chromaticism – modern music theory and application

McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]

Posted on May 13, 2023May 24, 2023 by Modern Music Theory

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John McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]

Please watch video above for detailed info:

Hi Guys,

Today, a quick ii V7 I McLaughlin-esque lick

This is at 140 Bpm with an altered approach to harmony with strict alternate picking guitar technique.

The chords are as follows.

For the ii minor chord I employ a minor chord with a Major 7th and an added 9th.

mclaughlin-altered-harmony-guitar-theory

For the V7 chord I raise the 5th [#5] and add a flattened 9th note.

And for the I chord I make this augmented by raising the 5th.

So, the ii V7 I becomes harmonically altered and creates an interesting sound

john-mclaughlin-altered-harmony-guitar-theory

Guitar Line

The line starts on an upbeat with 3 target tones that deliberately set up the 1st note of bar one. This adds forward momentum and adds a colourful chromatic set-up.

mclaughlin-altered-harmony-guitar-chromatics-lesson

The target tones start on an “Up stroke” so that on the first beat of bar one you will land and start a “Down stroke”

mclaughlin-alternate-picking-guitar-how-to

Over the DmMaj7/9 chord I start with a Dm9 arpeggio and then exploit the D Harmonic minor scale by ascending in fragments.

mclaughlin-altered-harmony-guitar-improvisation-theory

Over the G+b9 chord I start on the third note B and then play an Eb 4-3 arpeggio.

mclaughlin-guitar-music-theory-improvisation

The Bb from this arpeggio then moves up to the B natural and then I play the b9 to tonic and #5 to5 which then finally moves down to the note C for the tonic of the next chord C+.

Whole Bar:

John-mclaughlin-altered-dominant-guitar-improvisation-theory

PDF DOWNLOAD:

mclaughlin-ii-v7-i-alt-lick Download

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How to use the “CHROMATIC SCALE” in Jazz Improvisation

Posted on October 19, 2022October 23, 2022 by Modern Music Theory

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How to use the “CHROMATIC SCALE” in Jazz Improvisation

Please watch video above for in depth analysis:

Hi Guys,

Today we will look at applying the simple half step chromatic scale to jazz improvisation. This in turn will be reflected in the alternate picking guitar technique:

So, we will look at two parts,

1] Harmonic Aspect-Set-UP-Theory

2] Technical Execution-Set-Up-Instrument

The analysis will be detailed through this 2 5 1

Hot-to-use-the-chromatic-scale-jazz — How to use the “CHROMATIC SCALE” in Jazz Improvisation

MUSIC THEORY: Chromatic Scale:

how-to-use-the-chromatic-scale — How to use the “CHROMATIC SCALE” in Jazz Improvisation

If we look at the first bar we will see 4 note groupings “Tetrachords”. These groupings are made of semitones [chromatic scale].

outlining-chords-with-chromatic-scale — Outlining chord with the chromatic scale for jazz improvisation

What you will notice is that they “Outline” the Chord DmMaj7. This makes the ear follow the direction of the line in relation to the harmony so that it is not just aimless semitones strung together, but a connected line with a definite direction that resolves into an arpeggio.

These chromatic semitones in groups of 4 are “Even” Patterns and hence easy to alternate pick as the are all the same “Down Up Down Up”.

how-to-use-the-chromatic-scale-alternate-picking — 4 note chromatic grouping for alternate picking guitar technique

In the next bar we see the same technique: The chord is outlined again with 4 note chromatic scale groupings.

Finally we come to the last bar. This time we employ outlining by moving the chromatic scale up in minor 3rds [Diminished 7th].

In order to execute this type of playing it is essential to accent the 1st and the 3rd notes of each 4 note grouping. This will create a fluid rhythmic sound and hold the tempo tight.

alternate-picking-accents-jazz-guitar — Alternate Picking jazz guitar technique

If you watch the video at the top of the page you will see how the fretting hand works:

Here is the fretting technique that I employ in the video that sync’s the left hand with the right hand alternate picking:

I use GRIP, PLAY

alternate-picking-fretting-hand-technique — Alternate Picking Guitar Technique Fretting Explained

RELEASE, MOVE HAND

GRIP, PLAY

RELEASE, MOVE HAND etc.

FREE PDF DOWNLOAD:

Chromatic-scale-how-to-use-it Chromatic scale Download

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PolyModal “Chromaticism” WHAT MAKES IT SPECIAL?

Posted on October 4, 2022October 11, 2022 by Modern Music Theory

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Poly-Modal “Chromaticism” WHAT MAKES IT SPECIAL

PLEASE WATCH VIDEO ABOVE FOR IN DEPTH EXPLANATION:

We hear much polymodality and polytonality in modern music like, Jazz, fusion, progressive rock and 20c Classical,

Stravinsky Petrushka Chord: EXAMPLE

But, for the most common example of PolyModal “Chromaticism” here is an example by Bela Bartok: This employs the joining together of C Phrygian and C Lydian [the same root] which in turn creates a full 12 note chromatic scale.

But, there is a much more interesting and useful approach for a composer and improviser.

For this example we will join together C Dorian and C lydian [same root] and create a ten note scale:

This Polymodal Chromatic approach is unique in that it is like an alchemical process where two different modes are put into the melting pot and give birth to new chords that appear in neither of the two modes that originally went into the pot.

It doesn’t have to be Dorian and Lydian, but for this quick insight they are a good example of what can be achieved through this poly modal chromatic methodology.

EXAMPLE: