improvisation – Page 9 – Modern Music Theory Improvisation and Application

3/4 Re Harmonisation-Jazz/Fusion Triads/Bass

Posted on January 7, 2023January 9, 2023 by Modern Music Theory and Application

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jazz-fusion-reharmonisation-triads-example

Hi Guys,

Today we will have a look at re harmonising with extra dominant substitutions and a chord ii variant…..

jazz-fusion-reharmonisation-triads-example

The first bar employs a C6/9 in place of the basic tonic chord of C major.

Also, note that this has a 3/4 time signature and starts with an up beat.

The next two bars alter the Dominant chord of G7. This is achieved by thinking of G as a 1st inversion and changing the harmony on top.

The BbmMaj7/B has the flattened 3rd like a #9 a flattened 5th [altered] but has the 9th and the 7th of G7. The first 4 notes of the improvised line establishes the BbmMaj7/B harmony whilst the next eight notes employ the A whole tone scale.

The next substitution is a Db chord over the B bass establishing the flattened 5th and a flattened 9th. But, what is really happening is that we are taking a triad a tritone away form the dominant chord G7 and superimposing that on the B [as a 1st inversion] bass note.

Next, we use a chord ii substitution. Again, thinking of F as the bass [1st inversion] we play an E triad over the top. This has the raised 6th and the flattened 5th as a sort of m7b5/Dorian mix.

The final Dominant substitution employs another triad from G altered. This time we use the Eb triad over the B [as 1st inversion] bass. [This has an added 9th acting as the 7th note of G]

Improvised line over the top,

Finally, we arrive back to C6/9

LICK PDF DOWNLOAD:

alterd-harmony PDF RE-HARMONISATION Download

CHORDS PDF:

triadsbass chords Download

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Fusion chords/Improvised Line [John McLaughlin style]

Posted on December 13, 2022December 18, 2022 by Modern Music Theory and Application

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https://youtu.be/4-BbI3_9H4c

Please watch video above for a detailed analysis:

Hi Guys,

Today we will have a look at a I Vi [VI] ii V V I cadence with fusion chord substitutions.

For the first chord of C major we will employ: C6/9

For the A7 chord we will go a flattened 5th away with an Eb Triad over an E natural bass.

For the Dm7 chord we will use a 2nd inversion C triad over an F bass note. [Dm9/11 1st inversion]

For the first Dominant substitution we will go a flat 5 away again and use Db over a B bass:[as in an altered 1st inversion]

For the second dominant chord we will put the flattened 5th note [Db] in the bass with a G triad on top:

We finally resolve to a C Maj7#11 tonic chord:

Below is an example of an improvised line through these substituted chords:

DOWNLOAD PDF:

fusion-chordsline-mclaughlin Fusion Chords/Line Download

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“Jazz Target Tones”- Alternate Picking Guitar Set-Ups Technique

Posted on October 15, 2022October 19, 2022 by Modern Music Theory and Application

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https://youtu.be/Ws_fsHQ0_HU

Target Tones- Alternate Picking Guitar Set-Ups Technique

Please watch video above for in depth analysis:

Hi Guys!

Today we will have a look at setting up “Jazz Target Tones” with alternate picking guitar technique for fast fluid improvising lines.

target, tones, jazz, guitar, — Target Tones- Alternate Picking Guitar Set-Ups Technique

The example above is the most common and best example of how target tones work and how they are set up. Notice that the weak beat or off beat is the starting note. So, we have [4] e and a as an “Up Beat” [or Anacrusis]. This leads to the strong beat 1 in bar 1.

Now, for alternate picking we need to be aware of what picking stroke we will start on for this weak “Off” beat. Being the “Off” beat and syncopated it will be the “Up Stroke” as in [Down] Up down Up.

In the Exercise below we will now employ Target Tones within the improvised line itself from the second beat. Again, notice that the target tones start on the “Up Stroke” and resolve to the on [1st] beat of the next chord smoothly with the down stroke.

With this method you will always know where you are in the bar rhythmically, when you are on the off beat [Up Stroke] and what stroke you will start the next “On” beat with [Down stroke].

Here’s another example:

It’s also helpful to accent the 1st note in each four note grouping as this will create the jazz feel and thrust the target tones along rhythmically whilst moving your fretting hand into position.