guitar fingering – Modern Music Theory Improvisation and Application

Shakti Guitar Motif/Fingering “Essential” Scale Connections

Posted on May 21, 2026 by Modern Music Theory and Application

Please watch short video above for detailed info:

Hi Guys,

This John McLaughlin guitar motif/fingering made famous from his video “This is the way I do it” is something I get asked about a lot.

The reason being, is that it is unique in the way that the alternate picking and the fretting hand can produce really fast/quick compositional and improvisational lines.

For this blog, I am going to exploit the use of imitation/repetition to get the fingering and concept across.

2nd FINGER:

The second finger [Yes, that one] is the one that crosses and falls into position and interrupts scale cliches and creates all sorts of odd timing and fluid raga-esque phrases.

EXAMPLE: As employed in the John Mclaughlin scale:

Ascending:

Here, is the simple 4 note 16th grouping that we will exploit:

PART 2:

In this first example we will start a simple phrase with a five note pattern. Rather than carry the scale on, we will interrupt it with a 4 note scale motif that we will repeat/imitate:

EXAMPLE 1:

Starting on an Upstroke:

Sheet music displaying John McLaughlin Guitar Fingering Lesson for Indian Shakti style guitar

As you can tell, the 2nd finger makes it really easy to cross over the strings and connect to the next repeated motif:

In the next example, we will take this even further and keep extending it.

Extended further:

Now, let’s start the alternate picking and pick the phrase starting on a down stroke:

Sheet music showingJohn McLaughlin guitar fingering and alternate picking guitar Shakti Indian Mixolydain example in tab and notation

IN CONCLUSION;

Although, this is only a short blog, there is a wealth of information contained within this simple concept as it means that the fretting hand can create/sustain long [as John calls them] fluidity lines.

Of course, the notation/intervals can be changed, these are only examples. But, when the fretting hand is comfortable then the picking becomes a lot easier and feels natural.

This idea can also be applied to the other fingers in various ways, BUT, the second finger is magical in the way that it opens up lots of lines that would otherwise be difficult to play.

Pdf

Motif Download

If this Lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, THANKS!

Master the Whole Tone Scale with Simple Fingering

Posted on April 19, 2026June 1, 2026 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

If there are two scales that I am always asked about, these are the whole tone scale and the diminished scale.

But, out of the two, it’s the whole tone scale especially!…And it’s due to the general textbook cumbersome and awkward fingering that puts guitarists off.

So, today let’s take a look at how to play the Whole Tone Scale with a simple fingering like that which we would employ for the pentatonic scale.

PART 1:

Standard textbook guitar fingering:

This, 3 note per string example above is a pretty uncomfortable and awkward affair that dosen’t flow and isn’t especially fluent for quick passages or phrases.

So what do we do?

Well, the answer is to approach it like we would the pentatonic scale, so that we can move the SHAPE about and at the same time we can VISUALISE it.

PART 2:

Here, is a preferred fingering that uses mainly 2 fingers: This, like the pentatonic means that we can move about quickly.

Musical staff and guitar tablature showing notes and finger positions of the whole tone scale in pentatonic form with red slur and bend markings

What’s truly great about this fingering is that we can copy and repeat it exactly “Down 1 Tone or Up 1 Tone” each time right along the guitar fingerboard.

BASIC SCALE SHAPE/FINGERING;

Copy Shape Exactly Ascending:

Copy Shape Exactly Descending:

Copy Shape Exactly Ascending:

This means that we can easily exploit the scale, play it fluently and see it visually which in turn gives us complete command of it.

PART 3:

Now, that we can see and hear what we are doing and have a fluent fingering let’s make use of the scale harmonically.

To begin with, let’s use a flattened 5th interval [and Bb7] over a moving bass. [See video at the top of the page].

Now, let’s use this same harmony and create an [arpeggiated] chordal picking vamp:

Sheet music and guitar tablature showing a repeating whole tone scale triplet pattern with flat notes and finger positions on the 5th, 7th, 9th, and 10th frets

Again, it’s easy to see and hear how we can quickly create composition now that we can visualise a simple shape all across the guitar fingerboard.

PART 4:

What, also works really well from this visual whole tone approach is the exploitation of the high low high [or mirroring] effect.

EXAMPLE 1: High to Low

Sheet music with treble clef and tablature showing whole tone scale musical notes and finger positions on a guitar fretboard

Here, we will create a little phrase that’s going back and forth between the low and high registers.

EXAMPLE 2: Back and Forth

PART 5:

We will now apply this simple scale fingering to a classic Messiaen chord

Application and example:

Sheet music and guitar tablature for a Messiaen piece in Gb9b5/E chord showing notes and finger positions

PART 6:

Finally, we can come out of the shape and move up and down the fingerboard connecting the whole tone [1 step] movements.

So, let’s take a chord of C augmented with a 9th:

As we can see, it’s easy to move down the fingerboard shifting through scale and arpeggio along the way. [See, video above]

IN CONCLUSION:

This was just a quick look at how essential it is to have simple fluid guitar fingering and simple 1 step connection for creating whole tone scale lines/phrases.

Having a “Visual” as well as harmonic understanding makes improvisation and composition so much easier with this scale.

And, as I have reiterated throughout this post, having a repeated shape only 1 tone apart makes the scale very user-friendly.

SCALE PDF DOWNLOAD:

Whole Tone Scale 4 Repeats Download

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Jazz Guitar Alternate Picking Exercises: ii V7 i [Double Time]

Posted on April 4, 2024April 6, 2024 by Modern Music Theory and Application

CLICK SUBSCRIBE!

Jazz Guitar Alternate Picking Exercises: ii v7 I [Double Time]

Please watch video above for detailed info:

Hi Guys,

Today, we will look at some alternate picking guitar technique exercises for jazz improvisation when double timing

We will exploit ii V7 I’s as a basis for honing our alternate picking skills whilst employing 4 note tetrachord groupings.

In the first exercise it’s a good idea to accent the third note in each four note grouping. We are also starting on a downstroke:

jazz-guitar-alternate-picking-lesson-exercies

Here is the same exercise but with a variation in the second bar:

SEXTUPLETS EXERCISE:

The next exercise will employ groups of 6 notes called sextuplets: As an exercise we will start with an “Upstroke” this time. This will be played over an AmMaj7 pad:

First Part:

jazz-guitar-alternate-picking-lesson-exercies-sextuplets

2nd Part:

Full Exercise/Line:

CHROMATICISM/PENTATONIC

The following exercise uses some chromatic movement that smoothly connects to pentatonic movement starting on a downstroke:

PENTATONIC/ARPEGGIO MOVEMENT

In our final exercise we will join together some of these principles.

jazz-guitar-alternate-picking-lesson-exercies-double-time

In Conclusion

This was just a brief look at how to create alternate picking guitar exercises for improvisation through chord changes by applying simple patterns/fingerings that work naturally.

This was only around 140 bpm. But, this is essential before moving onto much quicker tempos with the alternate picking guitar technique.

With the 4 note “Tetrachord” groupings you will get fluidity through the changes. They will give you stability. They can then be broken up to create anticipation and syncopation-which will in turn create the natural expression of musical phrasing.

Free PDF DOWNLOAD:

pdf-jazz-guitar-alternate-picking-exercises-Download

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