Tag: john mclaughlin guitar lesson

Mastering Chromatic Guitar Techniques Inspired by John McLaughlin

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at adding colourful chromatics to your playing.

I am employing the concepts/style of guitar great John McLaughlin.

PART 1:

EXAMPLE LINE: Ascending

For many guitar players that employ the pick, ascending chromatics seem to be more awkward and rhythmically difficult to phrase and play than descending.

One, of the great secrets, that John exploits, is the use of the open string to connect everything together smoothly.

john_mclaughlin_chromatic_guitar_improvising_techniques

This, is unbelievably useful at up-beat tempos and with odd time signatures.

WHY IS THIS?

Because, the open string gives the fretting hand a fraction of a second to get into position…. and so, the picking right hand doesn’t have to rush or fight against the fretting hand and interrupt the synchronisation.

This makes it easy, to count time and play in a natural and fluent manner.

Here, is the first part of the example line Ascending:

Notice, the melodic set up with a simple C Major Triad.

This, then moves back down a 4th for the open string to be plucked. Also, notice that this open string is plucked on the off-beat.

john_mclaughlin_chromatic_guitar_improvising_techniques

Let’s, now complete the ascending phrase by employing another open string:

Notice: The way the pick brings out the chromatics naturally in this way.

john_mclaughlin_chromatic_guitar_improvising_techniques

[Although, these can be classed as synthetic or symmetrical scales and some may deem them “Unemotional” or “Un-melodic” they serve an important purpose and weave beautifully in the improvised line].

Complete Ascending opening phrase:

john_mclaughlin_chromatic_guitar_improvising_techniques

VARIATION: [With Up-Beat]

PART 2:

Descending Phrase: Chromaticism

In the answering phrase we will employ Target Tones [Enclosure/Approach notes].

We will set up the phrase with an anacrusis, this being [4] e and a

john_mclaughlin_chromatic_guitar_improvising_techniques

NOTE: I am starting this on an “Up” stroke, so that when I start on the beat of the first bar I can employ the “Down” stroke” for “Even” tetrachord [4 note] groupings.

john_mclaughlin_chromatic_guitar_improvising_techniques

On the third beat, I am exploiting the use of the EbMajor arpeggio to get out of the key.

john_mclaughlin_chromatic_guitar_improvising_techniques

But, this then resolves nicely, back to Em. [Notice, the Bb resolves a half step down to the note A]

john_mclaughlin_chromatic_guitar_improvising_techniques

FULL EXAMPLE LINE:

john_mclaughlin_chromatic_guitar_improvising_techniques
john_mclaughlin_chromatic_guitar_improvising_techniques

IN CONCLUSION:

This was just a brief, but informative look at how easy chromatics can be brought into anyone’s guitar playing.

The key, is not the notes themselves so much, but, “How” they are done.

McLaughlin’s chromatic guitar techniques are actually quite simple and amazingly effective as they work at any tempo with the crafted alternate picking guitar technique.

FREE PDF DOWNLOAD:

chromatics johnDownload

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Exploring John McLaughlin’s Unique Guitar Chordal Harmony

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at some of John McLaughlin’s amazing altered, slash and ambiguous guitar chords.

Johns harmony is a very rich palette indeed.

In the little example above in the video, I play about with some of Johns harmonic movement and colour.

EXAMPLE 1:

Although, I could employ diminished harmony, I am instead aiming at “Implication”….Why?…This is in order to bring out the big “Rich” resonance of the guitar.

F/F# [/A]

Eb/E [/B]

john_mclaughlin_guitar_chord_example_lesson

It is an ethereal sound where the natural harmonics and overtones can ring out of the guitars sound hole harmoniously.

SHORT CONNECTING RUN:

Next, we employ a Bb Major run with a few chromatic notes. These being, the B natural and the E natural chordal tones.

john_mclaughlin_guitar_chord_example_lesson

EXAMPLE 2:

Now, let’s add two more resonant chords,

A/Bb

john_mclaughlin_guitar_chord_example_lesson

B/C

john_mclaughlin_guitar_chord_example_lesson

ARPEGGIO CONNECTION:

We will now connect to the next part together.

This will be with an arpeggio of Ebm mostly [or D#m] implying BMaj7. [Although there is an implied resolution to B7 also].

This juxtaposition, creates another ambiguous move that opens up a fresh and unique sounding harmony.

john_mclaughlin_guitar_arpeggio_example_lesson

From here, we can manipulate and resolve into the Bb minor full barre harmony:

john_mclaughlin_guitar_chord_example_lesson

Now, let’s create a sequence. This will be, C#7sus4 to C7 with a sharpened 4th and a Maj7th.

Notice, the chromatic movement in the bass as we sequence this.

john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson

Finally, this resolves from CMaj7#11 to CMaj7 with open string guitar chords.

john_mclaughlin_guitar_chord_example_lesson
john_mclaughlin_guitar_chord_example_lesson

PDF DOWNLOAD:

ChordDownload

IN CONCLUSION:

In conclusion, this was just a quick look at Johns unique take on harmony and how to apply some scale and arpeggio movement to connect it all together.

John’s harmony is a lovely combination of ambiguity and resonance with a sense of calm.

The magical ethereal tone opens doors to really interesting solo applications that exploit implied harmonies and dissonances. These I find are met with with lingering resolutions that are never quite met.

It’s a sort of pairing of opposites that you can’t quite put your finger on that give it that alluring yet elusive quality.

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Mastering John McLaughlin’s Guitar Techniques

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, Part 2 of the alternate picking patterns/numbers for John McLaughlin style guitar playing/picking.

PART 1:

Ta ka di mi thom Extensions:

These are all building off of the number 5 and starting on the “Up” stroke for strict alternate picking guitar technique in standard tuning:


Example 1: Basic quintuplet-Ta ka di mi thom

john_mclaughlin_guitar_technique_example

Example 2: [The first note is a C#] 5 + 2 [or vice versa Ta ka Ta ka di mi thom]

john_mclaughlin_guitar_technique_example

Example 3: Ta ka di mi thom ta ki ta [ or vice versa]

john_mclaughlin_guitar_technique_example

OR: Ta ka di mi-Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 4: 5+4 Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 5: 5+5 to chord:

john_mclaughlin_guitar_technique_example

PART 2:

Ta ka di mi thom EXTENSIONS: “DOWNSTROKE”

These example like those above expand on the number 5 but start on a “Down”stroke this time.

Example 1: Basic quintuplet-Ta ka di mi thom

john_mclaughlin_guitar_technique_example

Example 2: 5 + 2 [or vice versa Ta ka Ta ka di mi thom]

john_mclaughlin_guitar_technique_example

Example 3: 5+4 Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 4: 7+ 4
 Ta ka Ta ka di mi thom Ta ka di mi

john_mclaughlin_guitar_technique_example

Example 5:Ta ka Ta ka di mi thom Ta ki ta Ta ki ta-7+ 3+3 = 13 Prime Number:

john_mclaughlin_guitar_technique_example

PART 3:

DESCENDING ANSWER PHRASES:

Example 1:

“Down stroke”. This line employs a group of 8 notes [even] that finish on the prime number 13 to answer and complete the line.

john_mclaughlin_guitar_technique_example

Example 2:

“Upstroke”. This line starts on an “Upstroke” and consists of a group of 8 notes and a group of 12 notes creating an even pattern.

john_mclaughlin_guitar_technique_example

FREE PDF DOWNLOAD:

konokol_guitarDownload

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