IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Welcome to part 2 of the John McLaughlin Modern Jazz Chords series.
First we will have a look at making chords from the whole step half step diminished scale:
The Diminished Scale
Musical notation displaying the diminished scale starting on the note C, for creating modern jazz chords.
Within this scale are lots of Triads: [for instance]
From these Triads we can add different Bass Notes and produce “Slash chords“
Chord progression showcasing slash chords derived from the diminished scale.
Okay, let’s take three triads with different bass notes and join them together:
Triads with different bass notes from the diminished scale, essential for creating ‘slash chords’ in jazz harmony.
It’s important to realise that because we are employing chords form the diminished scale we have minor 3rd movement.
So, let’s add a little melody within the chords: This is the way that John McLaughlin gets that lovely Bluesy feel within the harmony. Again, this is due to the way that the minor 3rd’s work within diminshed scale harmony.
Musical notation showing triad slash chords F/F#, D/Eb, and B/C with finger positions on a guitar tab.
Now let’s create a Blues Composition from this diminished scale.
Chord sequence with diminished scale harmonies for a blues composition.
For the last 4 bars we will make the Harmonic Rhythm Quicker by adding a new chord sequence that employs minor7 flat 5’s with slash chords.
Chord progression using diminished scale triads creating slash chords
JOING CHORDS WITH SCALIC FRAGMENTS
It’s a good idea to join chords together with fragments of the diminished scale: This is also extremely useful when creating composition;
Musical notation illustrating John McLaughlin’s chord scale in a diminished scale context.
2x scale to chords:
All 12 Major Triads over One Note [C]
Here is an excellent exercise for hearing how all 12 major triads sound over the same single note;
Exercise showcasing all 12 major triads over the pedal note of C.
Lastly, here are some misellaneous John McLaughlin guitar chords:
Shakti Chord:
Diagram showing guitar tablature and notation for the Open E “Shakti” McLaughlin chord
Harmonic minor scale chords:
Example of harmonic minor scale chords for guitar, showcasing the E/A chord.
E/A
Guitar chord diagram for slash chord E/A, illustrating finger positioning and fret numbers.
E/C
Musical notation for slash chord taken from the harmonic minor scale.
Lastly, From the Whole Tone scale [Notice: 1 tone movement]
Musical notation example featuring chords from the whole tone scale..Musical notation demonstrating John McLaughlin’s slash chord sequences
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.
