king crimson – 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

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Robert Fripp Guitar Picking Exercise for Unique Phrases and Patterns

Posted on August 5, 2024August 14, 2024 by Modern Music Theory and Application

Robert Fripp Guitar Picking Lesson and Exercises

Please watch video above for detailed info:

Hi Guys,

Today, a Robert Fripp style Guitar Picking exercise that incorporates various Fripp/King Crimson guitar picking patterns.

These are angular, string skipping and awkward intervals that can be picked with either strict alternate picking or “Down Down up”. I employ alternate picking mostly, but, there are parts where I exploit the “Down Down Up” pattern purely because some string skipping intervals are too wide and awkward for alternate picking alone.

PART 1

The first bar is quite awkward and so I “Float” with my right picking hand. This way I am not stuck in any one position and I can freely pluck the passage without any intrusions.

king-crimson-fripp-guitar-picking-lesson-example

At this part of the bar you will notice the awkward string skipping part between the C and C# down to the E note. You will need to pivot with the fretting hand for this. [Please see video above for detailed info].

fripp-guitar-picking-lesson-example-intervallic

The next bar is starting on an “Upstroke” with strict alternate picking:

PART 2

The next Phrase is reminiscent of “Larks Tongues in Aspic III” by Fripp. Notice the C note to the open E string to the C# note. This connects the phrase nicely by breaking the chromaticism up and at the same time making it fluid.

robert-fripp-guitar-picking-lesson-example

In the next part we can see how phrases might be counted or felt as groups of 5 or 3. [See video above]

crimson-fripp-guitar-picking-lesson-example

PART 3

To round the phrase off I employ a descending Eb Dominant pentatonic scale: This employs alternate picking starting on an upstroke. [I finished on the note F# purely becasue I like the sound].

FINAL PART:

The final part employs a 5/8 chordal picking vamp:

The picking pattern I use is : “Down down down up up” and “Down down up down up” with the plectrum.

IN CONCLUSION:

This was just an exercise/example by taking some King Crimson, Robert Fripp signature licks, patterns and phrases and making a little etude from them. This in turn creates some familiarity with the right hand picking in order to create patterns of our own.

Making your own patterns and coming up with your own original and unique phrases is the key rather than to just copy.

There are so many variations to exploit, which gives any player a mountain of material to work with. So, anyone can make some really original, colourful and interesting music from this.

FREE PDF DOWNLOAD:

Fripp-Guitar-Lesson Download

If this lesson was of use to you then please Subscribe to us on Youtube below, Thanks,

Exploring Messiaen’s Mode 1: Musical Concepts and Colorful Creations

Posted on May 25, 2024June 11, 2024 by Modern Music Theory and Application

Unlocking Messiaen’s Mode 1: Guitar Explorations

Please watch video above for detailed info:

Hi Guys,

Today a look at Messiaen’s first mode of limited transposition:

MODE 1

This is the Whole tone scale and has two transpositions and one mode. It is a “Hexatonic” scale that has a dreamy, enigmatic air to it due to lack of resolution as all of the tones are the same distance apart.

Creating an Etude from Messiaen’s Mode 1

The goal of this blog post is to create something interesting out of this scale.

So, here is my little Etude: I am basing this on the style of Robert Fripp [Plectrum guitar technique] and Olivier Messiaen’s compositional approach.

Here is the first bar: This employs a Fripp-esque repetitive picking “Riff”

exploring-messiaen-mode-one-Fripp-guitar-style

From here, let’s make a smooth transition with an ascending whole tone scale:

Now, let’s employ some 20c Classical Messiaen style “Intervallic” movement to complete the phrase:

exploring-messiaen-mode-one-intervallic-guitar

From here, we will descend with the whole tone scale and connect it to the augmented arpeggio:

Let’s now return to and exploit our intervallic movement as we ascend the guitar fingerboard:

Finally, let’s finish with some string skipping whole tone scale and a couple of plucks up high:

exploring-messiaen-mode-one-string-skipping-guitar

IN CONCLUSION

This was just an example of playing around with musical concepts and creating something colourful and interesting from Messiaen’s Mode 1.

Although, this is only a six note scale it has plenty to offer due to it’s non resolving/non diatonic nature. It works really well for riffs, motifs and hooks and really draws the listeners ear in. Even when used sparingly it can really add colour and texture to a composition [or part of] .

FREE PDF DOWNLOAD:

messiaen-mode-1 Download

For more Blogs on Messiaen’s modes CLICK below: