Tag: alternate picking

Exploring John McLaughlin’s Unique Guitar Chordal Harmony

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at some of John McLaughlin’s amazing altered, slash and ambiguous guitar chords.

Johns harmony is a very rich palette indeed.

In the little example above in the video, I play about with some of Johns harmonic movement and colour.

EXAMPLE 1:

Although, I could employ diminished harmony, I am instead aiming at “Implication”….Why?…This is in order to bring out the big “Rich” resonance of the guitar.

F/F# [/A]

Eb/E [/B]

john_mclaughlin_guitar_chord_example_lesson

It is an ethereal sound where the natural harmonics and overtones can ring out of the guitars sound hole harmoniously.

SHORT CONNECTING RUN:

Next, we employ a Bb Major run with a few chromatic notes. These being, the B natural and the E natural chordal tones.

john_mclaughlin_guitar_chord_example_lesson

EXAMPLE 2:

Now, let’s add two more resonant chords,

A/Bb

john_mclaughlin_guitar_chord_example_lesson

B/C

john_mclaughlin_guitar_chord_example_lesson

ARPEGGIO CONNECTION:

We will now connect to the next part together.

This will be with an arpeggio of Ebm mostly [or D#m] implying BMaj7. [Although there is an implied resolution to B7 also].

This juxtaposition, creates another ambiguous move that opens up a fresh and unique sounding harmony.

john_mclaughlin_guitar_arpeggio_example_lesson

From here, we can manipulate and resolve into the Bb minor full barre harmony:

john_mclaughlin_guitar_chord_example_lesson

Now, let’s create a sequence. This will be, C#7sus4 to C7 with a sharpened 4th and a Maj7th.

Notice, the chromatic movement in the bass as we sequence this.

john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson

Finally, this resolves from CMaj7#11 to CMaj7 with open string guitar chords.

john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson

PDF DOWNLOAD:

ChordDownload

IN CONCLUSION:

In conclusion, this was just a quick look at Johns unique take on harmony and how to apply some scale and arpeggio movement to connect it all together.

John’s harmony is a lovely combination of ambiguity and resonance with a sense of calm.

The magical ethereal tone opens doors to really interesting solo applications that exploit implied harmonies and dissonances. These I find are met with with lingering resolutions that are never quite met.

It’s a sort of pairing of opposites that you can’t quite put your finger on that give it that alluring yet elusive quality.

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Counting Rhythms for Alternate Picking Guitar “Right Hand” Technique:

Posted on by Modern Music Theory and Application

Please watch video above for more detailed info:

Hi Guys,

Here are a few of the Rhythms that I like to count and/or practice when alternate picking:

These are based around Indian Konokol: But: I am using them to INTERNALISE patterns. This could be Ta ka di mi but felt/internalised as du du du du–

WHY is this?

It’s because I am in “Standard” tuning and the syllables of the counting help to “Connect” quick rhythmic patterns together to create “Musical phrasing” for composition and improvisation.

These, I find help me enormously with the right hand picking, as I can connect phrases together from the internalised beats/syllables.

These are NOT cast in stone and are only a few ideas that I use personally, and are not aiming at strict Indian classical music technique, but, are employed as reference points/patterns/beats in the way that they are enunciated.

4 note grouping:

1] Ta ka di mi [1 2 3 4]

2] Ta ki ta Ta [more as 123 1]

5 note grouping:

1] Ta ka di mi thom [1 2 3 4 5]

2] Ta ka di mi Ta [1 2 3 4+1]

3] Ta ki ta Ta ka [1 2 3 1 2]

7 note grouping:

1] Ta ka di mi Ta ki ta [4+3]

2] Ta ka di mi thom Ta ka [5+3]

8 note grouping:

1] Ta ka di mi Ta ka di mi [4+4]

9 note grouping:

1] Ta ki ta Ta ki ta Ta ki ta [3×3]

2] Ta ka di mi Ta ka di mi Ta [4+4+1]

11 note grouping:

1] Ta ka di mi Ta ka di mi Ta ki ta [4+4+3]

13 note grouping:

1] Ta ka di mi Ta ka di mi Ta ka di mi Ta [4+4+4+1]

16 note grouping:

1] Ta ka di mi Ta ka di mi Ta ka di mi Ta ka di mi [4×4]

IN CONCLUSION:

These are only ideas that I personally find useful, and, as I say they are not for strict Indian classical music. But, they do function well as reference points and a way of enunciating beats for the picking hand to pluck at a fast [alternate picking] tempo.

If this blog/lesson was of use to you, then, please SUBSCRIBE to us on YOUTUBE below, Thanks!

Mastering John McLaughlin’s Guitar Techniques

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, Part 2 of the alternate picking patterns/numbers for John McLaughlin style guitar playing/picking.

PART 1:

Ta ka di mi thom Extensions:

These are all building off of the number 5 and starting on the “Up” stroke for strict alternate picking guitar technique in standard tuning:


Example 1: Basic quintuplet-Ta ka di mi thom

john_mclaughlin_guitar_technique_example

Example 2: [The first note is a C#] 5 + 2 [or vice versa Ta ka Ta ka di mi thom]

john_mclaughlin_guitar_technique_example

Example 3: Ta ka di mi thom ta ki ta [ or vice versa]

john_mclaughlin_guitar_technique_example

OR: Ta ka di mi-Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 4: 5+4 Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 5: 5+5 to chord:

john_mclaughlin_guitar_technique_example

PART 2:

Ta ka di mi thom EXTENSIONS: “DOWNSTROKE”

These example like those above expand on the number 5 but start on a “Down”stroke this time.

Example 1: Basic quintuplet-Ta ka di mi thom

john_mclaughlin_guitar_technique_example

Example 2: 5 + 2 [or vice versa Ta ka Ta ka di mi thom]

john_mclaughlin_guitar_technique_example

Example 3: 5+4 Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 4: 7+ 4
 Ta ka Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 5:Ta ka Ta ka di mi thom Ta ki ta Ta ki ta-7+ 3+3 = 13 Prime Number:

john_mclaughlin_guitar_technique_example

PART 3:

DESCENDING ANSWER PHRASES:

Example 1:

“Down stroke”. This line employs a group of 8 notes [even] that finish on the prime number 13 to answer and complete the line.

john_mclaughlin_guitar_technique_example

Example 2:

“Upstroke”. This line starts on an “Upstroke” and consists of a group of 8 notes and a group of 12 notes creating an even pattern.

john_mclaughlin_guitar_technique_example

FREE PDF DOWNLOAD:

konokol_guitarDownload

If this Blog/Lesson was of use then please SUBSCRIBE to us on YOUTUBE below, Thanks!