Tag: guitar

Easy Ways to Harmonise the Diminished Scale

Posted on by Modern Music Theory and Application
How to Easily Harmonise the Diminished Scale Lesson

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at an easy way to harmonise the diminished scale.

PART 1: The Diminished 7th Chord

To begin our study, let’s take the diminished scale and play it on the 1st [E] string of the guitar.

Notice, the half steps and whole steps of the scale.

This scale can now be harmonised with diminished seventh chords.

What’s equally amazing is that with this form we have a separate diminished scale starting on each note of the chord itself.

This in turn gives us four part harmony.

Soprano, Alto, Tenor, Bass. or S.A.T.B

image displaying how to easily harmonise the diminished scale with 4 part harmony like composer Bach.

The other interesting point, is that the first two chords of the scale incorporate all 8 notes of the scale:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with diminished 7th chords.

So, now let’s harmonise the scale fully with the diminished 7th chord shape ascending:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony.

The key from here, is to accentuate an inner or outer voice.

In this case we will accentuate the Soprano [or top line] scale ascending:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony all playing the scale

To continue our investigation, we will now accentuate the scale in the Bass.

image of music notation and guitar tab displaying how to easily harmonise the diminished scale

Now, as we look at the chord and scale within the S. A. T. B. we can see the full realm at our fingertips.

The ascending scale of each voice is in full view:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony all playing the scale

PART 2: SLASH CHORDS

Another useful device for harmonising the diminished scale is to employ the use of slash chords:

These, will be moving in minor 3rds with the scale on the top.

Below, we have a triad of F Major played over a Gb bass. This is then followed by a D Major triad played over an Eb Bass.

These chords, are now sequenced: Moving up in minor thirds whilst carrying the scale on top.

Music notation and guitar tablature showing how to harmonise the diminished scale with slash chords easily.

In the next example, we will use another diminished favourite:

The minor7b5: Or Half diminished:

We, will follow this with our B/C slash chord form our lesson a little while back:

Now, let’s view the full chord scale:

Be amazed!…..Yes, this works out in all 4 parts once again:

Music notation and guitar tab showing how to harmonise the diminished scale with slash chords

PART: minor 3rd Chord Movement

To complete this, here are the two most common chord movements in minor 3rds for our scale.

This is NOT harmonised, but still essential to look at as it really displays the minor 3rd movement in both major and minor tonality within this scale.

Minor 7ths moving in minor 3rds:

Dominant 7ths with sharpened 9ths moving up in minor 3rds:

CONCLUSION:

This was just a quick look at how to harmonise the diminished scale.

These concepts are quite basic in many regards but contain a wealth of power for both on the spot Re-harmonisation and 4 part voicing for composition.

Traditional harmony and as we can see in this blog/lesson contemporary harmony both work well for the task.

FREE PDF DOWNLOAD:

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Mastering Slash Chords: The B/C Explained

Posted on by Modern Music Theory and Application
B/C GUITAR SLASH CHORDS GUITAR LESSON AND EXAMPLES

Please watch video above for detailed info:

Hi guys,

Today, a quick look at the idea of employing slash chords.

To do this we will focus on one specific chord that of B/C.

CHORD VOICING:

In the notation/tablature below, notice the use of a B Major triad over a C bass:

John McLaughlin guitar Slash Chord B/C Example in TAB and music notation

Here, are a few more voicing’s:

1]

2]

3]

4]

SOLO LINE EXAMPLES:

This chord works well with the diminished scale. But, in order to come up with something unique we are going to take a different approach.

Because, we have the B Major chord we can exploit Pat Martino’s minor conversion technique.

In this case, we will employ the minor a Major 3rd up. This will be D#/Eb as the minor key:

IDEA 1:

Here, we will employ the simple Eb minor arpeggio:

IDEA 2:

This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.

diagram depicting guitarist John McLaughlin improvisation over Slash Chord B/C Example in music notation and guitar tablature

IDEA 3:

Let’s do the same, but, play with the notation and give it a diminished flavour:

IDEA 4:

Now, let’s take a B Major arpeggio and ascend it by making sure our C bass note is within it.

NOTE: There are also two open string notes of D natural [minor 3rd] and the open E. I used these as they make the arpeggio flow easily when alternate picking.

How to play a John McLaughlin guitar arpeggio example for altered slash chord of B/C

IDEA 5:

We can also add some chromaticism for smooth movement.

COMPOSITION- APPLICATION IN CADENCE

Finally, let’s see how composition can be exploited with our slash chord.

To do this, we will create a ii V7 I cadence:

diagram depicting guitarist John McLaughlin cadence and jazz composition

NOTICE: In the example above, we can see that the minor becomes diminished and the Dominant becomes 13b9 and the I chord becomes our slash chord that resolves yet hangs in the air.

PDF DOWNLOAD:

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Mastering John McLaughlin’s Guitar Motif Techniques Part 2:

Posted on by Modern Music Theory and Application

Hi Guys,

Here, is the extended version for the 2nd finger John McLaughlin motif:

MOTIF:

The motif is a 4 note [Tetrachord] in 16th notes- D C# D E

John McLaughlin shakti guitar lesson with music notation and guitar tab example

Notice that this starts with the 2nd finger on the first note:

Now, let’s extend this and add a “set up” by employing the Mixo-lydian mode to create a more Indian/Shakti flavour to the phrase:

I am starting this on an upstroke with strict alternate picking guitar technique:

John McLaughlin shakti guitar lesson with music notation and guitar tab example

This time, we will replicate/imitate the 4 note motif and use it as material to create/extend the phrase into a longer line.

John McLaughlin shakti guitar lesson with music notation and guitar tab example for guitar fingering

Below, is the full line/lick:

John McLaughlin shakti guitar motif and fingering lesson with music notation and guitar tab example

Let’s now, extend the motif and descend as far as we can down the fingerboard with the motif:

John McLaughlin shakti guitar lesson with music notation and guitar tab example

Finally, we will add our little set-up and create a full phrase:

John McLaughlin shakti guitar lesson with music notation and guitar tab example

MOTIF: Starting on a down stroke:

We can also start on a downstroke. This works best and is most natural when picked/phrased in triplets/sextuplets like this:

John McLaughlin alternate picking guitar lesson with music notation and guitar tab example

Full Phrase starting on a downstroke:

John McLaughlin shakti alternate picking guitar lesson with music notation and guitar tab example

IN CONCLUSION:

This little motif/concept is only a small detail, but, it is a good representation of how a lot of material can be created/repeated or imitated from such a small cell. It is like a little hinge that can swing a big door.

This way of building solid lines is really useful for the alternate picking guitar technique as it means that we can unfold material quite easily and if we ever do get lost we can slot back in with simple motif material and rebuild our phrases and keep our lines going.

FREE PDF DOWNLOAD:

motifDownload

ASC/DESC:

PATREON 2Download

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