guitar – Page 7 – Modern Music Theory Improvisation and Application

Easier way to improvise with Music Modes [Guitar]

Posted on June 19, 2025 by Modern Music Theory and Application

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Hi Guys,

Today, a quick look at another way of exploiting modes/improvisation on the guitar fingerboard.

We will be creating music via concepts/musical tools based on this minor shape.

Why do this?

Because with this 5 fret shape arpeggio we can easily create:

So, for instance in C Major [Ionian] we can take chord iii and Vi arpeggio shapes as a solid base and create/develop improvisation-as opposed to learning millions of scale/mode shapes/patterns etc.

With this as a base we can develop proper musical lines and rhythmic phrasing

Before we start it’s important to see how easily chords iii and Vi link together:

Example:

The first thing to be aware of is the basic pentatonic’s right under our fingertips with this arpeggio shape:

[These pentatonic’s give us some basic building blocks from the outset]:

QUARTAL SOUNDS

Next let’s add some 4ths for a Quartal jazz/fusion-esque sound:

Descending:

Ascending:

With extension

Basic Quartal fingerboard movement:

CYLE OF 4THS

Another thing to take into consideration is the cycle of 4ths under our fingertips:

Remember that we can also make these, major, minor, diminished or augmented:

For instance all major:

All minor

[This gives us even more colour and choices for chromaticism/chromatic movement right under our fingertips once again]

TARGET TONES/APPROACH NOTES [JAZZ CHROMATICS]

Below, we can see the set-up for target tones with this Em arpeggio shape:

We can also add some chromatic notes to this to create a longer jazzy-esque line:

String Skipping Petnatonic’s

String skipping works well because it removes familiarity/cliches from the ear:

Here are two examples:

Example 2:

PAIRING TRIADS

Lastly pairing triads works really. Here is a Lydian example:

conclusion

This blog has only really touched on this way of thinking, but, you can see how easy it is to make connecting lines and musical phrasing and how to exploit improvisation tools from this simple minor arpeggio shape.

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Exploring Modal Chord Progressions in C Major

Posted on June 14, 2025June 14, 2025 by Modern Music Theory and Application

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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:

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

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

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

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]

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

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.

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.

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

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.

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

HERE IS THE BACKING TRACK:

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

Here, is the Chart:

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

CHORD LIST:

FREE PDF DOWNLOAD:

modal chords Download

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Alternate Picking from Ascending 5’s

Posted on April 27, 2025April 27, 2025 by Modern Music Theory and Application

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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.