music – Page 9 – Modern Music Theory Improvisation and Application

“Shakti/McLaughlin” Mid Tempo Guitar Exercise [Alternate Picking]

Posted on November 20, 2024November 20, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a short “Mid-Tempo” [around 140bpm] JohnMcLaughlin/Shakti style alternate picking guitar exercise for scale connections in the fretting hand.

This is in regard to crossing the strings and connecting different scale fragments together.

BAR 1:

The first concept is that of employing the open string. This gives the fretting hand a hundredth of a second to rest and hence easily get into position to fret the next note at a mid and fast tempo.

Note: fourth 16th note = Open String

shakti-mclaughlin-indo-jazz-guitar-exercise

In the next part, we can see both open strings employed to make it easy for the fretting hand to get into position and connect to the next scale fragment.

The last note in the bar, the open B natural, makes it easy for us to cross the string smoothly.

shakti-mclaughlin-indo-jazz-guitar-lesson

Here, is the first bar complete:

BAR 2:

In this bar, we employ semitones as they are easy to finger/fret, and, also to cross the guitar strings when descending.

Extended Variation:

Here, is an extended variation that employs the same alternate picking John McLaughlin concepts that we have just looked at:

IN CONCLUSION:

These simple concepts for the fretting hand when alternate picking might not seem much, but, they are the little hinges that swing the big door when holding the tempo together. Especially, when playing with a tabla/drum.

It also makes it easier for the right picking hand to pluck the strings as the fretting hand is not under pressure, and, there are spaces for the fretting hand to rest and get into position.

PDF DOWNLOAD:

shakti-mclaughlin-guitar Download

mclaughlin-shakti-var Download

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The End of Guitar Techniques Magazine: A Tribute

Posted on November 16, 2024November 20, 2024 by Modern Music Theory and Application

Hi Guys,

Just a quick video [above] looking at the death/closure of the guitar magazine:

For me, the guitar magazine was an important part of guitar culture and a great source of learning, especially in the old days where there was very little information about.

The most important, educational and best UK guitar magazine was “Guitar Techniques” which has sadly published its last copy.

For me, this magazine was an amazing concept with real in depth and valuable lessons from the likes of, Shaun Baxter, Pete Callard and Guthrie Govan.

Examples of some truly great work!

Shaun Baxter……

Pete Callard…….

Guthrie Govan…..

guitar-techniques-magazine-guthrie-govan-example

Every subject under the sun was investigated and captured in detail. Explained with clarity and easy to execute on our guitars!

So, enjoy the video above if you were like myself a guitar mag nerd [lol!], as it is really just a tribute to the great magazines and an age and culture of a time now seemingly gone by.

Last cover: The Final Guitar Techniques Magazine R.I.P

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John McLaughlin Alternate Picking Guitar Secrets part 1

Posted on October 31, 2024October 31, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a quick delve into what makes John McLaughlin’s alternate picking guitar style work so easily and fluidly.

Many, focus on the right hand technique, but, much of it comes from the way the fretting hand works.

So, let’s look at a couple of simple secrets to John’s approach and why it is so fluid and effective

#1 OPEN STRING APPLICATION:

In this example, we will create an effective line that is not tremolo picking on cliche shred scales but a continuous colourful and creative improvised line in a world music style.

Here is the full line. Starting on a “Down stroke”

john-mclaughlin-guitar-secrets-alternate-picking-fast

If we take this apart we will find a couple of reasons why this is fluid and very natural for the alternate picking guitar technique.

First of all notice: The arpeggio that starts the phrase. The last note of this 4 note tetrachord grouping is an open D string!

This open string gives the fretting hand a hundredth of a second to do absolutely nothing as it prepares for the next 4 note grouping to fret.

This gives us time to get into position and so we are NOT rushing about, and, we are in control

CROSSING THE STRING:

We will now employ the use of an open string once again, but, this time for “Crossing” the string:

This makes it easy to cross the string smoothly and connect to the next tetrachord.

From here we will extract a partial John McLaughlin scale/fingering by sliding it into position.

To end this line, we will descend with some simple scale starting on an “Up stroke”. Also, notice the simple 2 finger fingering for the fretting hand.

EXERCISE 2: SEXTUPLETS: 6 NOTE GROUPINGS:

In this exercise we will employ groupings of 6 notes. This is based upon an improvised acoustic jazz fusion line, like that of “Belo Herozonte:

This is played over a ii V7 I of Dm9 G7 CMaj9:

If we take this apart we will notice that we exploit a Bm arpeggio going to a B dim arpeggio that then goes to the 4th and 6th notes of D Dorian: This creates a nice colourful sound.

For the next 6 note hexatonic grouping we employ an E harmonic/melodic minor sound over the Dm9 chord: Notice the Major 3rd interval:

From here, we will “Slide” the fretting hand up to the next position: Notice the use of the Major 3rd interval once again, as this breaks up the monotonous scale sound and creates distance and melodicism.

Finally, we have simple 2 finger pentatonic descending scale application that finally rest on the note C for the CMaj9 chord.