P. 1
Guitar - John Mclaughlin's Indo - Jazz Fusion

Guitar - John Mclaughlin's Indo - Jazz Fusion

|Views: 567|Likes:
Published by Marco Risolino

More info:

Published by: Marco Risolino on Feb 01, 2012
Copyright:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less

09/07/2014

pdf

text

original

1 profiles introto “Follow” the fromthe /EQversion.like this:“1. thenthefinalthreeaseighthand notesat regular tempo. 1 kca.3. To concentrate your playinginstead your on of countingin anodd timesignature. 2 ? 1 2 ? ? 2 1 n n 9 ? 9 n n ? ? 2 -9 2 ? n n q 1 9 n .2 shows two-octavefingeringfor E a Mixolydian. both recordings have related features worth noting.” wayto get a One handleon themis to think of the Bmll and C//ml1 assubstitutes the I chord (EJin for the Mixolydian mode. Fist.”Oryoumightcountallthe eighth-notes like this:“1 and2 and3 and4 andl-2-3. Ex.andthe C#mll has and the 6th and9th scale degrees thebass in and anE triad on top.Both chordscontain notesfrom the parentscaleand from variousextensions anE7chord: Bml I islike of The an E7witha sus4 a 9. Our primary focuswill beMcLaughlin’s improvising an in odd time signature with relativelycomplex tonalities. l2-3.2.try countout ing the first eight beatsasquarter-notes at halftempo.andthechords as work tritoneand relativemajorsubs C#m andBm respecfor tively. Ex.John llllslaughlin York Eventhough they’re not primarily derived from Indian music. let’s with the 1118 deal time signature non-traditional (a Indianmeterthat wasbroughtinto vogueby RaviShankar). 3 Em1 1 Dmll Ex.” Nowlet’s at thechord look vampin thefirst measure. the Gsus4 D change 3 to implies thekeyof G. 184 Bml l/E C#ml l/E Bml i/E C#ml l/E Bml l/E Gsus4 D Bml l/E D A T A n Ex. need you to find arelaxed to feelit. Elm. Keepin mindthat Johnwasnot overlyconcerned theoretical with issues. Ex.4 El 1 or Bml l/E Ex.In measures and4.‘78Guitar Playerintervim “It’snotreally essential youknowthe that names the variousmodes scales of and you play.- E Mixolydian ~-. in with the “V of the IV” (0) asa lead-in. TheD to A change measure makes in 4 sense a quick as moveto theIV chord E.Whatisimportantisthat you heartheir 42 HOW TO PLAY GUITAR / J A 2 2 Ex.4. Instead countway of ing beatsonethroughelevenat tempoand eventually passing forlackof air. 5 Harmonized E Mixolydian Amaj7add4 Bml 1 C#mll Dmaj7#11 El1 F#mll G#dim7add4 Amaj7add4 . Other chordsubs helpexpandthe tonality of “Follow”andkeepthingsfresh. These voicingsarereminiscent of those Bvans Bill introduced theMilesDavis on standard What”andthose Herbie “So of Hancock on “MaidenVoyage. gtr. he as madeclearin anAug.

6 Gtr.I . Farrellplayedthemelodyontenorsaxon his]lQalbum. 4.c 7 4 c 4 John’s formalinvolvement with Indianmusic wasenriched hisstudyof the vina.These nicely of lead to thesubstitution Em1 1lAfor theIVchord of at measure 5. that the J A 2 2 / HOW TO PLAY GUITAR 43 . vlna’s The expressive potential. You in cananalyze chordas the bothEli andBml Iit all depends what you hearasthe root. 7 Bml l/E Em1 l/A L/7 c . whicharises from itshighfrets(with no fretboardbelow). impressed McLaughlin supeas rior to that of the guitar. * Ex. in In thesolo department.Notice how he effectively uses of fournotes themeandvariationphrasing. Thisdisparity eventually himto accept led an offer from Gibson build a custom13to string acousticconcert guitar designed by Abe Wechter. 5 listsallof the chords themodein this in typeof substitute voicing. Focus hereon his rhythmicandharmonic choices.based E9andEm7chord on tones. covers first Ex.Noticethat the two from“Follow”areamong least the dissonant. with Shakti Ex. Joe As Farrell finishes. John’s melodyandrhythm work in measures of the 12-bar l-4 headisthe subjectof Ex. theconand stantdown/upcontourof hislines. sixstrings onascalloped With set fretboard approached feelof thevina.6. As in the intro.” to Nowlet’s compare “SoWhat” voicings the of Ex.A c 7 . timebulldin this ingtension climbing fretboard by the through inversions Dand@iads. C#ml l/E Bml i/E C#ml l/E I Bml l/E DED E DED Emil All relationship the chords. but we’llexplore Johns octave approachon acoustic guitar from the MGB recording. 3 to the “Follow”chords Ex. McLaughlincomesin at measure3 of the 12-barform. on Ex. runsat arelaxed pacethroughthefirst rapidlyarpeggiates Aland Bmi’in measures 4 and5.7 the four-and-a-half bars of Johns break. Hisquickbendandrelease meain sure4 is typical of the Indian-styleembellishments see upcoming we’ll in examples. ancesby tor of the sitar. he substitutes rhythm chords the3rdand4thbars. 1 Bml l/E .c A 7 . . Hisfirstmotif.

