Please watch video the for the John Mclaughlin fingering etc. I start all of these arpeggios on a down stroke with strict alternate picking for rhythmic precision. I am counting in 16ths 1 e and a etc. Most of the arpeggios are one note per string.
Example 1: John Mclaughlin D major 7th arpeggio.
Example 2: Adding Lydian [and 9th and 13th] to John Mclaughlin’s D Major 7th alternate picking arpeggio
Example 3: Starting Arpeggio with Pentatonic John Mclaughlin style
Example 4: Pentatonic to Lydian John Mclaughlin guitar style
Example 5: Descending Arpeggio with simple John Mclaughlin fingering counting 1 e and a etc.
Example 6: Extension
Example 7: Variation
Example 8: Simple fingering descending concept.
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In this final part of alternate picking guitar techniques for jazz fusion improvisation. We again look at the style of John Mclaughlin in order to play through the changes with 4 groups of 4, or 4 tetrachords per bar.
Alternate picking tetrachords all start on a downstroke.
First 4 note grouping[1st Tetrachord]:
Second 4 note grouping [2 Tetrachords]
Third 4 note grouping of 16ths alternate picking [3 Tetrachords]
Finally, 4 groups of 4 [or 4 Tetrachords].
We can now apply this to playing through complex chord changes at a fast tempo. In the example below we will take John Coltrane’s “Countdown” and play one chord per beat as an example for setting up these 4 x 4 note groupings [Tetrachords]for quick rapid improvisation at a super fast tempo.
Simple 4 note tetrachord pattern for reference:
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In this blog we will look at improvising over one chord. This will be D minor [D Dorian].
The key is to use chromaticism, tertian harmony, superimposition and outside harmonic content in order to create interesting improvised lines and move away from the cliches of scales and modes to create originality.
The key for smoothness is to be aware of where the 1/2 steps [Semitones]are in the “Connections”.
If we look below we can see where the 1/2 steps connect and how to play off of the tonic note with this. In this case we play off of the tonic D note resolving straight into the Eb note for Eb melodic minor. We can then resolve down a half step to C#m and back down into D Dorian
So as you can see it is easy to weave in and out of the harmony and get back to D Dorian via the 1/2 step.
Below is a line that beautifully weaves in and out of D minor
In this next example we will use tertian harmony and exploit superimposition. We will employ D melodic minor and and keep extending via C melodic minor.
Now we will extend the whole line:
As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.
Lastly we will exploit the use flat 5 concepts. In this case there is an Abmaj7/D and a Cmaj7/F# with which we can be creative.
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In this post we will go one further than the last post. This time we will take a group of six [Sextuplets] and make a tetrachord and a half from it.
This will make 4+ 2 which will make us nail the changes with 4 notes on the first chord and 2 notes on the second chord with a short rest to reset our fretting hand to repeat the pattern again on the next two chords.
Alternate picking exercise warm up in Sextuplets/Triplets
Why do this?
Because the groups of six are quite easy to play on the guitar and there a heaps of variations on each pattern. They flow easily and can be alternate picked rhythmically to create musical phrasing.
The first pattern for playing through the changes in Sextuplets
The first pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
The second part of the chord sequence in sextuplets
The second pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
Finally, the full one bar alternate picking chord sequence nailing the changes
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