music – Modern Music Theory Improvisation and Application

Improve Your Guitar Skills with Alternate Picking Techniques

Posted on January 17, 2026 by Modern Music Theory and Application

Alternate Picking Guitar Technique Lesson

Please watch video above for detailed info:

Hi Guys,

Today, a few alternate picking guitar exercises.

These differ slightly as they incorporate alternate picking to chord and back to alternate picking technique.

Adding a chord [or chords] can throw some players off when alternate picking, so these exercises can be really helpful.

All of these little exercises are around the 140 bpm metronome marking.

EXERCISE 1:

In this primer exercise we will have two sets of 16th notes that then accent a D quartal chord.

This exercise starts on a Downstroke and accents the 3rd note in each 4 note grouping.

Sheet music with notes on a staff, featuring a clef, and measures containing various rhythmic patterns and symbols for alternate picking guitar technique.

By accenting these pitches it will make picking the exercise much smoother, due to the the last 2 notes in each 4 note grouping being prepared for and hence plucked in a deliberate fashion.

Sheet music showing a 4/4 time signature alternate picking guitar technique featuring a melody line with notes and guitar tablature below. — Musical notation for a guitar exercise focusing on alternate picking with accents.

EXERCISE 2:

This time we will extend the previous exercise, but, start in the bar on the 2nd semiquaver.

Again, these simple concepts will affect how you pick. So, this is set as if it is for a riff or hook that is doubled up with another instrument, hence, creating a much more compositional approach.

Sheet music with two measures in 4/4 time signature, featuring dotted quarter notes and half notes for alternate picking guitar technique. — Sheet music for alternate picking guitar exercise focusing on chord integration.

Here is the Full Exercise:

Musical notation for alternate picking guitar technique exercise on a staff in 4/4 time with notes for guitar, including standard notation and tablature. How to alternate pick easily. — Musical notation and tablature for Exercise 3, showcasing alternate picking techniques for guitar.

EXERCISE 3:

This time we will ascend and descend.

This exercise demonstrates the different amount of notes per string.

Many, alternate picking exercises revolve around the 3 notes per string concept.

But, real music dosen’t work that way as we have – Melodies/Vamps/Hooks/Riff/Unison Instruments-this means, there maybe 1 note on one string and 4 notes on the next string and then 2 notes on the next string and then 3 notes etc.

This exercise is tailor made for the above, as, it employs the two main music devices being that of an arpeggio and scale.

Here is the first part.

Musical notation showing an alternate picking guitar exercise with arpeggio, scale, and chord, with a guitar tablature notation underneath. — Guitar alternate picking exercise showing arpeggio, scale, and chord for varied note patterns.

The second part, starts on an Upstroke, because, we finished the last phrase on a downstroke as we plucked the chord.

Musical notation showing a series of alternate picking guitar technique notes in 4/4 time signature, including both treble and bass clef sections, indicating a melodic sequence and finger positions. — Sheet music for Exercise 3, illustrating descending guitar patterns for alternate picking.

EXERCISE 4:

This exercise involves crossing over to the 1st string and back again, with different amounts per string.

So, to begin with let’s break this down into a simple 2 string exercise:

As before, notice the accents on the 3rd note in each 4 note grouping:

Musical notation sheet showing alternate picking guitar technique a series of notes and symbols, including two sections of tablature indicating finger placements on a stringed instrument. — Detailed notation for a guitar exercise focusing on alternate picking with accents on specific notes.

Full Exercise:

Sheet music showing alternate picking guitar technique in a series of notes in 4/4 time signature with labels for a minor third and arpeggio. — Musical notation and tablature for a guitar alternate picking technique exercise, highlighting a minor third and arpeggio.

In conclusion:

These exercises are just a few ideas that are really useful when working on alternate picking guitar technique.

This is because many hooks and vamps and compositional devices don’t work on 3 note per string picking.

The great improvisers like John McLaughlin, Don Mock and Pat Martino play long fluid phrases along with weaving in and out of chords, chromaticism and implied harmony [double stops/Octaves]. So, being able to pluck odd and even groupings [or any amount of notes per string] with embellishments and chords is essential.

Hopefully, these exercises will be of some help with that.

PDF DOWNLOAD:

Alternate Picking Download

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Unlock Your Guitar Skills with Pat Martino’s Triad Pair Techniques

Posted on January 4, 2026 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at building interesting, creative, melodic lines by pairing simple triads together.

PART 1:

To begin with, let’s join the triads of F and G [back to F] together

Sheet music illustrating the chord pairing of F and G triads in a melodic line of jazz guitarist Pat Martino. — Musical notation illustrating the triad pairs of F and G for creative melodic lines.

