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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.

FREE DOWNLOAD:

mcl dimDownload

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

Mastering Motif Cycling in Jazz 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 “Motif Cycling”……

What is this?……you may well ask,

Well, it’s an amazing creative and colourful concept for exploiting arpeggios or in this case 4 note tetrachords and shifting them up or down by a specific interval.

This creates interest with the row/line going outside of the harmony and at the same time creating an almost composed sense of thematic material as it rises or descends.

It’s an amazing improvisational tool, not just for jazz, but, also rock and any other genre!

EXAMPLE 1:

In this first example, we will employ our motif cycling concept over a G7 Dominant Chord.

To do this, we will take a G6 arpeggio and have it cycling up in minor 3rds.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

HOW TO MAKE THIS WORK LIKE A PRO!

The key to making this work effectively is to play the line at a fast tempo!

By making the line “Quick” it tricks the ear of the listener into following the line as opposed to discriminating and trying to make sense of it.

EXAMPLE 2:

In this next example, we will be cycling up in flattened 5ths. This will be with root position arpeggios of A Major and Eb Major.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

FULL LINE:

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

EXAMPLE 3:

Now, we will vary it a bit.

To start with, we will take diminished 7th arpeggios and have them cycling up in perfect 4ths.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

From here, we will the go up a 4th to Dm and then up a minor 3rd for F7 where the Eb note [7th] resolves to the E natural note of the next chord [Em]

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

EXAMPLE 4:

In this example, we will take a Bsus4 Arp/Motif which will descend cycling “Down” in Major 3rds.

This has a very Brecker-esque sound and feel to it.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

EXAMPLE 5:

Now, let’s take a longer example…..

To start this, we will employ a 4 note tetrachord motif that is cycling up in semitones.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

To create interest, we will exploit tones, a fourth and back to tones: [Also, notice when the semitones resolve]

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

Finally, let’s keep ascending and have this cycling in semitones to the top of the neck:

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

EXAMPLE 6:

Lastly, let’s mix up a quartal triadic sound of inversions, but, with 4 note groupings. This creates a lovely chromatic Coltrane-esque cycle.

motif_cycling_metheny_brecker_jazz_improvisation_lesson_examples

IN CONCLUSION;

This was just a quick look at the brilliance of Motif Cycling. It is such a useful, colourful and creative improvisational tool as exploited by Herbie Hancock, Michael Brecker and Pat Metheny.

The key though, is to use it sparingly and with a double time quick feel as it glides through the harmony with it’s colourful chromatic charm.

It is best used when the harmony is quite static [one chord] or if the chord sequence/changes have a predictable and pedestrian quality.

Motif cycling adds excitement and freshness, whilst giving a new direction and flavour to where the solo line is going and what it has to say!

FREE PDF DOWNLOAD:

motif_cyclingDownload

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

Harmonizing Minor Scales for Guitarists:

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 quick look at creating colourful and interesting harmonisations of the minor scale.

We will employ the A minor scale for simplicities sake and see where this leads….

EXAMPLE 1:

In this first example, we will stack fourths on top of each other and harmonise A Dorian:

Here, is the outlining chord of Am7add6. Here, we see the Dorian implication by the F# note.

harmonising_minor_scales_guitar_lesson_example

A Dorian as scale:

Now, let’s harmonise the scale with Quartal Dorian Voicings:

Sheet music notation for the dorian mode "Quartal Dorian" voicing's for harmonising chords on the guitar with tablature
Quartal Dorian Voicing’s.

EXERCISE 2:

We will now exploit the melodic minor scale:

Once again, we will stack 4th’s together. This creates a cool minor/major harmonic approach.

Am/Maj7 melodic minor implication. Notice the C natural [imply minor]and the F# and G# [imply Major]

quartal_harmonising_minor_scales_guitar_lesson_example

A melodic minor scale:

Here, is the chordal harmonisation:

Sheet music depicting the A melodic minor scale chordal harmonisation, with standard notation for the melody and tablature for guitar.
Chordal harmonisation example for the A melodic minor scale, showcasing its unique minor/major harmonic approach.

EXAMPLE 3:

In this example we will add a three note voicing to A Dorian. This will be a root with a 2nd and then a 3rd up.

harmonising_minor_scales_guitar_lesson_example

BEWARE: This employs quite wide stretches.

cluster_harmonising_minor_scales_guitar_lesson_example

EXERCISE 4:

In this last example, we will harmonise the A natural minor scale.

harmonising_minor_scales_guitar_lesson_example_chord

A natural minor scale:

Once again: BEWARE: There is some stretching.

harmonising_minor_scales_guitar_lesson_example

Conclusion:

This was just a quick look at how to harmonise a scale and what can be done with it.

This, is a great idea for use when stuck in one minor key or on one minor chord, as, this creates colour and movement.

The quartal harmonisation work especially well for syncopated and quick chord movement over a static chord.

FREE PDF DOWNLOAD:

harmonise minor scaleDownload

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