picking patterns – Modern Music Theory Improvisation and Application

Master the Robert Fripp Cross Picking Technique | Guitar Lesson

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

Robert Fripp Cross Picking Guitar Technique Lesson

Please watch video above for detailed info:

Hi Guys,

Just a short blog to explain what I mean by employing the “Down Down Up” guitar picking technique.

If we look at the patten below we can see the “Down Down Up” Picking pattern:

fripp-guitar-cross-picking-lesson-example

This is a very useful picking pattern/device that will hold you in good stead: But the key is to employ it sparingly.

Why is this?

This is because sometimes the rhythms we see and sometimes feel can be different than our natural inclinations when picking/plucking the strings.

So, if we look below we will see that the picking hand/subconcious wants to pluck a group of 5 notes and 3 notes to make up the 4 and 4 groups of 16th notes.

This is because of the “Crossing” of the strings, the order of the notes or the way the actual groups of notes on the guitar fingerboard work out:

EXAMPLE:

OR:

Notation Example:

PICKING STROKES:

The other reason to put this “Down Down Up” into what would otherwise be an alternate picking pattern is because:

“Sometimes where you have a down stroke you may want an upstroke to complete the phrase”.

This can be because of one note that has to be played on a down or upstroke specifically otherwise the whole passage is awkward to play. So, to execute “Down Down Up” for that one part makes sense.

FULL EXERCISE:

Below, is the full exercise that deliberately mixes up “Down Down Up” and “Down up” Alternate Picking”. It’s only an exercise [Larks Tongues in Aspic III Style] but, hopefully it gets the point across.

Exercise:

fripp-cross-picking-lesson-guitar-technique-tab

fripp-guitar-cross-picking-lesson-example-tab

Conclusion:

This technique can also be found in Al Di Meola’s REH video from the 1980’s. Al di Meola employs this for chordal/Arpggeio Picking, [as does Fripp sometimes].

Again, if used sparingly this right hand picking pattern/technique is absolutely essential for this type of art/creative style guitar music.

Lastly, picking one note per string is way more difficult and precise than plucking standard 3 notes per string as there’s so much string crossing going on.

FREE PDF DOWNLOAD:

fripp-cross-picking-lesson-2 Download

If this lesson was of use to you, then please SUBSCRIBE to us on YOUTUBE in the link 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,

Fripp/King Crimson style Guitar Picking Exercise:

Posted on February 6, 2024February 10, 2024 by Modern Music Theory and Application

CLICK SUBSCRIBE!

Robert Fripp/King Crimson Style Guitar Picking Exercise: Alternate Picking/Cross Picking

Please watch video above for detailed info:

Hi Guys,

Today, a “Quirky” Fripp-esque/Crimson-esque guitar picking exercise.

Here is the first part:

As you can see this is very intervallic and as Robert Fripp might call it, “Finickity” picking pattern.

GUITAR TECHNIQUES:

Alternate picking starting on an upstroke works really:

Also, the pattern “Down Down Down Up” works well: [with a short amount of alternate picking on the C B E notes in the bass]

Fripp-king-crimson-cross-picking-guitartechnqiue-example-lesson

Moving on from this we have chromatic movement: So from here on in we employ strict alternate picking starting on an “Upstroke”:

In this next phrase we have a contrapuntal effect with arpeggio and scale movement put to good use.

We finish the first part with more descending chromatic movement with the last line imitating the phrase before it.

2nd Part “Chordal”

In the 2nd part we exploit whole tone scale movement:

We will decorate this by employing 4ths:

Now we will dismantle the whole tone scale by making a chordal quartal melody and strum this up a semitone and back to create a colourful sound: