I’m a geezer guitarist who’s been a fan of John McLaughlin since discovering him in the late 60’s. I went out and purchased everything he released and started transcribing stuff. When I first heard “Follow Your Heart” I immediately got out pencil and manuscript paper and started writing. I loved the tune so much that I even bought a Joe Farrell album that had the tune on it. “Celestrial Terrestrial Commuters” on “Birds Of Fire” gave me some grief when I tried to transcribe it though. Years later I met John when he walking into a local theater for a gig, grabbed his hand and of course told him what a fan I was of his playing and compositions.
John generously breaking things down for his devotees of which I am one. A brilliant artist, teacher and above all, a fellow music lover. One of my heroes.
Well, well done. Exactly how to illustrate it. Most efficient teacher. I understood the concept even before you were done illustrating it. Supernatural!
I found 11/4 by accident just fooling around and was amazed at how it all felt so balanced. I did a set of 5/4 with the accent on the 4th and then followed with a set 6/4 with the accent on 1and 4.
Feels like a sort of Shakti time signature, he can hear the percussion playing round that, yeah, a nice carpet to walk those short speedy note bursts, just feels right, fits
An amazing picking hand John has attached to his right wrist...economy of motion at its very best..so apparently effortless in control and coordinated with his fretting hand ...he's had the guitar on the technical side mastered very early on..
Mr. McLaughlin is pure magic. Here’s one of his compositions in 15/8. I “simplified it” by turning it into a halftime shuffle. That worked for me. And I think this is somewhat of what’s he’s communicating. How do you internalize something, what’s is your personal improvisational landscape … ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yPiLnhL9TdU.htmlsi=XmDP1n0olR8Eanz7
Its all about improvisations ....thats all what you have to learn because...heres my secret to learn...improvisations ...its a Journey through the world of imagenation and start to begin in your own talent ,and brainstorming as a musician as much as you can play the instrument....by learning and practice every moment of the day,as much as you can, over and over! Ofcourse...its like the more you learn....the more you know the way to go from the start...until the end of the composition...or song! Its like you are in a new city...you have to learn to walk over the streets and highway's of your new home and...everytime its different but..every step you take...its a new experience....THE MORE U PLAY FREE ON A BASIC SONG,THE MORE U FEEL THE FREEDOM OF IMPROVISATIONS AT THE LEVEL OF YOUR OWN TALENT AS A MUSICIAN...(But,be carefull, used your common sense...talking about music means...LEARN FIRST THE BASIC OF A COMPOSITION...bevor practice of improvisations....start slow....and..try not to play the same riddle,be free to talk as a musician in your own talent as a performer...thank you,yours truly ger
On the album "Countdown", he did a piece named (appropriately enough!) "Eleven Four" - essentially a waltz with a couple extra beats (or a missing one....): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-60WB6Aepxmc.html
@Ferrari85241 Aren't there multiple different taals in 11/4 in Indian music? Taal is just a specific way of feeling a certain time signature. Well, it's a little more complicated than that, but that's the basic idea.
I think improvisers (who wanted to play on oddmeter structure)must be aware about time orientation by heart . To feel and follow unsymetric rhythms are difficult than commons . So it requires exercises , McLaughlin's approach looks easy . It is of course possible to play as if going on continously straight 16th, 8th or 4th , but it will be without correct accent .
there are 11 beats in the cycle ,but you can play 16th notes in bursts ,or start phrases anywhere ,like say the "and" of any beat and just play ,for example , two of them to run into the next beat.
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ug4K3aOKl1s.html ecco una composizione in 11/8 di JMcL, notare come tiene il tempo 4+4+3 con il piede mentre da gli accordi con accenti su 2+3+3+3, tipico gioco konnokol
Follow Your Heart - here is a composition in 11/8 by JMcL, notice how he holds the time 4 + 4 + 3 with his foot while giving the chords with accents on 2 + 3 + 3 + 3
