Modern Music Theory and Application

Alternate Picking “Upstroke” Guitar Exercise

Posted on March 21, 2024March 26, 2024 by Modern Music Theory and Application

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Alternate Picking Guitar explained in detail-“The UP STROKE”

Please watch video above for detailed information

Hi Guys,

Today, just a short alternate picking guitar technique exercise starting on an “Upstroke”.

The first part of the exercise employs a scale fragment that starts on an upstroke .

Although, this creates an odd grouping of 5 notes, it works really well because when you cross over the strings you will be starting on a “Down stroke”

This, also works well because this is a simple two finger pentatonic movement.

alternate-picking-guitar-explained-how-to

In the second bar we imitate the first part of the first bar by starting on the “Upstroke” again, creating another 5 note grouping,

In the next part we start on the “Down stroke” again. Also, note the fingering as we cross the strings. This is a favourite of guitarist John McLaughlin. This is crossing with the 2nd finger.

alternate-picking-guitar-explained-lesson

Here is the 2nd bar in full,

FULL EXERCISE 1:

VARIATION IN THE SECOND BAR:

Here, is a variation for the second part of the exercise.

alternate-picking-guitar-exercise-lesson

Note, the semitones and the crossing over with the second finger to easily cross the strings:

alternate-picking-guitar-exercise-technique

FREE DOWNLOAD OF EXERCISE:

alternate-picking Download

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Dennis Sandole [Guitar] SCALE LORE-Poly/multi scales:

Posted on March 16, 2024March 21, 2024 by Modern Music Theory and Application

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Hi Guys,

In this blog we will have a brief look at scales from a different perspective.

These ideas/concepts mainly come from Dennis Sandole and his development of poly/multiple scales.

This [Guitar] scale lore as an approach is extremely useful for both composition and improvisation.

Before we start let’s get a perspective of the different [Partial] scales we can find embedded within common scales.

Below, we have the B Altered scale. Notice that half of it contains a Whole tone scale whilst the other half contains a Diminished scale: This creates its exotic beauty.

Next let’s look at the Diminished scale: Here we find two Mixolydian Tetrachords. The first with [C] as the root and the second with [F#] a tritone away.

Next, we will create a “Never ending” scale with Tetrachords and you will see how easy it is to be creative with a basic scale cell.

Dennis Sandole Polytonal scales for SCALE LORE Music Theory TETRACHORDS INTERWEAVING

From the above example notice the Lydian movement that is created in the cycle of 5ths:

SCALE LORE:

PolyScales and Bi-Tonal Scales:

Below we have an example of “Blending” scales. Notice how the scale connects with semitones [in blue circles] and the movement follows that of Sandoles student John Coltrane.

Now, we will mix it all up in a much more random manner:

In this next example we will go the opposite way and create smooth connecting scale fragments by employing triplets:

Now we will use this concept and create a superimposed arpeggio.

SUPER-ULTRA-HYPER-MEGA-META "Lydian" and Multi Octave Extended Scales Lesson Explanation

Note the intervals as the two Maj7th chords/arpeggios connect:

Lennie Tristano Cmaj7.Dmaj arpeggios. #11 #15th diagram lesson
SUPER-ULTRA-HYPER-MEGA-META "Lydian" and Multi Octave Extended Scales Lesson Explanation

SCALE COMBINATIONS

We will now join two common scales together. For this we will employ the Lydian Dominant scale and connect it with the Enigmatic scale.

Example 1:

Chord to short run.

Example 2:

“Double time” 16th’s ascending and descending:

Example 3:

In this last example we will employ triplets once again and create arpeggio/triads from the two connected scales:

Multi scales as arpeggios/triads:

EXAMPLES BY DENNIS SANDOLE

To finish with here are a couple of examples written by Dennis Sandoles own hand:

Example 1:

Example 2:

FREE PDF DOWNLOAD:

dennis-sandole Download FILE

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Polytonality:For Concerto/Orchestral Writing

Posted on February 27, 2024March 16, 2024 by Modern Music Theory and Application

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Polytonality: For Concerto/OrchestralWriting lesson

Please watch the video above for detailed analysis:

Hi Guys

Today, a quick look at composing with Polytonality for orchestral and concerto writing.

What is Polytonality?

Polytonality is the use of two or more keys at the same time:

Example 1:

Db Major/C Major [Basic root position]

poly-tonality-orchestral-composing-chords-example

In this first example we have 4 bars of Polytonality with Eminor/DbMajor and EbMajor/CMajor

This then resolves itself with a “Tonal” diatonic cadence of B7/D# to Em:

This method is really useful because we can use the polytonal approach sparingly with it’s thicker and richer harmonic texture whilst then then playing its opposite it with the thinner aspect of diatonicism.

This way the Polytonal nature of the music compliments the diatonic cadences and visa versa.

Example 2:

Polytonality-Orchestral Example

This example explores “Implication”. In this case it is implying the melodic minor but avoiding the cliche by employing the richness of Polytonality:

From here, we will again employ diatonic harmony for a cadence.

To complete this short orchestral example we will go back into Polytonality with another melodic minor implication by employing Dminor/DbMajor:

Here is the chart:

poly-tonality-orchestral-composing-example

Example 3:

Polytonality-Orchestral Example

In this final example we will just “Reverse” the chords. This time it is DbMajor/Cmajor which is then played the other way around with CMajor/DbMajor.