music theory – The Jazz improviser and modern music theory application

3/4 Re Harmonisation-Jazz/Fusion Triads/Bass

Posted on January 7, 2023January 9, 2023 by Jazz fusion guitar Improvisation lessons and modern music theory

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jazz-fusion-reharmonisation-triads-example

Hi Guys,

Today we will have a look at re harmonising with extra dominant substitutions and a chord ii variant…..

jazz-fusion-reharmonisation-triads-example

The first bar employs a C6/9 in place of the basic tonic chord of C major.

Also, note that this has a 3/4 time signature and starts with an up beat.

The next two bars alter the Dominant chord of G7. This is achieved by thinking of G as a 1st inversion and changing the harmony on top.

The BbmMaj7/B has the flattened 3rd like a #9 a flattened 5th [altered] but has the 9th and the 7th of G7. The first 4 notes of the improvised line establishes the BbmMaj7/B harmony whilst the next eight notes employ the A whole tone scale.

The next substitution is a Db chord over the B bass establishing the flattened 5th and a flattened 9th. But, what is really happening is that we are taking a triad a tritone away form the dominant chord G7 and superimposing that on the B [as a 1st inversion] bass note.

Next, we use a chord ii substitution. Again, thinking of F as the bass [1st inversion] we play an E triad over the top. This has the raised 6th and the flattened 5th as a sort of m7b5/Dorian mix.

The final Dominant substitution employs another triad from G altered. This time we use the Eb triad over the B [as 1st inversion] bass. [This has an added 9th acting as the 7th note of G]

Improvised line over the top,

Finally, we arrive back to C6/9

LICK PDF DOWNLOAD:

alterd-harmony PDF RE-HARMONISATION Download

CHORDS PDF:

triadsbass chords Download

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John Mclaughlin Jazz Acoustic Guitar Line:

Posted on December 4, 2022December 11, 2022 by Jazz fusion guitar Improvisation lessons and modern music theory

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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].

PDF DOWNLOAD:

john-mclaughlin-guitar-2-5-1-wp john mclaughlin download

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How to use the “CHROMATIC SCALE” in Jazz Improvisation

Posted on October 19, 2022October 23, 2022 by Jazz fusion guitar Improvisation lessons and modern music theory

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How to use the “CHROMATIC SCALE” in Jazz Improvisation

Please watch video above for in depth analysis:

Hi Guys,

Today we will look at applying the simple half step chromatic scale to jazz improvisation. This in turn will be reflected in the alternate picking guitar technique:

So, we will look at two parts,

1] Harmonic Aspect-Set-UP-Theory

2] Technical Execution-Set-Up-Instrument

The analysis will be detailed through this 2 5 1

Hot-to-use-the-chromatic-scale-jazz — How to use the “CHROMATIC SCALE” in Jazz Improvisation

MUSIC THEORY: Chromatic Scale:

how-to-use-the-chromatic-scale — How to use the “CHROMATIC SCALE” in Jazz Improvisation

If we look at the first bar we will see 4 note groupings “Tetrachords”. These groupings are made of semitones [chromatic scale].

outlining-chords-with-chromatic-scale — Outlining chord with the chromatic scale for jazz improvisation

What you will notice is that they “Outline” the Chord DmMaj7. This makes the ear follow the direction of the line in relation to the harmony so that it is not just aimless semitones strung together, but a connected line with a definite direction that resolves into an arpeggio.

These chromatic semitones in groups of 4 are “Even” Patterns and hence easy to alternate pick as the are all the same “Down Up Down Up”.

how-to-use-the-chromatic-scale-alternate-picking — 4 note chromatic grouping for alternate picking guitar technique

In the next bar we see the same technique: The chord is outlined again with 4 note chromatic scale groupings.

Finally we come to the last bar. This time we employ outlining by moving the chromatic scale up in minor 3rds [Diminished 7th].

In order to execute this type of playing it is essential to accent the 1st and the 3rd notes of each 4 note grouping. This will create a fluid rhythmic sound and hold the tempo tight.