Modern Music Theory Improvisation and Application

Jazz Fusion Alternate Picking Guitar Exercise Analysis

Posted on July 8, 2024July 8, 2024 by Modern Music Theory and Application

Hi Guys

As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy]

VIDEO OF THE EXERCISE:

Alternate Picking guitar exercise. Jazz Fusion music mid tempo. Lesson/How to:

EXERCISE ANALYSIS:

PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate picking:

This exercise starts on a down stroke with strict alternate picking around 130-140 Bpm:

The point of the exercise is to “Connect” lots of jazz improvisation concepts together.

The first being barring 4ths and 3rds with the little finger [or pinkie]. This breaks up the monotony of the scale sound and creates a melodic inflection. It also makes it easy to play quickly as two notes are fretted with the same finger.

alternate-picking-guitar-jazz-fusion-lesson

This exercise is also good for exploiting phrasing on one string:

It’s also good for triad implications or sus 4-3 to lengthen the line.

Lastly, another tool that works really well for both the alternate picking right hand and the sound of the phrase is to employ an arpeggio. In this exercise we have also manipulated the open string to set up the next fragment of scale on the same string.

FULL EXERCISE:

DESCENDING ALTERNATE PICKING EXERCISE:

Alternate Picking mid tempo guitar exercise

This exercise starts on a downstroke once again, but, this time we descend:

The same improvisational tools are applied.

We start the line with some 4ths barred with the little finger into a bit of broken scale.

This leads us nicely into the employment of two arpeggios. These arpeggios create melodic colour over the A7 Dominant chord.

Next we exploit the alternate picking on the same string for two beats over the D Major 7 chord:

As with the previous exercise we exploit the Major 3rd and perfect 4th intervals, which means that we can alternate pick two notes quickly without having to change our fretting fingers.

Finally, we employ the chromatic scale starting on the #5 [Bb] of D7augmented chord:

IN CONCLUSION

In conclusion it’s through exploiting these improvisational devices that we can alternate pick and create long quick fluid lines lines that make improvisational sense.

In terms of jazz fusion this means that we can play smoothly through ambiguous harmony as well as standard chord changes at a quick tempo.

FREE PDF DOWNLOAD:

alternatepicking-lesson Download

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Don Mock: Target Tones Book and C.D Review:

Posted on July 3, 2024July 3, 2024 by Modern Music Theory and Application

Don Mock “Target Tones” Bok and C.D Review

Hi Guys,

Some of you have asked me if there is a good resource for mastering target tones or jazz chromatics on the guitar.

The good news is yes there is!…

But, it is out of print…

Although, You might find a Pdf or cheap copy on the internet, Amazon or Ebay.

So, what is this resource I talk of?

Okay, so what resource is this?

Well, this resource is a book with C.D written and performed by brilliant jazz guitarist and teacher supreme Don Mock.

The difference between this book and most other books on jazz and chromaticism is that Don shows the “Theory”. This makes it easy to understand.

EXAMPLES OF HOW THIS THEORY WORKS:

The key is this: The first three notes set up and target the chord tone that is on the beat:

Here, it is on beat 3 in red.

Here, is a second target melody: Again, we see the same set up:

Decorating a simple Dom7 arpeggio:

Below, we can see this applied to a C7 arpeggio.

Despite the chromaticism/target tones you can clearly see the outline of the arpeggio in red.

The arpeggio tones are “On” the beat: That is beats 1 and 3.

Lastly, notice the upbeat/target melody in bar 1 that sets this process in motion:

DOUBLE TIMING 16TH NOTES:

As a final example, [and also where this book is in a league of its own] is in the manipulation of double timed 16th note phrases.

This time the target melody or target tones outline the C Major scale:

Again, the notes of the scale are in red and are played “On” the beat and this time there are 4 scale tones per bar.

Again, notice the set up in bar 1:

FINALLY:

When you have this down then you can start to manipulate the target melodies and try placing them in different parts of the bar.

Also, when you are fluent you can start to break the rhythm up and exploit the rhythmic phrasing.

IN CONCLUSION

This was just a brief look at Don Mocks excellent book/C.D “Target Tones”. I am not promoting this book or in any way involved with it, but, as I am always asked for a great resource to learn jazz chromatics on the guitar I felt that this would be of great help to anyone confused or trying to understand the theory behind it.

FREE PDF DOWNLOAD:

Don Mock Download

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Pat Martino’s Melodic Minor Scale: Jazz Guitar Improvisation: minor conversion

Posted on June 24, 2024July 3, 2024 by Modern Music Theory and Application

Pat Martino Melodic Minor Guitar Improvisation | Jazzimproviser.com

Hi Guys,

Today, a look at Pat Martino’s use of the melodic minor scale. We will employ the same jazz tools as the previous video.

The Melodic Minor Scale

As, you can see below the melodic minor scale is the same as the major scale but with a flattened third.

pat-martino-melodic-minor-conversion-jazz-guitar-improvisation

This scale works well, when played over altered Dominant chords.

In this case we have an Ab7 chord that is then altered. To play over this we employ the melodic minor scale by playing it a half step up.

So, for Ab altered we can exploit the A melodic minor scale as it is a half step up.

Below, the Ab altered chord:

Jazz chromatic Tools:

To begin with, let’s use our old friends the “Target tones”.

Once again [as in last lesson] we will start with an upbeat. This sets the rhythmic flow of the chromaticism and the jazz phrasing. From here we will employ some simple chromatic scale tones.

We will now exploit the phrase by bringing in an arpeggio for melodic effect. [Also, notice, the flattened 6th and the major 3rd interval with chromatic descending movement].

Rhythmically, we start on the off beat once again.

In the next bar we will employ some basic melodic minor scale before adding our colourful chromaticism.

Now, we will bring in our chromatic set up which is a mixture of target tones and chromatic scale. [Notice, we end the phrase on the leading note of A melodic minor scale the G#].