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VIDEO
Please watch the video above for a deeper analysis, understanding and explanation:
PART 1:
Moving on from our last look at simple alternate picking 1 and 2 finger arpeggio superimpositions, we will now add “Target Tones”.
They are commonly used on the up-beat as we can see in the example below.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
To begin with we will take a basic E major 7th Arpeggio and add our simple 1 and 2 finger alternate picking fingering method.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
Next we will add the target tones and use them to introduce the arpeggio.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
Now we will go back to our Lydian chord and extend/superimpose that with an arpeggio. But, first, here is the F maj7#11 Lydian Chord.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation: Lydian Chord FMaj7#11
Here is our simple 1 and 2 finger arpeggio that is alternate picked starting on a downstroke.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
Now we will take our arpeggio and employ target tones to set it up a musical phrase.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
Now we will extend our superimposition. We will take the Lydian #11 a step further by implying “Chord Pairs”.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
We will now decorate this superimposed Lydian #11 arpeggio with chromatic target tones.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
PART 2:
QUICK DESCENDING SUPERIMPOSITIONS:
Here is a descending idea. This uses Em7 [or Cmaj9] and ends on the tonic note F
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
Here is another idea that employs Em7 and Bm7b5 fused together.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
PART 3:
STARTING AND CREATING A NEW PHRASE WITH TARGET TONES:
The great thing with target tones is that you can finish the arpeggio and start another colourful chromatic phrase with them as demonstrated below.
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
Target Tones 2nd Phrase part: [These create a good rhythmic, chromatic and professional jazz improvised line and sound].
‘target tones’ for alternate picking superimposed arpeggios jazz improvisation
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Published by Modern Music Theory
Clifford Martin is a trained classical musician and composer. His 1st study being piano and composition and a deep study into the meticulous world of modern music theory. He also studied jazz piano and jazz drums privately.
Clifford later came back to the guitar and studied in the jazz fusion style of John McLaughlin and Al di Meola. It was at this point that he put all of his years of learning together into one musical form
This website is a sort of cataloging of ideas and musical concepts for exploitation and development in the arts of musical composition and improvisation. What started out as a jazz improvisation site has grown into a full blown, harmony, timbre, pitch and rhythm library. Peace, Enjoy!
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