Modern Music Theory Improvisation and Application

Mastering Chromatic Guitar Techniques Inspired by John McLaughlin

Posted on August 29, 2025August 29, 2025 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at adding colourful chromatics to your playing.

I am employing the concepts/style of guitar great John McLaughlin.

PART 1:

EXAMPLE LINE: Ascending

For many guitar players that employ the pick, ascending chromatics seem to be more awkward and rhythmically difficult to phrase and play than descending.

One, of the great secrets, that John exploits, is the use of the open string to connect everything together smoothly.

john_mclaughlin_chromatic_guitar_improvising_techniques

This, is unbelievably useful at up-beat tempos and with odd time signatures.

WHY IS THIS?

Because, the open string gives the fretting hand a fraction of a second to get into position…. and so, the picking right hand doesn’t have to rush or fight against the fretting hand and interrupt the synchronisation.

This makes it easy, to count time and play in a natural and fluent manner.

Here, is the first part of the example line Ascending:

Notice, the melodic set up with a simple C Major Triad.

This, then moves back down a 4th for the open string to be plucked. Also, notice that this open string is plucked on the off-beat.

Let’s, now complete the ascending phrase by employing another open string:

Notice: The way the pick brings out the chromatics naturally in this way.

[Although, these can be classed as synthetic or symmetrical scales and some may deem them “Unemotional” or “Un-melodic” they serve an important purpose and weave beautifully in the improvised line].

Complete Ascending opening phrase:

VARIATION: [With Up-Beat]

PART 2:

Descending Phrase: Chromaticism

In the answering phrase we will employ Target Tones [Enclosure/Approach notes].

We will set up the phrase with an anacrusis, this being [4] e and a

NOTE: I am starting this on an “Up” stroke, so that when I start on the beat of the first bar I can employ the “Down” stroke” for “Even” tetrachord [4 note] groupings.

On the third beat, I am exploiting the use of the EbMajor arpeggio to get out of the key.

But, this then resolves nicely, back to Em. [Notice, the Bb resolves a half step down to the note A]

FULL EXAMPLE LINE:

IN CONCLUSION:

This was just a brief, but informative look at how easy chromatics can be brought into anyone’s guitar playing.

The key, is not the notes themselves so much, but, “How” they are done.

McLaughlin’s chromatic guitar techniques are actually quite simple and amazingly effective as they work at any tempo with the crafted alternate picking guitar technique.

FREE PDF DOWNLOAD:

chromatics john Download

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Schoenberg’s chord of the 15th-Music Examples and Analysis

Posted on August 25, 2025August 25, 2025 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the final chord of Arnold Schoenberg’s “Sechs Kleine Klavierstucke” 2nd movement. In thirds this reads as: C–E–G–B–D♯–F♯–A♯–Cx.

Schoenberg Chord in classic form:

schoenberg_chord_music_analysis_extended_15th_in_music

This extended chord of a 15th, can also be viewed and heard as a bi-tonal construction of C Major 7th with Eb minorMajor 7th superimposed on top

Schoenberg Chord Clarified:

This can also, be thought of [especially in terms of the guitar] as an arpeggio of CMaj7 and an Arpeggio of EbmMaj7.

schoenberg_chord_music_analysis_explained_15th_in_music

Due, to the nature of its sound and collection of notes, it can produce some interesting counterpoint. Especially, as the Eb to E natural resolution creates colour and drama. [view video at top of page].

schoenberg_chord_music_analysis_extended_15th_in_music_guitar

Being, a Bi-Tonal chord it is useful as it gives us triad pairs.

Ascending Line:

schoenberg_chord_music_analysis_chord_pairs_guitar

Now, we will take this a stage further by adding more chords/triads available.

D+ to C to EbmMaj7 to CmMaj7 to Em7 to Bmaj7

schoenberg_chord_music_analysis_chord_pairs

CHORDS:

Let’s now, re voice the chord. Here we will make the chord of C a minMaj7 and add D Augmented [9th] on top.

In the video/audio [a quick demo I created] below, we can hear the dramatic sound of this voicing in the orchestra.

Next, we have two guitar voicing’s. Firstly we have a Bsus/C [or plain B/C] as a typical McLaughlin guitar voicing.

schoenberg_chord_music_analysis_extended_15th_in_music_mclaughlin_guitar

Secondly, we have the same voicing but with a changing bass.

Lastly, another guitar voicing that is useful for chordal picking:

From here, we will add a partial scale descending that is formed from the chord: This chord voicing has a flattened 5th and a sharpened 9th.

Lastly, we can create some interesting and colourful passages by exploiting the intervals inherent within this 15th chord.

EXAMPLE 1 Ascending:

schoenberg_chord_music_analysis_extended_15th_in_music_intervals

EXAMPLE 2 Descending:

PDF DOWNLOAD:

schoenberg_chord Download

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Alternate Picking Leverage:Open String Concept:

Posted on August 21, 2025August 21, 2025 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Just, a quick response Blog to a video I made about employing the “Open” [2nd] string ascending with alternate picking guitar technique.

Why do this?

The main reason that this works, is because it is an “Even” grouping, and, by plucking the open 2nd string it gives the fretting hand a fraction of a second to relax and get into position.

This in turn gives us some natural and excellent leverage. This also, means that we have the “Up” stroke to descend with.

This technique works really well for the precise picking passages both in Fusion and World Music, like, for example the precise lines of McLaughlin’s “Shakti” compositions.

This extra note, or even pattern, works in principle like a Be bop scale in that the extra note creates a smooth picking line for the right hand.

EXAMPLE 1:

4 note “Even” Pattern:

Here, we can see the employment in action by crossing with the open B string on the “Upstroke”.

alternate_picking_guitar_technique_expalained

This gives us, the 4 note “Even” grouping.

EXAMPLE 2:

In this example, we can see where the “Up” stroke occurs, which, sets us up nicely to descend:

Here, is the whole scale passage.

Also, notice that the open B string is “Off” the beat.

EXAMPLE 3: Descending:

There are, other open strings that we can exploit. But, for the sake of a quick response blog we will just look at one more idea and that is for descending:

Here, will will pluck the open G string and then add a chord. [Again, notice the the open string is off the beat]

Finally, let’s extend this:

Conclusion:

This is only touching the surface. There are many variations on this and any string can be employed both ascending and descending.

Now, you might say what if the open B note isn’t in the key? Well, this doesn’t matter as it is only one note and can add colour. John McLaughlin does this to great effect. Also, due to the picking and the velocity the ear of the listener is not really affected, it’s very difficult to tell.

Lastly, this is not a shred gimmick or a means of tremolo picking and trying to play fast. It is a concept for really precise picking awkward lines, when, for instance you are doubling with a Sax or Piano or as a Rhythmic “Shakti” style line with a tight drum/drummer/percussionist.

PDF DOWNLOAD:

ap open string Download

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