guitar – Page 12 – Modern Music Theory Improvisation and Application

Jazz Fusion Guitar Chords and Substitutions for Slash Chords

Posted on November 24, 2024November 24, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, we will take a I Vi [VI] ii V V I cadence and re-harmonise it with fusion chord substitutions/slash chords

jazz-fusion-guitar-chords-reharmonisation-slash-chords-lesson-example

To begin with, we will make the chord of C Major into a C6/9 voicing that will resonate well on the guitar.

We, will now employ a slash chord for A7. Here, we will move a flattened 5th away and employ an Eb Triad over an E natural bass.

Let’s now exploit the Dm7 chord. For this we will use a 2nd inversion C Major triad over an F bass note. [Dm9 with an 11th in 1st inversion]

Now, let’s take the first Dominant substitution and go a flat 5th away once again. We will employ a Db Triad over a B bass: [as in an altered 1st inversion]

To manipulate this next Dominant chord we will put the flattened 5th [Db] in the bass and exploit a G triad on top:

To complete the sequence we will resolve back to the tonic chord of C Major but colour it with an F# to make it C Maj7#11

In terms of improvisation we can weave in and out of the re-harmonisation. Here, is an example for an improvised line:

john-mclauglin-guitar-chords-improvisation-licks-examples

DOWNLOAD PDF:

fusion-chordsline-mclaughlin Download

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The End of Guitar Techniques Magazine: A Tribute

Posted on November 16, 2024November 20, 2024 by Modern Music Theory and Application

Hi Guys,

Just a quick video [above] looking at the death/closure of the guitar magazine:

For me, the guitar magazine was an important part of guitar culture and a great source of learning, especially in the old days where there was very little information about.

The most important, educational and best UK guitar magazine was “Guitar Techniques” which has sadly published its last copy.

For me, this magazine was an amazing concept with real in depth and valuable lessons from the likes of, Shaun Baxter, Pete Callard and Guthrie Govan.

Examples of some truly great work!

Shaun Baxter……

Pete Callard…….

Guthrie Govan…..

guitar-techniques-magazine-guthrie-govan-example

Every subject under the sun was investigated and captured in detail. Explained with clarity and easy to execute on our guitars!

So, enjoy the video above if you were like myself a guitar mag nerd [lol!], as it is really just a tribute to the great magazines and an age and culture of a time now seemingly gone by.

Last cover: The Final Guitar Techniques Magazine R.I.P

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Robert Fripp Flat 5th “Tri-tone” Guitar Technique: Exercise 1

Posted on October 5, 2024October 5, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the Robert Fripp flattened 5th [tri-tone] guitar shape and its right hand picking patterns, rhythmic concepts and single note lines and chordal applications.

GUITAR LINE: EXERCISE:

In the first part we can employ, “Down down down up” or plain alternate picking:

From here we can either exploit the “Down Down up” pattern or once again employ our old friend alternate picking:

Also, notice how the rhythm is working. It’s a bit like triad pairs in the way it is counted, set up and felt. [It also creates a 1 2 3 effect]

We now carry this on and break it up with two 4 note groupings. [Finishing with 3 notes in the bass]

Flattened 5th shape as chords:

This shape can also be employed brilliantly for chords and chordal picking.

Here, we play all 6 strings on the guitar and leave the open E and B strings to resonate around the flat 5 shape.

This, then gives way for a quick fire ascension of the b5 shape:

We now shift the shape up higher and imitate the process:

And, move the figure up also,

To complete the phrase we will descend the b5 figure with strict alternate picking starting on a “Down” stroke:

From here, we will break it up with a group of 4 notes employing Down Down Down Up to 3 notes with Down Down Up:

To:

And finally, finishing with four Am9 chords:

CONCLUSION:

This example/exercise was just to exploit the b5 shape and show what is possible both rhythmically and in terms of the right hand picking techniques.

The key though is to employ and develop it sparingly. This way it can cause surprise and rhythmic interest.

It’s a really useful guitar tool for composition and creating a unique and individual voice for the serious creative guitarist.

FREE PDF DOWNLOAD:

fripp-guitar-b5 Download

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