This is a really great solo that demonstrates how John McLaughlin is a master improviser! Keep suggestions coming, it's always good to get ideas even if I can't do all of them :) Content: 0:00 Intro - John McLaughlin on No Blues 0:23 How He uses Pentatonics, Atonal melodies and Blues 1:00 Example #1 - Avoid the 1 - m6 Pentatonic 1:06 Analysis of Example 1 2:14 Example #1 - Slow 2:20 Example #2 - Pentatonic but not blues - Surprising Note Choice 2:25 Analysis of Example 2 3:56 Example #2 Slow 4:04 Example #3 - From Blues to Atonal Melodies 4:17 Analysis of Example 3 6:54 Example #3 Slow 7:35 Example #4 - Motivic Development 7:43 Analysis Example #4 8:45 Example #4 Slow 8:59 Example #5 - From Bop into Chromatic Atonal melodies 9:05 Analysis Example #5 10:38 Example #5 Slow 10:48 What is unique about McLaughlin 11:31 Like the Video? Check out my Patreon Page
RE: Suggestions/ideas. A video with more detail on Ted Greene's thought process while improvising in baroque style would be great in my opinion. ua-cam.com/video/Zkuo2384ZN4/v-deo.html
So glad you get into McLaughlin territory. Given your expertise and attention to detail, I can't think of any other on-line teacher that could do this justice. THANK YOU !
One of my all time favorite McLauglin solos is on "Do you hear the voices you left behind" on the Johnny McLaughlin Electric Guitarist album. His tone sounds like he's playing Bebop with a chainsaw. ...but he makes it work...MAN does he make it work ! Again, Jens, thanks for doing this.
Love that you are analyzing John McLaughlins work. It help promote his amazing body of work but also helps us understand what on earth he was doing so we can start to incorporate some of his work into our own band work. Thanks a million Sven!!
Thank you. John is a "giant"...I've been a huge "Mahavishnu Orchestra" fan during my teenage years, he's a great composer aswell, I think. His originality stems from the diversity of his influences: from Flamenco to John Coltrane and Miles Davis to Indian (Karnatic) classical music... last time I saw him live it was with his band Shakti (four /five years ago).
You're very welcome! Maybe you find the other McLaughlin video interesting as well: ua-cam.com/video/rMHtLd692Fw/v-deo.html&index=2&list=PLWYuNvZPqqcGn_Uy2DdZb7amWHg0EEjYY 🙂
Thanks for your great analysis. Your channel is great and I'm recommending it to some of my jazzy guitar pupils. I'm a big fan of John McLaughlin since about 30 years. At this moment I'm teaching my pupil "Nite Stand" (adapted rhythm changes) from the same album with Joey de Francesco.
Another awesome analysis. I love McLaughlin's playing as he really bridges the gap between rock and jazz better than anyone imho. I love listening but never dared imitate in detail or via analysis.
McLaughlin is one of those guys who has such a great player, but I wish would hire me as a “tone consultant.” No you may not use that digital synth on this album. Yes, you are required to play through a tweed deluxe with no fx. Yes, your drummer is only allowed to have a floor tom (not this track, Elvin can do whatever he wants).
Do you have any interest in making a video on using effects in fusion playing? I’ve always been caught between whether or not those phased sounds are corny or cool
Well, the topic is interesting I guess, but I don't really play fusion so I am not sure that it is something I feel like I can make a lesson on. I also don't think I have any records where they use a phaser :)
Jens Larsen how did John get this tone here? Is that a chorus? Oops. Not an important topic! What you cover is miles above in importance compared to Effects
WI have always been intrigued by JM's "theory". I appreciate your description as atonal and your breakdown as to what and why. Great Lesson Here, Thank You...! 😎
Music is music. Analysing and dissecting it serves little purpose. I have almost everything McLaughlin has done except the Montreux box set stuff and love nearly all of it. His music is essentially spiritual and is unique. May he live and create wonderful music forever!
@@JensLarsen Thanks for the question Mr. Larsen. I'm more of a rock and roll guitarist than a jazz guitarists, but love the harmonic possibilities implicit in the so-called "jazz chords" in addition to the theoretical aspects behind jazz. So in answer to your question, I don't have a specific name in mind, but I am interested in ideas relating to how to incorporate jazz idiom into a (classic) rock and roll style.