Concurrent with the arrival of the first model ln 1975. 4 1% 1: /s n ? - B 9 (4\1 \-‘I-’ 1 <\2 *:-I- -a 1 ” a ’ (93 ’ 21.” (Guitar Player. I U * Chord arpeggio from upstroke ACROSS 7 string harp section of 13. Ex. Shankar (violin). and a cutaway in 1976. Follow Your Heart by John Mclaughlin 0 1974Warner-Tamerlane Publishing Corp.eauty. ‘78. McLaughlin was able to develop a new technique: “I wanted to be able to play chords without stopping my single-line soloing. or alap. percussion). 8 covers the opening phrase of the A section. 11 takes us a step further with an I . -e l - b3 .S. Inc. One way to get there is to run an idea through an entire scale or mode. Ex.John McLaughlin Bml i/E and seven more strings set diagonally across the soundhole. 10 heads in that direction with a melodic sequence exercise derived from the lead figure in Ex. nlav a single octave first to absorb the fundamental sound. Indian sitar players typically pull their strings down to bend.. Vinayakram (Ghatam. b. and this is John’s approach as well l?y that technique here and in the following related examples whenever practical. As in Ex.11 Freely I I I I H Em B 1 A BR 6 R BR n r\n\7. McLaughlin formed the acoustic Indo-jazz fusion group. and power. and T. at the same time strumming the seven accompaniment strings.H. To get the essence of these musical elements. John begins with bend-release figures that resemble the expressive phrasing of the sitar.9 shows a two-octave fingering of the scale at the second fret. Shakti. 40.” McLaughlin was joined by fellow virtuosos L.) ?tyo 13-strings were built. traditionally a slow and serene solo exposition without meter. “India” follows an ABCB pattern. What was important to me was to extract the chord that was the most expressive of the emotion that I felt was embodied inside the scale or the mode of the raga we were playing. Aug.string guttar. Ex.- \ . used by permission. Arranged like a raga. Zaklr Hussain (tablas.2.: -‘-. The piece we’ll look at here is “India” from their third album.. percussion). 8 J=ca. which are tuned to an Emadd2/4. Eminor is the primary tonality of “India.n 44 HOW TO PLAY GUITAR / J A 2 2 .8. Ex. 4 5 16 b7 1 degrees: I b6 b7 1 2 T A cI?l<-dd Ex.” and Ex. freely Em * . All rights reserved.5- z2 b3 4 5 . The group recorded three ground-breaking albums between 1975 and 1977. you have to take them beyond where you found them. A Handful ofBeau@ it’s out of print. Miami FL33014 Ex. The name means “creative intelligence. but you’ll find the song on Best ofShakti (Moment). 10 Em ?cl<““l ‘1 n 4 ? - n < d 1 _ < d > I Ex. Warner Bros. the standard-body prototype in 1975. All 3 Scale --.9 I E Minor -. Publications U.

