E Pedal Note Rhythm Guitar Alternate Time Signatures

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Hi Guys,

Today, a response video to my previous blog in regards to employing a pedal note.

This is just an open E string that can be plucked as the basis for holding time.

john-mclaughlin-pedal-note-guitar-technique-diagram

We can use simple quarter notes as our base and syncopate chords between them or play chords on different beats.

john-mclaughlin-pedal-note-guitar-technique-diagram

We can also double this with 8th notes

john-mclaughlin-pedal-note-guitar-technique-diagram

And of course taking it further with 16th notes:

john-mclaughlin-pedal-note-guitar-technique-diagram

To make this more interesting we can play on the off-beat:

john-mclaughlin-pedal-note-guitar-technique-diagram

And finally, “Mix” the Pedal note rhythms for rhythmic drive:

john-mclaughlin-pedal-note-guitar-technique-diagram

This is all good and well and extremely useful, but there is more………..

What makes this really useful is that we can play odd time signatures or uncommon time signatures along with alternate time signatures.

For this I am going to employ Indian “‘Teen Taal” and then break it up.

john-mclaughlin-pedal-note-guitar-technique-diagram

So, above we see the 16 beat cycle with the accented red numbers 1 5 9 13

Next, count this and accent those numbers and get a feel for the repeated cycle.

Now we will break this up:

john-mclaughlin-pedal-note-guitar-technique-diagram

We will only count up to 11 and then create a loop with our E pedal holding time in quarter notes. Remember the accents on 1 and 5 and 9.

This now gives us 11/4

john-mclaughlin-pedal-note-guitar-technique-diagram

From here we can develop and create our own patterns in 11/4 with the E pedal note holding time and our accents of 5 and 9 which tell us where we are in the bar or beat cycle.

Lastly, let’s mix two different time signatures together.

john-mclaughlin-pedal-note-guitar-technique-diagram

Here we have a group of 5 and a group of 7. Also, notice the rhythm in the bass with the E Pedal note.

From here you can create and develop easily what you want as this concept works really for the guitar and alternate time signatures and uncommon time signatures.

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MINOR TOPIC-EASIER WAY TO IMPROVISE WITH MODES

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minor topic-an easier way to improvise with modes of music

IMPORTANT: Please watch video above for detailed info:

Hi Guys,

Today, a quick look at another way of exploiting modes/improvisation on the guitar fingerboard.

We will be creating music via concepts/musical tools based on this minor shape.

minor-topic-pat-martino
simplified-modal-guitar-explanation

Why do this?

Because with this 5 fret shape arpeggio we can easily create:

simplified-modal-guitar-explanation

So, for instance in C Major [Ionian] we can take chord iii and Vi arpeggio shapes as a solid base and create/develop improvisation-as opposed to learning millions of scale/mode shapes/patterns etc.

minor-topic-guitar-modes
simplified-modal-guitar-tablature

With this as a base we can develop proper musical lines and rhythmic phrasing

Before we start it’s important to see how easily chords iii and Vi link together:

simplified-modal-guitar-explanation

Example:

modes-guitar-simplified-tab

The first thing to be aware of is the basic pentatonic’s right under our fingertips with this arpeggio shape:

[These pentatonic’s give us some basic building blocks from the outset]:

guitar-modes-pentatonics
guitar-modes-pentatonics
guitar-modes-pentatonics
guitar-modes-pentatonics-simplified

QUARTAL SOUNDS

Next let’s add some 4ths for a Quartal jazz/fusion-esque sound:

Descending:

guitar-modes-4ths-jazz-simplified

Ascending:

guitar-modes-4ths-jazz-simplified

With extension

guitar-modes-4ths-jazz-simplified

Basic Quartal fingerboard movement:

guitar-modes-4ths-jazz-simplified

CYLE OF 4THS

Another thing to take into consideration is the cycle of 4ths under our fingertips:

cycle-4ths-guitar-modes

Remember that we can also make these, major, minor, diminished or augmented:

For instance all major:

cycle-4ths-guitar-modes

All minor

cycle-4ths-guitar-modes

[This gives us even more colour and choices for chromaticism/chromatic movement right under our fingertips once again]

TARGET TONES/APPROACH NOTES [JAZZ CHROMATICS]

Below, we can see the set-up for target tones with this Em arpeggio shape:

target-tones-modal-guitar-explained

We can also add some chromatic notes to this to create a longer jazzy-esque line:

target-tones-modal-guitar-explained

String Skipping Petnatonic’s

String skipping works well because it removes familiarity/cliches from the ear:

Here are two examples:

modal-guitar-string-skipping

Example 2:

modal-guitar-string-skipping

PAIRING TRIADS

Lastly pairing triads works really. Here is a Lydian example:

triad-pairs-modes-guitar-simplified

conclusion

This blog has only really touched on this way of thinking, but, you can see how easy it is to make connecting lines and musical phrasing and how to exploit improvisation tools from this simple minor arpeggio shape.

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Modal Chords:Modal Chordal Harmony

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Modal Chords: “Chords” from Transposed Mode [C as Root] Lesson/How to/Examples

Please watch video above for detailed information and examples:

Hi Guys,

Moving on from our last blog on the Modal backing track, I have included another video [above] explanation regarding the modal chords/harmony that I employed.

modal-chords-music-theory

PDF MODAL CHORDS:

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