Tag: guitar lessons

Master Octave Displacement: A Robert Fripp Style Guitar Lesson

Posted on 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.
string-skipping-guitar-lesson-example
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 EtudeDownload

If this Lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Indo-Jazz-Fusion Guitar Techniques with Shakti Examples

Posted on by Modern Music Theory and Application

Please watch video above for detailed info and examples:

Hi Guys,

Here, are the Shakti/John McLaughlin Guitar examples of Indo-Jazz-Fusion lines and chordal approaches.

EXAMPLE 1:

Repeated note: “Raga” style line and scale development.

shakti_indo_jazz_fusion_guitar_lesson

From here, we have a descending pentatonic scale:

shakti_indo_jazz_fusion_guitar_lesson

EXAMPLE 2:

Shakti style “Chordal Voicing” for chordal arpeggio picking. [See video]

shakti_indo_jazz_fusion_guitar_lesson

EXAMPLE 3:

Ascending and Descending alternate picking guitar line.

shakti_indo_jazz_fusion_guitar_lesson

To answer the ascent, we will now descend to complete the phrase:

shakti_indo_jazz_fusion_guitar_lesson

EXAMPLE 4:

Here, we have some more harmony to create with chordal picking guitar technique:

shakti_indo_jazz_fusion_guitar_lesson

EXAMPLE 4:

Next we have a variation of example 3.

shakti_indo_jazz_fusion_guitar_lesson

Once again, to complete the phrase we will employ a scale. This time though, it’s an A Major Dominant scale in descent:

shakti_indo_jazz_fusion_guitar_lesson

EXAMPLE 4:

First inversion chord, slash chord, 3rd inversion:

shakti_indo_jazz_fusion_guitar_lesson

EXAMPLE 5:

Variation line once again, this time starting with an Em arpeggio:

shakti_indo_jazz_fusion_guitar_lesson

FRE PDF DOWNLOAD:

shakti_guitar_licksDownload

If these examples were of use to you then please SUBSCRIBE to us on Youtube below, Thanks!

Guitarist John McLaughlin’s use of the Diminished Scale for Chords and Improvisation:

Posted on by Modern Music Theory and Application
Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Hi Guys,

Today, a look at how jazz guitar legend John McLaughlin makes cool and original sounding jazz lines from the diminished scale when improvising.

PART 1: CHORDAL SUBSTITUTIONS:

First of all, let’s apply a couple of Dim7 substitutions for the Dom7b9 chord.

In the example below, for the E7b9 chord we will employ Ddim7, Fdim7 chords over an E bass for a V to i cadence.

EXAMPLE 1:

Notice that the top line resolves:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

EXAMPLE 2: Shifting the diminished 7th shape up to resolve for V to i cadence

Once again, the top line has a smooth half step resolution:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

CHORD APPLICATION PART 2:

This time, we will employ the Dom13b9 chord in a full ii V i cadence.

As, in our previous examples, acknowledge the descending chromatic movement– resolving in the top line.

john_mclaughlin_jazz_guitar_diminished_scale_example

PASSING CHORD:

This time, we will add a passing chord. This will be Eb7#9. This falls smoothly from the Em7 chord.

We will also add a little bit of bass movement.

Also, in this example, we have two 1/2 step resolutions in the top line.

john_mclaughlin_jazz_guitar_diminished_chords_example

Finally, we will exploit a Dom13#9 chord as part of the ii V I cadence. [Once again, notice the chromatic moment on the 1st string/top line as we ascend this time].

john_mclaughlin_jazz_guitar_diminished_chords_example

EXPLOITING THE SOLO LINE:

Another interesting concept that John employs, is to use the “Ultra Locrian” mode or the 7th mode of the harmonic minor scale when dealing with diminished chords.

Here is the scale/mode over an Adim7 chord.

ultra_locrian_scale_mode_john_mclaughlin_guitar_example

AVOIDING THE DIMINISHED CLICHE!

What puts John in a league of his own, is his avoidance of the usual tired diminished cliches .

Here, is an excellent example where John sequences in minor thirds. This though is an original, fresh and highly unique way of approaching diminished harmony and hence breaks the chain of cliches.

john_mclaughlin_jazz_guitar_diminished_scale_example

These 4 note groupings of tetrachords work great for sequencing with quick alternate picking guitar technique. [Starting on a down stroke]

THE INTERVALS: Key to creative lines

Looking at our example more closely we can clearly see the manipulation of intervals within the diminished scale/harmony.

john_mclaughlin_jazz_guitar_diminished_scale_example

This is what sets the great improvisers apart.

In this disguised manner the ascent in minor 3rds has a fresh interest to the ear due to the creative use of these intervals.

FULL ii V7 I Line

john_mclaughlin_jazz_guitar_diminished_scale_example

EXAMPLE 2

Here, we have the same thing in a different key:

Once again, acknowledge the use of intervals and tetrachords for rapid ascending movement with the picking hand.

john_mclaughlin_jazz_guitar_diminished_scale_example

Full Line:

john_mclaughlin_jazz_guitar_diminished_scale_example

IN CONCLUSION

This was just a quick look at how John McLaughlin exploits the diminished scale in interesting and unique ways that work extremely well not only for jazz, but, also specifically for the guitar.

John’s sequencing by exploiting 4ths, 3rds, triads and semitones creates an inspirational path, because it demonstrates that fresh life can be brought out from the diminished scale. This in turn makes the worn out cliches very easy to avoid.

FREE DOWNLOAD:

mcl dimDownload

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords