double stops – Modern Music Theory Improvisation and Application

Please watch video above for detailed info:

Hi Guy’s,

Today, a quick look at the amazing 7th mode of limited transposition employed by the great French composer Olivier Messiaen.

This is a ten note scale [and is almost a chromatic scale apart from two notes: In this blog Bb to E as a tritone]. It has 6 Transpositions:

MODE 7 ANALYSIS:

This mode consists mainly of half steps [semitones], but, there are two whole steps that divide this and give this mode its unique sound.

Messiaen Mode 7

Let’s now create an interesting guitar line from this mode 7.

This works well as a Robert Fripp style phrase/line as the intervals lend themselves well to tritone developing material.

Phrase 1:

messiaen_mode_7_limited_transposition_lesson_diagram_example

Phrase 2:

Now, let’s repeat these two phrases up an octave:

messiaen_mode_7_limited_transposition_lesson_example

LINE in Full:

LINE 2:

This line is devised from various intervals like 6ths and 7ths and 3rds that are nice to alternate pick on the guitar for that angular sound once again. This also shows how easy it is to exploit various intervals with this mode/scale form.

Bar 1:

messiaen_mode_7_limited_transposition_lesson_example_guitar

Bar 2:

Bar 3:

LINE in Full:

Dyads/Double Stops:

These modes works well with 2 note chord voicing’s as Dyads or Double Stops: These are great for comping or creating composition from on the guitar. Also, they are useful for plucking and then playing a lead mode 7 line on.

Messiaen mode 7 Dyads: Example 1

messiaen_mode_7_limited_transposition_lesson_example_dyads

Messiaen mode 7 Dyads: Example 2

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String Skipping/Intervallic Guitar Part 2-HARMONY

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Today, one last look at “Intervallic string skipping” for a contrapuntal-esque picking style.

The first thing to do is take one position on the guitar fingerboard and find the “Harmony” embedded within that position.

I have taken the A Major position [F#m Relative]

Now, let’s make an A Major basic arpeggio from the 1st string and the 6th string.

Straight away, you will notice that the notes on the 1st string and the notes on 6th string are the same but in different octaves. This gives us an easy and excellent way to exploit the High to Low or Low to High counterpoint effect.

Now let’s do the same with a piece of scale: [Starting on an “Upstroke”]

Again, the octave makes this flow and connect easily from the low to high.

The next point is to take a chord sequence and use this “String skipping/intervallic” effect: Here we have Vi ii V7 I

HARMONY

Th next essential point is to acknowledge the harmony in this position:

We will do this by exploiting the Cycle of 4ths in this simple 5 fret position.

Here you can see that we have a huge amount of harmony available to us right under our fingertips. These chords don’t have to be Major, they can be minor, diminished, augmented etc. This gives us even more material to work with.

If we move down a fret [Semitone] then we have another set of harmony in 4ths awaiting us.

Along, with this we have chord inversions and all of the inversions of A Major:

So, as you can see there is a huge amount of harmony right in front of us even in this one position that we can exploit and create lots of music from.

Lastly, let’s create another “String skipping intervallic” example:

I’m going to create a phrase outlining a D Maj#11 chord.