cross picking – 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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Robert Fripp Guitar Picking Exercise for Unique Phrases and Patterns

Posted on August 5, 2024August 14, 2024 by Modern Music Theory and Application

Robert Fripp Guitar Picking Lesson and Exercises

Please watch video above for detailed info:

Hi Guys,

Today, a Robert Fripp style Guitar Picking exercise that incorporates various Fripp/King Crimson guitar picking patterns.

These are angular, string skipping and awkward intervals that can be picked with either strict alternate picking or “Down Down up”. I employ alternate picking mostly, but, there are parts where I exploit the “Down Down Up” pattern purely because some string skipping intervals are too wide and awkward for alternate picking alone.

PART 1

The first bar is quite awkward and so I “Float” with my right picking hand. This way I am not stuck in any one position and I can freely pluck the passage without any intrusions.

king-crimson-fripp-guitar-picking-lesson-example

At this part of the bar you will notice the awkward string skipping part between the C and C# down to the E note. You will need to pivot with the fretting hand for this. [Please see video above for detailed info].

fripp-guitar-picking-lesson-example-intervallic

The next bar is starting on an “Upstroke” with strict alternate picking:

PART 2

The next Phrase is reminiscent of “Larks Tongues in Aspic III” by Fripp. Notice the C note to the open E string to the C# note. This connects the phrase nicely by breaking the chromaticism up and at the same time making it fluid.

robert-fripp-guitar-picking-lesson-example

In the next part we can see how phrases might be counted or felt as groups of 5 or 3. [See video above]

crimson-fripp-guitar-picking-lesson-example

PART 3

To round the phrase off I employ a descending Eb Dominant pentatonic scale: This employs alternate picking starting on an upstroke. [I finished on the note F# purely becasue I like the sound].

FINAL PART:

The final part employs a 5/8 chordal picking vamp:

The picking pattern I use is : “Down down down up up” and “Down down up down up” with the plectrum.

IN CONCLUSION:

This was just an exercise/example by taking some King Crimson, Robert Fripp signature licks, patterns and phrases and making a little etude from them. This in turn creates some familiarity with the right hand picking in order to create patterns of our own.

Making your own patterns and coming up with your own original and unique phrases is the key rather than to just copy.

There are so many variations to exploit, which gives any player a mountain of material to work with. So, anyone can make some really original, colourful and interesting music from this.

FREE PDF DOWNLOAD:

Fripp-Guitar-Lesson Download

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Al Di Meola Arpeggio Inversions on Guitar: Techniques and Variations

Posted on July 11, 2024July 11, 2024 by Modern Music Theory and Application

Al Di Meola Arpeggio inversions: Right hand guitar technique lesson

Please watch video above for detailed info:

Hi Guys,

Today, a look at picking arpeggio inversions on the guitar. This is in the more recent style of Al Di Meola’s nylon string guitar playing/composing.

Okay, Let’s get started!

The main guitar picking pattern is “Down Down Up” and the variations of this naturally occur form the music itself.

Here is the basic pattern:

This simple “Down Down Up” patten means that the final upstroke makes it easy to pluck the next downstroke on the lower strings.

Arpeggio inversions:

To begin with lets play a simple F Major arpeggio in the root, 1st inversion and 2nd inversion:

As you can see and hear the “Down Down Up” works smoothly with the basic F major arpeggio inversions.

CHORD SEQUENCE

Now, let’s pick a chord sequence and vary the picking set up and pattern:

Basic Down Down Up: F root, E7 1st inversion, Am root:

Now, we will add an open E string for a syncopated rhythmic off beat set up,

You will also notice the two upstrokes on the high B and C notes. This makes it easy to descend with the pick/pattern whilst anticipating the next chord:

This time we will employ the 1st open E string and do the same thing:

EXTENDING THE HARMONIC CHORD SEQUENCE

We will now extend this chord sequence with more arpeggio inversions to outline the chord sequence.

So, G7 1st inversion, C Major root, A7 1st inversion to D minor root:

Let’s extend this some more.

C7 1st inversion, F Major root, D13 1st inversion:

We now have

Here is the Full Sequence:

With Open Strings added:

A couple of variations:

This example makes use of triple upstroke picked to create beautiful melodic movement:

Finally, we will exploit A augmented 1st inversion going to D minor root: Also, notice the single note melodic rise of the high notes.

IN CONCLUSION

In conclusion, these are just a few examples of the beauty and fluidity of following arpeggio inversions for melodic composing and performing at the guitar.

This way of playing smoothly through the inversions works really well with the guitar pick, and as you can see in the examples the inversions can be manipulated rhythmically with anticipation/syncopation.

FREE PDF DOWNLOAD:

arpeggio inversions Download

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