guitar craft – Modern Music Theory Improvisation and Application

Master Octave Displacement: A Robert Fripp Style Guitar Lesson

Posted on January 24, 2026 by Modern Music Theory and Application

Robert Fripp Octave Displacement 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.

Sheet music titled '12 Chromatic Forms for Guitar' by Pat Martino, displaying various musical notations and finger placements for guitar. — Sheet music for Pat Martino’s 12 chromatic forms for guitar, illustrating the String Skipping exercise.

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]

Alternate Picking Guitar technique Icons representing 'DOWN' and 'UP' with bold letters in red.

As an example here is the first part:

Music sheet notation with guitar intervallic string skipping 12 tone Robert Fripp notes and symbols, including slurs and dynamic markings. Alternate Picking guitar lesson. — Notation for the ‘String Skipping’ guitar exercise exploring octave displacement.

The key to be aware of = The exploitation of “Octave displacement”. This creates unique harmonies and S.A.T [B] style 12 tone lines.

Musical notation showing octave displacement Robert Fripp guitar notes E, D, Db, C, Bb, A, and Eb with directional arrows indicating alternate picking guitar technique movement between notes. — Diagram illustrating octave displacement and the chromatic scale in guitar playing.

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.

A sheet of music notation featuring guitarist Robert Fripp's alternate picking octave displacement guitar technique. There are various notes and tablature for string instruments, arranged in multiple measures. — Musical notation for the ‘String Skipping’ exercise, highlighting octave displacement techniques in guitar playing.

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:

A sheet music excerpt featuring various musical notes and notations by Robert Fripp, including highlighted sections and annotations. Alternate picking guitar technique lesson. — Guitar tab illustrating emphasizing alternate picking guitar technique

Here is the full Etude/exercise:

Musical notation on sheet music displaying Robert Fripp's guitar tablature and standard notation in 4/4 time signature. Alternate picking guitar technique is employed. — Tab notation for the ‘String Skipping’ exercise inspired by guitarists Robert Fripp and Pat Martino.

A sheet of music showing Robert Fripp guitar tablature and standard notation, consisting of various notes and rhythms across two staves. Alternate picking guitar technique lesson. — Guitar tablature for the ‘String Skipping’ exercise inspired by Robert Fripp, illustrating techniques of alternate picking and octave displacement.

A section of sheet music featuring a variety of Robert Fripp guitar musical notes and rests, typical for guitar notation, with both standard notation and tablature. Alternate picking guitar technique. — Musical notation for the ‘String Skipping’ exercise inspired by Robert Fripp, illustrating alternate picking techniques and octave displacement.

FREE PDF DOWNLOAD:

Fripp Etude Download

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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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Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Posted on August 10, 2024August 19, 2024 by Modern Music Theory and Application

Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Please watch video above for detailed info:

Hi Guys,

Today, a look at some Fripp style “Intervallic” guitar alternate picking exercise/vamps.

First, we will employ 8th notes and then extend this by adding a double timed bar moving from 8th notes to 16th notes.

EXERCISE1

In the first exercise we will perform a repetitive loop or vamp. This will start on a “Downstroke” with strict alternate picking throughout.

In regards to the fretting hand, be aware of the necessary“Pivoting” when string skipping to the F# note. It is only a small movement but it makes all the difference for a clean execution of the exercise. [see video above]

EXERCISE 2

Here we have 2 bars of music. Notice the double/repeated note B natural. This is good for control of your right hand plucking/picking technique.

This loop/vamp is great to train alternate picking repetition of notes and right and left hand synchronisation and consistency: [See video above].

EXERCISE 3:

This time we will add 16th notes to double the time and create rhythmic interst and melodic movement. This is also reminiscent of guitarist Al Di Meola’s picking technique.

Part 1-8th notes:

Part 2-16 notes [Double timing]

Variation/Extension:

In this example we move from 2 bars of 8th notes to 1 bar of 16th notes.

Right hand Guitar Technique:

If we look at the above diagram we will see that the strings are being crossed and alternate picked along a “Straight” line.

This ensures that we are always “Aligned” with the string/note that we wish to pluck.

It is not guess work but a relaxed right hand that knows where to pick along that line and hence we can pick complex patterns regardless of time and intervallic distance with confidence and clarity.

CONCLUSION:

These exercises are very good at revealing the right hand picking to the left hand fretting and creating an awareness of “Alignment” and synchronisation.

Following the straight line is so helpful as it means that we can get on with the playing of the music and not concern ourselves with anything outside of that, like “Will I play the correct note”, or “Here is the awkward bit”, etc.

Just align with the string along the straight line, pivot with the fretting hand if needed and just play.

FREE PDF DOWNLOAD:

Fripp Download

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