chromatics – The Jazz improviser and modern music theory application

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

Posted on May 13, 2023May 24, 2023 by Jazz fusion guitar Improvisation lessons and 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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John McLaughlin Guitar Fingering-Jazz Chromatics

Posted on November 7, 2022November 15, 2022 by Jazz fusion guitar Improvisation lessons and modern music theory

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John McLaughlin Jazz Guitar Chromatics easy Fingering

Please watch above video for detailed analysis:

Hi Guys,

Today we will have a look at an easier fingering for jazz chromatic target tones:

Below we have the old “Traditional” fingering:

john-mclaughlin-chromatic-pentatonics-lesson

Now, we have a simpler and more intuitive John McLaughlin guitar fingering. 2 fingers to 2 fingers with a slide.

We will now apply this to the most common and easiest scale on planet guitar, the A minor Pentatonic scale.

This time we will add a “Side Step” and chromatic target tone movement

In this example we will have an upbeat with 4 chromatic descending notes starting on the tonic note D:

Finally, we will extend it over a ii V7 I

PDF John McLaughlin Tartget Tones Jazz Chromtics Guitar Fingering Example

john-mclaughlin-guitar-MCLAUGHLIN PDF Download

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How to use the “CHROMATIC SCALE” in Jazz Improvisation

Posted on October 19, 2022October 23, 2022 by Jazz fusion guitar Improvisation lessons and 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.