I do indeed need to make a video on Philip Catherine at some point. I don't think Jan Akkerman is that interesting, to be honest, not sure if it is jazz or not. 🙂
Hey Jens, in my view, J. Akkerman is some kind of a genius, just listen to the first piece of the album "PROFILE"- Fresh Air, that is some guitar playing, the first time i heard it, was on the radio (can you imagine ?) it was and stil is, mindblowing !!!! is it jazz ? i dont know.
Jens: here is more-than-adequate analysis regarding the point of tonal vs. atonal: 1. NCTs don't change the chord. 2. passing tones, even when chromatic, don't change tonality to atonality. you should be curious to discover what the terms really mean that you're using in your publishing.
Jens: none of the examples (all over explicitly-indicated chords) are atonal. you're requesting help analyzing the last 5 bars of example 3? i have watched your whole video 3x just now. you did not number the examples in your video, & i can't tell which 5 measures you're referring to: my best guess so far is the last example, which seemed to me to be only 5 bars long itself. so...are you requesting analysis of the last 5 bars in the whole video?
mr. Larsen: the piece is tonal, & not atonal. you referred to it yourself as being a blues in G. in other words, you referred to G as the designated tonic. how can an "atonal line" be played over it? no matter how atonal a melody may appear in isolation, if other pitch classes are being played with it & are audible, then...are they silenced? how can the melody silence the grounds & its tonic? it cannot. the tonal grounds (accompaniment) does _not_ turn silent, it is still audible & the result is still therefore sensibly tonal.
Thanks, Brian! You copy pasted this on 4 or 5 posts already 🙂 So according to your definition, a phone going off during a piece of tonal music is a part of that tonality?
@@JensLarsen: no, sir. according to YOU, a phone going off during a piece of tonal music transforms the music into being "atonal" (even if the phone's sounds are also tonal). that's ridiculous
if you knew what you were talking about, then you would answer regarding it. your false analogy is another diversion. why are you pretending that your distraction has something to do w/ a definition of mine? none if this is about any definition of "mine". i already pointed out several times today that you appear to be neglecting music dictionary definitions--the ones that musicians around the world have agreed on for decades or centuries. i haven't written those definitions, but i've been reading & using them for 25 years. it allows me to teach music, guitar & keyboard without making false claims! it also lets me answer questions instead of having to always divert with nonsequiturs! it's amazing, jens! ;D
It's more fun to let you ramble from what you consider a moral high ground. When I talk about atonal I am talking about phrases, not the whole piece (which is a blues in G) Atonal is defined as:“having no established key” www.collinsdictionary.com/dictionary/english/atonal“marked by avoidance of traditional musical tonality” www.merriam-webster.com/dictionary/atonal
This is a really great solo that demonstrates how John McLaughlin is a master improviser! Keep suggestions coming, it's always good to get ideas even if I can't do all of them :)
Content:
0:00 Intro - John McLaughlin on No Blues
0:23 How He uses Pentatonics, Atonal melodies and Blues
1:00 Example #1 - Avoid the 1 - m6 Pentatonic
1:06 Analysis of Example 1
2:14 Example #1 - Slow
2:20 Example #2 - Pentatonic but not blues - Surprising Note Choice
2:25 Analysis of Example 2
3:56 Example #2 Slow
4:04 Example #3 - From Blues to Atonal Melodies
4:17 Analysis of Example 3
6:54 Example #3 Slow
7:35 Example #4 - Motivic Development
7:43 Analysis Example #4
8:45 Example #4 Slow
8:59 Example #5 - From Bop into Chromatic Atonal melodies
9:05 Analysis Example #5
10:38 Example #5 Slow
10:48 What is unique about McLaughlin
11:31 Like the Video? Check out my Patreon Page
RE: Suggestions/ideas.
A video with more detail on Ted Greene's thought process while improvising in baroque style would be great in my opinion.
ua-cam.com/video/Zkuo2384ZN4/v-deo.html
We can never know what he was thinking though :)
@@Cozzmos speaking of Ted Greene, maybe a good video would be a tutorial of how to work through Ted Greene's book Chord Chemistry.
So glad you get into McLaughlin territory.
Given your expertise and attention to detail, I can't think of any other on-line teacher that could do this justice. THANK YOU !
Thanks Jim! Really glad you like the video :)
One of my all time favorite McLauglin solos is on "Do you hear the voices you left behind" on the Johnny McLaughlin Electric Guitarist album. His tone sounds like he's playing Bebop with a chainsaw. ...but he makes it work...MAN does he make it work ! Again, Jens, thanks for doing this.
Always Thanks Jens! Even though I don't speak your language, I can find lots of ideas from your videos which I follow assiduously!
My pleasure!
