harmonic minor scale – Modern Music Theory Improvisation and Application

Exploring John McLaughlin’s Jazz/Fusion Chords [Re/Edit]

Posted on February 13, 2026 by Modern Music Theory and Application

CLICK SUBSCRIBE!

The Chords of Guitarist John McLaughlin

IMPORTANT: Please watch video above for detailed info:

Hi Guys,

Welcome to part 2 of the John McLaughlin Modern Jazz Chords series.

First we will have a look at making chords from the whole step half step diminished scale:

The Diminished Scale

Within this scale are lots of Triads: [for instance]

From these Triads we can add different Bass Notes and produce “Slash chords“

Musical score displaying slash chords of the diminished scale, including B/C, Dm7b5, F/F# and Ab/A with corresponding tablature. — Chord progression showcasing slash chords derived from the diminished scale.

Okay, let’s take three triads with different bass notes and join them together:

Sheet music excerpt showing modern guitar slash chords for F/F#, D/Eb, and B/C from the diminished scale in standard notation and tablature. — Triads with different bass notes from the diminished scale, essential for creating ‘slash chords’ in jazz harmony.

It’s important to realise that because we are employing chords form the diminished scale we have minor 3rd movement.

So, let’s add a little melody within the chords: This is the way that John McLaughlin gets that lovely Bluesy feel within the harmony. Again, this is due to the way that the minor 3rd’s work within diminshed scale harmony.

A musical sheet displaying three slash chords from the diminished scale: F/F#, D/Eb, and B/C, with marked notes and a tablature section showing finger placement on a guitar. — Musical notation showing triad slash chords F/F#, D/Eb, and B/C with finger positions on a guitar tab.

Now let’s create a Blues Composition from this diminished scale.

Musical notation sheet displaying various diminished scale slash chords including F#/F#, D/Eb, B/C, Bm7b5, and more, with labeled sections for harmonic rhythm. — Chord sequence with diminished scale harmonies for a blues composition.

For the last 4 bars we will make the Harmonic Rhythm Quicker by adding a new chord sequence that employs minor7 flat 5’s with slash chords.

Sheet music notation featuring various chords from the diminished scale including Bm7b5, B/C, Dm, and others, along with guitar tablature. — Chord progression using diminished scale triads creating slash chords

JOING CHORDS WITH SCALIC FRAGMENTS

It’s a good idea to join chords together with fragments of the diminished scale: This is also extremely useful when creating composition;

Musical sheet showing John McLaughlin's chord scale in a diminished scale context. — Musical notation illustrating John McLaughlin’s chord scale in a diminished scale context.

2x scale to chords:

Musical sheet showing John McLaughlin's chord scale guitar approach to the diminished scale.

All 12 Major Triads over One Note [C]

Here is an excellent exercise for hearing how all 12 major triads sound over the same single note;

Musical sheet displaying the 12 Major music triads over a C pedal note. D/C, E/C, F/C, G/C, A/C, and B/C, including finger positions for various instruments. — Exercise showcasing all 12 major triads over the pedal note of C.

Lastly, here are some misellaneous John McLaughlin guitar chords:

Shakti Chord:

shakti-guitar-chord-john-mclaughlin — Diagram showing guitar tablature and notation for the Open E “Shakti” McLaughlin chord

Harmonic minor scale chords:

Music notation showing John McLaughlin's guitar chords from the Harmonic minor scale. — Example of harmonic minor scale chords for guitar, showcasing the E/A chord.

E/A

Sheet music notation showing John McLaughlin's guitar chords from the Harmonic minor scale. — Guitar chord diagram for slash chord E/A, illustrating finger positioning and fret numbers.

E/C

john-mclaughlin-harmonic-minor-slash-chord

Sheet music notation displaying John McLaughlin's guitar slash chords from the Harmonic minor scale. — Musical notation for slash chord taken from the harmonic minor scale.

Lastly, From the Whole Tone scale [Notice: 1 tone movement]

Sheet music featuring a treble clef, time signature of 4/4 displaying chords from the whole tone scale. — Musical notation example featuring chords from the whole tone scale..

Sheet music featuring a treble clef, time signature of 4/4 displaying John McLaughlin's guitar slash chords from the whole tone scale. — Musical notation demonstrating John McLaughlin’s slash chord sequences

PDF DOWNLOAD:

modern-jazz-chords-examples Download

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

#Johnmclaughlinchordslesson #Mclaughlinguitarchords #Mclaughlinslashchordsguitar #JohnMcLaughlinguitarchords #McLaughlinscaleguitarchords

Guitarist John McLaughlin’s use of the Diminished Scale for Chords and Improvisation:

Posted on March 12, 2025March 12, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a look at how jazz guitar legend John McLaughlin makes cool and original sounding jazz lines from the diminished scale when improvising.

PART 1: CHORDAL SUBSTITUTIONS:

First of all, let’s apply a couple of Dim7 substitutions for the Dom7b9 chord.

