john mclaughlin guitar lesson – Modern Music Theory Improvisation and Application

Mastering John McLaughlin’s Guitar Motif Techniques Part 2:

Posted on July 21, 2026July 22, 2026 by Modern Music Theory and Application

Hi Guys,

Here, is the extended version for the 2nd finger John McLaughlin motif:

MOTIF:

The motif is a 4 note [Tetrachord] in 16th notes- D C# D E

John McLaughlin shakti guitar lesson with music notation and guitar tab example

Notice that this starts with the 2nd finger on the first note:

Now, let’s extend this and add a “set up” by employing the Mixo-lydian mode to create a more Indian/Shakti flavour to the phrase:

I am starting this on an upstroke with strict alternate picking guitar technique:

This time, we will replicate/imitate the 4 note motif and use it as material to create/extend the phrase into a longer line.

John McLaughlin shakti guitar lesson with music notation and guitar tab example for guitar fingering

Below, is the full line/lick:

John McLaughlin shakti guitar motif and fingering lesson with music notation and guitar tab example

Let’s now, extend the motif and descend as far as we can down the fingerboard with the motif:

Finally, we will add our little set-up and create a full phrase:

MOTIF: Starting on a down stroke:

We can also start on a downstroke. This works best and is most natural when picked/phrased in triplets/sextuplets like this:

John McLaughlin alternate picking guitar lesson with music notation and guitar tab example

Full Phrase starting on a downstroke:

John McLaughlin shakti alternate picking guitar lesson with music notation and guitar tab example

IN CONCLUSION:

This little motif/concept is only a small detail, but, it is a good representation of how a lot of material can be created/repeated or imitated from such a small cell. It is like a little hinge that can swing a big door.

This way of building solid lines is really useful for the alternate picking guitar technique as it means that we can unfold material quite easily and if we ever do get lost we can slot back in with simple motif material and rebuild our phrases and keep our lines going.

FREE PDF DOWNLOAD:

motif Download

ASC/DESC:

PATREON 2 Download

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Mastering Chromatic Guitar Techniques Inspired by John McLaughlin

Posted on August 29, 2025August 29, 2025 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.

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.

[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:

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

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.

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

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

FULL EXAMPLE LINE:

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 john Download

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Exploring John McLaughlin’s Unique Guitar Chordal Harmony

Posted on April 21, 2025April 21, 2025 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.

EXAMPLE 2:

Now, let’s add two more resonant chords,

A/Bb

B/C

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:

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.

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

PDF DOWNLOAD:

Chord Download

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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