Jazz Guitar Alternate Picking Exercises: ii V7 i [Double Time]

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

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Jazz Guitar Alternate Picking Exercises: ii v7 I [Double Time]

Hi Guys,

Today, we will look at some alternate picking guitar technique exercises for jazz improvisation when double timing

We will exploit ii V7 I’s as a basis for honing our alternate picking skills whilst employing 4 note tetrachord groupings.

In the first exercise it’s a good idea to accent the third note in each four note grouping. We are also starting on a downstroke:

jazz-guitar-alternate-picking-lesson-exercies

Here is the same exercise but with a variation in the second bar:

jazz-guitar-alternate-picking-lesson-exercies
jazz-guitar-alternate-picking-lesson-exercies

The next exercise will employ groups of 6 notes called sextuplets: As an exercise we will start with an “Upstroke” this time. This will be played over an AmMaj7 pad:

First Part:

jazz-guitar-alternate-picking-lesson-exercies-sextuplets

2nd Part:

jazz-guitar-alternate-picking-lesson-exercies-sextuplets

Full Exercise/Line:

jazz-guitar-alternate-picking-lesson-exercies-sextuplets

The following exercise uses some chromatic movement that smoothly connects to pentatonic movement starting on a downstroke:

jazz-guitar-alternate-picking-lesson-exercies
jazz-guitar-alternate-picking-lesson-exercies

In our final exercise we will join together some of these principles.

jazz-guitar-alternate-picking-lesson-exercies-double-time
jazz-guitar-alternate-picking-lesson-exercies-double-time

This was just a brief look at how to create alternate picking guitar exercises for improvisation through chord changes by applying simple patterns/fingerings that work naturally.

This was only around 140 bpm. But, this is essential before moving onto much quicker tempos with the alternate picking guitar technique.

With the 4 note “Tetrachord” groupings you will get fluidity through the changes. They will give you stability. They can then be broken up to create anticipation and syncopation-which will in turn create the natural expression of musical phrasing.

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]

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John McLaughlin-esque ii V7 I Alt Guitar Line [140 Bpm]

Please watch video above for detailed info:

Hi Guys,

Today, a quick ii V7 I McLaughlin-esque lick

This is at 140 Bpm with an altered approach to harmony with strict alternate picking guitar technique.

The chords are as follows.

For the ii minor chord I employ a minor chord with a Major 7th and an added 9th.

mclaughlin-altered-harmony-guitar-theory

For the V7 chord I raise the 5th [#5] and add a flattened 9th note.

mclaughlin-altered-harmony-guitar-theory

And for the I chord I make this augmented by raising the 5th.

So, the ii V7 I becomes harmonically altered and creates an interesting sound

john-mclaughlin-altered-harmony-guitar-theory

Guitar Line

The line starts on an upbeat with 3 target tones that deliberately set up the 1st note of bar one. This adds forward momentum and adds a colourful chromatic set-up.

mclaughlin-altered-harmony-guitar-chromatics-lesson

The target tones start on an “Up stroke” so that on the first beat of bar one you will land and start a “Down stroke”

mclaughlin-alternate-picking-guitar-how-to

Over the DmMaj7/9 chord I start with a Dm9 arpeggio and then exploit the D Harmonic minor scale by ascending in fragments.

mclaughlin-altered-harmony-guitar-improvisation-theory

Over the G+b9 chord I start on the third note B and then play an Eb 4-3 arpeggio.

mclaughlin-guitar-music-theory-improvisation

The Bb from this arpeggio then moves up to the B natural and then I play the b9 to tonic and #5 to5 which then finally moves down to the note C for the tonic of the next chord C+.

mclaughlin-guitar-music-theory-improvisation

Whole Bar:

John-mclaughlin-altered-dominant-guitar-improvisation-theory

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Creating “Scales” from Scales Tetrachords [C melodic minor]

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Creating “Scales” from Scales Tetrachords [C melodic minor]

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

The key to making scales from scales wether they be Triadic, Tetrachord, Pentatonic or Hexatonic is to highlight the key notes that give that scale its unique flavour/sound:

Below we can see this in the C melodic minor scale.

how-to-create-scales-jazz-music

The crucial Eb note and B natural note against the C root note tells us that this is not major and that it has a specific vibe/atmosphere to it.

In this first example we will employ 3 notes and 2 notes for highlighting: This employs alternate picking starting on an upstroke:

how-to-create-scales-jazz-music

This next example starts on a “Downstroke” and is even simpler. This is a simple 2 note fingering into a 2 note scale.

how-to-create-scales-jazz-music

Now let’s create an ascending line:

how-to-create-scales-from-scales

HARMONIC MINOR

Next we will add an Ab and make 2 Tetrachord scales from C Harmonic minor and create a little run:

how-to-create-scales-tetrachords-example

This time we will ascend with the C Harmonic minor scale:

how-to-create-scales-jazz-guitar

LASTLY

It’s also a good idea to play the key chord of a scale and then pluck the key note or notes that give that scale it’s unique flavour.

For example below is an F Maj7#11 chord that when you pluck the B natural it really stands out as Lydian:

how-to-create-scales-jazz-guitar

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