Fripp, Mclaughlin, Messiaen,Stockhausen,Schoenberg jazz guitar improvisation lines

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Modern jazz fusion chromatic improvisation licks, Brecker, Liebman, Mclaughlin and Fripp etc

Lick lines from modern jazz fusion improvisation guitar:

LINE 1

Guitar Licks ONLY from Modern chromatic jazz/fusion improv

LINE 2

Target Tones Chromatic Jazz improvisation Modern approach

LINE 3

Chromatic Jazz improvisation Modern approach

LINE 4

Melodic Minor Chromatic Jazz improvisation Modern approach

LINE 5

Melodic Minor Chromatic Jazz improvisation Modern approach

LINE 6

Flat 5 Modern jazz improvisation chromatic example

As requested, I have made a video and blog page with guitar lines only;

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Altered Scale Jazz Fusion Guitar Concepts [John Mclaughlin lick]

Video Lesson/Performance of lick:

Music/Tab. The chord sequence is Dm7b5 G7″Altered” resolving to C major 7th

John Mclaughlin Jazz fusion altered scale guitar lick

The key to joining all of this together fluently is to break each four note grouping into tetrachords, learning a group at a time.

Tetrachords: Breaking the improvised line down into easy to learn chunks

VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.

John Mclaughlin Jazz fusion altered scale guitar lick “Variation”.

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Breaking Down Jazz Improvisation “OUTSIDE” Playing

Breaking down Michael Brecker!

When looking at musical notation it can seem like random notes. But if we break down each group into 4 note groupings called “Tetrachords” we can break down the music theory and play each group on our instrument.

We can then remember the “Sound and Shape” of each cell and then join them together. In turn we can then apply these cells to our own instrumental playing/improvisations.

FULL SOLO LINE/PHRASE

RE DO

 

 

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [Mixolydian]

jazz improvisation michael brecker outside solo

2nd Tetrachord=A flat Minor triad and 4th interval [or #11  #9 and #5]

jazz improvisation michael brecker outside solo

3rd Tetrachord=Minor scale fragment [#11 Lydian]

jazz improvisation michael brecker outside solo

4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor]

jazz improvisation michael brecker outside solo

5th Tetrachord=Very “Outside” D major pentatonic/4ths

jazz improvisation michael brecker outside solo

6th Tetrachord =D major Pentatonic sound/shape [very “Out”]

jazz improvisation michael brecker outside solo

 

7th Tetrachord=C minor arpeggio and 4th

jazz improvisation michael brecker outside solo

8th Tetrachord=B flat major Pentatonic sound/shape

jazz improvisation michael brecker outside solo

9th Tetrachord=C Melodic “Jazz” minor [Augmented] sound/shape [same as 4th Tetrachord]

jazz improvisation michael brecker outside solo

10th Tetrachord = Perfect 4th and major 3rd creating triad pairs sound/shape [or E flat minor 11 implication or G FLAT/a flat]

jazz improvisation michael brecker outside solo

Lastly= Flat 6 for C minor

jazz improvisation michael brecker outside solo

CONCLUSION:

In terms of fingering and musical application on our instruments learning shapes and “Connections” and breaking phrases down into 4 note cells [Tetrachords] is really useful because complex lines can be understood and learnt quickly.

In turn this gives us lots of patterns for improvisation and theoretical knowledge to improvise with as opposed to just playing scales and arpeggios.

If you found this easy then try and break this little solo down into” Hexatonic” scale application. You might find it really interesting!

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