bill evans – Modern Music Theory Improvisation and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the unique chord voicing’s of John McLaughlin’s take on the Bill Evans/Miles Davis classic tune “Blue in Green”.

These, are taken from Rob Carroll’s transcription from live at the Royal Festival Hall London album.

PART 1:

Here, are the chord voicing’s with the odd variation.

The first chord voicing has a barred shape that has the 4th finger fret the high note of G

Musical notation image showing John McLaughlin guitar chord voicing of D minor 11. Diagram highlighting essential chord notes. — Chord diagram for Dm11, illustrating finger placements and positions on the guitar fretboard.

From here, we have a lovely G7b9 chord voicing.

Musical notation depicting a John Mclaughlin G7b9 guitar chord voicing with corresponding fret numbers and tablature. — Chord voicing for G7b9 featured in John McLaughlin’s interpretation of ‘Blue in Green’.

This shape then falls nicely into the Cm9 shape,

Chord diagram for C minor 9 (Cm9) with finger positions shown on guitar strings for John McLaughlin's interpretation of 'Blue in Green'. — Chord voicing diagram for Cm9 used in John McLaughlin’s interpretation of ‘Blue in Green’.

From here, we have one of John’s favourite chords the 13b9. [In this case it is F13b9]

Chord diagram for F13b9 with chord tones indicated on a guitar fretboard. John McLaughlin's guitar chord voicing for 'Blue in Green'. — Chord diagram of F13b9, showcasing the voicing for this jazz chord.

This leads us nicely to BbMaj#11

Music notation for B♭ major chord including #11, with tablature for guitar showing frets 5, 7, and 6. John McLaughlin's chord for Blue in Green — B♭Maj#11 chord diagram, illustrating its unique voicing in the context of jazz guitar.

The next chord is A13 where the C natural note is then added creating A13#9

Sheet music showing the A13 chord notation and tablature, featuring notes and finger positions. — Chord diagram for the A13#9 chord, showcasing its unique voicing.

Once again, we have a barred chord with quite a wide stretch,

Musical sheet notation showing John McLaughlin's D minor 7 chord with numbers 12 and 15 circled in red for blue in green. — Chord diagram for Dm7 showcasing finger placements and fret numbers.

Now we employ the classic 7#9 chord. In this case it is E7#9

And finally, we cadence to a lovely AmMaj7 with a 9th voicing

Guitar chord diagram for AmMaj7, showing finger placement on the fretboard with labeled frets for John McLaughlin's Blue in Green guitar chords.. — Diagram illustrating the AmMaj7 chord with a 9th voicing for enhanced tonal richness.

PART 2:

OTHER VAIOUS CHORD VOICING’S USED IN DIFFERENT VERSES:

Here, we have another voicing for Dm9 with the bass resolving a half step to a 1st inversion A+ chord:

Musical sheet displaying the chords Dm9 and A/C# with a highlighted sharp note indicated by a red arrow. — Chord voicing for Dm9 leading to A/C# in a guitar lesson.

Here we have another simple barring chord for Cm9

Musical notation showing Cm9 and F7b9 chords on staff, with corresponding fretboard diagram for guitar. — Chord voicing for Cm9 and F7b9 in the context of John McLaughlin’s interpretation of ‘Blue in Green’.

The next voicing, is a lovely A7b9 voicing that resonates beautifully on the guitar

John McLaughlin's guitar chord diagram for A7b9 guitar chord showing finger positions and fret numbers. — A7b9 chord voicing for John McLaughlin’s Blue in Green guitar chords

This falls naturally into a diminished 7th voicing

Musical notation for E diminished seventh chord over A, showing finger placements for guitar. — Chord diagram of E7 diminished/A, showcasing a complex voicing that requires a wide stretch on the guitar.

This chord is probably the most difficult as it requires a wide stretch. [Please see video above for safe detailed fretting explanation]

John McLaughlin's blue in green Chord diagram for D7sus with tablature indicating finger placement on guitar. — Chord diagram for Dsus7, highlighting its voicing and finger placement.

