Enclosure/Target Tones Jazz chromatics for the improvised line

Posted on April 24, 2020 by Jazz fusion guitar Improvisation lessons and modern music theory

The key to understanding this is to look where the little target tones/enclosure motif/melody starts.

Here we have two.

The first is “OFF” the BEAT

and the second is “ON” the beat

Example 1: “Off Beat” classic target tone/enclosure set-up

Jazz chromatic target tones explained

Example 2: “On the beat” and in the bar set-up in the improvised line [Target tone/Enclosure]

On the beat jazz Target tone/Enclosure for improv

THEORY:

What you will notice is that the Chord tones are “on” the beat [Strong] whilst the chromatic or unessential notes are “Off” the beat.

This is the key to how it works and how to create beautiful flowing lines easily!

Bebop target tones enclosure jazz improvisation explanation — Chord tones on the “Strong” Beats for jazz enclosure

Full Target tones/Enclosure Jazz Chromatics improvisation lick/line

Target tones/Enclosure Jazz Chromatics improv lick/line

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Don Mock/Brecker “Outside” Chromatics for Jazz/Fusion Guitar lines

Posted on December 21, 2019December 24, 2019 by Jazz fusion guitar Improvisation lessons and modern music theory

Outside playing using approach notes/target tones.

Below is a Jazzy Bebop sounding line from Don Mock. It also has that Brecker chromatic feel to it where it can easily be pushed in to a more fusion-esque line. Here we are targeting arpeggio and scale tones

Don Mock Jazz Improvisation guitar lesson

If we look a little closer we can see all of the Target tones/Approach notes setting the line up

Don Mock Jazz Improvisation guitar lesson target tones

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Jazz/fusion improvisation Altered scale Theory Lesson

Posted on December 11, 2019December 26, 2019 by Jazz fusion guitar Improvisation lessons and modern music theory

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Today we will look at a John Mclaughlin alternate picking Jazz/Fusion improvisation cadence employing the altered dominant chord! Please watch the video below and then try it out yourself.

As you will see this cadence employs the Altered scale. It is a 2 [minor 7 flat 5] going to 5 [ “Altered Dominant”] 1 [major 7th]. This being Dm7 flat 5 G7 altered resolving to C major7.

I also employ a flat 5 substitution on the Dm7 flat 5. All of this resolves though and slips nicely into the altered dominant 5 chord. I also use pentatonics within the altered scale for rhythmic flow. Please look at the TAB/MUSIC below and play through it yourself to see and feel how it all “Naturally” unfolds. I employ alternate picking the same as John Mclaughlin.

John Mclaughlin alternate picking altered scale line Music/Tab

John Mclaughlin Alternate picking Altered scale jazz improviser line

VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.

Altered scale jazz improvisation, jazz improviser lesson

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John Mclaughlin Guitar Jazz/Fusion 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. The first part is simple Pentatonic scale cells.The second part uses scale fragments 4ths, and Arpeggios. The last part Uses 4ths and a Pentatonic Shape

Alternate Picking 16ths Acoustic Jazz/Fusion Guitar Lesson

ALTERNATE PICKING RHYTHMIC GUITAR 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.

Metronome BASIC ideas #1

The keys to start metronome practice. Hear the first Beat of the bar. Hear the difference between 8th notes and double timed 16th notes