Tag: John Mclaughlin

alternate picking guitar style and jazz fusion improvisation lessons in his style. Looking at Mclaughlins use of altered dominant chords and chromatics in john’s improvisations. Lessons in john mclaughlin’s guitar style and improvised line using altered scales, harmonic minor and melodic minor scales. Mclaughlins use of modes, dorian, phrygian,aeoloean,ludian,mixolydian, locrian. Also the modes of the diminished scale.

McLaughlin “Belo/Music spoken here” Style Guitar Chord/Scale Techniques

Posted on by Modern Music Theory and Application

Hi Guys,

Today, a quick look at how John McLaughlin moves from chord to scale or scale to chord on the nylon string guitar.

FAST ALTERNATE PICKING LICK!

In this lick we can see John exploit the 3/4 time signature with rapid fire alternate picked tetrachords!

This is classic “Music spoken here” style in regards to the application of pentatonic scale fingerings and melodic arpeggio shapes that connect together to create a fluid improvised line.

john_mclaughlin_acoustic_guitar_techniques_lesson

CLOSER LOOK:

Here, we can view the exploitation of a quick pentatonic fingering that ascends,

john_mclaughlin_acoustic_guitar_techniques_lesson

Now, we go the opposite way and answer the phrase with a descent. This employs the A Major Arpeggio shape/fingering:

john_mclaughlin_acoustic_guitar_techniques_lesson

Finally, we have a little melodic rise in the top line over a barred static chord. [Mind the stretch!]

john_mclaughlin_acoustic_guitar_techniques_lesson

MCLAUGHLIN GUITAR TECHNIQUE 2

In the next example, we will apply the concept of a chord to scale fragment that anticipates to the next chord in 4/4 time.

Technically, I am playing the chords on a downstroke and the scale on an upstroke. [This employs alternate picking guitar technique once more].

john_mclaughlin_acoustic_guitar_techniques_lesson

What makes it work so well on the guitar is that this concept employs 1st Inversion chord voicing’s- E,g B/D# to E/G# to A/C# to D/F# etc

Also, as a compositional device, this works brilliantly because it employs the cycle of Vb to Ib.

HERE IS THE DESCENDING IDEA:

john_mclaughlin_acoustic_guitar_techniques_lesson

HERE IS THE ASCENDING IDEA:

Notice: this is the same, but, this time we are ascending with the same concept.

Musical notation and tablature sheet depicting a guitar lesson focusing on chord to scale transitions and alternate picking techniques from John McLaughlin's Belo Herozonte Album.
Musical notation illustrating a John McLaughlin chord to scale technique, demonstrating ascending and descending patterns.

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Guitarist John McLaughlin’s use of the Diminished Scale for Chords and Improvisation:

Posted on by Modern Music Theory and Application
Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Hi Guys,

Today, a look at how jazz guitar legend John McLaughlin makes cool and original sounding jazz lines from the diminished scale when improvising.

PART 1: CHORDAL SUBSTITUTIONS:

First of all, let’s apply a couple of Dim7 substitutions for the Dom7b9 chord.

In the example below, for the E7b9 chord we will employ Ddim7, Fdim7 chords over an E bass for a V to i cadence.

EXAMPLE 1:

Notice that the top line resolves:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

EXAMPLE 2: Shifting the diminished 7th shape up to resolve for V to i cadence

Once again, the top line has a smooth half step resolution:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

CHORD APPLICATION PART 2:

This time, we will employ the Dom13b9 chord in a full ii V i cadence.

As, in our previous examples, acknowledge the descending chromatic movement– resolving in the top line.

john_mclaughlin_jazz_guitar_diminished_scale_example

PASSING CHORD:

This time, we will add a passing chord. This will be Eb7#9. This falls smoothly from the Em7 chord.

We will also add a little bit of bass movement.

Also, in this example, we have two 1/2 step resolutions in the top line.

john_mclaughlin_jazz_guitar_diminished_chords_example

Finally, we will exploit a Dom13#9 chord as part of the ii V I cadence. [Once again, notice the chromatic moment on the 1st string/top line as we ascend this time].

john_mclaughlin_jazz_guitar_diminished_chords_example

EXPLOITING THE SOLO LINE:

Another interesting concept that John employs, is to use the “Ultra Locrian” mode or the 7th mode of the harmonic minor scale when dealing with diminished chords.

Here is the scale/mode over an Adim7 chord.

ultra_locrian_scale_mode_john_mclaughlin_guitar_example

AVOIDING THE DIMINISHED CLICHE!

What puts John in a league of his own, is his avoidance of the usual tired diminished cliches .

Here, is an excellent example where John sequences in minor thirds. This though is an original, fresh and highly unique way of approaching diminished harmony and hence breaks the chain of cliches.

john_mclaughlin_jazz_guitar_diminished_scale_example

These 4 note groupings of tetrachords work great for sequencing with quick alternate picking guitar technique. [Starting on a down stroke]

THE INTERVALS: Key to creative lines

Looking at our example more closely we can clearly see the manipulation of intervals within the diminished scale/harmony.

john_mclaughlin_jazz_guitar_diminished_scale_example

This is what sets the great improvisers apart.

In this disguised manner the ascent in minor 3rds has a fresh interest to the ear due to the creative use of these intervals.

FULL ii V7 I Line

john_mclaughlin_jazz_guitar_diminished_scale_example

EXAMPLE 2

Here, we have the same thing in a different key:

Once again, acknowledge the use of intervals and tetrachords for rapid ascending movement with the picking hand.

john_mclaughlin_jazz_guitar_diminished_scale_example

Full Line:

john_mclaughlin_jazz_guitar_diminished_scale_example

IN CONCLUSION

This was just a quick look at how John McLaughlin exploits the diminished scale in interesting and unique ways that work extremely well not only for jazz, but, also specifically for the guitar.

John’s sequencing by exploiting 4ths, 3rds, triads and semitones creates an inspirational path, because it demonstrates that fresh life can be brought out from the diminished scale. This in turn makes the worn out cliches very easy to avoid.

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Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Happy Birthday John McLaughlin! 2 Guitar Licks/Lines

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Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

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Hi Guys, and Happy Birthday John!

Here, are the two licks from the latest Youtube video!

Guitar Line #1

I am starting this phrase on an “Up” stroke with strict alternate picking guitar technique.

The phrasing of this line feels like two groups of sextuplets. It’s a sort of juxtaposed phrasing as it is picked in 4 note tetrachord groupings starting on an up beat.

john-mclaughlin-guitar-lesson-alternate-picking

In the second part of the first bar, the fretting is simplified as it works into basic 2 notes per string pentatonic style phrasing:

john-mclaughlin-guitar-lesson-alternate-picking

In the last bar we are playing over the Dominant 7th chord with the the same mixed phrasing as the first bar:

john-mclaughlin-guitar-lesson-alternate-picking

Finally, we finished with 2 triads of Eminor and F Major:

john-mclaughlin-guitar-lesson-alternate-picking

Guitar Line #2

This line, once again employs strict alternate picking guitar technique.

I am starting with an upbeat on the open E string. I am also starting my alternate picking on an upstroke.

As you will see, the “Up” stroke on the “Up” BEAT means that the 1st beat of the next bar will be on a Down Stroke.

From here, we can connect the Tetrachords [4 note groupings] together:

john-mclaughlin-guitar-lesson-alternate-picking

Finally, we have the same juxtaposed notes/groupings as in the first exercise. This line comes to rest on the tonic chord of C Maj7:

john-mclaughlin-guitar-lesson-alternate-picking

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Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords