Today, a look at the first example in Pat Martino’s brilliant book “Linear Expressions”.
This is a great resource for guitar improvisation as it contains many arpeggio, scale and chromatic phrases in different keys and octaves.
Please be aware though, that this book does not contain guitar TAB [Tablature].
Page example:
GUITAR ACTIVITY #1
[This line is played with alternate picking guitar technique starting on a downstroke].
The key for this line is Gm:
This hard bop sounding activity line starts with a simple fragment of a G minor scale that chromatically connects to a minor 3rd interval creating a jazzy pentatonic sound.
Next, we employ two contrasting “Tetrachords”[4 note groupings]. The first being E minor [G Major] based and the second implying Bb Major 9 [G minor].
From here, Pat exploits Major 3rd intervals with connecting chromaticism that is once again followed by some simple scale fragment.
This then brings us back to our BbMaj9 tetrachord accompanied by another piece of simple scale fragment.
Finally, we finish with a simple piece of pentatonic.
Today, a quick look at some unique concepts that John McLaughlin employs for composition and improvisation.
I have put these into a compositional lick of sorts.
FIRST PART:
I am starting this by opening with a 7su4 chord –C/D
This, then leads us nicely into a descending alternate picking run. This is a pentatonic scale fragment that then creates a bit more width by finishing with an arpeggio.[Starts on a downstroke]
The last accented open E note, acts as musical punctuation as this simple articulation sets up the next phrase nicely.
From here, we add some quartal harmony and more pentatonic movement:
NOTE: Accented low E note again to articulate the Em11 chord.
This is then developed further, with more pentatonic accentuation from the low E to articulate the next chord and once again create punctuation in the phrasing.
To round this off, we descend with a quick A Major scale run. This exploits a simple fingering of 3 and then 2 notes that make the scale easy to play and connect to the next part.
SECOND PART:
Now, we move to some interesting chordal work.
This is a bit more unique than usual, in that its movement is that of contrary motion.
NOTICE: The bass descends chromatically as the treble ascends with the chromatic scale.
From here, we exploit quartal chords for that modern sound and diminished chords for their melody and colour.
To complete this we just employ a simple V-I of C to F. This is really just exploiting the shape by adding a C note and then an F note:
C Maj13 to FMaj13[#11]/E
IN CONCLUSION:
This was just a short look at a few interesting concepts that John employs. For example, the simple concept of articulating the low E note is really useful as it helps enormously when punctuating and phrasing, wether, compositional or improvisational with the guitar pick.
Also, for example, breaking the scales down to simple guitar fingerings is also essential as it means that it is easy to connect to chords and/or melodic double stops.
