Fripp Part 2 -Video Re-Edit :
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Here, is the Pdf Download with the Music Notation and Tab for guitar for the Fripp Part 2 Guitar Concepts:
Tag: technique
Mastering John McLaughlin’s Unique 13th Chord Voicing
Please watch video above for detailed info:
Hi Guys,
Today, a quick look at the unique 13th chord Voicing of guitar maestro John mcLaughlin.
PART 1:
This unique voicing possesses a 7th a 9th with the 13th ringing out on top. It has a lovely sonorous tone :
This chord works really well because it’s a 1st inversion, and, without a root it gives us that slightly ethereal painted sound:
PART 2:
The sonorous nature of this chord makes it shine when moving to a diminished 7th chord for a resolution:
This in turn rewards us with fantastic melodic sequences:
PART 3:
Now, let’s make a sequence by employing strong Major 9th chords that move to John’s brilliant voicing.
If we play the example below we can hear the resonant nature of the two chords.
Now, let’s create a little chord sequence with them:
To complete the sequence, we will cadence with a13b9 chord back to the tonic D
Here, is the full sequence:
PART 4:
John, also makes good dramatic use of this chord by exploiting a pedal note in the bass for rhythmic drive.
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John McLaughlin’s Pentatonic’s for Coltrane Changes:[Giant Steps]
Hi Guys,
Today, a quick look at John McLaughlin’s “Pentatonic” guitar concepts for playing over the Coltrane Changes.
Although I am employing alternate picking guitar technique at quite a fast rate, these pentatonic’s simplify things enormously.
THE RHYTHMIC SIDE OF THINGS:
To keep the solo line tight, we will count in a basic manner,
1 and 2 and 3 and 4 and
This way, you will know where you are in the bar and what chord you are playing over.
To begin with I use the B major pentatonic scale. Next, I employ a simple 2 finger pentatonic scale over D7 and GMaj7.
I then play the second part [same fingering] up a semitone and land on the note D for the EbMaj7 chord, counting 1 2 3 4 in preparation for the next chord.
For the first three chords I play what could be called “A Dorian Pentatonic”. But, I am not really thinking in that way. [I am just adding the F# note for the 3rd of D7]. This in turn creates a very simple and “Fluid” guitar fingering that is very common to most guitar players and hence easy to play.
On the F#7 chord I play an F#7 arpeggio that then resolves into an Eb minor arpeggio for the BMaj7 chord.
For then next part, I again employ a simple Pentatonic to get through the first three chords.
This Bb minor leaning works well because over the Bb7 chord it gives us the “Blue note”. Finally we use our A Dorian Pentatonic again to resolve to GMaj7 for our last three chords.
Here, I just use C#m pentatonic and F# Pentatonic to land on the D# to nail the change to the BMaj7 chord. Very simple and very common guitar fingering.
For the last part, I employ an Fm9 arpeggio and a C minor pentatonic scale that then goes up a semitone and repeats our C#m7 F#7 to Bmaj7 phrase.
But, this time we land on an F# for the 5th of BMaj7.
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