Enclosure/Target tones/Approach notes/Encircling and How to use them #2

Exercise 1: “Off beat” enclosure starting on the 5th string of the guitar creating chromatics for a fluid jazz improvised line.

enclosure /target tones set up off the beat for jazz improvisation
Jazz Chromatic improvised line

Notice: After the first “Off beat” enclosure there are two more set-ups for enclosure starting “On” the beat. Both starting on the 3rd beat.

Enclosure target tones jazz lesson
“Off” Beat and “On” Beat Enclosure to set-up chromatics for the improvised jazz line

Off beat set-up

Off the beat Enclosure Target tones
“Off” Beat Enclosure [Anacrusis] set-up

Set-up “On” the Beat

On beat Enclosure
“On” the beat Enclosure set-up for chromatic jazz improvisation

Enclosure jazz improvisation how to use it

Variation: Starting the Enclosure/Target tones from the 6th string of the guitar.

Target Tones jazz improvisation
Enclosure/Target tones from the 6th string of the guitar

As before we start with an “Off-beat” and then employ two more sets of enclosure “On” the beat. Both starting on the 1st beat of the bar.

Target tone and jazz improvisation how to
“Off” beat and “On” beat Enclosure

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Alternate Picking Guitar Acoustic Fusion

This little alternate picking guitar exercise is taken from John Mclaughlin’s acoustic jazz fusion C.D “Belo Herozonte”.

Although this is a simple and short exercise it displays the way to open up and extend long fluid alternate picking improvised jazz fusion guitar lines.

You can either employ orthodox fingering or the fingering that I use.

John Mclaughlin Alternate Picking “Belo Herozonte’ Guitar lick/Exercise:

alternate picking jazz fusion  john mclaughlin guitar lesson

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Jazz/fusion improvisation Altered scale Theory Lesson

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Today we will look at a John Mclaughlin alternate picking Jazz/Fusion improvisation cadence employing the altered dominant chord! Please watch the video below and then try it out yourself.

As you will see this cadence employs the Altered scale. It is a 2 [minor 7 flat 5] going to 5 [ “Altered Dominant”] 1 [major 7th]. This being Dm7 flat 5  G7 altered resolving to C major7.

I also employ a flat 5 substitution on the Dm7 flat 5. All of this resolves though and slips nicely into the altered dominant 5 chord. I also use pentatonics within the altered scale for rhythmic flow. Please look at the TAB/MUSIC below and play through it yourself to see and feel how it all “Naturally” unfolds. I employ alternate picking the same as John Mclaughlin.

John Mclaughlin alternate picking altered scale line Music/Tab

John Mclaughlin Alternate picking Altered scale jazz improviser line

VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.

 

Altered scale jazz improvisation, jazz improviser lesson

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