PDF OF FRIPP/CRIMSON EXAMPLE:
Below is the longer non “YouTube Shorts” video analysis:
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Robert Fripp/King Crimson Polytonal Guitar Lesson
“Jazz Target Tones”- Alternate Picking Guitar Set-Ups Technique
Please watch video above for in depth analysis:
Hi Guys!
Today we will have a look at setting up “Jazz Target Tones” with alternate picking guitar technique for fast fluid improvising lines.
The example above is the most common and best example of how target tones work and how they are set up. Notice that the weak beat or off beat is the starting note. So, we have [4] e and a as an “Up Beat” [or Anacrusis]. This leads to the strong beat 1 in bar 1.
Now, for alternate picking we need to be aware of what picking stroke we will start on for this weak “Off” beat. Being the “Off” beat and syncopated it will be the “Up Stroke” as in [Down] Up down Up.
In the Exercise below we will now employ Target Tones within the improvised line itself from the second beat. Again, notice that the target tones start on the “Up Stroke” and resolve to the on [1st] beat of the next chord smoothly with the down stroke.
With this method you will always know where you are in the bar rhythmically, when you are on the off beat [Up Stroke] and what stroke you will start the next “On” beat with [Down stroke].
Here’s another example:
It’s also helpful to accent the 1st note in each four note grouping as this will create the jazz feel and thrust the target tones along rhythmically whilst moving your fretting hand into position.
Exercise 1: Ascending Line:
Exercise 2: Descending Line:
Exercise 3: Extended Line: [Ascending and Descending]
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Stravinsky “Petrushka chord”
Please watch video above:
Hi Guys!
Let’s have a look at Stravinsky’s “Petrushka” Chord. This works by employing polytonality with two major chords [Triads]. They are played a tritone apart. This creates a dissonance which it is infamous for. But, this can also be manipulated to create an ethereal sound.
This example employs an F# 2nd inversion triad with a C Major 1st Inversion triad on top.
F# in the bass and C in the treble: Stravinsky Voicing.
Guitar Voicing Variation and more comfortable to to play:
To finish with we will join the two major triads together and create an arpeggiated run in order to fully hear this compositional device in action.
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