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
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.
Below, is the full line/lick:
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:
Full Phrase starting on a downstroke:
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.
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.
This, is unbelievably useful at up-beat tempos andwith 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.
