Fusion chords/Improvised Line [John McLaughlin style]

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Please watch video above for a detailed analysis:

Hi Guys,

Today we will have a look at a I Vi [VI] ii V V I cadence with fusion chord substitutions.

jazz-fusion-chords-substitutions-lesson

For the first chord of C major we will employ: C6/9

jazz-fusion-chords-substitutions-lesson

For the A7 chord we will go a flattened 5th away with an Eb Triad over an E natural bass.

jazz-fusion-chords-substitutions-lesson

For the Dm7 chord we will use a 2nd inversion C triad over an F bass note. [Dm9/11 1st inversion]

jazz-fusion-chords-substitutions-lesson

For the first Dominant substitution we will go a flat 5 away again and use Db over a B bass:[as in an altered 1st inversion]

jazz-fusion-chords-substitutions-lesson

For the second dominant chord we will put the flattened 5th note [Db] in the bass with a G triad on top:

jazz-fusion-chords-substitutions-lesson

We finally resolve to a C Maj7#11 tonic chord:

jazz-fusion-chords-substitutions-lesson

Below is an example of an improvised line through these substituted chords:

jazz-fusion-chords-substitutions-lesson

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GEORGE GARZONE -“Triadic Chromatic Approach” Principles Explained

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GEORGE GARZONE -“Triadic Chromatic Approach”

PLEASE WATCH VIDEO FOR IN DEPTH ANALYSIS:

Before starting it is important to note that these principles are to be applied to major, minor, diminished and augmented: In this overview we will use “Major”only.

PART 1: Triadic

First we will take a simple C major root position triad. We can move DOWN a 1/2 step or UP a half step from the last note to connect the next triad:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Predictable Example:

Here we can see that just adding another root position triad creates a non random and predictable sound.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Correct Approach Example:

Here we create freshness by employing “Inversion” and “Displaced Permutations”.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

What are Displaced Permutations?

This means that we change the order of the notes. In this case although they are both in root position the order of the notes has been changed in the second triad. Hence this moves away from a more traditional sound/approach.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Also, because the last note is the 3rd of C Major it is considered a 1st Inversion:

GEORGE GARZONE -“Triadic Chromatic Approach”

Now lets add another triad to this:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Predictable “Improper” application:

Below is an example of predictable repeated connections/patterns:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Correct Application Example:

Here we have an imaginative less predictable and more random sounding line.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

PART 2: A Chromatic Approach:

Within the interval of a Major 3rd there are five 1/2 steps. [We will use C to E as an example]

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

These five 1/2 steps cannot be used in a consecutive manner and must stay within the interval of a major 3rd.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

RANDOM Chromatic Method: EXAMPLES

Here are some example of how this works

Example:1

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Example 2:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Example: 3

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

ii V7 I’s with applied Chromatic Approach:

Here are two examples where the George Garzone approach is applied

Example 1

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Example 2

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

PART 3:

Finally, here are a few ideas with the principles applied to harmony:

Idea 1

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Idea 2

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Idea 3

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

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Syncopation/off beat LESSON for playing the guitar part 1

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How to Anticipate/syncopate and use anacrusis at the guitar in Music

OFF-BEAT PLAYING

In order to play “Off” the beat you must first establish the “On” beat. This way you can anticipate or push the music/melody/riff or motif along and then return to the established “On” beat.

how, to ,play, on the, off beat, in, music, example
How to play on the beat and off the beat in music with chords.

When beat one is established we can then push any beat from there on. The key is then to return to the “On” beat to start the next phrase or vamp or piece of music.

If you play “Off” the beat continuously the syncopation/anticipation will be lost.

In order to fully comprehend off-beat playing it is an extremely good idea to learn and practice the two most common essential rhythms in every way possible, both in the bar and across the bar line. But, always coming back to the “On” beat for the start of the new phrase.

Rhythm 1

how, to ,play, on the, off beat, in, music, example
How to play on the beat and off the beat in music with chords.

Rhythm 2

how, to ,play, off beat, in, music, example
How to play on the beat and off the beat in music with chords.

You can change the harmonic rhythm or join the rhythms together and create vamps or phrases.

Example:

how, to ,play, off beat, in, music, anticipation, syncopation, example
How to play on the beat and off the beat in music with chords.

Example:

how, to ,play, off beat, in, music, anticipation, syncopation, example
How to play on the beat and off the beat in music with chords.

Mixing Both Rhythms Together:

how, to ,play, off beat, in, music, anticipation, syncopation, rhythms, example
How to play on the beat and off the beat in music with chords.

Now we will add a bass push/anticipation: [Notice the BASS note is “Tied” across the bar line].

how, to ,play, off beat, in, music, anticipation, syncopation, rhythms, example
How to play on the beat and off the beat in music with chords. [Anticipation]

In this example we will add a short “Melody” to a chord:

how, to ,play, off beat, in, music, anticipation, syncopation, rhythms, melody, jazz,example
How to play on the beat and off the beat in music with chords/Melody

Here are a set of variations on a chord change:

Variation 1:

how, to ,play, off beat, in, music, anticipation, syncopation, rhythms, example
How to play on the beat and off the beat in music with chords.

Variation 2:

guitar, vamp, set, up, example
On the beat

Variation 3:

how, to ,play, off beat, in, music, anticipation, syncopation, rhythms, example
How to play on the beat and off the beat in music with chords.

IF THIS LESSON WAS OF VALUE TO YOU THEN PLEASE SUBSCRIBE TO US ON YOUTUBE BELOW, THANKS!