Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, Guitar Jazz Fusion John Mclaughlin Al di Meoala improvisation techniques explanations in notation, tablature and video
John Mclaughlin Alternate Picking Jazz/Fusion Guitar Lick/Lesson
This John Mclaughlin Jazz/Fusion guitar lesson employs alternate picking for solid rhythmic fluidity. I start on the down stroke with the guitar plectrum.
Alternate Picking Mclaughlin Lick in Parts.
The first part is built from simple Pentatonic cells.
John Mclaughlin Guitar Lick
The second part uses scale fragments 4ths, and Arpeggios
John Mclaughlin Guitar Lick
The last part Uses 4ths and a Pentatonic Shape
John Mclaughlin Guitar Lick
Full Score of Lick:
Alternate Picking John Mclaughlin Guitar Lick
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THE FOUR MAIN ALTERNATE PICKING GUITAR RHYTHMS FOR CREATIVE ACOUSTIC GUITAR JAZZ/FUSION IMPROVISED LINE SET-UPS
Basic Rhythms
THE FIRST ALTERNATE PICKING RHYTHMIC SET-UP EMPLOYS THE 8TH NOTE AND TWO 16TH NOTES. THIS IS A USEFUL RHYTHM AS IT GIVES YOUR PICKING RIGHT HAND A MOMENT TO SET UP THE “UP STROKE” AND FIRE THE PHRASE FORWARD LEADING TO A SMOOTH ALTERNATE PICKING LICK/LINE.
Alternate Picking Guitar Set-up
THE NEXT RHYTHMIC SET UP EMPLOYS A DOTTED 8TH NOTE AND A 16TH NOTE. AGAIN THIS SLIGHT DELAY BEFORE THE PHRASE TAKES OFF GIVES YOUR RIGHT HAND TIME TO FLICK UP AND FIRE OFF THE PHRASE WITH CONFIDENT ALTERNATE PICKING.
Alternate Picking Guitar Set-Up for Jazz/Fusion Improvisation
THE PHRASE BELOW IS THE “OFF-BEAT” PHRASE AND IS ONE OF THE MOST IMPORTANT BECAUSE IT CREATES ANTICIPATION AND SYNCOPATION IN YOUR ALTERNATE PICKING WHICH IS ESSENTIAL FOR JAZZ AND FUSION GUITAR PLAYING. [AS I SUGGEST IN THE VIDEO YOU WILL FIND THIS A LOT IN THE JOHN MCLAUGHLIN ALBUM/CD CALLED “BELO HEROZONTE]
In this exercise we play the most common thing known to man on the guitar “The minor pentatonic” scale.
BUT, the key here is to play and “Count” “1 2 3 4 5 6” to get the “Rhythm” so that the picking and fretting hands can articulate the phrase musically in time and in synchronisation.
This next exercise is a classic “Repetition” alternate picking exercise. Count “1 e and a 2 e and a 3 e and a 4 e and a” and play in a double timed tetrachord manner accenting the 1st note in each 4 note grouping
The key to alternate picking with the guitar pick when dealing with jazz improvisation and jazz fusion improvisation is to be aware of the off -beat. In these two little examples we simply miss the 1st beat.
Remember that the 2nd note of a group of 16ths will be an “Off-beat” and an “Upstroke”. But, if you start on the “Off-beat” with a down stroke then the patterns will be opposite to what they would be starting on the beat. This may sound confusing but is “paradoxically” natural and an easy way to create and control ‘syncopation”, literally cutting off the first note.
You can do this anywhere in the bar, but to begin with it is best explained through the two short example alternate picking exercises.
This phrase below is a little “Off-beat” phrase found in the John Mclaughlin album/CD called “Belo Herozonte.
This little exercise works on the development of another basic guitar fingering idea. This fingering [as you will find out when playing through the notation/tab] lends itself well to the rhythmic development of John Mclaughlin’s alternate picking guitar technique.
As always keep the alternate picking rhythmical and tight and count in groups of “Tetrachords” [four 16th notes or “TA KA DI MI” Konokol ]for fluency and good timing tap your foot as you play the Raga line.
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