Tag: guitar

Mastering John McLaughlin’s Guitar Techniques

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, Part 2 of the alternate picking patterns/numbers for John McLaughlin style guitar playing/picking.

PART 1:

Ta ka di mi thom Extensions:

These are all building off of the number 5 and starting on the “Up” stroke for strict alternate picking guitar technique in standard tuning:


Example 1: Basic quintuplet-Ta ka di mi thom

john_mclaughlin_guitar_technique_example

Example 2: [The first note is a C#] 5 + 2 [or vice versa Ta ka Ta ka di mi thom]

john_mclaughlin_guitar_technique_example

Example 3: Ta ka di mi thom ta ki ta [ or vice versa]

john_mclaughlin_guitar_technique_example

OR: Ta ka di mi-Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 4: 5+4 Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 5: 5+5 to chord:

john_mclaughlin_guitar_technique_example

PART 2:

Ta ka di mi thom EXTENSIONS: “DOWNSTROKE”

These example like those above expand on the number 5 but start on a “Down”stroke this time.

Example 1: Basic quintuplet-Ta ka di mi thom

john_mclaughlin_guitar_technique_example

Example 2: 5 + 2 [or vice versa Ta ka Ta ka di mi thom]

john_mclaughlin_guitar_technique_example

Example 3: 5+4 Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 4: 7+ 4
 Ta ka Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 5:Ta ka Ta ka di mi thom Ta ki ta Ta ki ta-7+ 3+3 = 13 Prime Number:

john_mclaughlin_guitar_technique_example

PART 3:

DESCENDING ANSWER PHRASES:

Example 1:

“Down stroke”. This line employs a group of 8 notes [even] that finish on the prime number 13 to answer and complete the line.

john_mclaughlin_guitar_technique_example

Example 2:

“Upstroke”. This line starts on an “Upstroke” and consists of a group of 8 notes and a group of 12 notes creating an even pattern.

john_mclaughlin_guitar_technique_example

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konokol_guitarDownload

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Earl Klugh Style Guitar Composing

Posted on by Modern Music Theory and Application
Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Hi Guys,

Today, a quick look at the unique compositional and playing style of guitar maestro Earl Klugh.

EXAMPLE 1:

In the first example we will take a basic I IV V I [C to F to G to C] chord sequence and employ “Inversions”.

The employment of simple chord inversions are the key to getting creative in this beautiful, skeletal and spacious guitar style, along with the compositional process.

First we will create a short piece of music to then elaborate on:

Let’s begin with a simple C root position chord that then moves up into its 1st inversion with a melody note of B natural, which, will resolve down to the note A for chord IV [F Major].

earl_klugh_guitar_lesson

From here we will employ a root position chord of G Major.

earl_klugh_guitar_lesson

Now, we need to create a cadence.

In this case we could make this V7d or G/F or employ a simple F Major chord that resolves back to C/E or C 1st inversion.

earl_klugh_guitar_lesson

Here, is the whole little structure that we can embellish in the next part.

earl_klugh_guitar_lesson

PART 2: EMBELLISHMENTS:

Now, that we have a base, a little melody and a structure to work from, we can start to fill it out and colour it in.

First, we will add some simple melodic slides: These, are outlining – C Dm and C/E – and create percussive/melodic movement.

earl_klugh_guitar_lesson

Next, we will exploit chord iii and make it Major and a Dominant 7th: From here, we will use this to modulate to chord Vi [A minor] the relative minor of C Major.

This gives a new emotional colour and pull as it moves away from the Major key.

earl_klugh_guitar_lesson

Finally, we need to cadence. We will employ a ii V chord sequence to get us back to chord I [C Major].

earl_klugh_guitar_lesson

To create a climax to the cadence, we will add colour with 6ths as melodic and rhythmic embellishments that push us to resolve to the tonic chord of C Major.

earl_klugh_guitar_lesson

FULL EXAMPLE:

earl_klugh_guitar_lesson

IN CONCLUSION:

This was just a brief look at this amazing style that is employed by the likes of Earl Klugh and Pat Metheny.

The use of chord inversions and basic harmony creates a very melodic and rhythmic world where composition presents itself naturally, within the movement of the chords themselves.

This is because, the melodies or melodic inflections result from the way that the chord inversion connect and resolve, thus, making the compositional process a natural and fluid one, resulting in spacious, rich melodic sounds that compliment the guitars resonance and fingerboard shapes.

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earl_klughDownload

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Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Modal Chords For Guitar: Slash Chords and Substitution Voicing’s

Posted on by Modern Music Theory and Application

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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

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