Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Tag: al di meola
chordal picking and alternate picking guitar technique of Al di Meola. Speed picking triplets and dampened alternate pick method taught and used by Al di Meola.
B/C GUITAR SLASH CHORDS GUITAR LESSON AND EXAMPLES
Please watch video above for detailed info:
Hi guys,
Today, a quick look at the idea of employing slash chords.
To do this we will focus on one specific chord that of B/C.
CHORD VOICING:
In the notation/tablature below, notice the use of a B Majortriad over a C bass:
Here, are a few more voicing’s:
1]
2]
3]
4]
SOLO LINE EXAMPLES:
This chord works well with the diminished scale. But, in order to come up with something unique we are going to take a different approach.
Because, we have the B Major chord we can exploit Pat Martino’s minor conversion technique.
In this case, we will employ the minor a Major 3rd up. This will be D#/Eb as the minor key:
IDEA 1:
Here, we will employ the simple Eb minor arpeggio:
IDEA 2:
This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.
IDEA 3:
Let’s do the same, but, play with the notation and give it a diminished flavour:
IDEA 4:
Now, let’s take a B Major arpeggio and ascend it by making sure our C bass note is within it.
NOTE: There are also two open string notes of D natural [minor 3rd] and the open E. I used these as they make the arpeggio flow easily when alternate picking.
IDEA 5:
We can also add some chromaticism for smooth movement.
COMPOSITION- APPLICATION IN CADENCE
Finally, let’s see how composition can be exploited with our slash chord.
To do this, we will create a ii V7 I cadence:
NOTICE: In the example above, we can see that the minor becomes diminished and the Dominant becomes 13b9 and the I chord becomes our slash chord that resolves yet hangs in the air.
These differ slightly as they incorporate alternate picking to chord and back to alternate picking technique.
Adding a chord [or chords] can throw some players off when alternate picking, so these exercises can be really helpful.
All of these little exercises are around the 140 bpm metronome marking.
EXERCISE 1:
In this primer exercise we will have two sets of 16th notes that then accent a D quartal chord.
This exercise starts on a Downstroke and accents the 3rd note in each 4 note grouping.
By accenting these pitches it will make picking the exercise much smoother, due to the the last 2 notes in each 4 note grouping being prepared for and hence plucked in a deliberate fashion.
Musical notation for a guitar exercise focusing on alternate picking with accents.
EXERCISE 2:
This time we will extend the previous exercise, but, start in the bar on the 2nd semiquaver.
Again, these simple concepts will affect how you pick. So, this is set as if it is for a riff or hook that is doubled up with another instrument, hence, creating a much more compositional approach.
Sheet music for alternate picking guitar exercise focusing on chord integration.
Here is the Full Exercise:
Musical notation and tablature for Exercise 3, showcasing alternate picking techniques for guitar.
EXERCISE 3:
This time we will ascend and descend.
This exercise demonstrates the different amount of notes per string.
Many, alternate picking exercises revolve around the 3 notes per string concept.
But, real music dosen’t work that way as we have – Melodies/Vamps/Hooks/Riff/UnisonInstruments-this means, there maybe 1 note on one string and 4 notes on the next string and then 2 notes on the next string and then 3 notes etc.
This exercise is tailor made for the above, as, it employs the two main music devices being that of an arpeggio and scale.
Here is the first part.
Guitar alternate picking exercise showing arpeggio, scale, and chord for varied note patterns.
The second part, starts on an Upstroke, because, we finished the last phrase on a downstroke as we plucked the chord.
Sheet music for Exercise 3, illustrating descending guitar patterns for alternate picking.
EXERCISE 4:
This exercise involves crossing over to the 1st string and back again, with different amounts per string.
So, to begin with let’s break this down into a simple 2 string exercise:
As before, notice the accents on the 3rd note in each 4 note grouping:
Detailed notation for a guitar exercise focusing on alternate picking with accents on specific notes.
Full Exercise:
Musical notation and tablature for a guitar alternate picking technique exercise, highlighting a minor third and arpeggio.
In conclusion:
These exercises are just a few ideas that are really useful when working on alternate picking guitar technique.
This is because many hooks and vamps and compositional devices don’t work on 3 note per string picking.
The great improvisers like John McLaughlin, Don Mock and Pat Martino play long fluid phrases along with weaving in and out of chords, chromaticism and implied harmony [double stops/Octaves]. So, being able to pluck odd and even groupings [or any amount of notes per string] with embellishments and chords is essential.
Hopefully, these exercises will be of some help with that.
Today, a look at the Maj7#11 chord, a favourite of guitarist John McLaughlin.
This is really a lydian chord due to the sharpened 11th note.
EXAMPLE 1:
In our example and analysis, we will look at the harmonic implications through the tonality of G Major.
Below, we can see the 5th of G Major,the note D moves down a semitone to the note C# [the sharpened 11th]. On top of this we will place the Maj7th note in G Major. This is the note of F#.
Musical notation illustrating the G Major – Maj7#11 chord features/Construction.
Here, is a classic guitar shape/voicing with the tonic note of G in the bass:
G Major 7 Sharp 11 Chord Diagram with Fingering [GMaj7#11]
Let’s now create an arpeggiooutline of the chord:
Musical notation illustrating an arpeggio in the context of a Maj7#11 chord.
We will now ascend and descend the arpeggio outline, as this will give us control over the harmony when improvising on the solo line.
Arpeggio exercise featuring the Maj7#11 chord in the context of G Major.
VARIOUS CHORD VOICING’S-Variations:
Below, are examples of various voicing’s and variations for all instruments, but, especially the guitar.
This is because certain voicing’s resonate extremely well on the guitar, whereas, others can become muddy in sound.
The voicing’s below offer quite a few possibilities,
Various chord voicings for the Maj7#11 chord on guitar.Musical notation illustrating the Maj7#11 chord voicing.
MAKING MUSIC WITH THIS CHORD:
We, will now make a ii V7 I cadence with this chord, in order to see, hear and understand how to apply it to composition.
Firstly, let’s take a simple ii V I in G major.
Now, we will substitute the Am for AmMaj7 and the dominant chord D7 for D Augmented. This will allow us to finally rest on the Gmaj7#11 chord. [A sort of ethereal rest]
Musical notation illustrating the ii V7 I cadence substitution featuring AmMaj7, D augmented, and G Maj7#11 chords.
CHORD VOICING’S FOR THE ABOVE EXAMPLE:
Chord diagram showing substitution AmMaj7, D+, and GMaj7#11 chords for guitar.
The improvised line:
Let’s, now create a solo line from this Maj7#11 chord:
Below, we can see the use of simple arpeggio inversions.
Firstly, we have a Bm arpeggio [implying a 1st inversion GMaj7] connecting to a 2nd inversion G Major triad. This, then resolves down with simple chromatic application.
Example of G Major 7 arpeggios showcasing the #11 note and chromatic transitions.
From herein, we will employ G Lydian modal/scale “Fragments” to complete the line,
