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Hi Guys,
Today, a quick look at adding colourful chromatics to your playing.
I am employing the concepts/style of guitar great John McLaughlin.
PART 1:
EXAMPLE LINE: Ascending
For many guitar players that employ the pick, ascending chromatics seem to be more awkward and rhythmically difficult to phrase and play than descending.
One, of the great secrets, that John exploits, is the use of the open string to connect everything together smoothly.
This, is unbelievably useful at up-beat tempos and with odd time signatures.
WHY IS THIS?
Because, the open string gives the fretting hand a fraction of a second to get into position…. and so, the picking right hand doesn’t have to rush or fight against the fretting hand and interrupt the synchronisation.
This makes it easy, to count time and play in a natural and fluent manner.
Here, is the first part of the example line Ascending:
Notice, the melodic set up with a simple C Major Triad.
This, then moves back down a 4th for the open string to be plucked. Also, notice that this open string is plucked on the off-beat.
Let’s, now complete the ascending phrase by employing another open string:
Notice: The way the pick brings out the chromatics naturally in this way.
[Although, these can be classed as synthetic or symmetrical scales and some may deem them “Unemotional” or “Un-melodic” they serve an important purpose and weave beautifully in the improvised line].
Complete Ascending opening phrase:
VARIATION: [With Up-Beat]
PART 2:
Descending Phrase: Chromaticism
In the answering phrase we will employ Target Tones [Enclosure/Approach notes].
We will set up the phrase with an anacrusis, this being [4] e and a
NOTE: I am starting this on an “Up” stroke, so that when I start on the beat of the first bar I can employ the “Down” stroke” for “Even” tetrachord [4 note] groupings.
On the third beat, I am exploiting the use of the EbMajor arpeggio to get out of the key.
But, this then resolves nicely, back to Em. [Notice, the Bb resolves a half step down to the note A]
FULL EXAMPLE LINE:
IN CONCLUSION:
This was just a brief, but informative look at how easy chromatics can be brought into anyone’s guitar playing.
The key, is not the notes themselves so much, but, “How” they are done.
McLaughlin’s chromatic guitar techniques are actually quite simple and amazingly effective as they work at any tempo with the crafted alternate picking guitar technique.
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