These differ slightly as they incorporate alternate picking to chord and back to alternate picking technique.
Adding a chord [or chords] can throw some players off when alternate picking, so these exercises can be really helpful.
All of these little exercises are around the 140 bpm metronome marking.
EXERCISE 1:
In this primer exercise we will have two sets of 16th notes that then accent a D quartal chord.
This exercise starts on a Downstroke and accents the 3rd note in each 4 note grouping.
By accenting these pitches it will make picking the exercise much smoother, due to the the last 2 notes in each 4 note grouping being prepared for and hence plucked in a deliberate fashion.
Musical notation for a guitar exercise focusing on alternate picking with accents.
EXERCISE 2:
This time we will extend the previous exercise, but, start in the bar on the 2nd semiquaver.
Again, these simple concepts will affect how you pick. So, this is set as if it is for a riff or hook that is doubled up with another instrument, hence, creating a much more compositional approach.
Sheet music for alternate picking guitar exercise focusing on chord integration.
Here is the Full Exercise:
Musical notation and tablature for Exercise 3, showcasing alternate picking techniques for guitar.
EXERCISE 3:
This time we will ascend and descend.
This exercise demonstrates the different amount of notes per string.
Many, alternate picking exercises revolve around the 3 notes per string concept.
But, real music dosen’t work that way as we have – Melodies/Vamps/Hooks/Riff/UnisonInstruments-this means, there maybe 1 note on one string and 4 notes on the next string and then 2 notes on the next string and then 3 notes etc.
This exercise is tailor made for the above, as, it employs the two main music devices being that of an arpeggio and scale.
Here is the first part.
Guitar alternate picking exercise showing arpeggio, scale, and chord for varied note patterns.
The second part, starts on an Upstroke, because, we finished the last phrase on a downstroke as we plucked the chord.
Sheet music for Exercise 3, illustrating descending guitar patterns for alternate picking.
EXERCISE 4:
This exercise involves crossing over to the 1st string and back again, with different amounts per string.
So, to begin with let’s break this down into a simple 2 string exercise:
As before, notice the accents on the 3rd note in each 4 note grouping:
Detailed notation for a guitar exercise focusing on alternate picking with accents on specific notes.
Full Exercise:
Musical notation and tablature for a guitar alternate picking technique exercise, highlighting a minor third and arpeggio.
In conclusion:
These exercises are just a few ideas that are really useful when working on alternate picking guitar technique.
This is because many hooks and vamps and compositional devices don’t work on 3 note per string picking.
The great improvisers like John McLaughlin, Don Mock and Pat Martino play long fluid phrases along with weaving in and out of chords, chromaticism and implied harmony [double stops/Octaves]. So, being able to pluck odd and even groupings [or any amount of notes per string] with embellishments and chords is essential.
Hopefully, these exercises will be of some help with that.
Today, a quick look at the amazing “Elektra” chord employed by composer Richard Strauss.
Nowadays, we might consider this to be a 7#9 chord, but looking at this from a 20th century classical perspective we can create much fresher and more interesting material from this worn cliche.
PART 1:
To get a clearer idea, we will exploit “Bi-tonality” and connect two different chords together, E Major and C# Major.
Music notation showing E Major and C# Major chords, illustrating bi-tonality for the Elektra chord.
From this, we will remove the third [the G#] from the E Major triad and look at the C# Major triad enharmonically as Db Major.
So, now connected we have a Chord of Db7/E
Chord notation illustrating the Elektra chord (Db7/E) in relation to E Major and C# Major.
For Guitar:
Here, is the Arpeggio with TAB
Illustration of the arpeggio/chordal outline for the Elektra chord
Here, are 3 octaves of the arpeggio/chordal outline with TAB:
Illustration of the arpeggio/chordal outline for the Elektra chord in three octaves.
PART 2:
Now, we will make another “Elektra chord” so that we have two chords to work from.
This new [Elektra] chord, will be C7/Eb
Musical notation illustrating the C7/Eb chord, showcasing the unique harmonic structure.
So, here are our two chord examples:
Musical notation for the chords Db7/E and C7/Eb, highlighting their structure.
Below, I have included audio of a quick orchestration/compositon I did to show how this wonderful harmony sounds when we apply it to the orchestra [Orchestration].
Also, notice how the inner pitches work to create beautiful drama in this tonality. Here we have octaves moving down in semitones in 5ths and then 4ths.
Musical notation illustrating the ‘Elektra chord’ concept as explored in the article.
AUDIO Example:
Next, notice the inner pitches when adding the 5th of the top triad.
AUDIO Example:
PART 3:GUITAR IDEAS:
Here, we have a simple chord and answering phrase:
1] Chord and line: Db7/E
2] Chord and Line: C7/E[/Eb]
Chord and improvised line example for C7/Eb, showcasing voicings and ideas for musicians.
CHORDS: Here are some voicing’s and ideas:
3 Octaves of Elektra Chord: As ascending Arpeggio Movement:
IN CONCLUSION:
As we can see from this quick look at one chord, there is a whole world and a wealth of material within it.
For the serious composer, and improviser this search and re-development of worn ideas/harmony is essential in order to make ones mark.
This renewal, gives us fresh material to work with and a pallet of our own with which to stamp a unique signature that is all ours.