Love that you are analyzing John McLaughlins work. It help promote his amazing body of work but also helps us understand what on earth he was doing so we can start to incorporate some of his work into our own band work. Thanks a million Sven!!
Your welcome Ivan 👍
Thank you. John is a "giant"...I've been a huge "Mahavishnu Orchestra" fan during my teenage years, he's a great composer aswell, I think. His originality stems from the diversity of his influences: from Flamenco to John Coltrane and Miles Davis to Indian (Karnatic) classical music... last time I saw him live it was with his band Shakti (four /five years ago).
Nice! I think this period is probably my favourite with McLaughlin :)
still love your work!!
Thanks! Finalny someone analysing John McLaughlin playing.
You're very welcome! Maybe you find the other McLaughlin video interesting as well: ua-cam.com/video/rMHtLd692Fw/v-deo.html&index=2&list=PLWYuNvZPqqcGn_Uy2DdZb7amWHg0EEjYY 🙂
Love it! More John McLaughlin!
Thank you! I will get to it along the way :)
Your a very good teacher and make it easy to learn thank you!
Thank you very much, Shawn! I am glad you find it useful and easy to take something from!
Jens is a master. I have watched McLaughlin’s own lesson video a few times, and I didn’t get as much as I got here from Jens in only 10 minutes.
Thanks, but I suspect he was trying to cover a bit more material too? 🙂
He was. And he is a genius. But not a good teacher. Please bring more JML! Thanks.
@@cfibanez he was jimmy page and jpj teacher (led Zeppelin) he was a great guitar teacher
I really like the table of contents you put up in your video comment. It allows me to easily find places in the video I want to re-visit.
Great! I think it serves well as that and as an overview :)
Nice work, Thank you!
Glad you like it 🙂
Awesome! Thank you.
You're very welcome! I am glad you like it! 🙂
Thanks for your great analysis. Your channel is great and I'm recommending it to some of my jazzy guitar pupils. I'm a big fan of John McLaughlin since about 30 years. At this moment I'm teaching my pupil "Nite Stand" (adapted rhythm changes) from the same album with Joey de Francesco.
thanks for this one particularly interesting
Really glad you like it! 🙂 Who else would you like to see a video on?
Different room and different guitar?! What did I miss?! Great video Jens!
Different room and guitar? Maybe you were watching Rick Beato? This is another channel 😄
@@JensLarsen ahahahaha!
Another awesome analysis. I love McLaughlin's playing as he really bridges the gap between rock and jazz better than anyone imho. I love listening but never dared imitate in detail or via analysis.
Thank you! :)
What pedals are you using to get that McLaughlin's signature tone..? Any amp? Or any special effect pedal??
I don't remember, but I don't think really try to get his tone in the video?
. Very interesting.
Thank you 🙂
McLaughlin is one of those guys who has such a great player, but I wish would hire me as a “tone consultant.” No you may not use that digital synth on this album. Yes, you are required to play through a tweed deluxe with no fx. Yes, your drummer is only allowed to have a floor tom (not this track, Elvin can do whatever he wants).
Btw early in this video you mention Gm6 Pentatonic. How is that a scale? Can you explain please?
Yes, that is G Bb C D E. I have a few videos on that scale on the channel if you are interested 🙂
Jens Larsen so you just mean a Gm Pentatonic played OVER a Gm6 chord?
There is no E in Gm pentatonic, this is a different scale :)
Love you sir .......
Glad you like the videos! :)
Do you have any interest in making a video on using effects in fusion playing? I’ve always been caught between whether or not those phased sounds are corny or cool
Well, the topic is interesting I guess, but I don't really play fusion so I am not sure that it is something I feel like I can make a lesson on. I also don't think I have any records where they use a phaser :)
Jens Larsen how did John get this tone here? Is that a chorus? Oops. Not an important topic! What you cover is miles above in importance compared to Effects
I am not sure, but he does use chorus from time to time. Maybe you find this interesting: ua-cam.com/video/MXdKgGS8hGM/v-deo.html
Great lesson!!! Love John!!
Thank you, Nat! 🙂 Glad you like it!
Thank you so much Jens!! You are a great teacher!! So glad you made another John McLaughlin lesson :)))
Glad you like it, Tony! Who else could be interesting to make a video on?
WI have always been intrigued by JM's "theory". I appreciate your description as atonal and your breakdown as to what and why. Great Lesson Here, Thank You...! 😎
Thanks! Of course I can only say how I hear and understand it, but I think it is interesting to explore!
Amazing lesson!
