Modern Music Theory Improvisation and Application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Hi Guys,
I made an E Book from the collected webpages and blogs from this website that wasn’t needed in the end.
So,
Rather than delete it I have posted it here for anyone who might be interested or find it useful:
FREE DOWNLOAD:
If this was of use then please Subscribe to us on Youtube below, Thanks!
Please watch video above for detailed info:
Hi Guys,
Today, a look at picking arpeggio inversions on the guitar. This is in the more recent style of Al Di Meola’s nylon string guitar playing/composing.
Okay, Let’s get started!
The main guitar picking pattern is “Down Down Up” and the variations of this naturally occur form the music itself.
Here is the basic pattern:
This simple “Down Down Up” patten means that the final upstroke makes it easy to pluck the next downstroke on the lower strings.
Arpeggio inversions:
To begin with lets play a simple F Major arpeggio in the root, 1st inversion and 2nd inversion:
As you can see and hear the “Down Down Up” works smoothly with the basic F major arpeggio inversions.
CHORD SEQUENCE
Now, let’s pick a chord sequence and vary the picking set up and pattern:
Basic Down Down Up: F root, E7 1st inversion, Am root:
Now, we will add an open E string for a syncopated rhythmic off beat set up,
You will also notice the two upstrokes on the high B and C notes. This makes it easy to descend with the pick/pattern whilst anticipating the next chord:
This time we will employ the 1st open E string and do the same thing:
EXTENDING THE HARMONIC CHORD SEQUENCE
We will now extend this chord sequence with more arpeggio inversions to outline the chord sequence.
So, G7 1st inversion, C Major root, A7 1st inversion to D minor root:
Let’s extend this some more.
C7 1st inversion, F Major root, D13 1st inversion:
We now have
Here is the Full Sequence:
With Open Strings added:
A couple of variations:
This example makes use of triple upstroke picked to create beautiful melodic movement:
Finally, we will exploit A augmented 1st inversion going to D minor root: Also, notice the single note melodic rise of the high notes.
IN CONCLUSION
In conclusion, these are just a few examples of the beauty and fluidity of following arpeggio inversions for melodic composing and performing at the guitar.
This way of playing smoothly through the inversions works really well with the guitar pick, and as you can see in the examples the inversions can be manipulated rhythmically with anticipation/syncopation.
FREE PDF DOWNLOAD:
If this blog/lesson was of any use then please SUBSCRIBE to us below on YOUTUBE, Thanks!
Hi Guys
As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy]
VIDEO OF THE EXERCISE:
EXERCISE ANALYSIS:
PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate picking:
This exercise starts on a down stroke with strict alternate picking around 130-140 Bpm:
The point of the exercise is to “Connect” lots of jazz improvisation concepts together.
The first being barring 4ths and 3rds with the little finger [or pinkie]. This breaks up the monotony of the scale sound and creates a melodic inflection. It also makes it easy to play quickly as two notes are fretted with the same finger.
This exercise is also good for exploiting phrasing on one string:
It’s also good for triad implications or sus 4-3 to lengthen the line.
Lastly, another tool that works really well for both the alternate picking right hand and the sound of the phrase is to employ an arpeggio. In this exercise we have also manipulated the open string to set up the next fragment of scale on the same string.
FULL EXERCISE:
DESCENDING ALTERNATE PICKING EXERCISE:
This exercise starts on a downstroke once again, but, this time we descend:
The same improvisational tools are applied.
We start the line with some 4ths barred with the little finger into a bit of broken scale.
This leads us nicely into the employment of two arpeggios. These arpeggios create melodic colour over the A7 Dominant chord.
Next we exploit the alternate picking on the same string for two beats over the D Major 7 chord:
As with the previous exercise we exploit the Major 3rd and perfect 4th intervals, which means that we can alternate pick two notes quickly without having to change our fretting fingers.
Finally, we employ the chromatic scale starting on the #5 [Bb] of D7augmented chord:
IN CONCLUSION
In conclusion it’s through exploiting these improvisational devices that we can alternate pick and create long quick fluid lines lines that make improvisational sense.
In terms of jazz fusion this means that we can play smoothly through ambiguous harmony as well as standard chord changes at a quick tempo.
FREE PDF DOWNLOAD:
If this blog/lesson was of any use then please SUBSCRIBE to us below on YOUTUBE, Thanks!