Modes Backing Track Transposed in C Major with Chart and Scale Suggestions.
Hi Guys,
Just a quick chart and backing track for practice and improvising with modes transposed in C Major. [The chords and scales are only suggestions there are other variations]
Here are the chords for the chart:
Here is the Modal Chord/Scale outline in a 12 bar [Blues] Structure for practice:
Here is the analysis for the Youtube “Shorts” 2 keys alternate picking video that I uploaded a few weeks ago.
The key to this exercise is the ability to “Connect” at the point of changing scales/keys:
Here is the chart and diagram:
As you can see there is a change of harmony and scale. This in turn affects the fingering of the fretting hand and wrist as this quick change happens.
So, there is a tilt or pivot [Please watch video above to see this] as the wrist/hand gets into position:
FULL EXERCISE:
This exercise employs strict alternate picking starting on a down stroke:
The use of 4 note groupings [Tetrachords] is to keep the line solid rhythmically. Notice that the 3rd note in each 4 note grouping is accented.
Next we come to the “Connection” part. As stated earlier and in the video presentation above the pivot and tilt of the wrist and hand is essential in order to make the smooth connection.
Next we have the“Shifting Position”as the hand holds the same shape but just moves/slides down into the next position.
Today we will look at a ii V7 extension in the improvisational style of jazz/fusion guitarist John McLaughlin.
HARMONY/CHORD SEQ
This is a cadential ii V7 I, but before the chord I resolution there is an added chord. This is chord Vii as a Dominant 7th. In this case this is B7:
So, this is the chord sequence/cadence that we will improvise over.
I start this with an up-beat employing strict alternate picking.
I start the phrase on an “Upstroke” so that when I start on the 1st beat of the 1st bar I can start on a “Downstroke”for familiarity.
The first bar is basic pentatonic scale movement. But, notice that the 2nd half of the bar encapsulates the classic McLaughlinguitar fingering signature phrase.
The next part employs pentatonic movement again. The key is in shifting positions in the second half of the bar.
Lastly, we have the B7 chord. We start with a second inversion F#9 outline and then we establish the 7th with the A natural. We finally cadence by landing on the note G natural the 5th of CMaj7.