As requested, here is the revisited version of the original blog I made regarding the video above. I hope it’s still useful,
ALTERNATE PICKING GROUPINGS:
The key to this mid tempo alternate picking style is to divide the groupings into “Tetrachords” [or four note cells] and count the BPM[e,g 130-140] time as you pluck the notes with the guitar pick.
In the video at the top of the page you will see how the fretting hand grips and releases in order to connect the line together, so, that the fretting hand is not stuck or glued in one positions and has the freedom to shift positions in a relaxed and quick manner.
Fretting Hand Consideration:
Release: For the next Connection or position shift:
In regards to the alternate picking the first tetrachord/cell starts on a “Down Stroke”.
It’s also useful to accent the 1st beat/note[and also the 3rd note if possible ]
Today, a look at the amazing 12 chromatic forms for guitar by jazz legend and music theoretician extrodinaire Pat Martino!
These 12 forms for the chromatic scale were written and I believe taught by Pat Martino in the 70’s and 80’s. They are a unique idea that connect through the concept of octave displacement.
Notice: The semitones and octave displacement: E to Eb to D to Db [Db to C semitone] etc.
The arrow pointing up or down tells us whether it is an ascending or descending chromatic scale:
So, for instance “Form I” without octave displacement is:
With octave displacement is:
Here, is Form I written by Pat’s own hand showing his fingerings and string preference.
Now, let’s add the second form for guitar and notice Pat’s connection for the two: Eb to E
Also, notice that Form I and II have the same notes but mostly in different octaves.
Lastly, if we look at form III we will see the arrow pointing upwards showing that it is an Ascending chromatic scale:
Here, is the basic ascending chromatic scale:
Here, it is with octave displacement
For all of the other chromatic forms please go to the downloadable Pdf at the bottom of this page for a free download of Pat’s actual notations.
COMPOSITIONAL AND DEVOLPMENTAL IDEAS:
Due to being the chromatic scale and 12 forms we can manipulate this by taking a 12 tone approach:
So let’s take the first Form and make 3 sets of 4 note chords from it.
Here, we can see and hear how easy it is to create some very original and unique chords from these forms:
We can now make some lovely voicing’s and chords from the following, so, let’s structure some sophisticated composition.
How will we do this?
We will employ, “Retrograde” and “Inversion” and then “Retrograde Inversion”
RETROGRADE IDEA:
INVERSION IDEA:
RETROGRADE INVERSION IDEA:
One last idea is to “Stack” one on top of the other creating a colourful superimposition bi tonal tool.
In this case it is Form I and III:
In conclusion
These 12 Forms offer brilliant possibilities for string writing or 20C classical orchestral style composing.
The octave displacement and the flow of semitones creates a fluid and quite natural way of performing on stringed instruments wether it be the guitar, violin, cello, double bass etc.
This blog has just touched on the subject but as you can see the possibilities for the 12 forms gives way to unlimited fresh new music, and for the imaginiative and creative guitarist/composer the possibilities are endless.
FREE PDF DOWNLOAD:
Below is a free pdf download of all of Pat’s 12 chromatic forms for guitar written out by Pat himself.
Today, a look at the late 60’s early 70’s John McLaughlin guitar chord/riff style of “My goals beyond” and “Extrapolation”.
This is a great compositional vamp style that really brings out the resonance of the guitar. It has a sort of loose swing feel to it, that sort of gritty London soho jazz sound of the time.
The vamp is based around the D6add9 guitar chord shape, with the open E note as a pedal.
To begin with, we will play the D6add9 chord and then move it up a tone to E6add9 and then back again to D6add9. [see video above]
As in the video above you will hear/see that I am syncopating/weaving in and out of the bass notes displayed below plucked on the low E string.
To create colour and contrast we then change the chord in the third bar by moving the shape up to create Dm11/E to G6add9 and back to Dm11/E.
We then move back to D6add9 and E6add9:
From here, we move the shape up to A6/9/E to G6/9/D and finally resolving to F#13/E.
The Bass moves down in half steps, E Eb D C#
We repeat the first part and then end with the chord shape on G A C D E D: strummed over the E pedal bass.
IN CONCLUSION:
To conclude, this was just a quick look into strumming extended chords in and out of a melodic bass line. Simple as this is it works really well for creating compositions, wether in a blues form or a verse/chorus structure.
This style excels on the guitar because the bass can be doubled in unison with another instrument, [for example, piano or sax or double bass].
Lastly, the chord shape of the added 6th and 9th [as well as the 11th] resonate sympathetically on the guitar both as a strummed attack or mellowly plucked with the fingers.
