Alternate Picking Arpeggios Guitar [One note per string]John Mclaughlin

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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.

John Mclaughlin D major 7th Alternate Picking Arpeggios Guitar [One note per string]

Example 2: Adding Lydian [and 9th and 13th] to John Mclaughlin’s D Major 7th alternate picking arpeggio

John Mclaughlin Alternate Picking Arpeggios Guitar [One note per string]

Example 3: Starting Arpeggio with Pentatonic John Mclaughlin style

Alternate Picking Arpeggios Guitar John Mclaughlin [One note per string]

Example 4: Pentatonic to Lydian John Mclaughlin guitar style

Alternate Picking Arpeggios John Mclaughlin Guitar [One note per string]

Example 5: Descending Arpeggio with simple John Mclaughlin fingering counting 1 e and a etc.

John Mclaughlin Alternate Picking Arpeggios Guitar [One note per string]

Example 6: Extension

Alternate Picking Arpeggios Guitar [One note per string]

Example 7: Variation

Alternate Picking Arpeggios Guitar [One note per string]

Example 8: Simple fingering descending concept.

Alternate Picking Arpeggios Guitar [One note per string]

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Alternate Picking 16th’s Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style.

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Alternate Picking 16hts Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

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 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

Alternate picking tetrachords all start on a downstroke.

Alternate Picking 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

First 4 note grouping[1st Tetrachord]:

Alternate Picking 4x4 Groupings Mclaughlin/Coltrane guitar "Tetrachord" Style
Alternate Picking 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

Second 4 note grouping [2 Tetrachords]

Alternate Picking 4x4 Groupings Mclaughlin/Coltrane guitar "Tetrachord" Style
Alternate Picking 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

Third 4 note grouping of 16ths alternate picking [3 Tetrachords]

Alternate Picking 4x4 Groupings Mclaughlin/Coltrane guitar "Tetrachord" Style
Alternate Picking 16hts Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

Finally, 4 groups of 4 [or 4 Tetrachords].

Alternate Picking 4x4 Groupings Mclaughlin/Coltrane guitar "Tetrachord" Style
Alternate Picking 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

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.

Alternate Picking 4x4 Groupings Mclaughlin/Coltrane guitar "Tetrachord" Style
Alternate Picking 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

Simple 4 note tetrachord pattern for reference:

Alternate Picking 16hts Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

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Alternate Picking 16ths Mclaughlin/Coltrane jazz/fusionguitar “Tetrachord” Style

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Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

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DETAILED ANALYSIS IN THE VIDEO BELOW:

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

In this blog we will look at improvising over one chord. This will be D minor [D Dorian].

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

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.

For example:

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

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

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Chromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts

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.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Below is a line that beautifully weaves in and out of D minor

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

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.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Now we will extend the whole line:

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

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.

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

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Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

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Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

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

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

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

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

The first pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

The second part of the chord sequence in sextuplets

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

The second pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

Finally, the full one bar alternate picking chord sequence nailing the changes

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

VARIATION:

Sextuplets John Mclaughlin guitar style into 4+2 Alternate Picking

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Robert Fripp Cross Picking Guitar craft Technique Lesson

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All of the Picking Patterns consist of “Down Down Up” with the guitar plectrum. Below you will see this basic pattern in a repeated loop.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

In the next exercise we will move this basic “Down Down Up” Cross Picking guitar pattern along the fingerboard

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

Next, we can employ Augmented and Diminished triads in triplets which is a very King Crimson Frippesque 70’s guitar sound/technique.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

We will now cross pick with the plectrum and employ an “Open string” concept.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

Now, we will develop this open string cross picking with a variation exercise

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

This last pattern doesn’t employ any open string play but is useful in regards to the string crossing movement.

Robert Fripp Cross picking “Down Down Up” Guitar Technique Lesson

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