Today, a short “Mid-Tempo” [around 140bpm] JohnMcLaughlin/Shakti style alternate picking guitar exercise for scale connections in the fretting hand.
This is in regard to crossing the strings and connecting different scale fragments together.
BAR 1:
The first concept is that of employing the open string. This gives the fretting hand a hundredth of a second to rest and hence easily get into position to fret the next note at a mid and fast tempo.
Note: fourth 16th note = Open String
In the next part, we can see both open strings employed to make it easy for the fretting hand to get into position and connect to the next scale fragment.
The last note in the bar, the open B natural, makes it easy for us to cross the string smoothly.
Here, is the first bar complete:
BAR 2:
In this bar, we employ semitones as they are easy to finger/fret, and, also to cross the guitar strings when descending.
Extended Variation:
Here, is an extended variation that employs the same alternate picking John McLaughlin concepts that we have just looked at:
INCONCLUSION:
These simple concepts for the fretting hand when alternate picking might not seem much, but, they are the little hinges that swing the big door when holding the tempo together. Especially, when playing with a tabla/drum.
It also makes it easier for the right picking hand to pluck the strings as the fretting hand is not under pressure, and, there are spaces for the fretting hand to rest and get into position.
Today, a quick delve into what makes John McLaughlin’s alternate picking guitar style work so easily and fluidly.
Many, focus on the right hand technique, but, much of it comes from the way the fretting hand works.
So, let’s look at a couple of simple secrets to John’s approach and why it is so fluid and effective
#1 OPEN STRING APPLICATION:
In this example, we will create an effective line that is not tremolo picking on cliche shred scales but a continuous colourful and creative improvised line in a world music style.
Here is the full line. Starting on a “Down stroke”
If we take this apart we will find a couple of reasons why this is fluid and very natural for the alternate picking guitar technique.
First of all notice: The arpeggio that starts the phrase. The last note of this 4 note tetrachord grouping is an open D string!
This open string gives the fretting hand a hundredth of a second to do absolutely nothing as it prepares for the next 4 note grouping to fret.
This gives us time to get into position and so we are NOT rushing about, and, we are in control
CROSSING THE STRING:
We will now employ the use of an open string once again, but, this time for “Crossing” the string:
This makes it easy to cross the string smoothly and connect to the next tetrachord.
From here we will extract a partial John McLaughlin scale/fingering by sliding it into position.
To end this line, we will descend with some simple scale starting on an “Up stroke”. Also, notice the simple 2 finger fingering for the fretting hand.
EXERCISE 2: SEXTUPLETS: 6 NOTE GROUPINGS:
In this exercise we will employ groupings of 6 notes. This is based upon an improvised acoustic jazz fusion line, like that of “Belo Herozonte:
This is played over a ii V7 I of Dm9 G7 CMaj9:
If we take this apart we will notice that we exploit a Bm arpeggio going to a B dim arpeggio that then goes to the 4th and 6th notes of D Dorian: This creates a nice colourful sound.
For the next 6 note hexatonic grouping we employ an E harmonic/melodic minor sound over the Dm9 chord: Notice the Major 3rd interval:
From here, we will “Slide” the fretting hand up to the next position: Notice the use of the Major 3rd interval once again, as this breaks up the monotonous scale sound and creates distance and melodicism.
Finally, we have simple 2 finger pentatonic descending scale application that finally rest on the noteC for the CMaj9 chord.
Today, a look at the amazing 12 chromatic forms for guitar by jazz legend and music theoretician extrodinaire Pat Martino!
These 12 forms for the chromatic scale were written and I believe taught by Pat Martino in the 70’s and 80’s. They are a unique idea that connect through the concept of octave displacement.
Notice: The semitones and octave displacement: E to Eb to D to Db [Db to C semitone] etc.
The arrow pointing up or down tells us whether it is an ascending or descending chromatic scale:
So, for instance “Form I” without octave displacement is:
With octave displacement is:
Here, is Form I written by Pat’s own hand showing his fingerings and string preference.
Now, let’s add the second form for guitar and notice Pat’s connection for the two: Eb to E
Also, notice that Form I and II have the same notes but mostly in different octaves.
Lastly, if we look at form III we will see the arrow pointing upwards showing that it is an Ascending chromatic scale:
Here, is the basic ascending chromatic scale:
Here, it is with octave displacement
For all of the other chromatic forms please go to the downloadable Pdf at the bottom of this page for a free download of Pat’s actual notations.
COMPOSITIONAL AND DEVOLPMENTAL IDEAS:
Due to being the chromatic scale and 12 forms we can manipulate this by taking a 12 tone approach:
So let’s take the first Form and make 3 sets of 4 note chords from it.
Here, we can see and hear how easy it is to create some very original and unique chords from these forms:
We can now make some lovely voicing’s and chords from the following, so, let’s structure some sophisticated composition.
How will we do this?
We will employ, “Retrograde” and “Inversion” and then “Retrograde Inversion”
RETROGRADE IDEA:
INVERSION IDEA:
RETROGRADE INVERSION IDEA:
One last idea is to “Stack” one on top of the other creating a colourful superimposition bi tonal tool.
In this case it is Form I and III:
In conclusion
These 12 Forms offer brilliant possibilities for string writing or 20C classical orchestral style composing.
The octave displacement and the flow of semitones creates a fluid and quite natural way of performing on stringed instruments wether it be the guitar, violin, cello, double bass etc.
This blog has just touched on the subject but as you can see the possibilities for the 12 forms gives way to unlimited fresh new music, and for the imaginiative and creative guitarist/composer the possibilities are endless.
FREE PDF DOWNLOAD:
Below is a free pdf download of all of Pat’s 12 chromatic forms for guitar written out by Pat himself.
