If you look at the diagram below you will see the reharmonisation of the basic 2 5 1 cadence resulting in the “Coltrane changes”.
We will now take the first 4 bars of John Coltrane’s Composition “Countdown” and play it in all 12 keys moving in 4ths. Below are two examples of what to play using 4 note groupings [Tetrachords}
Coltrane’s countdown first 4 bars idea starting with D minor 7th
Coltranes’s Countdown up a 4th starting with G minor 7th
Coltrane’s “Countdown” changes chart
Play through all 12 keys for fluid jazz improvisation development in the John Coltrane style.
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The most common concept for the diminished scale is to sequence or repeat a motif by a minor 3rd. Below is an example of this.
Below we see and hear “Tetrachords” repeated or sequenced descending with the minor 3rd interval creating a beautiful flowing jazz double timed improvised line.
Guitar Tablature and notation of the above diminished scale motif descending in minor 3rds.
diminished lick number 2
Below is another set of four note “Tetrachord” groupings descending in minor 3rds from the diminished scale.
Guitar Tablature for the above diminished scale jazz lick
DIMINISHED CLICHES FOR JAZZ IMPROVISATION
The next lick is a bit of a diminished cliche but it always works and is very useful when improvising in a jazz context.
Again, notice the descending minor 3rds and 4 note tetrachord groupings which is very common in jazz improvisation when doubling the time from 8ths into 16ths.
Guitar tab and notation for the above diminished cliche jazz improvisation lick
ascending minor 3rds diminished jazz lick
Lastly, we have a diminished scale idea/lick “Ascending” in minor 3rds. Again, a bit of a cliche but very useful for jazz improvisation.
Guitar tablature and notion of the above diminished scale jazz lick
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For any John Mclaughlin guitar fans this is a must read book!
Ironically, there is not a lot written about Jazz/Fusion guitar legend John Mclaughlin so it’s refreshing to get a great wedge of a book to digest that encapsulates new and intriguing info.
Anyone with an interest in the gritty reality of 60’s London will find this book an immensely enjoyable read!
On a separate note: Looking back at London Music haunts today and Yesteryear!
Denmark Street London: Hanks Guitars [What used to be Andy’s guitar workshop]
Denmark Street London: What used to be Hanks!
LONDON, UK – JULY 9, 2016: People visit musical instruments shops at Denmark Street, London. Denmark Street is notable for its sheet music stores, musical instruments shops and studios.
Charing Cross Road: The Famous Macari’s Musical instruments. This shop has been going steady for years and will hopefully keep going steady for years to come!
Charing Cross Road: The original shop. Macari’s Musical Exchange. Opened 1958. Want an amp fixed Joe and Larry can do it!
What was “Selmer” where John Mclaughlin worked. It became the Turn Key Shop a hugely successful musical instruments and technology retailer until 2007/2008 when “Shockingly” it closed it’s doors.
The Turnkey shop: s h u t! Hard to believe at the time, it was always such a successful business with two full page sales spreads in the monthly music technology magazines. I spent a few quid in there, I can tell you!
The Flamingo Club: Wardour Street Soho London: It’s now O’Neill’s pub.
Ronnie Scott’s 47 Frith St, Soho, London. The old place was situated at 39 Gerrard Street
Ah,Remember the good ‘ole days?
Back to the book about the 60’s Music Scene!
A truly great book that delves into the 60’s London music scene and sheds light on all the different characters of the day interwoven in a fascinating tapestry with guitarist supremo Jonny Mclaughlin as the main protagonist extraordinaire!
BATHED IN LIGHTNING
JOHN MCLAUGHLIN, THE 60S AND THE EMERALD BEYOND
by COLIN HARPER £14.95
To begin with lets look at the guitar “Cliche” that employs triplets
In practice though and under pressure from a fast tempo this triplet concept generally becomes rhythmically ineffective.
So what do we do?
Well, we employ our old friends “TETRACHORDS”
If you play through the exercise below you will be aware that the employment of Pentatonic’s, Major/Minor arpeggios and plain arpeggios gives us great rhythmical strength and easy guitar fingering.
NOTICE THE REPEATED PATTERN AND GUITAR FINGERING.
CYCLE #2 Ideas
BELOW:
CYCLE OF 5THS AND REVERSE THE CYCLE OF 4THS
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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.
