John Mclaughlin establishes the Dm7 tonality and then chromatically slips into the altered sound with the EbmMaj7. The Eb note then resolves up to the E natural. The resolution is finally established the F major arpeggio to create Dm7.
John Mclaughlin Jazz ii V7 I Guitar Lick Lesson
In the next bar John employs Db Lydian Harmony over the G7b5 chord. [The b5 of G7 of course being the Db note]. John keeps the G natural note to establish G7 and at the same time establish the #11 of Db harmony.
John Mclaughlin Jazz ii V7 I Guitar Lick Lesson
Full Lick:
John Mclaughlin Jazz ii V7 I Guitar Lick Lesson
LICK VARIATION:
John Mclaughlin Jazz ii V7 I Guitar Lick Lesson
John Mclaughlin Short ii V I Jazz GuitarLick:
John Mclaughlin Jazz ii V7 I Guitar Lick Lesson
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This first short ii V7 I is built on 4 note groupings called tetrachords. These employ scale fragments and arpeggios:
Example 1: Short ii V7 I example
Basic ii V7 I music cadence lesson/examples
The next example is a longer ii V7 I and again employs tetrachords. The first bar employs pentatonic movement whilst the second bar resolves 4-3 and employs arpeggios and scale fragments.
Basic ii V7 I music cadence lesson/examples
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