Next up is the B section.” Departing from the raga form. John plays a 12string acoustic. or dadru. Similar in approach to FX. administered by Warner-Tame&me Publishing Corp. Like Ex13. G. it’s based on shifting time signatures. D. 13.144 Cadd9 #4 BmGadd4 let ring throughout A7sus4add6 A7add6 abbreviated version of the final phrase of the alup. Originally recorded with violin and six-string acoustic cutaway in unison. Inc. it works due to the common tones between the two chords: E.11. One pass of the chords is notated in Ex.. the theme is J A 2 2 / HOW TO Am7add6 Am7add /$3 India by Lakshminarayana Shankar and John Mclaughlin 0 1977 Warner-Tamerlane Publishing Corp. and F#. and Ganesh Music. a pattern that is developed many times in this section. where a moderate 614 tempo is introduced as the theme and arpeggiated chords are played by violin and guitar. Au rights o/b/o Basque Music. it consists of an Indoblues style theme over a set of modallypivoting chord changes. As usual. This alternates with soulful. Notice how almost every note is connected by an embellishment-this is one of the main stylistic differences between Indian and Western melodic styles. Instead of emphasizing the Indian melodic style alone. . 12 is a melodic sequence exercise derived from beat three of Ex. a key element introduced by John to the traditionally non-chordal Indian style.. Miami FL 33014 PLAY GUITAR IS . Beginning with cadd9/#4. this time it’s fingered up the neck. Inc. One Truth After Shakti disbanded in 1977. Warner Bros. 13 J=ccl. The opening track from their 1978 Electric Dreams (Columbia/Legacy) features an acoustic duet with Shankar.. Such arranging is an example of the East/West fusion within Shakti’s music. Ex. For the rhythm part. rapid-fire unison lines by guitar and violin. All rights reserved. “Guardian Angels. and arpeggiated inversions allow for melodic voice-leading between chords. McLaughlin formed the primarily electric-oriented One IYuth Band with L. Shankar and others. it blends it with basic Western blues figures to create a hybrid. a more developed look at John’s Indianstyle phrasing. respectively. 12 Em * I .Ex. Ex. 10. Basque Music Inc. John starts things off with a smooth substitution for the previous alap tonal center of Em7add2l4. Publications U. Ex.S. 14 covers the Brst 12 bars of the melody and chords. used by permission.

starting a comfortable at tempo.”Thefollowing examples notatedin C#major corare to respond the C# to tuning of the sitar. 17.not only gatheringmusicians together playinvarious to styles throughfrom out his career. Here we’lltakea lookatJohns to India nod in hiscomposition. 16 shows the C#Lydian-mode fingering isused Rx.15.ajazz-style phrase played a backover groundthat combines percussionist Trilok Gurtu’s Indoljazz swing groove with a traditionalIndianrhvthrnicfeelfromZaklrHussain. 46 HOW TO PLAY GUITAR / JAZZ I I I I - I *Violin arranged for guitar. With”thisrecording Johnseta newstandard for himself. 14 h = 2~ Cmaj7IE D6 NC# C arranged here for guitar only It’s the phrasing that matters most. Inc. it’s melodic and flowing. This18-beat cycle(or r&a) of three measures 414and oneof 614runs of throughoutthe piece.or four-notefigures like. Publications Publishing Corp.but writing and arranging musicto highlightand inspiresome the of worldsbestplayers.” (ior) of The themeisrepeated the sitarin unison by with John’s electricguitarandfollowed eachtime by a ill1in 6/4.S. & Basque Publishing Corp. Bm6 csus#4 Bm Am WG# F#ll I 1 A ? n I I I? ? A A I I II I I9 n 1 I I I n ? n 1 # Guardian Angel by John Mclaughlin 0 1979 Warner-Tamerlane Music. the C#nzzj7 by try andC#muj9 chords illustratedin Ex. Secondly. Then..using to this in the actualkeywill helpin playingalong with the recording. Ex. Inc. regardless of the continual time signature changes. used by permission. Whileit iscustomary publish music C. Instead it continues.John Mclaugnlin Ex. it follows with an answer that might normally have ended on beat two of measure 8.and(withthisand you all the examplesabove) practice with a metronome. notice how it starts with a short question in bars l-4. geta feelfor the that in To tonalityimplied thetheme. trailing off through bar 12 like the tail of a comet. Fist of all. 18 demos John’s phrase solo at 654. Miami FL 33014 .Ex. Try practicing studiesof any three. Warner Bros. Finally. All rights U. 15 gets us goingwith a lookat the first pass the secof ondmovement theme “TheWish. The Promise (Verve). “TheWish. “%&SttitPQ ilM)UStiC gUitW. Returning theraga to form. on the last beat of the fourth measure. All rights administered by Warner-Tamerlane reserved. The Wish ensemble I I I I Our fInal examples are taken horn Johns great 1995 concept album.Ex.

Warner 0 1995 Basque Music. All rights reserved..17 C#maj7 C#majQ Ithat 4n!ar jplu their Ex.15 J= ca.16 .At the time of thiswriting. 1 . Publications U. degrees: 3 #4 5 6 7 1 2 3 #4 5 6 7 I 2 3 #4 Ex. northof and IndianflautistHariparasad Chaurasia. Ex.ZakirHussain. thereareplansfor a British/European tour this fall featuringan ensemble John.S.. Inc. it but theadventure mayhaveanotherstop. Bros. Inc.18 The Wish by John Mclaugblin used by permission.- C# Lydian . Miami FL 33014 . loo C#maj7 # That’s for the Indianlegof our itinerary. W Ex.

You're Reading a Free Preview

Download
scribd
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->