In the example below, for the E7b9 chord we will employ Ddim7, Fdim7 chords over an E bass for a V to i cadence.

EXAMPLE 1:

Notice that the top line resolves:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

EXAMPLE 2: Shifting the diminished 7th shape up to resolve for V to i cadence

Once again, the top line has a smooth half step resolution:

CHORD APPLICATION PART 2:

This time, we will employ the Dom13b9 chord in a full ii V i cadence.

As, in our previous examples, acknowledge the descending chromatic movement– resolving in the top line.

john_mclaughlin_jazz_guitar_diminished_scale_example

PASSING CHORD:

This time, we will add a passing chord. This will be Eb7#9. This falls smoothly from the Em7 chord.

We will also add a little bit of bass movement.

Also, in this example, we have two 1/2 step resolutions in the top line.

john_mclaughlin_jazz_guitar_diminished_chords_example

Finally, we will exploit a Dom13#9 chord as part of the ii V I cadence. [Once again, notice the chromatic moment on the 1st string/top line as we ascend this time].

EXPLOITING THE SOLO LINE:

Another interesting concept that John employs, is to use the “Ultra Locrian” mode or the 7th mode of the harmonic minor scale when dealing with diminished chords.

Here is the scale/mode over an Adim7 chord.

ultra_locrian_scale_mode_john_mclaughlin_guitar_example

AVOIDING THE DIMINISHED CLICHE!

What puts John in a league of his own, is his avoidance of the usual tired diminished cliches .

Here, is an excellent example where John sequences in minor thirds. This though is an original, fresh and highly unique way of approaching diminished harmony and hence breaks the chain of cliches.

These 4 note groupings of tetrachords work great for sequencing with quick alternate picking guitar technique. [Starting on a down stroke]

THE INTERVALS: Key to creative lines

Looking at our example more closely we can clearly see the manipulation of intervals within the diminished scale/harmony.

This is what sets the great improvisers apart.

In this disguised manner the ascent in minor 3rds has a fresh interest to the ear due to the creative use of these intervals.

FULL ii V7 I Line

EXAMPLE 2

Here, we have the same thing in a different key:

Once again, acknowledge the use of intervals and tetrachords for rapid ascending movement with the picking hand.

Full Line:

IN CONCLUSION

This was just a quick look at how John McLaughlin exploits the diminished scale in interesting and unique ways that work extremely well not only for jazz, but, also specifically for the guitar.

John’s sequencing by exploiting 4ths, 3rds, triads and semitones creates an inspirational path, because it demonstrates that fresh life can be brought out from the diminished scale. This in turn makes the worn out cliches very easy to avoid.

FREE DOWNLOAD:

mcl dim Download

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

John McLaughlin Alternate Picking Guitar Secrets part 1

Posted on October 31, 2024October 31, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick delve into what makes John McLaughlin’s alternate picking guitar style work so easily and fluidly.

Many, focus on the right hand technique, but, much of it comes from the way the fretting hand works.

So, let’s look at a couple of simple secrets to John’s approach and why it is so fluid and effective

#1 OPEN STRING APPLICATION:

In this example, we will create an effective line that is not tremolo picking on cliche shred scales but a continuous colourful and creative improvised line in a world music style.

Here is the full line. Starting on a “Down stroke”

john-mclaughlin-guitar-secrets-alternate-picking-fast

If we take this apart we will find a couple of reasons why this is fluid and very natural for the alternate picking guitar technique.

First of all notice: The arpeggio that starts the phrase. The last note of this 4 note tetrachord grouping is an open D string!

This open string gives the fretting hand a hundredth of a second to do absolutely nothing as it prepares for the next 4 note grouping to fret.

This gives us time to get into position and so we are NOT rushing about, and, we are in control

CROSSING THE STRING:

We will now employ the use of an open string once again, but, this time for “Crossing” the string:

This makes it easy to cross the string smoothly and connect to the next tetrachord.

From here we will extract a partial John McLaughlin scale/fingering by sliding it into position.

To end this line, we will descend with some simple scale starting on an “Up stroke”. Also, notice the simple 2 finger fingering for the fretting hand.

EXERCISE 2: SEXTUPLETS: 6 NOTE GROUPINGS:

In this exercise we will employ groupings of 6 notes. This is based upon an improvised acoustic jazz fusion line, like that of “Belo Herozonte:

This is played over a ii V7 I of Dm9 G7 CMaj9:

If we take this apart we will notice that we exploit a Bm arpeggio going to a B dim arpeggio that then goes to the 4th and 6th notes of D Dorian: This creates a nice colourful sound.

For the next 6 note hexatonic grouping we employ an E harmonic/melodic minor sound over the Dm9 chord: Notice the Major 3rd interval:

From here, we will “Slide” the fretting hand up to the next position: Notice the use of the Major 3rd interval once again, as this breaks up the monotonous scale sound and creates distance and melodicism.

Finally, we have simple 2 finger pentatonic descending scale application that finally rest on the note C for the CMaj9 chord.