explained – Page 3 – Modern Music Theory Improvisation and Application

Guitarist John McLaughlin’s use of the Diminished Scale for Chords and Improvisation:

Posted on March 12, 2025March 12, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a look at how jazz guitar legend John McLaughlin makes cool and original sounding jazz lines from the diminished scale when improvising.

PART 1: CHORDAL SUBSTITUTIONS:

First of all, let’s apply a couple of Dim7 substitutions for the Dom7b9 chord.

In the example below, for the E7b9 chord we will employ Ddim7, Fdim7 chords over an E bass for a V to i cadence.

EXAMPLE 1:

Notice that the top line resolves:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

EXAMPLE 2: Shifting the diminished 7th shape up to resolve for V to i cadence

Once again, the top line has a smooth half step resolution:

CHORD APPLICATION PART 2:

This time, we will employ the Dom13b9 chord in a full ii V i cadence.

As, in our previous examples, acknowledge the descending chromatic movement– resolving in the top line.

john_mclaughlin_jazz_guitar_diminished_scale_example

PASSING CHORD:

This time, we will add a passing chord. This will be Eb7#9. This falls smoothly from the Em7 chord.

We will also add a little bit of bass movement.

Also, in this example, we have two 1/2 step resolutions in the top line.

john_mclaughlin_jazz_guitar_diminished_chords_example

Finally, we will exploit a Dom13#9 chord as part of the ii V I cadence. [Once again, notice the chromatic moment on the 1st string/top line as we ascend this time].

EXPLOITING THE SOLO LINE:

Another interesting concept that John employs, is to use the “Ultra Locrian” mode or the 7th mode of the harmonic minor scale when dealing with diminished chords.

Here is the scale/mode over an Adim7 chord.

ultra_locrian_scale_mode_john_mclaughlin_guitar_example

AVOIDING THE DIMINISHED CLICHE!

What puts John in a league of his own, is his avoidance of the usual tired diminished cliches .

Here, is an excellent example where John sequences in minor thirds. This though is an original, fresh and highly unique way of approaching diminished harmony and hence breaks the chain of cliches.

These 4 note groupings of tetrachords work great for sequencing with quick alternate picking guitar technique. [Starting on a down stroke]

THE INTERVALS: Key to creative lines

Looking at our example more closely we can clearly see the manipulation of intervals within the diminished scale/harmony.

This is what sets the great improvisers apart.

In this disguised manner the ascent in minor 3rds has a fresh interest to the ear due to the creative use of these intervals.

FULL ii V7 I Line

EXAMPLE 2

Here, we have the same thing in a different key:

Once again, acknowledge the use of intervals and tetrachords for rapid ascending movement with the picking hand.

Full Line:

IN CONCLUSION

This was just a quick look at how John McLaughlin exploits the diminished scale in interesting and unique ways that work extremely well not only for jazz, but, also specifically for the guitar.

John’s sequencing by exploiting 4ths, 3rds, triads and semitones creates an inspirational path, because it demonstrates that fresh life can be brought out from the diminished scale. This in turn makes the worn out cliches very easy to avoid.

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Mastering Motif Cycling in Jazz Improvisation

Posted on February 21, 2025February 28, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a look at “Motif Cycling”……

What is this?……you may well ask,

Well, it’s an amazing creative and colourful concept for exploiting arpeggios or in this case 4 note tetrachords and shifting them up or down by a specific interval.

This creates interest with the row/line going outside of the harmony and at the same time creating an almost composed sense of thematic material as it rises or descends.

It’s an amazing improvisational tool, not just for jazz, but, also rock and any other genre!

EXAMPLE 1:

In this first example, we will employ our motif cycling concept over a G7 Dominant Chord.

To do this, we will take a G6 arpeggio and have it cycling up in minor 3rds.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

HOW TO MAKE THIS WORK LIKE A PRO!

The key to making this work effectively is to play the line at a fast tempo!

By making the line “Quick” it tricks the ear of the listener into following the line as opposed to discriminating and trying to make sense of it.

EXAMPLE 2:

In this next example, we will be cycling up in flattened 5ths. This will be with root position arpeggios of A Major and Eb Major.

FULL LINE:

EXAMPLE 3:

Now, we will vary it a bit.

To start with, we will take diminished 7th arpeggios and have them cycling up in perfect 4ths.

From here, we will the go up a 4th to Dm and then up a minor 3rd for F7 where the Eb note [7th] resolves to the E natural note of the next chord [Em]

EXAMPLE 4:

In this example, we will take a Bsus4 Arp/Motif which will descend cycling “Down” in Major 3rds.

This has a very Brecker-esque sound and feel to it.

EXAMPLE 5:

Now, let’s take a longer example…..

To start this, we will employ a 4 note tetrachord motif that is cycling up in semitones.

To create interest, we will exploit tones, a fourth and back to tones: [Also, notice when the semitones resolve]

Finally, let’s keep ascending and have this cycling in semitones to the top of the neck:

EXAMPLE 6:

Lastly, let’s mix up a quartal triadic sound of inversions, but, with 4 note groupings. This creates a lovely chromatic Coltrane-esque cycle.

IN CONCLUSION;

This was just a quick look at the brilliance of Motif Cycling. It is such a useful, colourful and creative improvisational tool as exploited by Herbie Hancock, Michael Brecker and Pat Metheny.

The key though, is to use it sparingly and with a double time quick feel as it glides through the harmony with it’s colourful chromatic charm.

It is best used when the harmony is quite static [one chord] or if the chord sequence/changes have a predictable and pedestrian quality.

Motif cycling adds excitement and freshness, whilst giving a new direction and flavour to where the solo line is going and what it has to say!

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Modal Chords For Guitar: Slash Chords and Substitution Voicing’s

Posted on January 14, 2025January 14, 2025 by Modern Music Theory and Application

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Hi Guys,

Today, a quick look at modal chords.

The chords are from the backing track [below in this page] and they are “Transposed” with C as the root note.

These are exploited in the 12 bar form of a fusion blues.

Here are the chords for the chart:

modal_chords_guitar_lesson_explained_easily

To begin with, we will take the first chord for the basic Ionian/Major sound. Here we have a chord/triad of G Major over the bass note C as a substitution for Cmaj7:

Next, we have a C Dorian tonality. For this I am employing a 7sus4 chord with a triad of Bb over a C bass once again

From here, we will create a C Lydian sound. We will do this by employing a triad of D Major over a C Bass.

Now, we will move back to Ionian with another 7sus4 chord. This time it’s a triad of C Major over a D Bass.

To create interest, we will now make this tonality minor by adding a triad of Eb Major over a C Bass [a la C minor 7th]. [Aeolian/Dorian]

For, the Phrygian/Aeolian sound, we will employ a 1st inversion triad of Ab Major over a C bass.

To create some dissonance, and a more ethereal sound it’s a good idea to add a Locrian chord. In this instance, I am employing a triad of Db Major over the C Bass.

For the mixolydian sound I am employing a simple C7 chord. [You could also add a 4-3 suspension]

Now, let’s add a couple of Dorian chords.

These will be another 7sus4 chord of an Eb triad over an F bass.

And, a Major 9 [or sus2] no 3rd chord. For this we will add a triad of F major over a Bb bass.

For the penultimate Mixolydian chord, we will create a 3rd inversion [Dominant]. This will be a C Major triad over a [the 7th] Bb bass.