John Mclaughlin – Page 10 – Modern Music Theory Improvisation and Application

Master John McLaughlin’s Guitar Chord Techniques:

Posted on September 17, 2024September 17, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the late 60’s early 70’s John McLaughlin guitar chord/riff style of “My goals beyond” and “Extrapolation”.

This is a great compositional vamp style that really brings out the resonance of the guitar. It has a sort of loose swing feel to it, that sort of gritty London soho jazz sound of the time.

The vamp is based around the D6add9 guitar chord shape, with the open E note as a pedal.

To begin with, we will play the D6add9 chord and then move it up a tone to E6add9 and then back again to D6add9. [see video above]

As in the video above you will hear/see that I am syncopating/weaving in and out of the bass notes displayed below plucked on the low E string.

To create colour and contrast we then change the chord in the third bar by moving the shape up to create Dm11/E to G6add9 and back to Dm11/E.

We then move back to D6add9 and E6add9:

From here, we move the shape up to A6/9/E to G6/9/D and finally resolving to F#13/E.

The Bass moves down in half steps, E Eb D C#

We repeat the first part and then end with the chord shape on G A C D E D: strummed over the E pedal bass.

IN CONCLUSION:

To conclude, this was just a quick look into strumming extended chords in and out of a melodic bass line. Simple as this is it works really well for creating compositions, wether in a blues form or a verse/chorus structure.

This style excels on the guitar because the bass can be doubled in unison with another instrument, [for example, piano or sax or double bass].

Lastly, the chord shape of the added 6th and 9th [as well as the 11th] resonate sympathetically on the guitar both as a strummed attack or mellowly plucked with the fingers.

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Alternate Picking “Upstroke” Guitar Exercise

Posted on March 21, 2024March 26, 2024 by Modern Music Theory and Application

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Alternate Picking Guitar explained in detail-“The UP STROKE”

Please watch video above for detailed information

Hi Guys,

Today, just a short alternate picking guitar technique exercise starting on an “Upstroke”.

The first part of the exercise employs a scale fragment that starts on an upstroke .

Although, this creates an odd grouping of 5 notes, it works really well because when you cross over the strings you will be starting on a “Down stroke”

This, also works well because this is a simple two finger pentatonic movement.

alternate-picking-guitar-explained-how-to

In the second bar we imitate the first part of the first bar by starting on the “Upstroke” again, creating another 5 note grouping,

In the next part we start on the “Down stroke” again. Also, note the fingering as we cross the strings. This is a favourite of guitarist John McLaughlin. This is crossing with the 2nd finger.

alternate-picking-guitar-explained-lesson

Here is the 2nd bar in full,

FULL EXERCISE 1:

VARIATION IN THE SECOND BAR:

Here, is a variation for the second part of the exercise.

alternate-picking-guitar-exercise-lesson

Note, the semitones and the crossing over with the second finger to easily cross the strings:

alternate-picking-guitar-exercise-technique

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Polytonality:For Concerto/Orchestral Writing

Posted on February 27, 2024March 16, 2024 by Modern Music Theory and Application

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Polytonality: For Concerto/OrchestralWriting lesson

Please watch the video above for detailed analysis:

Hi Guys

Today, a quick look at composing with Polytonality for orchestral and concerto writing.

What is Polytonality?

Polytonality is the use of two or more keys at the same time:

Example 1:

Db Major/C Major [Basic root position]

poly-tonality-orchestral-composing-chords-example

In this first example we have 4 bars of Polytonality with Eminor/DbMajor and EbMajor/CMajor

This then resolves itself with a “Tonal” diatonic cadence of B7/D# to Em:

This method is really useful because we can use the polytonal approach sparingly with it’s thicker and richer harmonic texture whilst then then playing its opposite it with the thinner aspect of diatonicism.

This way the Polytonal nature of the music compliments the diatonic cadences and visa versa.

Example 2:

Polytonality-Orchestral Example

This example explores “Implication”. In this case it is implying the melodic minor but avoiding the cliche by employing the richness of Polytonality:

From here, we will again employ diatonic harmony for a cadence.

To complete this short orchestral example we will go back into Polytonality with another melodic minor implication by employing Dminor/DbMajor:

Here is the chart:

poly-tonality-orchestral-composing-example

Example 3:

Polytonality-Orchestral Example

In this final example we will just “Reverse” the chords. This time it is DbMajor/Cmajor which is then played the other way around with CMajor/DbMajor.