Alternate Picking Groups of 6 notes for Jazz/Fusion Guitar
IMPORTANT: Please watch the video above for detailed info:
Hi Guys,
Today, a quick look at using groups of 6 notes for double timing in Jazz/Fusion.
Although these are sextuplets I am using them as a double timing musical tool and hence thinking of them slightly differently. This is because I am using a tempo marking of 100Bpm.
Why would I do this?
The reason being – Around this tempo demisemiquavers or 32nd notes might be too quick to play and offset the rhythm too much:
and 16th notes [tetrachords] may be too draggy and not pushy enough.
So, grouping 6 notes together over [1 crotchet] or 1 quarter note works really well rhythmically for clear cut phrasing. This is the sort of thing Al Di Meola or John McLaughlin would do.
You can count this how you want. Below are some common examples.
In order to get forward momentum and shift the grouping along it is a really good idea to “Accent” the third note in each six note grouping: This also gives you a reference point and avoids muddying the groupings of notes.
EXERCISE 1:
Here is the first exercise starting on a down stroke with strict alternate picking:
EXERCISE 2:
In the next exercise the second part goes the other way on the guitar fingerboard.
EXERCISE 3: EXTENDED LONG LINE:
This is an extended exercise with strict alternate picking : Remember to count the groupings as you play to begin with so that you internalise them.
The Practice Notebooks Of Michael Brecker: Book Review
IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Today I am reviewing the amazing collection of entries from Michael Brecker’s practice notebooks. With over 700 entries there is a lot to choose from.
Okay, let’s get started.
This book goes through the different decades of Michael Brecker’s musical life, starting from 1967 through the 70’s, 80’s, 90’s and up to 2002.
There are six books within this:
In order to do justice to this collection of entries I will analyse a few.
From this it is revealing and in many cases surprising because Michael Brecker starts with such a simple seed, an almost childlike simplicity which is then expanded on with many of his trademark improvisational techniques.
This in turn opens the door to MichaelBrecker’s improvisational mindset, self study and developmental nature:
EXAMPLE/ENTRY 1:
Here, we can see a ii V7 I which becomes a turnaround: [Notice the employment of Dominants]. The Am7 chord slides up a semitone to the Bb7 chord which then moves in the cycle of 4ths to Eb7 to Ab7 which then slides down a semitone again to the tonic key G.
But, what makes this line unique is the connecting of the solo line: Because the harmonic rhythm is moving at such a fast rate [1 chord per beat] the solo line needs to connect seamlessly.
And so it does. Above we see the G to Ab to G back and forth employing the same smooth semitone connection which finally resolves an octave lower.
Joe Henderson Line
The next example is from an entry that Michael Brecker took from Joe Henderson:
This example is interesting because we see one of Brecker’s trademarks, “Sidestepping”.
This little line starts off with a simple piece of scale that then incorporates side stepping,
This then connects to a scalic bebop style lick which then cadences beautifully with a minor 6th interval.
MODULES
The next example demonstrates Michael Brecker’s use of 4 note modules.
This module is exploited in a short line.
Below we can see the module that then connects to a simple minor 7th arpeggio.
This then slides down a semitone to connect the module again. Finally, finishing with a lick
COUNTDOWN
The last example is a phrase from the classic jazz repertoire “Countdown”.
This again is unique due to its structuring with simple triads and motifs/modules:
Below we see the modules/motifs repeated, but, moving down in Major 3rds.
Next, we see the filling out with the simplistic employment of basic triads:
Below, we see the minor 7th arpeggio, triads and final rudimentary cadential lick.
CONCLUSION
This was just a quick look at a few entries that Michael Brecker would expand on, play in all 12 keys and use a as basis for extemporisation, composition and improvisation.
This book is for the serious student of improvisation, wether a beginner or pro and anyone seeking to get into Michael Brecker’s mind and understand his ways of working/practicing as an improviser.
Lastly, I would like to thank all the people at Sher.co music for putting me on to this amazing book!
Click Book Cover For Link
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John McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]
Please watch video above for detailed info:
Hi Guys,
Today, a quick ii V7 I McLaughlin-esque lick
This is at 140 Bpm with an altered approach to harmony with strict alternate picking guitar technique.
The chords are as follows.
For the ii minor chord I employ a minor chord with a Major 7th and an added 9th.
For the V7 chord I raise the 5th [#5] and add a flattened 9th note.
And for the I chord I make this augmented by raising the 5th.
So, the ii V7 I becomes harmonically altered and creates an interesting sound
Guitar Line
The line starts on an upbeat with 3 target tones that deliberately set up the 1st note of bar one. This adds forward momentum and adds a colourful chromatic set-up.
The target tones start on an “Up stroke” so that on the first beat of bar one you will land and start a “Down stroke”
Over the DmMaj7/9 chord I start with a Dm9 arpeggio and then exploit the D Harmonic minor scale by ascending in fragments.
Over the G+b9 chord I start on the third note B and then play an Eb 4-3 arpeggio.
The Bb from this arpeggio then moves up to the B natural and then I play the b9 to tonic and #5 to5 which then finally moves down to the note C for the tonic of the next chord C+.
