quartal harmony – Modern Music Theory Improvisation and Application

John Coltrane and McCoy Tyner Style Quartal Guitar Line | Jazz Improvisation Lesson

Posted on September 9, 2024September 17, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a short John Coltrane/McCoy Tyner Style unison jazz quartal guitar line/ jazz head/riff.

This line starts with an anacrusis/upbeat. From here we employ a short pentatonic scale phrase that leads to quartal harmony that resolves down a minor 3rd interval.

I am starting this on an upstroke with strict alternate picking guitar technique.

The key to the first phrase is that it plays upon this “Motif” as it gets imitated up the octaves:

coltrane-jazz-guitar-lick-lesson-example

From here, we create contrast by descending with a pentatonic scale and push hard on a sextuplets feel for rhythmic colour and drive.

To complete the first part of this phrase, we round it off with two chords of Ab and G9

We, will now ascend and frame some interesting intervallic sounds: Opening with 5ths to 4ths with chromatic movement:

Finally, we will play the motif up a semitone one more time and ascend up in semitones to complete the phrase:

FULL EXERCISE:

Alternate Picking starting on an “Upstroke”

IN CONCLUSION

This was just a brief look at what can be done with this modal pentatonic quartal jazz style.

It’s a style very well suited to the guitar in terms of fretting and picking and it’s amazing what interesting music you can easily make from this even just by means of imitation.

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Jazz Fusion Alternate Picking Guitar Exercise Analysis

Posted on July 8, 2024July 8, 2024 by Modern Music Theory and Application

Hi Guys

As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy]

VIDEO OF THE EXERCISE:

Alternate Picking guitar exercise. Jazz Fusion music mid tempo. Lesson/How to:

EXERCISE ANALYSIS:

PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate picking:

This exercise starts on a down stroke with strict alternate picking around 130-140 Bpm:

The point of the exercise is to “Connect” lots of jazz improvisation concepts together.

The first being barring 4ths and 3rds with the little finger [or pinkie]. This breaks up the monotony of the scale sound and creates a melodic inflection. It also makes it easy to play quickly as two notes are fretted with the same finger.

alternate-picking-guitar-jazz-fusion-lesson

This exercise is also good for exploiting phrasing on one string:

It’s also good for triad implications or sus 4-3 to lengthen the line.

Lastly, another tool that works really well for both the alternate picking right hand and the sound of the phrase is to employ an arpeggio. In this exercise we have also manipulated the open string to set up the next fragment of scale on the same string.

FULL EXERCISE:

DESCENDING ALTERNATE PICKING EXERCISE:

Alternate Picking mid tempo guitar exercise

This exercise starts on a downstroke once again, but, this time we descend:

The same improvisational tools are applied.

We start the line with some 4ths barred with the little finger into a bit of broken scale.

This leads us nicely into the employment of two arpeggios. These arpeggios create melodic colour over the A7 Dominant chord.

Next we exploit the alternate picking on the same string for two beats over the D Major 7 chord:

As with the previous exercise we exploit the Major 3rd and perfect 4th intervals, which means that we can alternate pick two notes quickly without having to change our fretting fingers.

Finally, we employ the chromatic scale starting on the #5 [Bb] of D7augmented chord:

IN CONCLUSION

In conclusion it’s through exploiting these improvisational devices that we can alternate pick and create long quick fluid lines lines that make improvisational sense.

In terms of jazz fusion this means that we can play smoothly through ambiguous harmony as well as standard chord changes at a quick tempo.

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Modern Jazz Fusion Chords:How to create them from scales

Posted on May 10, 2024May 20, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, a look at how to create colourful and interesting jazz/fusion chords:

Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian:

Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops].

Now, we will add another note a 5th above the root and create triads.

We have now harmonised the Mixolydian mode.

As you will hear it doesn’t sound very jazzy or have a fusion-esque sound.

So what do we do?

Well, we will add another note and manipulate the chord “Voicing’s”. Let’s exploit 4ths, flattened 5ths and Major 3rds.

Ascending Chord Scale:

Descending chord scale:

THE DORIAN MODE:

Now, we will apply this to the C Dorian Mode which has another flat note, this being Eb.

C Dorian Chord Scale : Harmonisation idea:

CREATING MUSIC:

Now, let’s play these chords in a sequence and make a bit of music from them:

EXAMPLE: Notice-Motifs and melodic movement from the chord voicings:

Melodic minor quartal harmonisation

Finally, to really get that “Fusion” exoticism let’s now exploit the melodic minor scale:

Below, we have the A melodic minor scale: Notice it’s just like the A Major scale but with the 3rd flattened: [In this case C natural]

Again, we will try out some ideas to harmonise the scale with some interesting chord voicing’s:

Here is a really nice set of chords built from from the scale.

jazz-fusion-guitar-chords-lesson-melodic-minor

From here it’s a good idea to play re-harmonised chords from chord scales in sequences like:

ii V7 I

Vi ii V I

iii Vi ii V7 I

IN CONCLUSION:

This was just a basic look at how to create interesting chords from scales and modes and how to create interesting and unique voicing’s.

At the end of the day it really comes down to your own ears and imagination and sense of creativity. But, this is how easy it is to create chords from scales and then put them into sequences for composition and re-harmonisation.

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