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 scalemotif that we will repeat/imitate:
EXAMPLE 1:
Starting on an Upstroke:
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:
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.
Chords of guitarist John McLaughlin Lesson and Examples
IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Today, we will look at some more Modern Jazz Fusion Chords.
These are primarily based around a MajorTriad [played] over a different bass note: Commonly called “Slash” chords.
Here, are some essential common slash chords employed in/for reharmonisation.
PART 1:
The first chord we will investigate is the tri tone concept of C/F#.
This unique voicing creates a colourful dissonant timbre.
In this example we have a 2nd inversiontriad of C Major played over an F# bass note.
Chord diagram and tablature for the C/F# slash chord, highlighting its bright voicing and tritone
Next, we will examine the most common slash chord type.
This is the 7 Sus 4 chord. And, in this case it will be C/D. They may be played in succession or as a substitute for a dominant chord. [for example C/D instead of D7]
This type of chord is heard a lot in pop songwriting, but is also highly prominent and best known for the sequence in Herbie Hancock’s composition “Maiden Voyage”.
Maiden Voyage Herbie Hancock 7sus Chord Example
[What you will start to notice is that the Major triad has a lovely bright quality when played over a different bass note]:
Here, is the guitar voicing with a root C Major chord over a D bass.
Guitar chord diagram illustrating the C/D slash chord for modern jazz fusion.
The next chord is the classic Dominant 7th in its 3rd inversion.
Generally in Fusion these chords do not resolve and/or are played once again in succession.
For, our example we will employ a triad of D Major with it’s 7th [C] in the bass
D/C slashchord diagram illustrating voicing and finger placement for guitar.
Next up, we have one of John McLaughlin’s favourite Slash Chords.
This is an Eb triad over an E [up 1/2 step] bass. [This is also known as a13b9 that works well with the diminished scale].
Slash chord diagram illustrating the Eb triad over an E bass note by jazz guitarist John McLaughlin.
Here, we have an interesting chord that is also a favourite of the late great jazz guitarist Pat Martino.
With the open E note resonating in the bass this produces an extremely beautiful set of tone colours in one chord.
Slash chord diagram depicting Fmaj7b5/E on guitar for modern jazz fusion.
In order to create that big ethereal/dissonant sound let’s exploit John Mclaughlin’s unique nylon string guitar voicing.
This is a B Major triad over a C Bass. [This also works well with the open E string ringing out].
Slash chord diagram illustrating the B/C chord voicing for guitar, showcasing positions and finger placements.
Finally, we will manipulate another tri-tone voicing:
This will be a less bright but highly resonant sound with a root F# triad over a low G bass note.
F# triad diagram over a low G bass note for creating a slash chord
PART 2:
Okay, you might ask. What do we do with these chords?
How to we compose with them?
Re- harmonise with them?
Actually use them?
Well, firstly, lets take a basic/common chord sequence like,
iii Vi ii V7 I
Slash chord modern fusion substitutions and reharmonisation
For the first chord we will employ a C6/9, but, we will only use the E A D G tones and create a “Quartal” sound.
From here we will move a tri-tone away from the Am7 chord and employ an Eb triad. We will still establish the dominant in the bass by employing the 5th note of Am7, [the note E] hence we have Eb/E.
For chord ii [Dm7] we will have a C triad over an F bass note acting as a First inversion Dm7 chord. [You could also think of this as having an added 9th and 11th]
The dominant chord will now have the dominant root in the bass with a Db Major triad, [a flat 5th/tri-toneaway] on top in the treble.
This then returns to the CMaj 6/9 tonic chord
Below is another example:
Notice, the reharmonisation and how the basic chords are exploited with colourful slash chords.
Example of reharmonisation using colorful slash chords in a blues 12-bar structure.
THE BLUES
To complete this, let’s put them into a blues 12 bar structure [turn around] so that you can clearly see how to create composition from them:
Blues chart example showcasing slash chord substitutions and harmonic rhythm in a 12-bar structure.
From the above chart notice that the first 4 bars are more of a long drawn out affair in the tonic key. Next, this is repeated in a similar fashion [or a variation] with chord IV of the key.
But, in the last four bars we exploit the harmonic rhythm to create drama and turn the music around.
A blues chart showcasing various slash chord progressions, highlighting ii, V7, iii, and Vi patterns.
BLUES CHART: Example,
Blues chart example showcasing substitutions and slash chord progressions.
