rhythmic groupings for understanding time development

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Messiaen Modes of limited Transposition

CLICK HERE Research Catalogue Website

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Today we will look at Messiaen’s 4th mode and apply it to the guitar. [La technique de mon langage musical mode 4]

MODE 4 ONE OCTAVE [Messiaen]

Messiaen Mode 4 of limited transposition Scale

MESSIAEN MODE 4 CONCEPT 1[Improvisation]

Messiaen Mode 4 Music Lesson

MESSIAEN MODE 4 IMPROVISATION CONCEPT 2

Messiaen mode 4 Improvisation Concept 4
Messiaen Mode 4

MESSIAEN MODE 4 IMPROVISATION CONCEPT 3

Messiaen mode 4 Improvisation Concepts lessons
Messiaen Mode 4

MESSIAEN MODE 4 IMPROVISATION CONCEPT 4

Messiaen mode 4 Improvisation Concept 4
Messiaen Mode 4

MESSIAEN MODE 4 IMPROVISATION LINE DEVELOPMENT #1

4th Mode Messiaen improv jazz
Messiaen Mode 4 “La technique de mon langage musical”

Mode 4 Messiaen VARIATION:mode 4 messiaen jazz improvisation lickMode 4 Improvised line:

MODE 4 IMPROVISATION LINE DEVELOPMENT #2

Messiaen 4ths mode of limited transposition
Messiaen La technique de mon langage musical mode 4

VARIATION:

Messiaen Mode 4 Classicalimprovisation
Messiaen La technique de mon langage musical mode 4

LA TECHNIQUE DE MON LANGAGE MUSICAL “TECHNIQUES OF MY MUSICAL LANGUAGE” Messiaen’s TREATISE on composition and musical language.

 La technique de mon langage musical ("The Technique of my Musical Language")

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