music lesson – Page 2 – Modern Music Theory Improvisation and Application

McLaughlin “Belo/Music spoken here” Style Guitar Chord/Scale Techniques

Posted on March 24, 2025September 7, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a quick look at how John McLaughlin moves from chord to scale or scale to chord on the nylon string guitar.

FAST ALTERNATE PICKING LICK!

In this lick we can see John exploit the 3/4 time signature with rapid fire alternate picked tetrachords!

This is classic “Music spoken here” style in regards to the application of pentatonic scale fingerings and melodic arpeggio shapes that connect together to create a fluid improvised line.

john_mclaughlin_acoustic_guitar_techniques_lesson

CLOSER LOOK:

Here, we can view the exploitation of a quick pentatonic fingering that ascends,

Now, we go the opposite way and answer the phrase with a descent. This employs the A Major Arpeggio shape/fingering:

Finally, we have a little melodic rise in the top line over a barred static chord. [Mind the stretch!]

MCLAUGHLIN GUITAR TECHNIQUE 2

In the next example, we will apply the concept of a chord to scale fragment that anticipates to the next chord in 4/4 time.

Technically, I am playing the chords on a downstroke and the scale on an upstroke. [This employs alternate picking guitar technique once more].

What makes it work so well on the guitar is that this concept employs 1st Inversion chord voicing’s- E,g B/D# to E/G# to A/C# to D/F# etc

Also, as a compositional device, this works brilliantly because it employs the cycle of Vb to Ib.

HERE IS THE DESCENDING IDEA:

HERE IS THE ASCENDING IDEA:

Notice: this is the same, but, this time we are ascending with the same concept.

Musical notation and tablature sheet depicting a guitar lesson focusing on chord to scale transitions and alternate picking techniques from John McLaughlin's Belo Herozonte Album. — Musical notation illustrating a John McLaughlin chord to scale technique, demonstrating ascending and descending patterns.

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mclaughlin_belo-Download

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Simplify Guitar Chromatics with Easy Fingering:

Posted on December 8, 2024December 8, 2024 by Modern Music Theory and Application

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Please watch above video for detailed info:

Hi Guys,

Today, we will employ chromatics [Target Tones]to a simple guitar fingering/scale that everybody knows.

Yes, this is our old mate the A minor Pentatonic scale.

TARGET TONES/CHROMATICS- GUITAR FINGERING:

Before we start: Both fingerings are essential and very useful, but, in different instances.

Okay, let’s compare fingering.

Below, is the more “Traditional” fingering:

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

Now, let’s simplify this with a more intuitive John McLaughlin style guitar fingering. [2 fingers to 2 fingers with a slide].

We will now now apply this to the simple A minor Pentatonic scale guitar shape.

Here, we will employ a “Side Step” with chromatic target tones for more interest and chromatic colour.

This time we will extend the line with an upbeat of 4 chromatic descending notes starting on the note D as the tonic:

Lastly, let’s try this over a ii V7 I [Dm7 G7 CMaj7]

IN CONCLUSION:

This simple minor pentatonic guitar scale/shape allows us an easy way to employ chromatics and chromaticism by exploiting it with what we are already very familiar with.

This familiarity means that it is not only easier to learn, but, also, easy to remember. Hence, we can apply it to any strings of the guitar and create some colourful and interesting sounding lines.

FREE PDF DOWNLOAD

chromatics-guitar Download

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Syncopation/off beat LESSON for playing the guitar part 1

Posted on May 3, 2022May 8, 2022 by Modern Music Theory and Application

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https://youtu.be/Nuxb4zKVK04

How to Anticipate/syncopate and use anacrusis at the guitar in Music

OFF-BEAT PLAYING

In order to play “Off” the beat you must first establish the “On” beat. This way you can anticipate or push the music/melody/riff or motif along and then return to the established “On” beat.

how, to ,play, on the, off beat, in, music, example — How to play on the beat and off the beat in music with chords.

When beat one is established we can then push any beat from there on. The key is then to return to the “On” beat to start the next phrase or vamp or piece of music.

If you play “Off” the beat continuously the syncopation/anticipation will be lost.

In order to fully comprehend off-beat playing it is an extremely good idea to learn and practice the two most common essential rhythms in every way possible, both in the bar and across the bar line. But, always coming back to the “On” beat for the start of the new phrase.

Rhythm 1