jazz – Page 8 – Modern Music Theory Improvisation and Application

Simplify Guitar Chromatics with Easy Fingering:

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

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Hi Guys,

Today, we will employ chromatics [Target Tones]to a simple guitar fingering/scale that everybody knows.

Yes, this is our old mate the A minor Pentatonic scale.

TARGET TONES/CHROMATICS- GUITAR FINGERING:

Before we start: Both fingerings are essential and very useful, but, in different instances.

Okay, let’s compare fingering.

Below, is the more “Traditional” fingering:

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

Now, let’s simplify this with a more intuitive John McLaughlin style guitar fingering. [2 fingers to 2 fingers with a slide].

We will now now apply this to the simple A minor Pentatonic scale guitar shape.

Here, we will employ a “Side Step” with chromatic target tones for more interest and chromatic colour.

This time we will extend the line with an upbeat of 4 chromatic descending notes starting on the note D as the tonic:

Lastly, let’s try this over a ii V7 I [Dm7 G7 CMaj7]

IN CONCLUSION:

This simple minor pentatonic guitar scale/shape allows us an easy way to employ chromatics and chromaticism by exploiting it with what we are already very familiar with.

This familiarity means that it is not only easier to learn, but, also, easy to remember. Hence, we can apply it to any strings of the guitar and create some colourful and interesting sounding lines.

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Jazz Fusion Guitar Chords and Substitutions for Slash Chords

Posted on November 24, 2024November 24, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, we will take a I Vi [VI] ii V V I cadence and re-harmonise it with fusion chord substitutions/slash chords

jazz-fusion-guitar-chords-reharmonisation-slash-chords-lesson-example

To begin with, we will make the chord of C Major into a C6/9 voicing that will resonate well on the guitar.

We, will now employ a slash chord for A7. Here, we will move a flattened 5th away and employ an Eb Triad over an E natural bass.

Let’s now exploit the Dm7 chord. For this we will use a 2nd inversion C Major triad over an F bass note. [Dm9 with an 11th in 1st inversion]

Now, let’s take the first Dominant substitution and go a flat 5th away once again. We will employ a Db Triad over a B bass: [as in an altered 1st inversion]

To manipulate this next Dominant chord we will put the flattened 5th [Db] in the bass and exploit a G triad on top:

To complete the sequence we will resolve back to the tonic chord of C Major but colour it with an F# to make it C Maj7#11

In terms of improvisation we can weave in and out of the re-harmonisation. Here, is an example for an improvised line:

john-mclauglin-guitar-chords-improvisation-licks-examples

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John McLaughlin Alternate Picking Guitar Secrets part 1

Posted on October 31, 2024October 31, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, a quick delve into what makes John McLaughlin’s alternate picking guitar style work so easily and fluidly.

Many, focus on the right hand technique, but, much of it comes from the way the fretting hand works.

So, let’s look at a couple of simple secrets to John’s approach and why it is so fluid and effective

#1 OPEN STRING APPLICATION:

In this example, we will create an effective line that is not tremolo picking on cliche shred scales but a continuous colourful and creative improvised line in a world music style.

Here is the full line. Starting on a “Down stroke”

john-mclaughlin-guitar-secrets-alternate-picking-fast

If we take this apart we will find a couple of reasons why this is fluid and very natural for the alternate picking guitar technique.

First of all notice: The arpeggio that starts the phrase. The last note of this 4 note tetrachord grouping is an open D string!

This open string gives the fretting hand a hundredth of a second to do absolutely nothing as it prepares for the next 4 note grouping to fret.

This gives us time to get into position and so we are NOT rushing about, and, we are in control

CROSSING THE STRING:

We will now employ the use of an open string once again, but, this time for “Crossing” the string:

This makes it easy to cross the string smoothly and connect to the next tetrachord.

From here we will extract a partial John McLaughlin scale/fingering by sliding it into position.

To end this line, we will descend with some simple scale starting on an “Up stroke”. Also, notice the simple 2 finger fingering for the fretting hand.

EXERCISE 2: SEXTUPLETS: 6 NOTE GROUPINGS:

In this exercise we will employ groupings of 6 notes. This is based upon an improvised acoustic jazz fusion line, like that of “Belo Herozonte:

This is played over a ii V7 I of Dm9 G7 CMaj9:

If we take this apart we will notice that we exploit a Bm arpeggio going to a B dim arpeggio that then goes to the 4th and 6th notes of D Dorian: This creates a nice colourful sound.

For the next 6 note hexatonic grouping we employ an E harmonic/melodic minor sound over the Dm9 chord: Notice the Major 3rd interval:

From here, we will “Slide” the fretting hand up to the next position: Notice the use of the Major 3rd interval once again, as this breaks up the monotonous scale sound and creates distance and melodicism.

Finally, we have simple 2 finger pentatonic descending scale application that finally rest on the note C for the CMaj9 chord.