Modern Music Theory Improvisation and Application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Hi Guys!
Just a short Pat Martino Guitar Lick: This is A minor based with chromaticism and resolution played over a D7#9 “Dominant” chord.
[Please watch the video for a more in depth analysis].
PDF FILE:
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OFF-BEAT PLAYING
In order to play “Off” the beat you must first establish the “On” beat. This way you can anticipate or push the music/melody/riff or motif along and then return to the established “On” beat.
When beat one is established we can then push any beat from there on. The key is then to return to the “On” beat to start the next phrase or vamp or piece of music.
If you play “Off” the beat continuously the syncopation/anticipation will be lost.
In order to fully comprehend off-beat playing it is an extremely good idea to learn and practice the two most common essential rhythms in every way possible, both in the bar and across the bar line. But, always coming back to the “On” beat for the start of the new phrase.
Rhythm 1
Rhythm 2
You can change the harmonic rhythm or join the rhythms together and create vamps or phrases.
Example:
Example:
Mixing Both Rhythms Together:
Now we will add a bass push/anticipation: [Notice the BASS note is “Tied” across the bar line].
In this example we will add a short “Melody” to a chord:
Here are a set of variations on a chord change:
Variation 1:
Variation 2:
Variation 3:
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PLEASE WATCH VIDEO ABOVE FOR DETAILED EXPLANATION:
This is an A Harmonic Minor group of of 7 notes in a repeated pattern:
The key to this exercise is to first of all acknowledge the rest:
This is essential in order to get the time: Once you have this it is essential to “Accent” the first note of each grouping.
In order to get the rhythm tight you will need to accent the first note of the 2nd group louder.
Here is the exercise for PDF Download:
Here is the Tab/Notation: Alternate Picking Ascending:
Alternate Picking Descending:
CLASSIC “SHAKTI” ALBUMS:
ABOUT “SKAKTI”: [Wiki]
Shakti were a fusion band formed by English guitarist John McLaughlin, Indian violin player L. Shankar, percussionists Zakir Hussain (on tabla) and T. H. “Vikku” Vinayakram (on Ghatam)[1] in 1974. The band played acoustic fusion music which combined Indian music with elements of jazz. The band’s Hindi name means, in English, “creative intelligence, beauty, and power.”[2]
In addition to fusing American and Indian music, Shakti also represented a fusion of the Hindustani and Carnatic music traditions, since Hussain is from the north region of India while the other Indian members are from the South.
The group came together in 1974, after the dissolution of the first incarnation of the Mahavishnu Orchestra, and toured fairly extensively during the period 1975-1977; it made only sporadic appearances (with personnel changes) thereafter.
After 1977 the albums which L. Shankar recorded with Z. Hussain and T. H. “Vikku” Vinayakram stayed close to the music made popular by Shakti. Some twenty years later McLaughlin and Hussain put together another band with the same concept, called Remember Shakti, including V. Selvaganesh (son of T. H. “Vikku” Vinayakram ), mandolin player U. Shrinivas and eventually Shankar Mahadevan.
Two concerts at the Montreux Jazz Festival (July 6, 1976 and July 8, 1977) are included among the 17 CDs of the box set Montreux Concerts by John McLaughlin.
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