GEORGE GARZONE -“Triadic Chromatic Approach” Principles Explained

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GEORGE GARZONE -“Triadic Chromatic Approach”

PLEASE WATCH VIDEO FOR IN DEPTH ANALYSIS:

Before starting it is important to note that these principles are to be applied to major, minor, diminished and augmented: In this overview we will use “Major”only.

PART 1: Triadic

First we will take a simple C major root position triad. We can move DOWN a 1/2 step or UP a half step from the last note to connect the next triad:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Predictable Example:

Here we can see that just adding another root position triad creates a non random and predictable sound.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Correct Approach Example:

Here we create freshness by employing “Inversion” and “Displaced Permutations”.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

What are Displaced Permutations?

This means that we change the order of the notes. In this case although they are both in root position the order of the notes has been changed in the second triad. Hence this moves away from a more traditional sound/approach.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Also, because the last note is the 3rd of C Major it is considered a 1st Inversion:

GEORGE GARZONE -“Triadic Chromatic Approach”

Now lets add another triad to this:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Predictable “Improper” application:

Below is an example of predictable repeated connections/patterns:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Correct Application Example:

Here we have an imaginative less predictable and more random sounding line.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

PART 2: A Chromatic Approach:

Within the interval of a Major 3rd there are five 1/2 steps. [We will use C to E as an example]

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

These five 1/2 steps cannot be used in a consecutive manner and must stay within the interval of a major 3rd.

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

RANDOM Chromatic Method: EXAMPLES

Here are some example of how this works

Example:1

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Example 2:

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Example: 3

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

ii V7 I’s with applied Chromatic Approach:

Here are two examples where the George Garzone approach is applied

Example 1

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Example 2

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

PART 3:

Finally, here are a few ideas with the principles applied to harmony:

Idea 1

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Idea 2

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

Idea 3

george, garzone, triadic, chromatic, approach,
GEORGE GARZONE -“Triadic Chromatic Approach”

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Pentatonic- Alternate Picking IDEA [John Mclaughlin Style]

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Pentatonic- Alternate Picking IDEA [ John Mclaughlin Style]

PLEASE WATCH VIDEO ABOVE FOR IN DEPTH ANALYSIS:

Hi Guys!

Just a simple idea of building longer pentatonic lines with more of a modal flavour by employing alternate picking guitar technique [John Mclaughlin Style].

These are built from a very simple fingering in order to give a “Solid” foundation to fall back on.

Here is the simple finger and scale:

pentatonic-modes-alternate-picking
Pentatonic- Alternate Picking IDEA [ John Mclaughlin Style]

Ascending:

pentatonic-modes-alternate-picking
Pentatonic- Alternate Picking IDEA [ John Mclaughlin Style]

Here is a change of position and the one change with the 2nd finger.

pentatonic-modes-alternate-picking
Pentatonic- Alternate Picking IDEA [ John Mclaughlin Style]

pentatonic-modes-alternate-picking
Pentatonic- Alternate Picking IDEA [ John Mclaughlin Style]

For this blog it is essential to watch the video for a full in depth analysis and explanation as there is a lot of material to get through in this concept.

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Shakti- Guitar Slides on alternate picking “Downstroke”

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Shakti- Guitar Slides on alternate picking “Downstroke”

Please watch video above for in depth analysis:

In this exercise the key is to get the slide/slur on the “Down stroke” when alternate picking quick bits of scale [or Raga]

shakti-guitar-slides
Shakti- Guitar Slides on alternate picking “Downstroke”

This exercise starts on a down stroke: Try to accent the 1st and 3rd notes and count time as you do so: For example:

1 e and a etc or Ta ka di mi etc

Shakti- Guitar Slides on alternate picking “Downstroke”

Shakti/John McLaughlin Guitar Alternate Picking Exercise in full:

shakti-guitar-slides
Shakti- Guitar Slides on alternate picking “Downstroke”

SHAKTI/MCLAUGHLIN PDF:

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#Shaktiguitarlesson #ShaktiMcLaughlinguitarlesson #JohnMclaughlinguitarlesson