Indian – Modern Music Theory Improvisation and Application

Indo-Jazz-Fusion Guitar Techniques with Shakti Examples

Posted on May 14, 2025May 14, 2025 by Modern Music Theory and Application

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Hi Guys,

Here, are the Shakti/John McLaughlin Guitar examples of Indo-Jazz-Fusion lines and chordal approaches.

EXAMPLE 1:

Repeated note: “Raga” style line and scale development.

From here, we have a descending pentatonic scale:

EXAMPLE 2:

Shakti style “Chordal Voicing” for chordal arpeggio picking. [See video]

EXAMPLE 3:

Ascending and Descending alternate picking guitar line.

To answer the ascent, we will now descend to complete the phrase:

EXAMPLE 4:

Here, we have some more harmony to create with chordal picking guitar technique:

EXAMPLE 4:

Next we have a variation of example 3.

Once again, to complete the phrase we will employ a scale. This time though, it’s an A Major Dominant scale in descent:

EXAMPLE 4:

First inversion chord, slash chord, 3rd inversion:

EXAMPLE 5:

Variation line once again, this time starting with an Em arpeggio:

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“Shakti/McLaughlin” Mid Tempo Guitar Exercise [Alternate Picking]

Posted on November 20, 2024November 20, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, a short “Mid-Tempo” [around 140bpm] JohnMcLaughlin/Shakti style alternate picking guitar exercise for scale connections in the fretting hand.

This is in regard to crossing the strings and connecting different scale fragments together.

BAR 1:

The first concept is that of employing the open string. This gives the fretting hand a hundredth of a second to rest and hence easily get into position to fret the next note at a mid and fast tempo.

Note: fourth 16th note = Open String

shakti-mclaughlin-indo-jazz-guitar-exercise

In the next part, we can see both open strings employed to make it easy for the fretting hand to get into position and connect to the next scale fragment.

The last note in the bar, the open B natural, makes it easy for us to cross the string smoothly.

shakti-mclaughlin-indo-jazz-guitar-lesson

Here, is the first bar complete:

BAR 2:

In this bar, we employ semitones as they are easy to finger/fret, and, also to cross the guitar strings when descending.

Extended Variation:

Here, is an extended variation that employs the same alternate picking John McLaughlin concepts that we have just looked at:

IN CONCLUSION:

These simple concepts for the fretting hand when alternate picking might not seem much, but, they are the little hinges that swing the big door when holding the tempo together. Especially, when playing with a tabla/drum.

It also makes it easier for the right picking hand to pluck the strings as the fretting hand is not under pressure, and, there are spaces for the fretting hand to rest and get into position.

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Indian-esque “Style” Octave Raga Strumming

Posted on November 23, 2023January 27, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, a quick blog on using octaves and open strings on the guitar to create Raga style compositions.

This is not “Classical” Indian” music but a means of adding an implication and fusing western guitar strumming with the Indian scale sound.

Below, we can see the scale we will employ. This is the Lydian mode. Here we have D lydian in a Hexatonic format.

indian-guitar-strumming-octaves-raga-example

Now, instead of using single notes we will double them creating octaves.

Adding to this we will employ the open strings of the guitar as we strum to create interesting rhythms. [See video above].

We can also use quick slurs and slides to create a dynamic Indian-esque effect

Now, let’s move over to the 4th and 2nd strings and do the same thing with the lydian octaves and open guitar strings. [see video above]

Finally, we will move over to the 3rd and 1st guitar strings and do the same thing. This time creating the C lydian mode.

indian-guitar-strumming-octaves-raga-example-c-lydian

Due to the guitars tuning you will notice that we are moving up in 4ths or down in 5ths.

This works well for composing becasue it creates a strong pull in terms of movement and power that can then be manipulated by percussive rhythmic strumming on the guitar.

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