To complete this verse we have a nice colourful cadence

Sheet music displaying the D7b9 and GMaj7#11 chord notations with corresponding finger positions on a guitar fretboard. — Chord voicings for D7b9 and GMaj7#11, including fretboard diagram.

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Hi Guys,

Today, a look at the Maj7#11 chord, a favourite of guitarist John McLaughlin.

This is really a lydian chord due to the sharpened 11th note.

EXAMPLE 1:

In our example and analysis, we will look at the harmonic implications through the tonality of G Major.

Below, we can see the 5th of G Major, the note D moves down a semitone to the note C# [the sharpened 11th]. On top of this we will place the Maj7th note in G Major. This is the note of F#.

Sheet music depicting the Maj7#11 chord with annotations for G Major tonality, including note positions and symbols. — Musical notation illustrating the G Major – Maj7#11 chord features/Construction.

Here, is a classic guitar shape/voicing with the tonic note of G in the bass:

Diagram showing the Gmaj7#11 chord for guitar, with labeled fret and string positions. — G Major 7 Sharp 11 Chord Diagram with Fingering [GMaj7#11]

Let’s now create an arpeggio outline of the chord:

Sheet music showing a musical notation example for a Maj7#11 chord and arpeggio voicing, with specific notes and finger positions highlighted. — Musical notation illustrating an arpeggio in the context of a Maj7#11 chord.

We will now ascend and descend the arpeggio outline, as this will give us control over the harmony when improvising on the solo line.

Musical notation displaying a sequence of notes and chords, illustrating an arpeggio pattern for the Maj7#11 chord. — Arpeggio exercise featuring the Maj7#11 chord in the context of G Major.

VARIOUS CHORD VOICING’S-Variations:

Below, are examples of various voicing’s and variations for all instruments, but, especially the guitar.

This is because certain voicing’s resonate extremely well on the guitar, whereas, others can become muddy in sound.

The voicing’s below offer quite a few possibilities,

Musical notation for a Maj7#11 chord on guitar, showing frets and strings and chord voicing's. — Various chord voicings for the Maj7#11 chord on guitar.

Musical notation displaying a Maj7#11 chord with highlighted notes.

Musical notation for a Maj7#11 chord, depicting various notes and finger positions on a guitar. As used by John McLaughlin Al di meola and Pat Martino — Musical notation illustrating the Maj7#11 chord voicing.

Sheet music showing a G Major scale with indications for a Maj7#11 chord, along with guitar tablature highlighting finger positioning.

Sheet music illustrating the Maj7#11 chord with guitar tablature, showing notes and finger positions.

Sheet music showing a Maj7#11 chord with notes and tablature for guitar.

MAKING MUSIC WITH THIS CHORD:

We, will now make a ii V7 I cadence with this chord, in order to see, hear and understand how to apply it to composition.

Firstly, let’s take a simple ii V I in G major.

A musical notation showing a ii-V-I chord progression in the key of G major, featuring Am, D7, and G chords.

Now, we will substitute the Am for AmMaj7 and the dominant chord D7 for D Augmented. This will allow us to finally rest on the Gmaj7#11 chord. [A sort of ethereal rest]

A sheet of music notation displaying a substitution of a ii V7 I cadence progression in G major, altered as AmMaj7, D augmented, and Gmaj7#11 chords for jazz reharmonisation. — Musical notation illustrating the ii V7 I cadence substitution featuring AmMaj7, D augmented, and G Maj7#11 chords.

CHORD VOICING’S FOR THE ABOVE EXAMPLE:

Musical notation diagram displaying the chords AmMaj7, D+, and GMaj7#11, with corresponding finger positions for guitar jazz chord substitution. — Chord diagram showing substitution AmMaj7, D+, and GMaj7#11 chords for guitar.

The improvised line:

Let’s, now create a solo line from this Maj7#11 chord:

Below, we can see the use of simple arpeggio inversions.

Firstly, we have a Bm arpeggio [implying a 1st inversion GMaj7] connecting to a 2nd inversion G Major triad. This, then resolves down with simple chromatic application.