scales – Page 3 – Modern Music Theory Improvisation and Application

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

Posted on April 4, 2024April 6, 2024 by Modern Music Theory and Application

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

Please watch video above for detailed info:

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:

SEXTUPLETS EXERCISE:

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:

Full Exercise/Line:

CHROMATICISM/PENTATONIC

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

PENTATONIC/ARPEGGIO MOVEMENT

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

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

In Conclusion

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.

Free PDF DOWNLOAD:

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“Lotus Feet” Shakti Scale Solo Concepts

Posted on December 12, 2023February 10, 2024 by Modern Music Theory and Application

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Please watch video above for in depth analysis:

Hi Guys,

Today, a quick look at exploiting the Em scale for John McLaughlin’s and Shakti’s composition “Lotus Feet”.

The key to making a solo sound interesting is to highlight the prominent notes of the scale: In this case it is the semitones F# G and B and C.

Here are the semitones ascending:

Here, they are descending:

Also, take into consideration that the F# note will make the Cmaj7 Lydian:

Now, let’s add one extra note to the semitones and create an imitated phrase going through the octaves.

Now, we will connect some scale to the semitones ascending:

Here we will connect three tetrachords in 3/4 creating a smooth pentatonic style line:

ARPEGGIOS FROM THE SCALE:

Another key component when improvising is to exploit the arpeggios within the scale:

Two arpeggios that work well for this composition are Em and Bm:

E minor:

Mixing the scale with the arpeggio also works really well.

PENTATONIC’S FROM THE SCALE:

It’s always a good idea to have a few pentatonic’s from the scale at hand:

Here we can manipulate the Em, Bm, and Am to good effect. Again we can make them more unique by adding the semitones:

Em Pentatonic:

Bm Pentatonic:

Am Pentatonic:

Now, lets connect two fragments together:

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The Practice Notebooks Of Michael Brecker: Book Review

Posted on July 17, 2023July 30, 2023 by Modern Music Theory and Application

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The Practice Notebooks Of Michael Brecker: Book Review

IMPORTANT: Please watch video above for detailed info:

Hi Guys,

Today I am reviewing the amazing collection of entries from Michael Brecker’s practice notebooks. With over 700 entries there is a lot to choose from.

Okay, let’s get started.

This book goes through the different decades of Michael Brecker’s musical life, starting from 1967 through the 70’s, 80’s, 90’s and up to 2002.

There are six books within this:

In order to do justice to this collection of entries I will analyse a few.

From this it is revealing and in many cases surprising because Michael Brecker starts with such a simple seed, an almost childlike simplicity which is then expanded on with many of his trademark improvisational techniques.

This in turn opens the door to Michael Brecker’s improvisational mindset, self study and developmental nature:

EXAMPLE/ENTRY 1:

michael-brecker-practice-notebooks-book-review-examples

Here, we can see a ii V7 I which becomes a turnaround: [Notice the employment of Dominants]. The Am7 chord slides up a semitone to the Bb7 chord which then moves in the cycle of 4ths to Eb7 to Ab7 which then slides down a semitone again to the tonic key G.

But, what makes this line unique is the connecting of the solo line: Because the harmonic rhythm is moving at such a fast rate [1 chord per beat] the solo line needs to connect seamlessly.

And so it does. Above we see the G to Ab to G back and forth employing the same smooth semitone connection which finally resolves an octave lower.

Joe Henderson Line

The next example is from an entry that Michael Brecker took from Joe Henderson:

This example is interesting because we see one of Brecker’s trademarks, “Sidestepping”.

This little line starts off with a simple piece of scale that then incorporates side stepping,

This then connects to a scalic bebop style lick which then cadences beautifully with a minor 6th interval.

MODULES

The next example demonstrates Michael Brecker’s use of 4 note modules.

This module is exploited in a short line.

Below we can see the module that then connects to a simple minor 7th arpeggio.

This then slides down a semitone to connect the module again. Finally, finishing with a lick

COUNTDOWN

The last example is a phrase from the classic jazz repertoire “Countdown”.

This again is unique due to its structuring with simple triads and motifs/modules:

Below we see the modules/motifs repeated, but, moving down in Major 3rds.

Next, we see the filling out with the simplistic employment of basic triads:

Below, we see the minor 7th arpeggio, triads and final rudimentary cadential lick.

CONCLUSION

This was just a quick look at a few entries that Michael Brecker would expand on, play in all 12 keys and use a as basis for extemporisation, composition and improvisation.

This book is for the serious student of improvisation, wether a beginner or pro and anyone seeking to get into Michael Brecker’s mind and understand his ways of working/practicing as an improviser.

Lastly, I would like to thank all the people at Sher.co music for putting me on to this amazing book!

Click Book Cover For Link