Moving on from our last alternate picking video we will now extend this to 4 different positions on the guitar fingerboard.
As always for this mid tempo jazz/fusion [140-160 Bpm] style it’s essential to accent the [first] and third notes in each 4 note grouping.
“The third note being the most important to accent”
Without doing this, the rhythm, tempo and dynamic gets lost along with the timing and fluidity.
[1st] and 3rd notes Accented
Here is the alternate picking exercise: It is essential to watch the video above in order to understand the “Simple” concept of the guitar fingering as this is crucial for executing this exercise.
This starts on a “Downstroke” with strict alternate picking:
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
In this blog we will look at improvising over one chord. This will be D minor [D Dorian].
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
The key is to use chromaticism, tertian harmony, superimposition and outside harmonic content in order to create interesting improvised lines and move away from the cliches of scales and modes to create originality.
For example:
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
The key for smoothness is to be aware of where the 1/2 steps [Semitones]are in the “Connections”.
If we look below we can see where the 1/2 steps connect and how to play off of the tonic note with this. In this case we play off of the tonic D note resolving straight into the Eb note for Eb melodic minor. We can then resolve down a half step to C#m and back down into D Dorian
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic conceptsFripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisationChromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts
So as you can see it is easy to weave in and out of the harmony and get back to D Dorian via the 1/2 step.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Below is a line that beautifully weaves in and out of D minor
Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts
In this next example we will use tertian harmony and exploit superimposition. We will employ D melodic minor and and keep extending via C melodic minor.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Now we will extend the whole line:
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
As another idea, there are still useful concepts like “Target Tones”. These can be manipulated without resorting to cliches.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
Lastly we will exploit the use flat 5 concepts. In this case there is an Abmaj7/D and a Cmaj7/F# with which we can be creative.
Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation
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