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

Alternate Picking Guitar Exercises/Runs 140 bpm ii v7 i

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

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alternate-picking-mechanics-guitar-exercise-fusion-fluidity-lines

Hi Guys,

Today, a couple of alternate picking guitar exercises.

mclaughlin-liquid-lines-fluidity-alternate-picking-exercise

These lines are through a ii V7 I chord sequence/cadence at 140 bpm, so they are not super fast but are at the tipping point of the fusion tempo.

I am starting on a down stroke with the pick and following through with strict alternate picking in double time with 16th notes.

This first exercise employs some chromaticism ascending with pentatonic movement. The last 2 notes have a big stretch so there’s also a quick moment of detailed finger precision in the fretting hand.

alternate-picking-mechanics-guitar-exercise
alternate-picking-guitar-mechanics

As always with these types of exercises it’s important to count time and feel the pulse.

jazz-fusion-double-time-counting

This will create the “Fluidity” in movement and help connect it all together.

Next, we have a variation of the exercise above. This time starting with an upbeat and an extension all the way to the top D note.

alternate-picking-mechanics-guitar-exercise-fluidity-lines
alternate-picking-mechanics-guitar-exercise-fluidity-lines

Lastly, we have another tetrachord exercise and variation going the other way,

alternate-picking-mechanics-guitar-exercise-liquid-lines

CONCLUSION:

As you can see from these short exercises, the only way to get the alternate picking effective with jazz/fusion is through the “Connections”, because the harmony/chord changes have to be dealt with whilst picking.

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

12 tone jazz/fusion 20c classical quartal/quintal lines

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12 Tone Jazz/Fusion Quartal/Quintal improvising and composing concepts

Hi Guys,

Today, a look at employing 12 tone rows for Quartal and Quintal improvising and composing.

Here is the first row: Notice the movement of 5ths and 4ths.

12-tone-jazz-fusion-rows

Now, we will play it backwards with retrograde motion or reversal: Also, notice the use of changing register.

12-tone-jazz-fusion-rows

Full 2 bars:

12-tone-jazz-fusion-rows

In this next example we will employ Triadic movement and semitone connections.

12-tone-jazz-fusion-rows-triads

In the following part we connect triads directly:

12-tone-jazz-fusion-rows-triads

Finally, we will add some non 12 tone notes to complete the phrase:

12-tone-jazz-fusion-rows

From here we will exploit the tone row and make 4 bars of music from it: Here is the 12 tone row:

12-tone-jazz-fusion-rows

We will now copy it and change register: Notice that the last four notes descend:

12-tone-jazz-fusion-rows

Now, that we have this we will reverse both bars and create another 2 bars of music:

12-tone-jazz-fusion-rows

Lastly we will join together 2 different rows: We will break these up a bit with the first part acting more like a vamp:

12-tone-jazz-fusion-rows

The second part employs quintal and quuartal movement once again:

12-tone-jazz-fusion-rows

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