We will now, extend the line further by employing the same two triads once again,

Sheet music showing melodic lines with F and G triad pairs of guitarist Pat Martino highlighted. — Pat Martino F and G triad pairs to create melodic jazz lines.

At this point we will end the phrase and create a cadence with our two triads,

Musical notation showing the triad pairs of G and F in a jazz melodic line, with highlighted notes and annotations. — Musical notation showing the pairing of triad pairs F and G for melodic development.

We will now shape a new line and ascend with the triads of F G and C

Sheet music showing pairing of triads F, G, and C of guitarist Pat Martino with annotations highlighting jazz melody and note positions. — Musical notation illustrating the use of F, G, and C triads for melodic jazz line construction.

At this point the triad pairs have started to become formulaic

So, we will add some colour.

To achieve this, we will now go in the opposite direction and descend with a classic Pat Martino lick

Musical notation showing a jazz guitarist Pat Martino melodic line with a labeled lick, featuring notes on a staff and highlighting specific sections for musical instruction. — Musical notation illustrating a classic Pat Martino lick, focusing on descending triad pairs.

This leads us in nicely to exploit some chromatic set ups with target tones

Sheet music showing jazz guitarist Pat Martino's musical phrase with highlighted notes and text label 'Target Tones'. for chromatic improvisation. — Musical notation for guitar illustrating target tones for improvisation.

From this, we can bring in our G Major triad/arpeggio to give a wider intervallic sound to give a sense of distance from our chromatic notes.

Musical notation showing a melodic line with notes and a highlighted segment in red, labeled with a G.

Finally, to complete the lick we will employ some basic scale movement with chromatic fragments for the A7 chord.

Musical notation for an A7 chord with highlighted notes and finger positions.

IN CONCLUSION:

Although, this was a long phrase It acts as a useful example to hear and see how natural it is to build off of triad pairs for the improvised line.

These triad pairs also create a really nice melodic and fluid way to start a phrase.

Lastly, due to the way triad pairs are offset rhythmically, the improvised line generally possesses a more composed and polished sound.

FREE PDF DOWNLOAD:

Pat Martino Triad Pairs Download

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John McLaughlin’s Pentatonic’s for Coltrane Changes:[Giant Steps]

Posted on November 29, 2025November 29, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a quick look at John McLaughlin’s “Pentatonic” guitar concepts for playing over the Coltrane Changes.

Although I am employing alternate picking guitar technique at quite a fast rate, these pentatonic’s simplify things enormously.

THE RHYTHMIC SIDE OF THINGS:

To keep the solo line tight, we will count in a basic manner,

1 and 2 and 3 and 4 and

This way, you will know where you are in the bar and what chord you are playing over.

To begin with I use the B major pentatonic scale. Next, I employ a simple 2 finger pentatonic scale over D7 and GMaj7.

I then play the second part [same fingering] up a semitone and land on the note D for the EbMaj7 chord, counting 1 2 3 4 in preparation for the next chord.

Sheet music diagram showing giant steps chord names BMaj7, D7, GMaj7, Bb7, and EbMaj7, along with tablature for guitar. John McLaughlin version. — John McLaughlin Giant Steps BMaj7, D7, GMaj7, Bb7, and EbMaj7 for guitar players.

For the first three chords I play what could be called “A Dorian Pentatonic”. But, I am not really thinking in that way. [I am just adding the F# note for the 3rd of D7]. This in turn creates a very simple and “Fluid” guitar fingering that is very common to most guitar players and hence easy to play.

Sheet music featuring john mclaughlin guitar tablature for Am7, D7, GMaj7, Bb7, EbMaj7, and F#7 giant steps chords. — John McLaughlin giant steps guitar chords Am7, D7, Gmaj7, Bb7, EbMaj7, F#7, and BMaj7.

On the F#7 chord I play an F#7 arpeggio that then resolves into an Eb minor arpeggio for the BMaj7 chord.

John McLaughlin Sheet music showing guitar tablature for the chords BMaj7, EbMaj7, and F#7, with annotations. — McLaughlin Musical notation showcasing the BMaj7 and EbMaj7 chords alongside the F#7 arpeggio.

For then next part, I again employ a simple Pentatonic to get through the first three chords.

This Bb minor leaning works well because over the Bb7 chord it gives us the “Blue note”. Finally we use our A Dorian Pentatonic again to resolve to GMaj7 for our last three chords.

Sheet music displaying John McLaughlin's chord progressions and tablature for Fm7, Bb7, EbMaj7, Am7, D7, and GMaj7 in giant stpes improvisation

Here, I just use C#m pentatonic and F# Pentatonic to land on the D# to nail the change to the BMaj7 chord. Very simple and very common guitar fingering.