What Fusion Guitar playing is exactly can be sort of ambiguous. It is a term thrown around pretty casually. By definition, fusion
, or fusing, of more than one styles. Technically, if you’re guitar playing is a combination of country and rock techniques and styles, then you are a country/rock fusion guitarist. The term can be further refined by more specific phrasing, such as Jazz fusionist, blues fusion, etc.
If you do a little research, you’ll see that most people who refer to fusion guitar are referring to Al Di Meola, Pat Metheny, Allan Holdsworth, Carlos Santana, and Joe Satriani guitar players who primarily fuse jazz with another music genre. That’s why you’ll often hear the term jazz fusion guitarists.
Jazz Rock Solos For Guitar
Fusion guitar, is the fusion of two or more styles of music. Typically one of the genres is Jazz. Songs like Santana’s version of “Black Magic Woman”, illustrated below, have distinct jazz components blended with Latin rhythms and sounds that almost define what fusion guitar playing is about.
Fusion guitar is largely an experimental style of playing that expands beyond boundaries and incorporates a range of scales, modes, and progressions to create richly textured variations on pre-determined themes and musical motifs. Basically speaking, there are no limits. Playing fusion guitar is like having a blank canvas and access to all the colors of the rainbow and beyond. Maybe that’s a cheesy metaphor, but it works for me, and it clearly describes what fusion guitar playing is all about.
If you’re interested in learning how to play fusion guitar, I suggest you do some Internet surfing, but avoid a lot of written material and focus on finding videos online that can help you get acclimated to the techniques and sound used in fusion guitar playing. This has always been the best approach for me. There are tons of free videos that teach jazz fusion, fusion guitar techniques, and some of the blues and jazz components often found in fusion guitar. You tube is a great resource.
Blues Licks To Spice Up Your Guitar Solos
Using these video guitar lessons is a great way to learn the basics of fusion guitar playing as well as the more advanced stuff that can take your playing to the next level. Fusion guitar videos are like having a guitar teacher with you around the clock. Nothing will kick your fusion education into gear faster.Hi, my name is Murilo Romano. It’s a great pleasure to be here with you! Today I’ll be using the solo from my song ‘Nostradamus’ to show you how to use chromatic approaches, arpeggios and tensions to give your licks an ‘outside’ sound.
On the album and in the video I used distortion to record the solo, but I decided to record the audio examples for this lesson with a clean tone. The distortion masks a lot of things – notes that do not sound properly and are sometimes simply wrong! It is very important that you study with a clean tone, or even with an acoustic guitar, so that you will be able to play the phrases accurately. Also note that since the progression behind the solo is a repeating minor line cliché in G, all licks are analyzed relative to G.
Example 1 is the beginning of the solo. This section uses the notes of the G Blues scale with some chromaticism. The blue note that appears in measure 1 is already a tension, but I added another tension note in measure 4 that appears as a target note, too. The note A is a 9 over G and sounds really good! Pay very close attention to the slides throughout.
Guitar Lesson 5 Fusion Guitar Licks By Andor Osztrogonac
Example 2 has an ‘outside’ sound. This section arpeggiates the following chords: Gm7 – Adim7(11) – Bbmaj7(#11) Contributing to this outside sound is the b13 Eb in Adim7(11) that soon becomes the 13 E in Bbmaj7(#11). Play each arpeggio slowly in sequence and separately, so you can internalize how they sound in sequence and how they each could be applied to other solos.
Notes, but also because it uses a lot of chromaticism and chromatic approaches. The 13 and the blue note in the beginning create a cool sound, and lead to a chromatically approached b3. After that we have a chromatic approach to a Cmaj7 arpeggio, followed by a chromatic phrase that ends with a tritone leap to D.
In Example 4 we have a phrase made of tritones and chromatic approaches. It starts with a D, its tritone Ab and a high D, followed by chromatic approaches to Db, C and E – the blue note, 11 and 13, respectively.
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In Example 5 we have a phrase created using the notes of G Dorian. It is performed with three notes per string and a great deal of legato. On the third group of six notes per beat I change the note E to Eb, which creates the cool effect of making a 13 from earlier into a b13. Practice this lick at a slower tempo, playing with fluency and clarity, then gradually increase speed!
In Example 6 I arpeggiate G Minor Pentatonic (with the addition of the 13 E in the third arpeggio) in the 8
Positions, and end with a mostly chromatic descending line. This phrase is played using hammer-ons for the arpeggios and alternate picking for the descending ending. You must take total control of the arpeggiated notes so that when playing with distortion, they do not sound like chords filled with bumps. Each note should cleanly ‘get in’ come his time and ‘get out’ at the time the next note appears.
Jazz Fusion Licks
Guitarist, composer, producer and arranger Murilo Romano was raised on classic rock, and became fascinated by jazz and funk in his early teens. Since fusing these diverse influences, he's been featured in Brazilian music magazines as one of his nation’s up-and-coming guitarists. In his career so far, Murilo has collaborated with world-renowned musicians and producers like Scott Henderson, Jorge Casas, Stu Hamm, Vail Johnson, Randy Brecker and Andria and Ivan Busic. His most recent album (with his current group Mr. Zelig) will be released very soon. Stay tuned for the news!This blog takes a brief look at John Mclaughlin’s use of Chromaticism in regards to Jazz Fusion Guitar lines. The 2 licks are also from a video I did on Dave Liebman’s Chromatic approach to jazz. They both share the same concepts. The licks are riffs doubled up with piano.
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! View all posts by Jazz fusion guitar Improvisation lessons and modern music theory
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Jazz Rock Triad Improvising For Guitar
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!In this riff/line I employ alternate Picking but I start with an upstroke for the first phrase. After that I start the remaining phrases on a down stroke.
Although this line is D altered in terms of scalic concept it could also be thought of as shifting between D minor, D Dorian and Eb Melodic Minor.
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! View
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