lesson – Page 30 – Modern Music Theory Improvisation and Application

“Jazz Target Tones”- Alternate Picking Guitar Set-Ups Technique

Posted on October 15, 2022October 19, 2022 by Modern Music Theory and Application

Target Tones- Alternate Picking Guitar Set-Ups Technique

Please watch video above for in depth analysis:

Hi Guys!

Today we will have a look at setting up “Jazz Target Tones” with alternate picking guitar technique for fast fluid improvising lines.

target, tones, jazz, guitar, — Target Tones- Alternate Picking Guitar Set-Ups Technique

The example above is the most common and best example of how target tones work and how they are set up. Notice that the weak beat or off beat is the starting note. So, we have [4] e and a as an “Up Beat” [or Anacrusis]. This leads to the strong beat 1 in bar 1.

Now, for alternate picking we need to be aware of what picking stroke we will start on for this weak “Off” beat. Being the “Off” beat and syncopated it will be the “Up Stroke” as in [Down] Up down Up.

In the Exercise below we will now employ Target Tones within the improvised line itself from the second beat. Again, notice that the target tones start on the “Up Stroke” and resolve to the on [1st] beat of the next chord smoothly with the down stroke.

With this method you will always know where you are in the bar rhythmically, when you are on the off beat [Up Stroke] and what stroke you will start the next “On” beat with [Down stroke].

Here’s another example:

It’s also helpful to accent the 1st note in each four note grouping as this will create the jazz feel and thrust the target tones along rhythmically whilst moving your fretting hand into position.

Exercise 1: Ascending Line:

Exercise 2: Descending Line:

Exercise 3: Extended Line: [Ascending and Descending]

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Stravinsky “Petrushka chord”

Posted on October 11, 2022May 23, 2025 by Modern Music Theory and Application

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#PetrushkaChordStravinsky #Petrushka Chord #StravinskyPetrushkaChord

Please watch video above:

Hi Guys!

Let’s have a look at Stravinsky’s “Petrushka” Chord. This works by employing polytonality with two major chords [Triads]. They are played a tritone apart. This creates a dissonance which it is infamous for. But, this can also be manipulated to create an ethereal sound.

This example employs an F# 2nd inversion triad with a C Major 1st Inversion triad on top.

Stravinsky, Petrushka, chord, — Stravinsky “Petrushka chord”

F# in the bass and C in the treble: Stravinsky Voicing.

Stravinsky, Petrushka, chord, guitar — Stravinsky “Petrushka chord”

Guitar Voicing Variation and more comfortable to to play:

To finish with we will join the two major triads together and create an arpeggiated run in order to fully hear this compositional device in action.

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PolyModal “Chromaticism” WHAT MAKES IT SPECIAL?

Posted on October 4, 2022October 11, 2022 by Modern Music Theory and Application

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Poly-Modal “Chromaticism” WHAT MAKES IT SPECIAL

PLEASE WATCH VIDEO ABOVE FOR IN DEPTH EXPLANATION:

We hear much polymodality and polytonality in modern music like, Jazz, fusion, progressive rock and 20c Classical,

Stravinsky Petrushka Chord: EXAMPLE

But, for the most common example of PolyModal “Chromaticism” here is an example by Bela Bartok: This employs the joining together of C Phrygian and C Lydian [the same root] which in turn creates a full 12 note chromatic scale.

But, there is a much more interesting and useful approach for a composer and improviser.

For this example we will join together C Dorian and C lydian [same root] and create a ten note scale:

This Polymodal Chromatic approach is unique in that it is like an alchemical process where two different modes are put into the melting pot and give birth to new chords that appear in neither of the two modes that originally went into the pot.

It doesn’t have to be Dorian and Lydian, but for this quick insight they are a good example of what can be achieved through this poly modal chromatic methodology.

EXAMPLE: