Fripp Part 2 -Video Re-Edit :
Hi Guys,
Here, is the Pdf Download with the Music Notation and Tab for guitar for the Fripp Part 2 Guitar Concepts:
Tag: music theory
How to apply it to the guitar fingerboard. jazz theory and improvisation in practice at the guitar fretboard. How chords are made. How to use scales. The modes of the major and melodic minor scale. Altered chords and scale lessons.
Unlock Your Guitar Skills with Pat Martino’s Triad Pair Techniques
Please watch video above for detailed info:
Hi Guys,
Today, a quick look at building interesting, creative, melodic lines by pairing simple triads together.
PART 1:
To begin with, let’s join the triads of F and G [back to F] together
We will now, extend the line further by employing the same two triads once again,
At this point we will end the phrase and create a cadence with our two triads,
We will now shape a new line and ascend with the triads of F G and C
At this point the triad pairs have started to become formulaic
So, we will add some colour.
To achieve this, we will now go in the opposite direction and descend with a classic Pat Martino lick
This leads us in nicely to exploit some chromatic set ups with target tones
From this, we can bring in our G Major triad/arpeggio to give a wider intervallic sound to give a sense of distance from our chromatic notes.
Finally, to complete the lick we will employ some basic scale movement with chromatic fragments for the A7 chord.
IN CONCLUSION:
Although, this was a long phrase It acts as a useful example to hear and see how natural it is to build off of triad pairs for the improvised line.
These triad pairs also create a really nice melodic and fluid way to start a phrase.
Lastly, due to the way triad pairs are offset rhythmically, the improvised line generally possesses a more composed and polished sound.
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Mastering John McLaughlin’s Unique 13th Chord Voicing
Please watch video above for detailed info:
Hi Guys,
Today, a quick look at the unique 13th chord Voicing of guitar maestro John mcLaughlin.
PART 1:
This unique voicing possesses a 7th a 9th with the 13th ringing out on top. It has a lovely sonorous tone :
This chord works really well because it’s a 1st inversion, and, without a root it gives us that slightly ethereal painted sound:
PART 2:
The sonorous nature of this chord makes it shine when moving to a diminished 7th chord for a resolution:
This in turn rewards us with fantastic melodic sequences:
PART 3:
Now, let’s make a sequence by employing strong Major 9th chords that move to John’s brilliant voicing.
If we play the example below we can hear the resonant nature of the two chords.
Now, let’s create a little chord sequence with them:
To complete the sequence, we will cadence with a13b9 chord back to the tonic D
Here, is the full sequence:
PART 4:
John, also makes good dramatic use of this chord by exploiting a pedal note in the bass for rhythmic drive.
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