modern music theory and application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Hi Guys,
Here is a “Melodic minor” study sent to me by Mark Koch that you might find interesting and useful:
Bar 1:
Bar 2:
Bar 3:
Two Full Examples:
Arpeggios Part 2: Bar 1
Bar 2:
Bar 3:
Arpeggios Part 3:
Full Exercise:
Arpeggio/Scale Part 4:
Bar 1:
Bar 2 and 3:
Full Example Arpeggio/Scale:
Copyright Mark Koch 2004
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Hi Guys,
Today just a couple of John McLaughlin “Style” acoustic guitar licks/cadences on ii V7 I’s
LICK #1
The first one has a phrasing that really feels like two groups of sextuplets. This in turn creates a sort of juxtaposed phrasing as it is picked in 4 note tetrachord groupings starting with an up beat.
But, the alternate picking pattern starting on an Upstroke pushes this juxtaposition quite naturally.
The second part of the first bar simplifies this by employing basic 2 notes per string phrasing:
The next bar being played over the Dominant 7th chord employs the same type of mixed phrasing as the first bar:
We conclude with 2 triads of Eminor and F Major:
LICK #2
This lick starts with an upbeat and an upstroke on the open E string:
From here we start on a downstroke with 4 note groupings of Tetrachord connections:
The final phrase employs the same juxtaposed notes/groupings as the first exercise which finally rest on the tonic chord of C Maj7:
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Please watch video above for detailed analysis:
Hi Guys,
Today a quick look at the Chords,Scale and Arpeggios of the A natural minor scale.
To begin with this scale is exactly the same as the C Major scale but starting on the 6th degree:
Chords of Major
Chords of A natural minor
Next we will play through and exploit and “Colour” the arpeggios of the scale:
A minor
B Diminished
C Major 7th
D minor
E minor
F Major
G Major
We will now descend in broken chords in groups of 4 notes.
Exploiting the arpeggios over different chords of the scale:
Here are a few examples of playing a different arpeggio over a different chord of the scale:
Scale ideas:
Here is a basic way of breaking up the scale by employing triplets:
First we will do this on one string:
Now we will cross all 6 strings:
This time we will employ 16th’s in 4 note groupings of “Tetrachords” creating a double time smooth pentatonic line.
We can change the Dominant [minor] chord in the A natural minor scale and make it Major:
With this in mind we realise that the G natural is now a G# and so we can employ the A Harmonic minor scale to play over it.
Here is a simple 2 finger fingering:
Now, let’s extend this:
We could also use the E7 Arpeggio:
Finally, we have a lick with an arpeggio [that also implies a triad pair] going to a pentatonic phrase:
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