Fusion chords/Improvised Line [John McLaughlin style]

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Please watch video above for a detailed analysis:

Hi Guys,

Today we will have a look at a I Vi [VI] ii V V I cadence with fusion chord substitutions.

jazz-fusion-chords-substitutions-lesson

For the first chord of C major we will employ: C6/9

jazz-fusion-chords-substitutions-lesson

For the A7 chord we will go a flattened 5th away with an Eb Triad over an E natural bass.

jazz-fusion-chords-substitutions-lesson

For the Dm7 chord we will use a 2nd inversion C triad over an F bass note. [Dm9/11 1st inversion]

jazz-fusion-chords-substitutions-lesson

For the first Dominant substitution we will go a flat 5 away again and use Db over a B bass:[as in an altered 1st inversion]

jazz-fusion-chords-substitutions-lesson

For the second dominant chord we will put the flattened 5th note [Db] in the bass with a G triad on top:

jazz-fusion-chords-substitutions-lesson

We finally resolve to a C Maj7#11 tonic chord:

jazz-fusion-chords-substitutions-lesson

Below is an example of an improvised line through these substituted chords:

jazz-fusion-chords-substitutions-lesson

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John Mclaughlin Jazz Acoustic Guitar Line:

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John Mclaughlin Jazz Acoustic Guitar Line

Hi Guys,

Just a quick iim7b5 V7+ IMaj7 guitar lick in the style of John McLaughlin.

This employs alternate picking starting on a downstroke:

The first bar moves between D dorian mode and F melodic minor scale.

John-Mclaughlin-Jazz-Guitar-Lesson-acoustic

The next bar employs tetrachords with Eb pentatonic, C minor pentatonic and Dorian b2/C melodic minor leaning for an altered sound. [This resolves the flattened third to a B natural in the last tetrachord].

John-Mclaughlin-Jazz-Guitar-Lesson-acoustic

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John-Mclaughlin-Jazz-Guitar-Lesson-acoustic

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John McLaughlin iii Vi ii V7 I Acoustic Jazz Guitar

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John McLaughlin iii Vi ii V7 I Jazz Guitar Line/Alternate Picking Exercise Lick

Please watch above video for detailed analysis:

Hi Guys,

This is a concept for creating longer alternate picking improvisation lines. What makes it more useful and more enjoyable is the fact that you can substitute the iii Vi ii V7 I chords.

EXAMPLE:

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

There are lots of variations on this. For instance we could add Db7 or DbMaj7 in bar 5 and have it resolve down into a CMaj chord.

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

Here is the first bar: Notice the use of 4ths and side stepping. The scale is A melodic minor based.

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

Bar 2: Notice the use of chromatics which are originally set up like approach notes. These are easy to finger and alternate pick rhythmically.

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

Bar 3: This is pentatonic based whilst highlighting the #11 note:

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

Bar 4: This bar employs an Ab melodic minor leaning for the G altered sound:

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

Final Bar: Notice that this bar resolves to a B natural for the CmMaj7 chord:

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

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