Thank you very much!
Very very helpful!!!!
You're very welcome! I am glad you like it! 🙂
Music is music. Analysing and dissecting it serves little purpose. I have almost everything McLaughlin has done except the Montreux box set stuff and love nearly all of it.
His music is essentially spiritual and is unique. May he live and create wonderful music forever!
Perfect timing as I've delved deep I to atonlity lately. You rock Jens
Thank you Joshua 🙂 Who else would you like to see a video on?
@@JensLarsen Thanks for the question Mr. Larsen. I'm more of a rock and roll guitarist than a jazz guitarists, but love the harmonic possibilities implicit in the so-called "jazz chords" in addition to the theoretical aspects behind jazz. So in answer to your question, I don't have a specific name in mind, but I am interested in ideas relating to how to incorporate jazz idiom into a (classic) rock and roll style.
Thanks Josh, I don't really know about that, but I would imagine that Brian Setzer already does that in his playing?
@@JensLarsen Yeah thats probably correct
Great, i love it !!!!! THNX !!!!!
Glad you like it, Tony! Who else could be interesting to make a video on?
@@JensLarsen , Belgians greatest-Philip Catherine and ( is it jazz ?) Jan Akkerman.
I do indeed need to make a video on Philip Catherine at some point. I don't think Jan Akkerman is that interesting, to be honest, not sure if it is jazz or not. 🙂
Hey Jens, in my view, J. Akkerman is some kind of a genius, just listen to the first piece of the album "PROFILE"- Fresh Air, that is some guitar playing, the first time i heard it, was on the radio (can you imagine ?) it was and stil is, mindblowing !!!! is it jazz ? i dont know.
Nice axe :)
Thanks, Jerry!
Go up a half step, down a half step eventually you go back to home, pass a few the up and down and round about.
so different blues - but cool :-/
Thanks Francesco!
Jens: here is more-than-adequate analysis regarding the point of tonal vs. atonal:
1. NCTs don't change the chord.
2. passing tones, even when chromatic, don't change tonality to atonality.
you should be curious to discover what the terms really mean that you're using in your publishing.
Jens: none of the examples (all over explicitly-indicated chords) are atonal. you're requesting help analyzing the last 5 bars of example 3? i have watched your whole video 3x just now. you did not number the examples in your video, & i can't tell which 5 measures you're referring to: my best guess so far is the last example, which seemed to me to be only 5 bars long itself. so...are you requesting analysis of the last 5 bars in the whole video?
Here you go: ua-cam.com/video/3Ykqo5cSeXo/v-deo.html&lc=UgxOmIYo5twKS9uNu594AaABAg
Sorry, that was just the video. This works as well: 4:04 Example #3 - From Blues to Atonal Melodies
Boooooo,Jens, joan, Catalonia fredom, llibertat presos politics,❤️❤️❤️
mr. Larsen: the piece is tonal, & not atonal. you referred to it yourself as being a blues in G. in other words, you referred to G as the designated tonic. how can an "atonal line" be played over it? no matter how atonal a melody may appear in isolation, if other pitch classes are being played with it & are audible, then...are they silenced? how can the melody silence the grounds & its tonic? it cannot. the tonal grounds (accompaniment) does _not_ turn silent, it is still audible & the result is still therefore sensibly tonal.
Thanks, Brian! You copy pasted this on 4 or 5 posts already 🙂
So according to your definition, a phone going off during a piece of tonal music is a part of that tonality?
@@JensLarsen: no, sir. according to YOU, a phone going off during a piece of tonal music transforms the music into being "atonal" (even if the phone's sounds are also tonal). that's ridiculous
Or maybe I am not talking about the whole piece?
if you knew what you were talking about, then you would answer regarding it. your false analogy is another diversion. why are you pretending that your distraction has something to do w/ a definition of mine? none if this is about any definition of "mine". i already pointed out several times today that you appear to be neglecting music dictionary definitions--the ones that musicians around the world have agreed on for decades or centuries. i haven't written those definitions, but i've been reading & using them for 25 years. it allows me to teach music, guitar & keyboard without making false claims! it also lets me answer questions instead of having to always divert with nonsequiturs! it's amazing, jens! ;D
It's more fun to let you ramble from what you consider a moral high ground.
When I talk about atonal I am talking about phrases, not the whole piece (which is a blues in G)
Atonal is defined as:“having no established key” www.collinsdictionary.com/dictionary/english/atonal“marked by avoidance of traditional musical tonality” www.merriam-webster.com/dictionary/atonal