Tag: guitar

Exploring Modal Chord Progressions in C Major

Posted on by Modern Music Theory and Application

CLICK SUBSCRIBE!

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at modal chords.

The chords are from the backing track [below in this page] and they are “Transposed” with C as the root note.

These are exploited in the 12 bar form of a fusion blues.

Here are the chords for the chart:

modal_chords_guitar_lesson_explained_easily

To begin with, we will take the first chord for the basic Ionian/Major sound. Here we have a chord/triad of G Major over the bass note C as a substitution for Cmaj7:

modal_chords_guitar_lesson_explained_easily

Next, we have a C Dorian tonality. For this I am employing a 7sus4 chord with a triad of Bb over a C bass once again

modal_chords_guitar_lesson_explained_easily

From here, we will create a C Lydian sound. We will do this by employing a triad of D Major over a C Bass.

modal_chords_guitar_lesson_explained_easily

Now, we will move back to Ionian with another 7sus4 chord. This time it’s a triad of C Major over a D Bass.

modal_chords_guitar_lesson_explained_easily

To create interest, we will now make this tonality minor by adding a triad of Eb Major over a C Bass [a la C minor 7th]. [Aeolian/Dorian]

modal_chords_guitar_lesson_explained_easily

For, the Phrygian/Aeolian sound, we will employ a 1st inversion triad of Ab Major over a C bass.

modal_chords_guitar_lesson_explained_easily

To create some dissonance, and a more ethereal sound it’s a good idea to add a Locrian chord. In this instance, I am employing a triad of Db Major over the C Bass.

modal_chords_guitar_lesson_explained_easily

For the mixolydian sound I am employing a simple C7 chord. [You could also add a 4-3 suspension]

Now, let’s add a couple of Dorian chords.

These will be another 7sus4 chord of an Eb triad over an F bass.

modal_chords_guitar_lesson_explained_easily

And, a Major 9 [or sus2] no 3rd chord. For this we will add a triad of F major over a Bb bass.

modal_chords_guitar_lesson_explained_easily

For the penultimate Mixolydian chord, we will create a 3rd inversion [Dominant]. This will be a C Major triad over a [the 7th] Bb bass.

modal_chords_guitar_lesson_explained_easily

And finally, an Aeolian sound with an Fm6 chord over a G bass.

modal_chords_guitar_lesson_explained_easily

HERE IS THE BACKING TRACK:

Modes Backing Track Transposed in C Major with Chart and Scale Suggestions.

Here, is the Chart:

modal_chords_guitar_lesson_explained_easily

Here are some Modal/Scale examples to improvise on over the chords.

modal_chords_guitar_lesson_explained_easily
modal_chords_guitar_lesson_explained_easily
modal_chords_guitar_lesson_explained_easily
modal_chords_guitar_lesson_explained_easily
modal_chords_guitar_lesson_explained_easily

CHORD LIST:

modal_chords_guitar_lesson_explained_easily
modal_chords_guitar_lesson_explained_easily

FREE PDF DOWNLOAD:

modal chordsDownload

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Alternate Picking from Ascending 5’s

Posted on by Modern Music Theory and Application

PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:

Hi Guys,

Today, a quick look at building from the “Ascending group of 5” with alternate picking guitar technique.

This group of 5 exploits the “Up” stroke. It works well as a tool for building longer and longer lines/phrases.

This is NOT shred and is really only for jazz, fusion and world-esque music like John McLaughlin’s super creative outlet Shakti. It is an improvisers tool.

ASCENDING 5:

Here is an example of the 5 figure. It consists of an open string and starts on an upstroke.

This 4 note + 1 sets up the upstroke for the string cross.

alternate_picking_guitar_technique_example

Here’s how it would be as a tetrachord to the next beat. [As opposed to a quintuplet or Ta ka di mi Thom.

alternate_picking_guitar_technique_example

EXAMPLE/EXERCISE 1:

Let’s now build off of the ascending 5 figure.

In the example below, we can clearly see the extension from the 5’s to 7’s to two groups of 4 note tetrachords.

alternate_picking_guitar_technique_example

From here, we will add a Dom7th chord to the scale/phrase.

alternate_picking_guitar_technique_example

This sets us up nicely to descend smoothly starting on the upstroke.

alternate_picking_guitar_technique_example

EXAMPLE/EXERCISE 2:

Here, we will do exactly the same thing, except that this time we are moving from G7 to C Major. [Notice the open string and 5 figure extended].

alternate_picking_guitar_technique_example

Once again, the descent is on the upstroke.

alternate_picking_guitar_technique_example

FULL EXAMPLE:

alternate_picking_guitar_technique_example

EXAMPLE/EXERCISE 3:

Here, we see the process in action again. The line building from the 5 figure.

alternate_picking_guitar_technique_example

The descent starts on the upstroke as before, but, this time leads to a perfect V I cadence:

alternate_picking_guitar_technique_example

VARIATION:

Here is a variation, but, this time in the key of A Major.

alternate_picking_guitar_technique_example

The same form of descent is employed that once again ends in a V I cadence.

alternate_picking_guitar_technique_example

FREE PDF DOWNLOAD:

5-GuitarDownload

If this lesson was of use then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Counting Rhythms for Alternate Picking Guitar “Right Hand” Technique:

Posted on by Modern Music Theory and Application

Please watch video above for more detailed info:

Hi Guys,

Here are a few of the Rhythms that I like to count and/or practice when alternate picking:

These are based around Indian Konokol: But: I am using them to INTERNALISE patterns. This could be Ta ka di mi but felt/internalised as du du du du–

WHY is this?

It’s because I am in “Standard” tuning and the syllables of the counting help to “Connect” quick rhythmic patterns together to create “Musical phrasing” for composition and improvisation.

These, I find help me enormously with the right hand picking, as I can connect phrases together from the internalised beats/syllables.

These are NOT cast in stone and are only a few ideas that I use personally, and are not aiming at strict Indian classical music technique, but, are employed as reference points/patterns/beats in the way that they are enunciated.

4 note grouping:

1] Ta ka di mi [1 2 3 4]

2] Ta ki ta Ta [more as 123 1]

5 note grouping:

1] Ta ka di mi thom [1 2 3 4 5]

2] Ta ka di mi Ta [1 2 3 4+1]

3] Ta ki ta Ta ka [1 2 3 1 2]

7 note grouping:

1] Ta ka di mi Ta ki ta [4+3]

2] Ta ka di mi thom Ta ka [5+3]

8 note grouping:

1] Ta ka di mi Ta ka di mi [4+4]

9 note grouping:

1] Ta ki ta Ta ki ta Ta ki ta [3×3]

2] Ta ka di mi Ta ka di mi Ta [4+4+1]

11 note grouping:

1] Ta ka di mi Ta ka di mi Ta ki ta [4+4+3]

13 note grouping:

1] Ta ka di mi Ta ka di mi Ta ka di mi Ta [4+4+4+1]

16 note grouping:

1] Ta ka di mi Ta ka di mi Ta ka di mi Ta ka di mi [4×4]

IN CONCLUSION:

These are only ideas that I personally find useful, and, as I say they are not for strict Indian classical music. But, they do function well as reference points and a way of enunciating beats for the picking hand to pluck at a fast [alternate picking] tempo.

If this blog/lesson was of use to you, then, please SUBSCRIBE to us on YOUTUBE below, Thanks!