The 12 Major Triads/Slash chords music lesson in theory and practice:
Please watch video above for detailed info:
Hi Guys,
Today, a look at altering harmony and cadences with triads, slash and altered chords.
PART 1:
To begin with let’s take a pedestrian V to I cadence,
Now, let’s add some colour to it.
Illustration of a V to I cadence with altered substitutions, showcasing the Db/C and C/F slash chords.
Here, we can see the slash chord of Db/C resolving to C/F:
The Db/C harmony creates a powerful dominant chord of Csus/b9/b13
Musical notation illustrating the Csus/b9/b13 chord, showcasing its structure and components.
With this in mind let’s now apply this and cadence to the minor key [FmMaj7]
V to I cadence illustrating altered slash chord substitutions in a minor key.
Straight away, we can see and hear how easy it is to manipulate and alter the harmony with slash chords.
They also possess a unique flavour and colour that really shines out on the guitar due to the Major triads being very bright. This way they naturally cut through and resonate.
PART 2: Extending 1 simple Triad:
In this example, we will take a simple triad of F Major 1st inversion [F/A]
From this, we will add melodic notes/movement in the top and bottom to extend the harmony, and, finish with a 7sus4 cadence of F/G to Cmaj7#11
Visual representation of F Major triad variations, including F/A, F6/A, F#m7b5, and F/G, showcasing chord extensions.
Let’s now add this to a complete chord sequence:
Chord sequence demonstrating triads and harmonization techniques.
PART 3: Harmonising a melody:
We will now take the simple melody below,
To exploit this, we will employ altered and slash chords starting with G7#9 moving to Eb/E
Melody harmonization using the G7#9 and Eb/E slash chords.
We will now repeat this, but, add a chord of E/F in between to harmonise the Ab note:
Finally, resolving back to the Eb/E slash chord
Chord diagram for E/Eb, illustrating finger placements for guitarists.
FULL HARMONISATION EXAMPLE:
John McLaughlin Guitar Harmonization with slash chords and altered chords
PART 4: 12 TRIADS over I bass note
In this exercise we will play all 12 Major Triads over a single C [as root] Bass note.
Chord progression visual for 12 Major Triads over a C bass note, illustrating various slash chords.An illustration displaying the progression of 12 Major Triads over a C bass note, highlighting various chord combinations.
Today, a look at the alternate picking guitar style of the great John McLaughlin.
PART 1:
Before starting it is essential to look at the rhythmic aspect.
To do this, let’s take basic 8th notes.
Here, we will accent the 3rd note in each 4 note grouping.
Now, let’s add another 4 note grouping and do the same thing.
Musical notation illustrating the technique of alternate picking with accents on specific notes.
What you will notice is that this is like a basic 4/4 drum rhythm with the accent landing on the snare:
With this in mind, let’s now take this and add a shuffle or swing feel to it.
Tip-This accent and swing feel keeps the picking hand secure and focused on plucking the rhythm and not jumping ahead.
PART 2: Double Timing.
Now that we are comfortable with 8th notes, let’s double the time with 16th notes.
It dosen’t matter how you want to count 16th notes. Regardless of 1 e and a or Ta Ka Di Mi or some inner murmur, the point is that your counting needs to be internalised so that the picking hand knows what to pluck.
So, let’s pluck this around 110 to 140 bpm
Musical notation demonstrating alternate picking techniques in guitar practice.
Okay, let’s now apply everything we have studied so far:
1] Accent 3rd note in each 4 note phrase
2] Apply a swing/shuffle feel
3] Count time – follow internalised rhythm
and play the whole phrase:
PART 3: RIGHT HAND TECHNIQUE:
For the picking hand [Right hand technique] one needs to be aware of plucking inside of the string and outside of the string:
From the outside of the strings it will be:
Up skip over and pluck down:
Diagram illustrating alternate picking technique for guitar, showing the directions of plucking from outside the strings.
From the inside of the strings it will be:
Down skip over pluck up:
Diagram illustrating alternate picking techniques with directional arrows for upstrokes and downstrokes from inside of the strings.
For most players it is easier to pluck [alternate pick] from the outside of the strings.
