jazz – Page 5 – Modern Music Theory Improvisation and Application

Modal Chords For Guitar: Slash Chords and Substitution Voicing’s

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

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Hi Guys,

Today, a quick look at modal chords.

The chords are from the backing track [below in this page] and they are “Transposed” with C as the root note.

These are exploited in the 12 bar form of a fusion blues.

Here are the chords for the chart:

modal_chords_guitar_lesson_explained_easily

To begin with, we will take the first chord for the basic Ionian/Major sound. Here we have a chord/triad of G Major over the bass note C as a substitution for Cmaj7:

Next, we have a C Dorian tonality. For this I am employing a 7sus4 chord with a triad of Bb over a C bass once again

From here, we will create a C Lydian sound. We will do this by employing a triad of D Major over a C Bass.

Now, we will move back to Ionian with another 7sus4 chord. This time it’s a triad of C Major over a D Bass.

To create interest, we will now make this tonality minor by adding a triad of Eb Major over a C Bass [a la C minor 7th]. [Aeolian/Dorian]

For, the Phrygian/Aeolian sound, we will employ a 1st inversion triad of Ab Major over a C bass.

To create some dissonance, and a more ethereal sound it’s a good idea to add a Locrian chord. In this instance, I am employing a triad of Db Major over the C Bass.

For the mixolydian sound I am employing a simple C7 chord. [You could also add a 4-3 suspension]

Now, let’s add a couple of Dorian chords.

These will be another 7sus4 chord of an Eb triad over an F bass.

And, a Major 9 [or sus2] no 3rd chord. For this we will add a triad of F major over a Bb bass.

For the penultimate Mixolydian chord, we will create a 3rd inversion [Dominant]. This will be a C Major triad over a [the 7th] Bb bass.

And finally, an Aeolian sound with an Fm6 chord over a G bass.

HERE IS THE BACKING TRACK:

Modes Backing Track Transposed in C Major with Chart and Scale Suggestions.

Here, is the Chart:

Here are some Modal/Scale examples to improvise on over the chords.

CHORD LIST:

FREE PDF DOWNLOAD:

modal chords Download

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Julian Lage’s Approach to Jazz Guitar Improvisation: 2Note Chord Voicing’s

Posted on December 27, 2024January 8, 2025 by Modern Music Theory and Application

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Hi Guys,

Today, a look at how jazz guitar master Julian Lage harmonises, creates and improvises on jazz standards with simple 2 note chord voicing’s:

Many guitarists, and many instructional manuals display what are commonly called jazz chords as big block barre chords with overbearing resonance and no resolution to the movement.

But, the reality is that someone really good at comping in jazz will distill big block chords into simple 2 note voicing’s that don’t intrude and that pierce through the band or ensemble.

2 NOTE VOICING’S PART 1

To begin with, let’s take a ii V I [Example below]. Notice that the C moves down a semitone to the note B and and then back up the semitone to C. The F note is played in both chords and then resolves down a semitone to the note E.

julian_lage_guitar_jazz_chords_lesson_example

Now, let’s apply this to the minor key. Here we have iim7b5 V7 i [note the 1 tone movement from the F to the Eb]

ADDING A SIMPLE MELODY:

Below, is an example of how to add a little melody to our 2 note voicing’s of our ii V I – [notice that it creates a clear and uncluttered sound].

julian-lage-jazz-guitar-chords-melody-example-lesson

We, will now apply this same concept to the minor key.

julian-lage-jazz-chords-chord-melody-example-guitar

Julian Lage: Chord Melody-“All Things” Concept.

Applying, what we have learnt so far let’s look at the first few bars of the standard “All the things you are”

First of all let’s take the basic harmony and see how the chords connect.

julian-lage-jazz-chords-melody-guitar-example

From here, we will now add the melody to this skeletal structure.

