technique – Page 7 – Modern Music Theory Improvisation and Application

Master “McLaughlin” style Hexatonic Guitar Techniques for Smooth Playing

Posted on July 9, 2025June 1, 2026 by Modern Music Theory and Application

hexatonic-guitar-exercises-alternate-picking-examples

Please watch video above for in depth analysis:

Hi Guys,

Today a quick look at connecting “Hexatonic” groupings together with strict alternate picking guitar technique.

The key is to glide or slide or let the fretting hand fall naturally into each position. This way the connections are made smoothly.

If the fretting hand panics, or releases from the position then it will fall apart: So connecting SMOOTHLY from each 6 grouping to the next= The Key

This is the same process as connecting 4 note groupings “Tetrachords” but we have 2 extra notes to contend with:

Because we have the 2 extra notes Hexatonics work well at a slower tempo’s like 100 to 120 Bpm for Fusion double timing:

EXERCISES:

Here is the first Exercise/Example: This starts on a down stroke with strict alternate picking:

Notice, that in the second bar we have an arpeggio/triad figure:

This arpeggio can throw your alternate picking because it breaks up the scale momentum. So, you have to prepare for it and be aware that there is a quick change of movement in the fretting hand as you cross the strings.

Exercise 2:

Here, we have an ascending exercise that connects together easily and naturally.

Again, it starts on a downstroke with strict alternate picking.

Here is the same exercise, but, with a VARIATION at the end:

Exercise 3:

Finally, we have an example that employs the downstroke and the upstroke:

Hence, we start on a downstroke and then have a short rest and then commence starting on an upstroke:

Here is the first part starting on a downstroke:

Next, we have a rest and then start the next part on an upstroke to complete the exercise:

FREE PDF DOWNLOAD:

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Alternate Picking from Ascending 5’s

Posted on April 27, 2025April 27, 2025 by Modern Music Theory and Application

PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:

Hi Guys,

Today, a quick look at building from the “Ascending group of 5” with alternate picking guitar technique.

This group of 5 exploits the “Up” stroke. It works well as a tool for building longer and longer lines/phrases.

This is NOT shred and is really only for jazz, fusion and world-esque music like John McLaughlin’s super creative outlet Shakti. It is an improvisers tool.

ASCENDING 5:

Here is an example of the 5 figure. It consists of an open string and starts on an upstroke.

This 4 note + 1 sets up the upstroke for the string cross.

alternate_picking_guitar_technique_example

Here’s how it would be as a tetrachord to the next beat. [As opposed to a quintuplet or Ta ka di mi Thom.

EXAMPLE/EXERCISE 1:

Let’s now build off of the ascending 5 figure.

In the example below, we can clearly see the extension from the 5’s to 7’s to two groups of 4 note tetrachords.

From here, we will add a Dom7th chord to the scale/phrase.

This sets us up nicely to descend smoothly starting on the upstroke.

EXAMPLE/EXERCISE 2:

Here, we will do exactly the same thing, except that this time we are moving from G7 to C Major. [Notice the open string and 5 figure extended].

Once again, the descent is on the upstroke.

FULL EXAMPLE:

EXAMPLE/EXERCISE 3:

Here, we see the process in action again. The line building from the 5 figure.

The descent starts on the upstroke as before, but, this time leads to a perfect V I cadence:

VARIATION:

Here is a variation, but, this time in the key of A Major.

The same form of descent is employed that once again ends in a V I cadence.

FREE PDF DOWNLOAD:

5-Guitar Download

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Counting Rhythms for Alternate Picking Guitar “Right Hand” Technique:

Posted on April 18, 2025April 18, 2025 by Modern Music Theory and Application

Please watch video above for more detailed info:

Hi Guys,

Here are a few of the Rhythms that I like to count and/or practice when alternate picking:

These are based around Indian Konokol: But: I am using them to INTERNALISE patterns. This could be Ta ka di mi but felt/internalised as du du du du–

WHY is this?

It’s because I am in “Standard” tuning and the syllables of the counting help to “Connect” quick rhythmic patterns together to create “Musical phrasing” for composition and improvisation.

These, I find help me enormously with the right hand picking, as I can connect phrases together from the internalised beats/syllables.

These are NOT cast in stone and are only a few ideas that I use personally, and are not aiming at strict Indian classical music technique, but, are employed as reference points/patterns/beats in the way that they are enunciated.

4 note grouping:

1] Ta ka di mi [1 2 3 4]

2] Ta ki ta Ta [more as 123 1]

5 note grouping:

1] Ta ka di mi thom [1 2 3 4 5]

2] Ta ka di mi Ta [1 2 3 4+1]

3] Ta ki ta Ta ka [1 2 3 1 2]

7 note grouping:

1] Ta ka di mi Ta ki ta [4+3]

2] Ta ka di mi thom Ta ka [5+3]

8 note grouping:

1] Ta ka di mi Ta ka di mi [4+4]

9 note grouping:

1] Ta ki ta Ta ki ta Ta ki ta [3×3]

2] Ta ka di mi Ta ka di mi Ta [4+4+1]

11 note grouping:

1] Ta ka di mi Ta ka di mi Ta ki ta [4+4+3]

13 note grouping:

1] Ta ka di mi Ta ka di mi Ta ka di mi Ta [4+4+4+1]

16 note grouping:

1] Ta ka di mi Ta ka di mi Ta ka di mi Ta ka di mi [4×4]

IN CONCLUSION:

These are only ideas that I personally find useful, and, as I say they are not for strict Indian classical music. But, they do function well as reference points and a way of enunciating beats for the picking hand to pluck at a fast [alternate picking] tempo.

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