alternate picking – Modern Music Theory Improvisation and Application

Mastering Slash Chords: The B/C Explained

Posted on August 1, 2026August 1, 2026 by Modern Music Theory and Application

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 Major triad over a C bass:

John McLaughlin guitar Slash Chord B/C Example in TAB and music notation

Here, are a few more voicing’s:

John McLaughlin B/C guiatr slash chord example

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:

John McLaughlin B/C slash chord improviisation example

IDEA 2:

This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.

diagram depicting guitarist John McLaughlin improvisation over Slash Chord B/C Example in music notation and guitar tablature

IDEA 3:

Let’s do the same, but, play with the notation and give it a diminished flavour:

John McLauglin guitar improv example for slash chord B/C

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.

How to play a John McLaughlin guitar arpeggio example for altered slash chord of B/C

IDEA 5:

We can also add some chromaticism for smooth movement.

Chromatic John McLaughlin guitar example

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:

diagram depicting guitarist John McLaughlin cadence and jazz composition

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.

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Mastering John McLaughlin’s Guitar Motif Techniques Part 2:

Posted on July 21, 2026July 22, 2026 by Modern Music Theory and Application

Hi Guys,

Here, is the extended version for the 2nd finger John McLaughlin motif:

MOTIF:

The motif is a 4 note [Tetrachord] in 16th notes- D C# D E

John McLaughlin shakti guitar lesson with music notation and guitar tab example

Notice that this starts with the 2nd finger on the first note:

Now, let’s extend this and add a “set up” by employing the Mixo-lydian mode to create a more Indian/Shakti flavour to the phrase:

I am starting this on an upstroke with strict alternate picking guitar technique:

This time, we will replicate/imitate the 4 note motif and use it as material to create/extend the phrase into a longer line.

John McLaughlin shakti guitar lesson with music notation and guitar tab example for guitar fingering

Below, is the full line/lick:

John McLaughlin shakti guitar motif and fingering lesson with music notation and guitar tab example

Let’s now, extend the motif and descend as far as we can down the fingerboard with the motif:

Finally, we will add our little set-up and create a full phrase:

MOTIF: Starting on a down stroke:

We can also start on a downstroke. This works best and is most natural when picked/phrased in triplets/sextuplets like this:

John McLaughlin alternate picking guitar lesson with music notation and guitar tab example

Full Phrase starting on a downstroke:

John McLaughlin shakti alternate picking guitar lesson with music notation and guitar tab example

IN CONCLUSION:

This little motif/concept is only a small detail, but, it is a good representation of how a lot of material can be created/repeated or imitated from such a small cell. It is like a little hinge that can swing a big door.

This way of building solid lines is really useful for the alternate picking guitar technique as it means that we can unfold material quite easily and if we ever do get lost we can slot back in with simple motif material and rebuild our phrases and keep our lines going.

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ASC/DESC:

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Frank Zappa:Octave Displacement Composition/Improvisation Techniques

Posted on March 8, 2026June 1, 2026 by Modern Music Theory and Application

Frank Zappa Octave Displacement Composition/Improvisation Concepts

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at the way Frank Zappa exploits octave displacement.

This, is a really useful compositional device especially when writing for a string quartet or stringed instruments.

EXAMPLE 1:

In this example we can see the use of the displaced octave [or Maj7th interval].

Musical notation showing a Frank Zappa transition between Maj7th chords, octave displacement with notes and annotations indicating 'O/D' and direction arrows. — Musical notation illustrating Frank Zappa’s octave displacement used in string instrument compositions.

With further analysis, we will notice the employment of the minor 3rd interval as a means of connection and predictive avoidance.

Musical notation displaying a Frank Zappa melody with highlighted minor third intervals, with annotations indicating their locations on the staff with octave displacement. — Musical notation illustrating frank Zappa minor 3rd intervals in a compositional example.

Although, this phrase/motif descends a minor 3rd it is actually, [quite cleverly] copied up a semitone:

Music notation displaying two Frank Zappa motifs with labels indicating connections and copy relationships, by employing octave displacement. — Musical notation illustrating Frank Zappa’s octave displacement and minor 3rd connections

FULL LINE:

Sheet music showing a Frank Zappa guitar piece in 4/4 time signature, including standard notation and tablature for performance with octave displacement. — Musical notation illustrating octave displacement for string instruments, highlighting the use of minor 3rd intervals.

EXAMPLE 2:

This example is the same as that found in Pat Martino’s 12 chromatic forms:

This amazing shape creates a really nice resonance/blend on the guitar. It’s also useful for various inversions and shifting positions around on the fingerboard.

Here, once again we see the exploitation of the minor 3rd interval to move and connect the shape.