music theory – Page 5 – Modern Music Theory Improvisation and Application

Exploring John McLaughlin’s Unique Guitar Chordal Harmony

Posted on April 21, 2025April 21, 2025 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at some of John McLaughlin’s amazing altered, slash and ambiguous guitar chords.

Johns harmony is a very rich palette indeed.

In the little example above in the video, I play about with some of Johns harmonic movement and colour.

EXAMPLE 1:

Although, I could employ diminished harmony, I am instead aiming at “Implication”….Why?…This is in order to bring out the big “Rich” resonance of the guitar.

F/F# [/A]

Eb/E [/B]

john_mclaughlin_guitar_chord_example_lesson

It is an ethereal sound where the natural harmonics and overtones can ring out of the guitars sound hole harmoniously.

SHORT CONNECTING RUN:

Next, we employ a Bb Major run with a few chromatic notes. These being, the B natural and the E natural chordal tones.

EXAMPLE 2:

Now, let’s add two more resonant chords,

A/Bb

B/C

ARPEGGIO CONNECTION:

We will now connect to the next part together.

This will be with an arpeggio of Ebm mostly [or D#m] implying BMaj7. [Although there is an implied resolution to B7 also].

This juxtaposition, creates another ambiguous move that opens up a fresh and unique sounding harmony.

john_mclaughlin_guitar_arpeggio_example_lesson

From here, we can manipulate and resolve into the Bb minor full barre harmony:

Now, let’s create a sequence. This will be, C#7sus4 to C7 with a sharpened 4th and a Maj7th.

Notice, the chromatic movement in the bass as we sequence this.

Finally, this resolves from CMaj7#11 to CMaj7 with open string guitar chords.

PDF DOWNLOAD:

Chord Download

IN CONCLUSION:

In conclusion, this was just a quick look at Johns unique take on harmony and how to apply some scale and arpeggio movement to connect it all together.

John’s harmony is a lovely combination of ambiguity and resonance with a sense of calm.

The magical ethereal tone opens doors to really interesting solo applications that exploit implied harmonies and dissonances. These I find are met with with lingering resolutions that are never quite met.

It’s a sort of pairing of opposites that you can’t quite put your finger on that give it that alluring yet elusive quality.

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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.

FREE PDF DOWNLOAD:

mclaughlin_belo-Download

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Earl Klugh Style Guitar Composing

Posted on February 6, 2025February 6, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a quick look at the unique compositional and playing style of guitar maestro Earl Klugh.

EXAMPLE 1:

In the first example we will take a basic I IV V I [C to F to G to C] chord sequence and employ “Inversions”.

The employment of simple chord inversions are the key to getting creative in this beautiful, skeletal and spacious guitar style, along with the compositional process.

First we will create a short piece of music to then elaborate on:

Let’s begin with a simple C root position chord that then moves up into its 1st inversion with a melody note of B natural, which, will resolve down to the note A for chord IV [F Major].

From here we will employ a root position chord of G Major.

Now, we need to create a cadence.

In this case we could make this V7d or G/F or employ a simple F Major chord that resolves back to C/E or C 1st inversion.

Here, is the whole little structure that we can embellish in the next part.

PART 2: EMBELLISHMENTS:

Now, that we have a base, a little melody and a structure to work from, we can start to fill it out and colour it in.

First, we will add some simple melodic slides: These, are outlining – C Dm and C/E – and create percussive/melodic movement.

Next, we will exploit chord iii and make it Major and a Dominant 7th: From here, we will use this to modulate to chord Vi [A minor] the relative minor of C Major.

This gives a new emotional colour and pull as it moves away from the Major key.

Finally, we need to cadence. We will employ a ii V chord sequence to get us back to chord I [C Major].

To create a climax to the cadence, we will add colour with 6ths as melodic and rhythmic embellishments that push us to resolve to the tonic chord of C Major.

FULL EXAMPLE:

IN CONCLUSION:

This was just a brief look at this amazing style that is employed by the likes of Earl Klugh and Pat Metheny.

The use of chord inversions and basic harmony creates a very melodic and rhythmic world where composition presents itself naturally, within the movement of the chords themselves.

This is because, the melodies or melodic inflections result from the way that the chord inversion connect and resolve, thus, making the compositional process a natural and fluid one, resulting in spacious, rich melodic sounds that compliment the guitars resonance and fingerboard shapes.

FREE PDF DOWNLOAD:

earl_klugh Download

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