alternate picking – Page 8 – Modern Music Theory Improvisation and Application

Robert Fripp Flat 5th “Tri-tone” Guitar Technique: Exercise 1

Posted on October 5, 2024October 5, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the Robert Fripp flattened 5th [tri-tone] guitar shape and its right hand picking patterns, rhythmic concepts and single note lines and chordal applications.

GUITAR LINE: EXERCISE:

In the first part we can employ, “Down down down up” or plain alternate picking:

From here we can either exploit the “Down Down up” pattern or once again employ our old friend alternate picking:

Also, notice how the rhythm is working. It’s a bit like triad pairs in the way it is counted, set up and felt. [It also creates a 1 2 3 effect]

We now carry this on and break it up with two 4 note groupings. [Finishing with 3 notes in the bass]

Flattened 5th shape as chords:

This shape can also be employed brilliantly for chords and chordal picking.

Here, we play all 6 strings on the guitar and leave the open E and B strings to resonate around the flat 5 shape.

This, then gives way for a quick fire ascension of the b5 shape:

We now shift the shape up higher and imitate the process:

And, move the figure up also,

To complete the phrase we will descend the b5 figure with strict alternate picking starting on a “Down” stroke:

From here, we will break it up with a group of 4 notes employing Down Down Down Up to 3 notes with Down Down Up:

To:

And finally, finishing with four Am9 chords:

CONCLUSION:

This example/exercise was just to exploit the b5 shape and show what is possible both rhythmically and in terms of the right hand picking techniques.

The key though is to employ and develop it sparingly. This way it can cause surprise and rhythmic interest.

It’s a really useful guitar tool for composition and creating a unique and individual voice for the serious creative guitarist.

FREE PDF DOWNLOAD:

fripp-guitar-b5 Download

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John McLaughlin’s Alternate Picking Techniques for Guitar

Posted on September 25, 2024September 25, 2024 by Modern Music Theory and Application

Please watch Video above for Detailed Info:

Hi Guys,

Today, two exercises for building jazz fusion 16th note double timed improvised guitar lines.

This is applied in the way that guitar great John McLaughlin exploits his alternate picking guitar technique.

This is a “Line builder” that builds through connecting key concepts together and at the same time creating familiarity with them as you do so.

For Example:

Arpeggios, Chromatics, Pentatonic’s, Motifs, Melodic content, Resolutions and Rhythmic offset.

The key is to connect them together in a melodic single note manner that is musical and at the same time logical for the alternate picking.

EXERCISE #1

This exercise starts with an upstroke with an open E string on an “Up beat” [anacrusis].

This then employs an F Major arpeggio with a C to B note resolution.

john-mclaughlin-alternate-picking-guitar-lesson

Straight away, it’s easy to hear the melodic content of the wider intervals of an arpeggio and the resolution.

From here we will now add some chromatic colour.

To complete this phrase we will add the John McLaughlin scale. This slots in nicely to the chromatic scale that we’ve just applied.

It’s smooth, quick and creates that very fluid liquid line sound: Also, notice the offset of the rhythm.

To descend, we will exploit the use of the semitone interval. This is easy for the fretting hand to sequence as it employs repetitive fingering and so is easy to cross the strings with. [The semitones are in the orange marker].

2nd part “Descending”

Finally, we finished with a CMaj9 chord that is then shifted up.

john-mclaughlin-alternate-picking-guitar-lesson-chords

EXERCISE #2 VARIATION:

This exercise is similar to the one above, but, in a different key and different chords.

As before, we start on an up beat with an upstroke. We employ the arpeggio, but, this time it is a suspended fourth with the A note moving down to the G note.

From here, we ascend and exploit the Bb note to emphasise the D Augmented chord. This is then rounded off by slotting in a fragment of our old friend the John McLaughlin scale once more .

We descend with a pentatonic fragment this time and once again exploit the interval of a semitone and sequence it. But, this time with the last 5 notes we also have the intervals of a tone a major 3rd and a minor 3rd.

Finally, we cadence with the chords of E/G# [or E 1st inversion] that then raises the 5th to make it augmented. This then resolves to a hanging A9 chord.

IN CONCLUSION:

These are only exercises, but, they do show the melodic/musical nature of the improvised line in regards to alternate picking.

In the jazz fusion style, motifs, melodic content, chromatics, pentatonic’s, rhythmic offset, etc, all work to great effect as they all slot together creating sophisticated double time lines.

FREE PDF DOWNLOADS:

JML-Ov-AP-1 Download

DOWNLOAD #2:

JML-Ta-2-Ap Download

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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

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