Just a quick video [above] looking at the death/closure of the guitar magazine:
For me, the guitar magazine was an important part of guitar culture and a great source of learning, especially in the old days where there was very little information about.
The most important, educational and best UK guitar magazine was “Guitar Techniques” which has sadly published its last copy.
For me, this magazine was an amazing concept with real in depth and valuable lessons from the likes of, Shaun Baxter, Pete Callard and Guthrie Govan.
Examples of some truly great work!
Shaun Baxter……
Pete Callard…….
Guthrie Govan…..
Every subject under the sun was investigated and captured in detail. Explained with clarity and easy to execute on our guitars!
So, enjoy the video above if you were like myself a guitar mag nerd [lol!], as it is really just a tribute to the great magazines and an age and culture of a time now seemingly gone by.
Last cover: The Final Guitar Techniques Magazine R.I.P
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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 seriouscreative guitarist.
Today, two exercises for building jazz fusion 16th note double timed improvised guitar lines.
This is applied in the way that guitar great John McLaughlin exploits his alternate picking guitar technique.
This is a “Line builder” that builds through connecting key concepts together and at the same time creating familiarity with them as you do so.
For Example:
Arpeggios, Chromatics, Pentatonic’s, Motifs, Melodic content, Resolutions and Rhythmic offset.
The key is to connect them together in a melodic single note manner that is musical and at the same time logical for the alternate picking.
EXERCISE #1
This exercise starts with an upstroke with an open E string on an “Up beat” [anacrusis].
This then employs an F Major arpeggio with a C to B note resolution.
Straight away, it’s easy to hear the melodic content of the wider intervals of an arpeggio and the resolution.
From here we will now add some chromatic colour.
To complete this phrase we will add the John McLaughlin scale. This slots in nicely to the chromatic scale that we’ve just applied.
It’s smooth, quick and creates that very fluid liquid line sound: Also, notice the offset of the rhythm.
To descend, we will exploit the use of the semitone interval. This is easy for the fretting hand to sequence as it employs repetitive fingering and so is easy to cross the strings with. [The semitones are in the orange marker].
2nd part “Descending”
Finally, we finished with a CMaj9 chord that is then shifted up.
EXERCISE #2 VARIATION:
This exercise is similar to the one above, but, in a different key and different chords.
As before, we start on an up beat with an upstroke. We employ the arpeggio, but, this time it is a suspended fourth with the A note moving down to the G note.
From here, we ascend and exploit the Bb note to emphasise the D Augmented chord. This is then rounded off by slotting in a fragment of our old friend the John McLaughlin scale once more .
We descend with a pentatonic fragment this time and once again exploit the interval of a semitone and sequence it. But, this time with the last 5 notes we also have the intervals of a tone a major 3rd and a minor 3rd.
Finally, we cadence with the chords of E/G#[or E 1st inversion] that then raises the5th to make it augmented. This then resolves to a hanging A9 chord.
IN CONCLUSION:
These are only exercises, but, they do show the melodic/musical nature of the improvised line in regards to alternate picking.
In the jazz fusion style, motifs, melodic content, chromatics, pentatonic’s, rhythmic offset, etc, all work to great effect as they all slot together creating sophisticated double time lines.
