tetrachords – Page 3 – Modern Music Theory Improvisation and Application

2 keys “Shifting Positions” alternate picking guitar lesson/exercise

Posted on April 11, 2023April 15, 2023 by Modern Music Theory and Application

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2 keys alternate picking guitar lesson/exercise: “Shifiting Positions”

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Here is the analysis for the Youtube “Shorts” 2 keys alternate picking video that I uploaded a few weeks ago.

The key to this exercise is the ability to “Connect” at the point of changing scales/keys:

Here is the chart and diagram:

As you can see there is a change of harmony and scale. This in turn affects the fingering of the fretting hand and wrist as this quick change happens.

So, there is a tilt or pivot [Please watch video above to see this] as the wrist/hand gets into position:

alternate-picking-right-hand-guitar-technique-pic

alternate-picking-right-hand-guitar-technique-picture

FULL EXERCISE:

This exercise employs strict alternate picking starting on a down stroke:

The use of 4 note groupings [Tetrachords] is to keep the line solid rhythmically. Notice that the 3rd note in each 4 note grouping is accented.

Next we come to the “Connection” part. As stated earlier and in the video presentation above the pivot and tilt of the wrist and hand is essential in order to make the smooth connection.

Next we have the“Shifting Position”as the hand holds the same shape but just moves/slides down into the next position.

shifting-position-alternate-picking-guitar-technique

PDF DOWNLOAD:

ap-2-keys Download

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Messiaen’s 3rd Mode Backing Track

Posted on March 17, 2023March 24, 2023 by Modern Music Theory and Application

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Messiaen’s 3rd mode Backing Track

Hi Guys,

Today we will look at a backing track for Messiaen’s 3rd Mode of limited transposition.

Here is the 3rd mode in its most commonly used form in jazz/fusion: [This is a 9 note scale]

Here is the outline to the chords in the backing track: Remember, these are all formed from the same 3rd mode.

Here is the Chord Chart and Video/Track:

Messiaen’s 3rd mode Backing Track

CHORD CHART:

PDF DOWNLOAD:

messiaen-mode-3-chart Messiaen Mode 3 Download

Here is some more information/Examples on Messiaen’s 3rd Mode: [Video and Tab/Notation]

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Messiaen, mode 3, 2nd transposition, detailed, lesson, music theory, examples, — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Messiaen mode 3 lesson — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

Messiaen, 3rd mode, improvisation, composition, lesson, example, transposed, jazz, fusion, classical, music — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

INTERVALLIC IDEA: EXAMPLE 2

Messiaen, intervallic, mode, 3, example, intervals, improvisation, composition, technique, transposed, 5rd, mode, — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

Messiaen, mode, 3, transposed, Weaving, in and out, of F major 7th, lesson, improvisation, composition, how, to — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

Messiaen, mode 3, improvisation, Composition, example, for jazz, classical, music — Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

Below is a Short Compositional Study where I use Messaien’s Modes.

Messiaen Modes and Compositional/Improvisational Technique: Modern Music Theory Lesson

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Diminished Scale Secrets Part 1

Posted on May 22, 2022March 12, 2025 by Modern Music Theory and Application

Before we look at the diminished scale it is worth noting that we can find two different modes within the scale:

To begin with we will use the E diminished scale as it is an easy guitar fingering.

diminished, scale, concepts — Diminished Scale Concepts

From the diminished scale we can use Dominant chords in Minor 3rds.

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation, — Diminished Scale Jazz Improv and Compositions Concepts

Tetrachord line ascending in Minor 3rds played over a C7 dominant chord.

diminished, scale, jazz ,improv, composition, example , tab — Diminished Scale Jazz Improv and Compositions Concepts

Tetrachord Root flat 5 over C7 Dominant Chord

Below is a fingering that is from a John Mclaughlin sequence using the E diminished scale and is [To Me] a very comfortable fingering. The key is to connect each 4 not grouping [Tetrachord] with the 1s finger. This way the scale flows really easily and comfortably.

John, Mclaughlin, Jazz, guitar, diminished, scale , lick tab, music, notation — E Diminished Scale Jazz/Fusion music theory and composition lesson John Mclaughlin Style

C DIMINISHED SCALE:

From C diminished scale we go up in minor 3rds with 7#9’s

Diminished Scale Jazz Improv and Compositions Concepts

Here we Employ Minor 7ths in minor 3rds

Diminished Scale Jazz Improv and Compositions Concepts

Next we employ Dominant 7ths in Minor 3rds

Diminished Scale Jazz Improv and Compositions Concepts

In this example we employ Slash Chords

Diminished Scale Jazz Improv and Compositions Concepts

To finish with we have some more chord ideas but this time from the g sharp diminished scale.

E Diminished Scale Jazz/Fusion music theory and composition lesson

THE 13 FLAT 9 dominant chord

This is the common “Altered” dominant for this scale.

Below is a John Mclaughlin minor 7 flat 5 to a 13 flat 9 This has a masterful and great original fusion sound to it that avoids the predictable diminished cliche

diminished, scale, jazz, improv, tetrachords,

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Mode 3 has 4 Transpositions and is very useful for jazz. The second transposition was Messiaen’s favourite of his modes.

Below are some examples employing this scale for improvisation which in turn can be used to create interesting composition.

MESSIAEN MODE 3 [2ND TRANSPOSITION]: EXAMPLE 1

INTERVALLIC IDEA: EXAMPLE 2

Many composers like Tora Takemitsu and improvisers like Allan Holdsworth have manipulated this mode in one form or another. In the example below this mode sort of weaves in and out of itself. nother. As you can see in the example belomode sort of weaves in and out of itself.

Weaving in and out of F major 7th: EXAMPLE 3

WEAVING IN AND OUT OF A ALTERED: EXAMPLE 4

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Before we look at the diminished scale it is worth noting that we can find two different modes within the scale:

To begin with we will use the E diminished scale as it is an easy guitar fingering.

From the diminished scale we can use Dominant chords in Minor 3rds.

Tetrachord line ascending in Minor 3rds played over a C7 dominant chord.

Tetrachord Root flat 5 over C7 Dominant Chord

Below is a fingering that is from a John Mclaughlin sequence using the E diminished scale and is [To Me] a very comfortable fingering. The key is to connect each 4 not grouping [Tetrachord] with the 1s finger. This way the scale flows really easily and comfortably.

C DIMINISHED SCALE:

From C diminished scale we go up in minor 3rds with 7#9’s

Here we Employ Minor 7ths in minor 3rds

Next we employ Dominant 7ths in Minor 3rds

In this example we employ Slash Chords

To finish with we have some more chord ideas but this time from the g sharp diminished scale.

THE 13 FLAT 9 dominant chord

This is the common “Altered” dominant for this scale.

Below is a John Mclaughlin minor 7 flat 5 to a 13 flat 9 This has a masterful and great original fusion sound to it that avoids the predictable diminished cliche

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