Here is a 2 string exercise plucking from the inside of the strings starting on a downstroke:
Illustration of a 2-string exercise demonstrating alternate picking techniques on guitar.
Here, is a 2 string exercise plucking from the outside of the strings, but, starting on an upstroke:
An illustration of a musical exercise showcasing alternate picking techniques on the guitar.
Now, let’s start on a downstroke on the outside of the strings:
Musical notation demonstrating 2 string alternate picking exercises for guitar.
Finally, let’s mix it up a bit starting on a downstroke:
Illustration of alternate picking technique showing ‘inside’ and ‘outside’ stroke patterns on guitar.
From these short repetitive exercises, we can gauge where we are with the picking hand. We can acknowledge wether we are picking inside or outside of the strings.
For fluid right hand technique this is essential, as you will know where you are and what you prefer or what’s easiest and most natural for you.
This in turn means that you can start creating phrases either inside or outside the strings that fit your style.
PART 3: CONNECTIONS
In order to play fluid phrases it’s essential to “Connect” parts, groupings, lines and licks, etc, together.
This means, having the fretting hand ready to “Shift” positions.
This also means, employing simple logical fingering by having the fingers prepared for fretting.
Here, is the natural movement from our example line-[built in 3 deliberate parts]
Demonstration of a guitar phrase highlighting finger positioning for fluid playing.
The fretting hand prepares shape to shift down to the next positions with the hand and fingers “Aligned” for the next phrase.
Demonstration of Phrase 2 in alternate picking technique on guitar.
Fretting hand plays the phrase and prepares the shape and fingersto shift down to next position:
Illustration of Phrase 3 technique in John McLaughlin’s alternate picking style.
Fretting hand plays the last phrase comfortably. Hand, shape and fingering are aligned to the correct position.
Full Line -Shifting Positions:
A musical score demonstrating alternate picking techniques for guitar, highlighting shifts in position.
In conclusion this was just a quick look at the basics of Johns alternate picking guitar technique style.
From here, one can start to form and develop the improvisational elements needed to complete the style. [“This is the way I do it” video-a great example]
As John has taken so many paths in his musical journey it is impossible to get everything down in one webpage/blog. But, from a basic perspective, hopefully this lesson helps somewhat in understanding John’s alternate picking guitar technique.
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Today, a look at the amazing minor flat 6th chord as used in the compositional styles of Carlos Jobim, John McLaughlin, Astor Piazolla and Al Di Meola.
PART 1:
Most people seem to have a preference for the minor 6th chord, [which in this case has the F# or the Major 6th].
But, the minor flattened 6th chord [F natural in this case] has an amazing character of its own, [especially when it resolves to the first inversion, as we will see].
PART 2:
What makes the minor chord with a flattened 6th work really well is to move down to a first inversion chord.
EXAMPLE:
Here, we have a Db minor chord moving down to a 1st inversion Ab Major chord:
Notice the flattened 6th note of A at the top moving down a semitone to the Ab note:
Illustration of the Db minor flat 6th chord to 1st inversion Ab Major chord, highlighting the flattened 6th note.
This smooth chordal transition works beautifully when creating melodic sequences.
Diagram illustrating the transition from Db minor to Ab major first inversion, highlighting the flattened 6th note.
Let’s now add some more first inversion chords:
Here, we employ F#m/A with the bass resolving a half step down to the G # note.
Once again, we have a wonderful melodic transition, this time going to the E first inversion chord.
Illustration of F#m/A and E/G# first inversion chords highlighting tone and semitone relationships.
In order to move away from cliche-dom we will now alter the harmony a bit.
Here, we will add a chord of D9/F#[1st inversion] and let the bass move down a semitone to a chord of F7 [but with a Maj7th also and a #11th].
Chord diagram illustrating the first inversion D9/F# and F7Maj7#11 chords
To complete this example, we will exploit chains of 7 Sus4 chords: Here, are the first three chords moving up in semitones.
Illustration of 7sus4 chord transitions in semitones, featuring Bb/C, B/C#, and C/D for musical composition.
Here are the next three chords moving up in semitones :
