acoustic guitar – Modern Music Theory Improvisation and Application

Master John McLaughlin’s Guitar Chord Techniques:

Posted on September 17, 2024September 17, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the late 60’s early 70’s John McLaughlin guitar chord/riff style of “My goals beyond” and “Extrapolation”.

This is a great compositional vamp style that really brings out the resonance of the guitar. It has a sort of loose swing feel to it, that sort of gritty London soho jazz sound of the time.

The vamp is based around the D6add9 guitar chord shape, with the open E note as a pedal.

To begin with, we will play the D6add9 chord and then move it up a tone to E6add9 and then back again to D6add9. [see video above]

As in the video above you will hear/see that I am syncopating/weaving in and out of the bass notes displayed below plucked on the low E string.

To create colour and contrast we then change the chord in the third bar by moving the shape up to create Dm11/E to G6add9 and back to Dm11/E.

We then move back to D6add9 and E6add9:

From here, we move the shape up to A6/9/E to G6/9/D and finally resolving to F#13/E.

The Bass moves down in half steps, E Eb D C#

We repeat the first part and then end with the chord shape on G A C D E D: strummed over the E pedal bass.

IN CONCLUSION:

To conclude, this was just a quick look into strumming extended chords in and out of a melodic bass line. Simple as this is it works really well for creating compositions, wether in a blues form or a verse/chorus structure.

This style excels on the guitar because the bass can be doubled in unison with another instrument, [for example, piano or sax or double bass].

Lastly, the chord shape of the added 6th and 9th [as well as the 11th] resonate sympathetically on the guitar both as a strummed attack or mellowly plucked with the fingers.

FREE PDF DOWNLOAD:

john-mclauglin-chords Download

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Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Posted on August 10, 2024August 19, 2024 by Modern Music Theory and Application

Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Please watch video above for detailed info:

Hi Guys,

Today, a look at some Fripp style “Intervallic” guitar alternate picking exercise/vamps.

First, we will employ 8th notes and then extend this by adding a double timed bar moving from 8th notes to 16th notes.

EXERCISE1

In the first exercise we will perform a repetitive loop or vamp. This will start on a “Downstroke” with strict alternate picking throughout.

In regards to the fretting hand, be aware of the necessary“Pivoting” when string skipping to the F# note. It is only a small movement but it makes all the difference for a clean execution of the exercise. [see video above]

EXERCISE 2

Here we have 2 bars of music. Notice the double/repeated note B natural. This is good for control of your right hand plucking/picking technique.

This loop/vamp is great to train alternate picking repetition of notes and right and left hand synchronisation and consistency: [See video above].

EXERCISE 3:

This time we will add 16th notes to double the time and create rhythmic interst and melodic movement. This is also reminiscent of guitarist Al Di Meola’s picking technique.

Part 1-8th notes:

Part 2-16 notes [Double timing]

Variation/Extension:

In this example we move from 2 bars of 8th notes to 1 bar of 16th notes.

Right hand Guitar Technique:

If we look at the above diagram we will see that the strings are being crossed and alternate picked along a “Straight” line.

This ensures that we are always “Aligned” with the string/note that we wish to pluck.

It is not guess work but a relaxed right hand that knows where to pick along that line and hence we can pick complex patterns regardless of time and intervallic distance with confidence and clarity.

CONCLUSION:

These exercises are very good at revealing the right hand picking to the left hand fretting and creating an awareness of “Alignment” and synchronisation.

Following the straight line is so helpful as it means that we can get on with the playing of the music and not concern ourselves with anything outside of that, like “Will I play the correct note”, or “Here is the awkward bit”, etc.

Just align with the string along the straight line, pivot with the fretting hand if needed and just play.

FREE PDF DOWNLOAD:

Fripp Download

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2 short John McLaughlin Style Acoustic Jazz Guitar Licks/Cadences

Posted on February 10, 2024February 27, 2024 by Modern Music Theory and Application

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2 short John McLaughlin Acoustic Jazz Guitar Licks/Cadences

Please Watch Video Above for Detailed Info:

Hi Guys,

Today just a couple of John McLaughlin “Style” acoustic guitar licks/cadences on ii V7 I’s

LICK #1

The first one has a phrasing that really feels like two groups of sextuplets. This in turn creates a sort of juxtaposed phrasing as it is picked in 4 note tetrachord groupings starting with an up beat.

But, the alternate picking pattern starting on an Upstroke pushes this juxtaposition quite naturally.