Just a quick video [above] looking at the death/closure of the guitar magazine:
For me, the guitar magazine was an important part of guitar culture and a great source of learning, especially in the old days where there was very little information about.
The most important, educational and best UK guitar magazine was “Guitar Techniques” which has sadly published its last copy.
For me, this magazine was an amazing concept with real in depth and valuable lessons from the likes of, Shaun Baxter, Pete Callard and Guthrie Govan.
Examples of some truly great work!
Shaun Baxter……
Pete Callard…….
Guthrie Govan…..
Every subject under the sun was investigated and captured in detail. Explained with clarity and easy to execute on our guitars!
So, enjoy the video above if you were like myself a guitar mag nerd [lol!], as it is really just a tribute to the great magazines and an age and culture of a time now seemingly gone by.
Last cover: The Final Guitar Techniques Magazine R.I.P
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Today, a quick delve into what makes John McLaughlin’s alternate picking guitar style work so easily and fluidly.
Many, focus on the right hand technique, but, much of it comes from the way the fretting hand works.
So, let’s look at a couple of simple secrets to John’s approach and why it is so fluid and effective
#1 OPEN STRING APPLICATION:
In this example, we will create an effective line that is not tremolo picking on cliche shred scales but a continuous colourful and creative improvised line in a world music style.
Here is the full line. Starting on a “Down stroke”
If we take this apart we will find a couple of reasons why this is fluid and very natural for the alternate picking guitar technique.
First of all notice: The arpeggio that starts the phrase. The last note of this 4 note tetrachord grouping is an open D string!
This open string gives the fretting hand a hundredth of a second to do absolutely nothing as it prepares for the next 4 note grouping to fret.
This gives us time to get into position and so we are NOT rushing about, and, we are in control
CROSSING THE STRING:
We will now employ the use of an open string once again, but, this time for “Crossing” the string:
This makes it easy to cross the string smoothly and connect to the next tetrachord.
From here we will extract a partial John McLaughlin scale/fingering by sliding it into position.
To end this line, we will descend with some simple scale starting on an “Up stroke”. Also, notice the simple 2 finger fingering for the fretting hand.
EXERCISE 2: SEXTUPLETS: 6 NOTE GROUPINGS:
In this exercise we will employ groupings of 6 notes. This is based upon an improvised acoustic jazz fusion line, like that of “Belo Herozonte:
This is played over a ii V7 I of Dm9 G7 CMaj9:
If we take this apart we will notice that we exploit a Bm arpeggio going to a B dim arpeggio that then goes to the 4th and 6th notes of D Dorian: This creates a nice colourful sound.
For the next 6 note hexatonic grouping we employ an E harmonic/melodic minor sound over the Dm9 chord: Notice the Major 3rd interval:
From here, we will “Slide” the fretting hand up to the next position: Notice the use of the Major 3rd interval once again, as this breaks up the monotonous scale sound and creates distance and melodicism.
Finally, we have simple 2 finger pentatonic descending scale application that finally rest on the noteC for the CMaj9 chord.
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 seriouscreative guitarist.
