Today, a look at the unique scale formations/superimpositions of Dennis Sandole.
Dennis Sandole
We will take three examples from a handwritten page of polytonal scales by Dennis Sandole and apply them to the guitar:
SCALE 1:
Dennis Sandole’s Handwritten Polytonal Scale:
Same scale applied to the Guitar:
In this example notice how the different major scales connect via semitones creating a unique chromatic connection.
Now, let’s apply a descending version with a more pentatonic/fingering guitar format:
Again, notice the half step chromatic connections that make this run smoothly.
SCALE 2:
Dennis Sandole’s Handwritten Polytonal Scale:
Same scale applied to the Guitar:
Here, we have whole tone connections as well as half step connections creating a colourful set of sounds:
Let’s now create a descending version:
SCALE 3:
Dennis Sandole’s Handwritten Polytonal Scale:
Same scale applied to the Guitar:
In this example we have a full C major scale connecting to a full Db major scale via the halfstep of C to Db. And finally, up another half step to the note D.
Finally, let’s descend:
Arpeggio/Motifs from Polytonal Scales:
There are also many concepts that you can make out of these polytonal scales:
For instance, we can imply triads/arpeggios with dyads and create little licks, motifs and hook lines.
EXAMPLE:
Slight Var:
IN CONCLUSION
This was just a very brief look at Dennis Sandole’s concept of polytonal scales.
In terms of the guitar these are very useful for creating a mixed harmonic palette and creating seamless lines where any scale can connect to any other scale regardless of non diatonicism and ambiguity.
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.
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].
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.
In the next part we can see how phrases might be counted or felt as groups of 5 or 3. [See video above]
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.
