jazz guitar – Page 3 – Modern Music Theory Improvisation and Application

Jazz Fusion Alternate Picking Guitar Exercise Analysis

Posted on July 8, 2024July 8, 2024 by Modern Music Theory and Application

Hi Guys

As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy]

VIDEO OF THE EXERCISE:

Alternate Picking guitar exercise. Jazz Fusion music mid tempo. Lesson/How to:

EXERCISE ANALYSIS:

PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate picking:

This exercise starts on a down stroke with strict alternate picking around 130-140 Bpm:

The point of the exercise is to “Connect” lots of jazz improvisation concepts together.

The first being barring 4ths and 3rds with the little finger [or pinkie]. This breaks up the monotony of the scale sound and creates a melodic inflection. It also makes it easy to play quickly as two notes are fretted with the same finger.

alternate-picking-guitar-jazz-fusion-lesson

This exercise is also good for exploiting phrasing on one string:

It’s also good for triad implications or sus 4-3 to lengthen the line.

Lastly, another tool that works really well for both the alternate picking right hand and the sound of the phrase is to employ an arpeggio. In this exercise we have also manipulated the open string to set up the next fragment of scale on the same string.

FULL EXERCISE:

DESCENDING ALTERNATE PICKING EXERCISE:

Alternate Picking mid tempo guitar exercise

This exercise starts on a downstroke once again, but, this time we descend:

The same improvisational tools are applied.

We start the line with some 4ths barred with the little finger into a bit of broken scale.

This leads us nicely into the employment of two arpeggios. These arpeggios create melodic colour over the A7 Dominant chord.

Next we exploit the alternate picking on the same string for two beats over the D Major 7 chord:

As with the previous exercise we exploit the Major 3rd and perfect 4th intervals, which means that we can alternate pick two notes quickly without having to change our fretting fingers.

Finally, we employ the chromatic scale starting on the #5 [Bb] of D7augmented chord:

IN CONCLUSION

In conclusion it’s through exploiting these improvisational devices that we can alternate pick and create long quick fluid lines lines that make improvisational sense.

In terms of jazz fusion this means that we can play smoothly through ambiguous harmony as well as standard chord changes at a quick tempo.

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alternatepicking-lesson Download

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Pat Martino’s Melodic Minor Scale: Jazz Guitar Improvisation: minor conversion

Posted on June 24, 2024July 3, 2024 by Modern Music Theory and Application

Pat Martino Melodic Minor Guitar Improvisation | Jazzimproviser.com

Hi Guys,

Today, a look at Pat Martino’s use of the melodic minor scale. We will employ the same jazz tools as the previous video.

The Melodic Minor Scale

As, you can see below the melodic minor scale is the same as the major scale but with a flattened third.

pat-martino-melodic-minor-conversion-jazz-guitar-improvisation

This scale works well, when played over altered Dominant chords.

In this case we have an Ab7 chord that is then altered. To play over this we employ the melodic minor scale by playing it a half step up.

So, for Ab altered we can exploit the A melodic minor scale as it is a half step up.

Below, the Ab altered chord:

Jazz chromatic Tools:

To begin with, let’s use our old friends the “Target tones”.

Once again [as in last lesson] we will start with an upbeat. This sets the rhythmic flow of the chromaticism and the jazz phrasing. From here we will employ some simple chromatic scale tones.

We will now exploit the phrase by bringing in an arpeggio for melodic effect. [Also, notice, the flattened 6th and the major 3rd interval with chromatic descending movement].

Rhythmically, we start on the off beat once again.

In the next bar we will employ some basic melodic minor scale before adding our colourful chromaticism.

Now, we will bring in our chromatic set up which is a mixture of target tones and chromatic scale. [Notice, we end the phrase on the leading note of A melodic minor scale the G#].

VARIATION:

We could also fit in our classic jazz melody/motif from our previous lesson.

On a last note, we can also ascend with our target tones and chromatic set ups:

EXAMPLE:

FULL EXAMPLE:

FREE PDF DOWNLOAD:

melodic minor pat martino Download

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Pat Martino’s Minor Conversion Jazz Technique: Chromatic Devices and Examples

Posted on June 17, 2024June 24, 2024 by Modern Music Theory and Application

Pat Martino’s Minor Conversion Jazz Technique: Chromatic Devices and Examples

PLEASE Watch Video above for detailed info:

Hi Guys,

Some of you have said “How do we make Pat Martino’s minor conversion technique actually sound jazzy?”

Okay, let’s take a closer look!

CHROMATIC JAZZ TECHNIQUES FOR MINOR CONVERSION

There are 5 essential devices to employ for this:

1] Target tones:

These are employed to target a specific note. In this case E the 5th note of Am.

The use of an anacrusis/upbeat works best with target tones as this also sets up the jazz phrasing.

pat-martino-minor-conversion-jazz-guitar-lesson-target-tones

2] Chromatic scale.

This is usually delivered in fragments:

pat-martino-minor-conversion-chromatic-jazz-guitar-lesson

3] Side stepping:

In this case we are moving the interval of a tone down a semitone:

pat-martino-minor-conversion-side-stepping

4] “Classic” Jazz passing melody/MOTIF:

This is heard a lot in Charlie Paker’s playing as well as Pat’s improvisations.

pat-martino-minor-conversion-jazz-guitar-lesson

5] Minor arpeggio/min7th:

This is really useful and simple melodic tool for improvisational manipulation:

pat-martino-minor-conversion-minor7th-arpeggio

PART 2:

Analysis/Example- Pat Martino’s ii V7 I

In this example we can clearly see Pat’s exploitation of chromatics and how fluid they are in creating a long phrase.

We can see the target tone set up with an upbeat. Next we can see the manipulation of the chromatic scale, also, with a chromatic mix of scale and target tones. The minor arpeggio descends easily whilst the classic jazz motif/melody comes into play to round the phrase off .

This creates a very convincing jazz line in the “Minor conversion” Martino jazz guitar style/approach.

To complete this ii V7 I minor conversion we will exploit the minor7 arpeggio. From this, notice, the use of simple scale movement that finishes with a variation of the “Classic” jazz melody/motif:

pat-martino-minor-conversion-jazz-chromatics-guitar-lesson

Minor conversion: Sequence/Juxtaposition

As an exercise to display the brilliance of Pat Martino’s minor conversion jazz technique we will take the minor 7th arpeggio from the previous bar in the previous example and sequence/juxtapose this to play through both major and minor ii V I’s

1] Example 1: “MAJOR”– the same line moves down a fourth to play a ii V7 I Vi

2] Example 1: “MINOR”– the same line moves down a fourth to play a ii V7 i Vim7b5

pat-martino-minor-conversion-jazz-sequence-guitar-lesson

Shown in Full:

IN CONCLUSION:

This was a look at the essential devices any jazz guitar improviser needs to know and use for creative improvisation with the minor conversion, or minorisation technique.

As, I stated in the previous blog this simple method can save you 20 years of hard slog! Why? Because, Pat Matino’s minor conversion technique can be applied immediately!….

With these 5 musical improvisation tools anyone can create confident musical lines with strong and fluid jazz guitar phrasing.

FREE PDF DOWNLOAD:

chromatic-minor-conversion Download

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