guitar lessons – Page 2 – Modern Music Theory Improvisation and Application

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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Dennis Sandole Polytonal Guitar Scales: Lesson:

Posted on August 25, 2024October 31, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the unique scale formations/superimpositions of Dennis Sandole.

Dennis Sandole

We will take three examples from a handwritten page of polytonal scales by Dennis Sandole and apply them to the guitar:

SCALE 1:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

dennis-sandole-polytonal-guitar-scales-blog

In this example notice how the different major scales connect via semitones creating a unique chromatic connection.

Now, let’s apply a descending version with a more pentatonic/fingering guitar format:

Again, notice the half step chromatic connections that make this run smoothly.

SCALE 2:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

Here, we have whole tone connections as well as half step connections creating a colourful set of sounds:

Let’s now create a descending version:

SCALE 3:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

In this example we have a full C major scale connecting to a full Db major scale via the halfstep of C to Db. And finally, up another half step to the note D.

Finally, let’s descend:

Arpeggio/Motifs from Polytonal Scales:

There are also many concepts that you can make out of these polytonal scales:

For instance, we can imply triads/arpeggios with dyads and create little licks, motifs and hook lines.

EXAMPLE:

Slight Var:

IN CONCLUSION

This was just a very brief look at Dennis Sandole’s concept of polytonal scales.

In terms of the guitar these are very useful for creating a mixed harmonic palette and creating seamless lines where any scale can connect to any other scale regardless of non diatonicism and ambiguity.

FREE PDF DOWNLOAD:

dennis-sandole-polytonal-scales-pdf Download

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Jazz Fusion Alternate Picking Guitar Exercise Analysis

Posted on July 8, 2024July 8, 2024 by Modern Music Theory and Application

Hi Guys

As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy]

VIDEO OF THE EXERCISE:

Alternate Picking guitar exercise. Jazz Fusion music mid tempo. Lesson/How to:

EXERCISE ANALYSIS:

PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate picking:

This exercise starts on a down stroke with strict alternate picking around 130-140 Bpm:

The point of the exercise is to “Connect” lots of jazz improvisation concepts together.

The first being barring 4ths and 3rds with the little finger [or pinkie]. This breaks up the monotony of the scale sound and creates a melodic inflection. It also makes it easy to play quickly as two notes are fretted with the same finger.

alternate-picking-guitar-jazz-fusion-lesson

This exercise is also good for exploiting phrasing on one string:

It’s also good for triad implications or sus 4-3 to lengthen the line.

Lastly, another tool that works really well for both the alternate picking right hand and the sound of the phrase is to employ an arpeggio. In this exercise we have also manipulated the open string to set up the next fragment of scale on the same string.

FULL EXERCISE:

DESCENDING ALTERNATE PICKING EXERCISE:

Alternate Picking mid tempo guitar exercise

This exercise starts on a downstroke once again, but, this time we descend:

The same improvisational tools are applied.

We start the line with some 4ths barred with the little finger into a bit of broken scale.

This leads us nicely into the employment of two arpeggios. These arpeggios create melodic colour over the A7 Dominant chord.

Next we exploit the alternate picking on the same string for two beats over the D Major 7 chord:

As with the previous exercise we exploit the Major 3rd and perfect 4th intervals, which means that we can alternate pick two notes quickly without having to change our fretting fingers.

Finally, we employ the chromatic scale starting on the #5 [Bb] of D7augmented chord:

IN CONCLUSION

In conclusion it’s through exploiting these improvisational devices that we can alternate pick and create long quick fluid lines lines that make improvisational sense.

In terms of jazz fusion this means that we can play smoothly through ambiguous harmony as well as standard chord changes at a quick tempo.

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alternatepicking-lesson Download

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