John McLaughlin “Stylistic” Guitar Concepts.

Hi Guys,

Today, a quick look at some unique concepts that John McLaughlin employs for composition and improvisation.

I have put these into a compositional lick of sorts.

I am starting this by opening with a 7su4 chord –C/D

This, then leads us nicely into a descending alternate picking run. This is a pentatonic scale fragment that then creates a bit more width by finishing with an arpeggio. [Starts on a downstroke]

image shows John McLaughlin's use of quartal harmony and pentatoinc scales in his guitar solos in tab and music notation.

The last accented open E note, acts as musical punctuation as this simple articulation sets up the next phrase nicely.

From here, we add some quartal harmony and more pentatonic movement:

image shows John McLaughlin's use of quartal harmony and pentatoinc scales in a lesson his guitar alternate picking style.

NOTE: Accented low E note again to articulate the Em11 chord.

This is then developed further, with more pentatonic accentuation from the low E to articulate the next chord and once again create punctuation in the phrasing.

To round this off, we descend with a quick A Major scale run. This exploits a simple fingering of 3 and then 2 notes that make the scale easy to play and connect to the next part.

Now, we move to some interesting chordal work.

This is a bit more unique than usual, in that its movement is that of contrary motion.

NOTICE: The bass descends chromatically as the treble ascends with the chromatic scale.

image shows John McLaughlin contrary motion guitar chords in tab and music notation.

From here, we exploit quartal chords for that modern sound and diminished chords for their melody and colour.

image shows John McLaughlin guitar chords in tab and music notation.

To complete this we just employ a simple V-I of C to F. This is really just exploiting the shape by adding a C note and then an F note:

This was just a short look at a few interesting concepts that John employs. For example, the simple concept of articulating the low E note is really useful as it helps enormously when punctuating and phrasing, wether, compositional or improvisational with the guitar pick.

Also, for example, breaking the scales down to simple guitar fingerings is also essential as it means that it is easy to connect to chords and/or melodic double stops.

Josef Matthias Hauer: Compositional Tropes Techniques: Zwölftonspiel

Hi Guys,

Today, a look this great but lesser known Austrian composer:

Many people associate the abandonment of traditional tonality, wether 12 tone/serialism or some other form with the second Viennese school of composers, especially that of Arnold Schoenberg.

But, there was another thinker, composing at the same period of time [some say before] creating in his own unique atonal form…..

His name was Josef Matthias Hauer.

Hauer took a different approach by exploiting atonality and employing “Tropes”.

These consist of an “unordered pair” of complementing “Hexatonic” six note sets/groupings that employ all 12 notes of the chromatic scale. [The key being to play the first 6 notes before moving onto the next 6 notes].

EXAMPLE 1:

image showing Hauer tropes in 2 hexatonic sets

Guitar Version:[Sextuplets]

Image demonstrating an example of Joseph Mattius Hauer tropes for music composition.

EXAMPLE 2: [Exploiting Both Whole Tone Scales]

Although, they are hexachords these tropes can also work well divided into three 4 note groupings of “Tetrachords”

HAUER’S 44 TROPES: [479 million permutations into 44]

Example of Hauer’s personal writing’s:

We, will take this as our “Trope”

image depicting Hauer's trope sets

Now, let’s extend this to two octaves:

Image showing an example of Josef Mattias Hauer tropes for music composition.

From here, we will play the same trope in an intervallic manner: [Strict-each note in order ]

Image showing Josef Mattias Hauer tropes in intervallic form for music composition and improvisation

This time, let’s play each trope with the notes in a different order: [Not strict]

Josef Mattias Hauer's intervallic music tropes fro composition and improvisation

Here, we have “Trope”-in an Arpeggio Form;

Example.1

image of Josef Mattias Hauer arpeggio tropes for music composition

Example. 2

demonstration that shows JJosef Mattias Hauer tropes as arpeggios for music composition technique.

Example. 3

Demonstration image of Josef Mattias Hauer tropes as arpeggios for music composition technique.

Finally, the trope as a lick:

image for Josef Mattias Hauer improvised line
Josef Matthias Hauer Guitar Examples of Trope manipulation

From, our tropes we can create chords.

These can be,

Dyads–2note chords,

Tri-chords–3 note chords,

Quartal–4 note chords,

Penta–5 note chords

Hexatonic–6 note chords.

For this short blog we will exploit 2 note voicing’s.

Here, is an example of our two hexatonic’s as “Dyads”

image demonstrating an example of Josef Mattias Hauer dyad ic2 note chordal tropes for music composition. Music theory lesson guitar tablature and music notation.

We could also superimpose the retrograde of our trope on top of our trope:

image example of Joseph Mattius Hauer superimposing music tropes

From this, we can exploit some more harmony with dyads:

image demonstrating an example of Josef Mattias Hauer superimposition dyads

Here, is an example displaying some harmonic movement and chordal development that I quickly manipulated form our trope. [See-Chords in video chapter above]

image of Josef Mattias Hauer musical tri -chords
Hauer Compositon Tropes Example

This was just a very brief look at Hauer’s tropes. It’s an amazing concept because original harmonic content and original ideas develop naturally as the material reveals itself.

These simple tropes give birth to a wealth of creative content that can lead one into directions that may not have ever been taken or otherwise thought of or even considered.

Alternate Picking Tips: Grip for Fast Playing

Alternate Picking: Essential Grip for fast articulated picking

Hi Guys

Today, a “Re-Post” that some of you have been searching for:

It’s the look at alternate picking plectrum/pick grip page.

PLEASE NOTE: This page/blog is only for anyone who might be having problems with holding the pick for long periods when improvising, or moving from the improvised line back to chord melody.

It’s not so important how you hold the pick or what finger you use. But, it is essential not to have a wobbly thumb and/or finger .

Three pictures demonstrating how to grip the guitar pick correctly for fast alternate picking guitar phrases in the syle of malmsteen, mclaughlin and al di meola and other guitar shredders.

A lot of guitar players when they start out with alternate picking often change the grip just as they are about the pluck the string! This makes it impossible to gauge distance.

When the thumb is rigid and the grip is solid, distance, articulation and timing fall into place automatically.

Pic 1: Good solid grip

Example of how to grip the guitar pick correctly for fast alternate picking in the syle of guitarists like malmsteen, mclaughlin and al di meola

Pic 2: Pick confidently plucks string

Image depicting how to grip the guitar pick correctly for fast alternate picking guitar technique

Below [Pic 3]: BAD!

At the last moment the pick is turned as it is about to pluck the string and the thumb and finger wobble/collapse:

Here are a couple of exercises for practicing whilst getting the feel of gripping the pick firmly.

The first is a simple A minor Pentatonic scale in sextuplets.

Counting basic 1 2 3 4 5 6:

This starts on a down stroke:

Next we have the same thing but in groups of four 16th notes.

alternate-picking-guitar-techniques-exercise

It’s a good idea to play around with these two exercises by mixing the groups of 4 and 6 together and create little phrases out of them.

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