Fripp Part 2 -Video Re-Edit :
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Here, is the Pdf Download with the Music Notation and Tab for guitar for the Fripp Part 2 Guitar Concepts:
Tag: guitar craft
Master Octave Displacement: A Robert Fripp Style Guitar Lesson
Please watch video above for detailed info:
Hi Guys!
Today, a quick look at applying octave displacement into your alternate picking guitar technique.
This [12 tone] concept was originally taken from the brilliant 12 chromatic forms by jazz guitar great Pat Martino and then re-developed into a more 20c classical picking Fripp-esque guitar etude.
PART 1– Octave Displacement:
I am starting this little etude/exercise on an “Up” stroke with alternate picking guitar technique. [You may prefer to start on a downstroke]
As an example here is the first part:
The key to be aware of = The exploitation of “Octave displacement”. This creates unique harmonies and S.A.T [B] style 12 tone lines.
As you can see in the diagram above, this is just the chromatic scale, but, moving/resolving through the different registers.
This octave displacement technique, offers us a way to create/extract interesting colourful music from the chromatic scale [12 tone], whilst, complimenting our instrument through the high low high or low high low resonances.
PART 2: Scale Employment:
Although, [for this etude] I have employed octave displacement, I have also incorporated some basic scale parts to link it all together and avoid intervallic monotony.
I am starting both of these scale fragments on an“Up” stroke with strict alternate picking once again:
Here is the full Etude/exercise:
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Robert Fripp Flat 5th “Tri-tone” Guitar Technique: Exercise 1
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.
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