Modern Music Theory and Application

Dennis Sandole Polytonal Guitar Scales: Lesson:

Posted on August 25, 2024October 31, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the unique scale formations/superimpositions of Dennis Sandole.

Dennis Sandole

We will take three examples from a handwritten page of polytonal scales by Dennis Sandole and apply them to the guitar:

SCALE 1:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

dennis-sandole-polytonal-guitar-scales-blog

In this example notice how the different major scales connect via semitones creating a unique chromatic connection.

Now, let’s apply a descending version with a more pentatonic/fingering guitar format:

Again, notice the half step chromatic connections that make this run smoothly.

SCALE 2:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

Here, we have whole tone connections as well as half step connections creating a colourful set of sounds:

Let’s now create a descending version:

SCALE 3:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

In this example we have a full C major scale connecting to a full Db major scale via the halfstep of C to Db. And finally, up another half step to the note D.

Finally, let’s descend:

Arpeggio/Motifs from Polytonal Scales:

There are also many concepts that you can make out of these polytonal scales:

For instance, we can imply triads/arpeggios with dyads and create little licks, motifs and hook lines.

EXAMPLE:

Slight Var:

IN CONCLUSION

This was just a very brief look at Dennis Sandole’s concept of polytonal scales.

In terms of the guitar these are very useful for creating a mixed harmonic palette and creating seamless lines where any scale can connect to any other scale regardless of non diatonicism and ambiguity.

FREE PDF DOWNLOAD:

dennis-sandole-polytonal-scales-pdf Download

If this lesson was of use to you then please Subscribe to us on Youtube below, Thanks,

Master the Robert Fripp Cross Picking Technique | Guitar Lesson

Posted on August 14, 2024August 14, 2024 by Modern Music Theory and Application

Robert Fripp Cross Picking Guitar Technique Lesson

Please watch video above for detailed info:

Hi Guys,

Just a short blog to explain what I mean by employing the “Down Down Up” guitar picking technique.

If we look at the patten below we can see the “Down Down Up” Picking pattern:

fripp-guitar-cross-picking-lesson-example

This is a very useful picking pattern/device that will hold you in good stead: But the key is to employ it sparingly.

Why is this?

This is because sometimes the rhythms we see and sometimes feel can be different than our natural inclinations when picking/plucking the strings.

So, if we look below we will see that the picking hand/subconcious wants to pluck a group of 5 notes and 3 notes to make up the 4 and 4 groups of 16th notes.

This is because of the “Crossing” of the strings, the order of the notes or the way the actual groups of notes on the guitar fingerboard work out:

EXAMPLE:

OR:

Notation Example:

PICKING STROKES:

The other reason to put this “Down Down Up” into what would otherwise be an alternate picking pattern is because:

“Sometimes where you have a down stroke you may want an upstroke to complete the phrase”.

This can be because of one note that has to be played on a down or upstroke specifically otherwise the whole passage is awkward to play. So, to execute “Down Down Up” for that one part makes sense.

FULL EXERCISE:

Below, is the full exercise that deliberately mixes up “Down Down Up” and “Down up” Alternate Picking”. It’s only an exercise [Larks Tongues in Aspic III Style] but, hopefully it gets the point across.

Exercise:

fripp-cross-picking-lesson-guitar-technique-tab

fripp-guitar-cross-picking-lesson-example-tab

Conclusion:

This technique can also be found in Al Di Meola’s REH video from the 1980’s. Al di Meola employs this for chordal/Arpggeio Picking, [as does Fripp sometimes].

Again, if used sparingly this right hand picking pattern/technique is absolutely essential for this type of art/creative style guitar music.

Lastly, picking one note per string is way more difficult and precise than plucking standard 3 notes per string as there’s so much string crossing going on.

FREE PDF DOWNLOAD:

fripp-cross-picking-lesson-2 Download

If this lesson was of use to you, then please SUBSCRIBE to us on YOUTUBE in the link below, Thanks!

Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Posted on August 10, 2024August 19, 2024 by Modern Music Theory and Application

Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Please watch video above for detailed info:

Hi Guys,

Today, a look at some Fripp style “Intervallic” guitar alternate picking exercise/vamps.

First, we will employ 8th notes and then extend this by adding a double timed bar moving from 8th notes to 16th notes.

EXERCISE1

In the first exercise we will perform a repetitive loop or vamp. This will start on a “Downstroke” with strict alternate picking throughout.

In regards to the fretting hand, be aware of the necessary“Pivoting” when string skipping to the F# note. It is only a small movement but it makes all the difference for a clean execution of the exercise. [see video above]

EXERCISE 2

Here we have 2 bars of music. Notice the double/repeated note B natural. This is good for control of your right hand plucking/picking technique.

This loop/vamp is great to train alternate picking repetition of notes and right and left hand synchronisation and consistency: [See video above].

EXERCISE 3:

This time we will add 16th notes to double the time and create rhythmic interst and melodic movement. This is also reminiscent of guitarist Al Di Meola’s picking technique.

Part 1-8th notes:

Part 2-16 notes [Double timing]

Variation/Extension:

In this example we move from 2 bars of 8th notes to 1 bar of 16th notes.

Right hand Guitar Technique:

If we look at the above diagram we will see that the strings are being crossed and alternate picked along a “Straight” line.

This ensures that we are always “Aligned” with the string/note that we wish to pluck.

It is not guess work but a relaxed right hand that knows where to pick along that line and hence we can pick complex patterns regardless of time and intervallic distance with confidence and clarity.

CONCLUSION:

These exercises are very good at revealing the right hand picking to the left hand fretting and creating an awareness of “Alignment” and synchronisation.

Following the straight line is so helpful as it means that we can get on with the playing of the music and not concern ourselves with anything outside of that, like “Will I play the correct note”, or “Here is the awkward bit”, etc.

Just align with the string along the straight line, pivot with the fretting hand if needed and just play.

FREE PDF DOWNLOAD:

Fripp Download

If this lesson was useful to you, then please SUBSCRIBE to us on Youtube below, Thanks!