John McLaughlin Guitar Fingering-Jazz Chromatics

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John McLaughlin Jazz Guitar Chromatics easy Fingering

Please watch above video for detailed analysis:

Hi Guys,

Today we will have a look at an easier fingering for jazz chromatic target tones:

Below we have the old “Traditional” fingering:

john-mclaughlin-chromatic-pentatonics-lesson

Now, we have a simpler and more intuitive John McLaughlin guitar fingering. 2 fingers to 2 fingers with a slide.

john-mclaughlin-chromatic-pentatonics-lesson

We will now apply this to the most common and easiest scale on planet guitar, the A minor Pentatonic scale.

john-mclaughlin-chromatic-pentatonics-lesson

This time we will add a “Side Step” and chromatic target tone movement

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In this example we will have an upbeat with 4 chromatic descending notes starting on the tonic note D:

john-mclaughlin-chromatic-pentatonics-lesson

Finally, we will extend it over a ii V7 I

john-mclaughlin-chromatic-pentatonics-lesson

PDF John McLaughlin Tartget Tones Jazz Chromtics Guitar Fingering Example

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King Crimson/Fripp Guitar Cross Picking Sequence technique

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King Crimson/Fripp Guitar Cross Picking Sequence Technique

Please watch the above video for detailed analysis:

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Hi Guys,

This sequence uses our old friend, the “Down Down Up” Cross Picking Guitar Pattern:

fripp-king-crimson-guitar-lesson

Although, the pattern is 1 2 3 1 2 3 I am counting 3/4 as in – 1 and 2 and 3 and for rhythmic momentum and only 1 2 3 in the 3/8 bar.

fripp-king-crimson-guitar-lesson

The fretting hand shapes are mainly Quintal and Quartal moving around in the cycle of 4ths. Although, there is some flattened 5th and Major 3rd movement.

fripp-king-crimson-guitar-lesson
fripp-king-crimson-guitar-lesson

Part 1:

fripp-king-crimson-guitar-lesson

Part 2:

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Last Bar:

fripp-king-crimson-guitar-lesson

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How to-Jazz Guitar “outside” Playing with Chromatic enclosure [Target Tones].

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Alternate Picking jazz Chromatics [Enclosure/Target Tones]

Please watch video above for detailed analysis:

PDF DOWNLOAD:

Example 1:

Notice the anacrusis/upbeat. See how the note C is targeted with the three chromatic notes starting on an “Up” stroke for alternate picking. It is essential to count time in order to carry the rhythmic phrasing as you connect it all together.

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Notice that the “Target Tones” [Enclosure] are now in the bar as part of the line, but the set up remains the same.

jazz-guitar-how-to-chromatics

Example 2:

This time we have an upbeat with 4 [even notes] grouping. Again, the target tones are set up in the bar as part of the line. Notice, how the chromatic notes set up the key notes on the “Strong” beat.

jazz-guitar-how-to-chromatics

The next part employs pentatonic tetrachords [4 note groupings]. These are easy to play at a quick tempo on the guitar and work well to connect the next bars chromatic content.

jazz-guitar-how-to-pentatonics

We finally finish with chromatic notes in even alternate picking groupings outlining B7+

jazz-guitar-how-to-chromatics

EX.1

jazz-guitar-how-to-chromatics

EX.2

jazz-guitar-how-to-chromatics

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