hexatonics – modern music theory and application

Hexatonic Connections: [Basic Alternate Picking Exercises|

Posted on December 7, 2023December 12, 2023 by Modern Music Theory

hexatonic-guitar-exercises-alternate-picking-examples

Please watch video above for in depth analysis:

Hi Guys,

Today a quick look at connecting “Hexatonic” groupings together with strict alternate picking guitar technique.

The key is to glide or slide or let the fretting hand fall naturally into each position. This way the connections are made smoothly.

If the fretting hand panics, or releases from the position then it will fall apart: So connecting SMOOTHLY from each 6 grouping to the next= The Key

This is the same process as connecting 4 note groupings “Tetrachords” but we have 2 extra notes to contend with:

Because we have the 2 extra notes Hexatonics work well at a slower tempo’s like 100 to 120 Bpm for Fusion double timing:

EXERCISES:

Here is the first Exercise/Example: This starts on a down stroke with strict alternate picking:

Notice, that in the second bar we have an arpeggio/triad figure:

This arpeggio can throw your alternate picking because it breaks up the scale momentum. So, you have to prepare for it and be aware that there is a quick change of movement in the fretting hand as you cross the strings.

Exercise 2:

Here, we have an ascending exercise that connects together easily and naturally.

Again, it starts on a downstroke with strict alternate picking.

Here is the same exercise, but, with a VARIATION at the end:

Exercise 3:

Finally, we have an example that employs the downstroke and the upstroke:

Hence, we start on a downstroke and then have a short rest and then commence starting on an upstroke:

Here is the first part starting on a downstroke:

Next, we have a rest and then start the next part on an upstroke to complete the exercise:

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12 tone diatonicism? Alban Berg: guitar 12 tone serialist composing?

Posted on October 1, 2023December 24, 2023 by Modern Music Theory

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Please watch video above for detailed info:

Hi Guys,

Today, a quick look at exploiting the thinking of serialist composer Alban Berg and his unique tone row formations.

alban-berg-diatonic-12-tone-serialism-technique

What makes this unusual and tonal and ironically diatonic in this context is that one half contains the white notes and the other the black notes.

What you notice is that there are two “Hexatonic” scales here:

This creates an interesting harmonic shift that can be exploited easily from a compositional perspective.

Okay, let’s take a tone row from this hexatonic setup:

alban-berg-diatonic-12-tone-row-technique

Now, let’s create some chords form this. I am going to employ tri-chords [three note] chords because they work well with chordal guitar picking:

alban-berg-diatonic-12-tone-serialism-tri-chords

Using these chords as a basis for my composition I will add open guitar strings and and a few fretted notes and re arrange the chord voicing’s, eventually, moving away from 12 tone.

Here are the chords I chose:

alban-berg-diatonic-12-tone-serialism-chords-guitar

Lastly, a little turn around/cadence:

Now, let’s exploit another 12 tone row in this context:

alban-berg-diatonic-12-tone-serialism-guitar-how-to

This time I will employ strumming as the main guitar technique for this part of the composition.

So, as usual let’s make some tri-chords:

Finally, here we see a snippet from Berg’s “Lyric Suite”.

PDF DOWNLOAD:

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Creating “Scales” from Scales Tetrachords [C melodic minor]

Posted on April 15, 2023April 19, 2023 by Modern Music Theory

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Creating “Scales” from Scales Tetrachords [C melodic minor]

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

The key to making scales from scales wether they be Triadic, Tetrachord, Pentatonic or Hexatonic is to highlight the key notes that give that scale its unique flavour/sound:

Below we can see this in the C melodic minor scale.

The crucial Eb note and B natural note against the C root note tells us that this is not major and that it has a specific vibe/atmosphere to it.

In this first example we will employ 3 notes and 2 notes for highlighting: This employs alternate picking starting on an upstroke:

This next example starts on a “Downstroke” and is even simpler. This is a simple 2 note fingering into a 2 note scale.

Now let’s create an ascending line:

HARMONIC MINOR

Next we will add an Ab and make 2 Tetrachord scales from C Harmonic minor and create a little run:

how-to-create-scales-tetrachords-example

This time we will ascend with the C Harmonic minor scale:

LASTLY

It’s also a good idea to play the key chord of a scale and then pluck the key note or notes that give that scale it’s unique flavour.

For example below is an F Maj7#11 chord that when you pluck the B natural it really stands out as Lydian:

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Author: Clifford Martin Musical Artist: Guitar Gti

Modern Music Theory

Clifford Martin is a trained classical musician and composer. His 1st study being piano and composition and a deep study into the meticulous world of modern music theory. He also studied jazz piano and jazz drums privately. Clifford later came back to the guitar and studied in the jazz fusion style of John McLaughlin and Al di Meola. It was at this point that he put all of his years of learning together into one musical form This website is a sort of cataloging of ideas and musical concepts for exploitation and development in the arts of musical composition and improvisation. What started out as a jazz improvisation site has grown into a full blown, harmony, timbre, pitch and rhythm library. Peace, Enjoy!