SOME MORE 2 NOTE VOICING’S:

Here, is a nice easy way to string some V I’s together on the guitar fingerboard.

julian-lage-jazz-chords-voicings-guitar-example

Below, is a great way to modulate. Here, we have V7 I with I becoming the new V7 [third inversion] that modulates/resolvess to the new I chord [1st inversion] This works so well on the guitar with simple 2 note voicing’s.

julian_lage_jazz_guitar_chords_lesson-tab-

This last example, is super easy and is a great case in point as the same shape just moves down in semitones through the cycle 4ths/5ths.

julian-lage-jazz-chords-voicings-example-cycle-of-5ths

julian-lage-jazz-chords-voicings-example

ADDING COLOUR NOTES:

Although, 2 note voicing’s cut through, it can still be okay to add colour notes. For instance, below we have the use of a Major 3rd and minor 3rd to create a bluesy sound on the dominant chord.

In the next example let’s add the 13th [F#] and the #9th [C]. This again, works well and creates colour when used sparingly.

julian-lage-jazz-chords-voicings-example-lesson

Playing simple 2 note voicing’s in a structure:

Here, is a simple Blues structure example exploiting these voicing’s:

julian-lage-jazz-chords-voicings-blues-example

FREE PDF DOWNLOAD:

comping-ebook Download

FREE DOWNLOAD #2

2 note Download

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Right Hand: Alternate Picking Guitar Technique

Posted on December 20, 2024December 21, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, a quick look at the “Right Hand” aspect of alternate picking guitar technique:

This is not cast in stone, but, to serve as a useful reference/guide to anyone that might be having problems.

THE WRIST/FOREARM:

alternate-picking-right[hand-guitar-technique-diagram

Picking works best for the jazz/fusion [McLaughlin] style when picking from the wrist. Having said this, there is relative movement from the elbow to the wrist as the forearm follows through.

This becomes one motion that connects the music/phrase [we are playing] together as we alternate strictly down/up or up/down aligned with the strings we wish to pluck.

The differences of the 3 great alternate pickers.

The Fripp style is more for “Pre-learnt” playing 100-152 Bpm [Yes, there will be some improvisation] But, the McLaughlin style is really geared towards “In the moment” improvisation around the 130-200 bpm. With Al di Meola being a combination of both [Think “Hotel Splendido” to “Cielo et Terra”.

This in turn means that each are approached in a slightly different manner, but this would be a whole blog in itself. So, for the sake of time I am addressing the all round basic concepts for the Right Hand in this post.

Crossing the 6 Guitar Strings: PART#1

When crossing strings I like to follow a straight line as is taught in Ivor Mairants brilliant book “Perfect Pick Technique”.

Below, is the diagram that demonstrates this.

This is extremely useful as it means that we are aligned with the string we wish to pluck at the moment we wish to pluck it and the forearm wrist and pick are in line and ready to pluck.

Feeling, and knowing this gives us confidence for ascending and descending naturally without any interrupting from unnecessary nervous or tense movements.

1st string aligned: “Down” stroke:

2nd string aligned/Plucked through on the “Up” stroke:

3rd string aligned:“Down” stroke

4th string aligned: About to be plucked through [on the “Up” stroke]

5th string aligned: “Down” stroke

6th string aligned: Plucked through on the “Up” stroke

As you can see from the 6 diagram alignments above, the wrist and forearm follow naturally as they cross the six guitar strings.

FLOATING OR PIVOTING?

Floating, is literally as it sounds and means floating with the right hand above and not resting whilst plucking the strings.

Pivoting, on the other hand means resting on [generally] the bridge of the guitar and plucking.

I like to be in a floating position and then pivot on either the first note and then float or……float and pivot on the “Down” strokes:

[Please not that the floating is overly emphasised in the photo’s as it is the only way I found to show it].

From Above:

CROSSING STRINGS: PART #2

Always, remember with Alternate Picking we are either picking:

“Up” skip over pluck down.

Or:

“Down” skip over pluck up.

Simple as this is it’s essential to take into account so that you don’t get confused or do two of the same stroke.

IN CONCLUSION:

In conclusion, this was just a brief examination of good solid alternate picking right hand technique. Much of it depends on what you wish to play. Many just wish to play guitar fast, which, ironically defeats the task.

To play at fast tempos one needs to be able to articulate phrases slowly, and, for the prog or jazz fusion improviser this means 8th note to 16th note to 32nd note. Forms of double timing. Because, from that the musical phrasing emerges and so does the speed.

In summation I would say that alternate picking technique is really a simple technique to play complex music and not a complex technique to play simple music.

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