Today, a quick look at building from the “Ascending group of 5” with alternate picking guitar technique.
This group of 5 exploits the “Up” stroke. It works well as a tool for building longer and longer lines/phrases.
This is NOT shred and is really only for jazz, fusion and world-esque music like John McLaughlin’s super creative outlet Shakti. It is an improvisers tool.
ASCENDING 5:
Here is an example of the 5 figure. It consists of an open string and starts on an upstroke.
This 4 note + 1 sets up the upstroke for the string cross.
Here’s how it would be as a tetrachord to the next beat. [As opposed to a quintuplet or Ta ka di mi Thom.
EXAMPLE/EXERCISE 1:
Let’s now build off of the ascending 5 figure.
In the example below, we can clearly see the extension from the 5’s to 7’s to two groupsof 4 note tetrachords.
From here, we will add a Dom7th chord to the scale/phrase.
This sets us up nicely to descend smoothly starting on the upstroke.
EXAMPLE/EXERCISE 2:
Here, we will do exactly the same thing, except that this time we are moving from G7 to C Major. [Notice the open string and 5 figure extended].
Once again, the descent is on the upstroke.
FULL EXAMPLE:
EXAMPLE/EXERCISE 3:
Here, we see the process in action again. The line building from the 5 figure.
The descent starts on the upstroke as before, but, this time leads to a perfect V I cadence:
VARIATION:
Here is a variation, but, this time in the key of A Major.
The same form of descent is employed that once again ends in a V I cadence.
Today, a quick look at the “Right Hand” aspect of alternate picking guitar technique:
This is not cast in stone, but, to serve as a useful reference/guide to anyone that might be having problems.
THE WRIST/FOREARM:
Picking works best for the jazz/fusion [McLaughlin] style when picking from the wrist. Having said this, there is relative movement from the elbow to the wrist as the forearm follows through.
This becomes one motion that connects the music/phrase [we are playing] together as we alternate strictly down/up or up/down aligned with the strings we wish to pluck.
The differences of the 3 great alternate pickers.
The Fripp style is more for “Pre-learnt” playing 100-152Bpm[Yes, there will be some improvisation] But, the McLaughlin style is really geared towards “In the moment” improvisation around the 130-200 bpm. With Al di Meola being a combination of both[Think “Hotel Splendido” to “Cielo et Terra”.
This in turn means that each are approached in a slightly different manner, but this would be a whole blog in itself. So, for the sake of time I am addressing the all round basic concepts for the Right Hand in this post.
Crossing the 6 Guitar Strings: PART#1
When crossing strings I like to follow a straight line as is taught in Ivor Mairants brilliant book “Perfect Pick Technique”.
Below, is the diagram that demonstrates this.
This is extremely useful as it means that we are aligned with the string we wish to pluck at the moment we wish to pluck it and the forearm wrist and pick are in line and ready to pluck.
Feeling, and knowing this gives us confidence for ascending and descending naturally without any interrupting from unnecessary nervous or tense movements.
1st string aligned: “Down” stroke:
2nd string aligned/Plucked through on the “Up” stroke:
3rd string aligned:“Down” stroke
4th string aligned: About to be plucked through [on the “Up” stroke]
5th string aligned: “Down” stroke
6th string aligned: Plucked through on the “Up” stroke
As you can see from the 6 diagram alignments above, the wrist and forearm follow naturally as they cross the six guitar strings.
FLOATING OR PIVOTING?
Floating, is literally as it sounds and means floating with the right hand above and not resting whilst plucking the strings.
Pivoting, on the other hand means resting on [generally] the bridge of the guitar and plucking.
I like to be in a floating position and then pivot on either the first note and then float or……float and pivot on the “Down” strokes:
[Please not that the floating is overly emphasised in the photo’s as it is the only way I found to show it].
From Above:
CROSSING STRINGS: PART #2
Always, remember with Alternate Picking we are either picking:
“Up” skip over pluck down.
Or:
“Down” skip over pluck up.
Simple as this is it’s essential to take into account so that you don’t get confused or do two of the same stroke.
IN CONCLUSION:
In conclusion, this was just a brief examination of good solid alternate picking right hand technique. Much of it depends on what you wish to play. Many just wish to play guitar fast, which, ironically defeats the task.
To play at fast tempos one needs to be able to articulate phrases slowly, and, for the prog or jazz fusion improviser this means 8th note to 16th note to 32nd note. Forms of double timing. Because, from that the musical phrasing emerges and so does the speed.
In summation I would say that alternate picking technique is really a simple technique to play complex music and not a complex technique to play simple music.
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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.
