Tag: right hand

2 keys “Shifting Positions” alternate picking guitar lesson/exercise

Posted on by Modern Music Theory
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2 keys alternate picking guitar lesson/exercise: “Shifiting Positions”

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Here is the analysis for the Youtube “Shorts” 2 keys alternate picking video that I uploaded a few weeks ago.

The key to this exercise is the ability to “Connect” at the point of changing scales/keys:

Here is the chart and diagram:

alternate-picking-guitar-example-chart

As you can see there is a change of harmony and scale. This in turn affects the fingering of the fretting hand and wrist as this quick change happens.

So, there is a tilt or pivot [Please watch video above to see this] as the wrist/hand gets into position:

alternate-picking-right-hand-guitar-technique-pic
alternate-picking-right-hand-guitar-technique-picture

FULL EXERCISE:

This exercise employs strict alternate picking starting on a down stroke:

The use of 4 note groupings [Tetrachords] is to keep the line solid rhythmically. Notice that the 3rd note in each 4 note grouping is accented.

alternate-picking-guitar-example
alternate-picking-guitar-example

Next we come to the “Connection” part. As stated earlier and in the video presentation above the pivot and tilt of the wrist and hand is essential in order to make the smooth connection.

Next we have the“Shifting Position”as the hand holds the same shape but just moves/slides down into the next position.

shifting-position-alternate-picking-guitar-technique
alternate-picking-guitar-example

PDF DOWNLOAD:

ap-2-keysDownload

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Alternate Picking John Mclaughlin Style v7 1 EXERCISE.

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Alternate Picking John Mclaughlin Style

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Today we will look at a ii V7 extension in the improvisational style of jazz/fusion guitarist John McLaughlin.

HARMONY/CHORD SEQ

This is a cadential ii V7 I, but before the chord I resolution there is an added chord. This is chord Vii as a Dominant 7th. In this case this is B7:

john-mclaughlin-guitar-improvisation-technique

So, this is the chord sequence/cadence that we will improvise over.

I start this with an up-beat employing strict alternate picking.

I start the phrase on an “Upstroke” so that when I start on the 1st beat of the 1st bar I can start on a “Downstroke”for familiarity.

john-mclaughlin-guitar-improvisation-technique

The first bar is basic pentatonic scale movement. But, notice that the 2nd half of the bar encapsulates the classic McLaughlin guitar fingering signature phrase.

john-mclaughlin-guitar-improvisation-technique

The next part employs pentatonic movement again. The key is in shifting positions in the second half of the bar.

john-mclaughlin-guitar-jazz-improvisation-technique

Lastly, we have the B7 chord. We start with a second inversion F#9 outline and then we establish the 7th with the A natural. We finally cadence by landing on the note G natural the 5th of CMaj7.

john-mclaughlin-guitar-jazz-improvisation-technique

FULL LICK:

john-mclaughlin-guitar-jazz-improvisation-technique

PDF DOWNLOAD:

mcl-apMclaughlin Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

String Skipping/Intervallic Guitar Part 3-HARMONY

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String Skipping/Intervallic Guitar Part 2-HARMONY

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Today, one last look at “Intervallic string skipping” for a contrapuntal-esque picking style.

The first thing to do is take one position on the guitar fingerboard and find the “Harmony” embedded within that position.

I have taken the A Major position [F#m Relative]

al-di-meola-cycle-of-4ths

Now, let’s make an A Major basic arpeggio from the 1st string and the 6th string.

al-di-meola-string-skipping

Straight away, you will notice that the notes on the 1st string and the notes on 6th string are the same but in different octaves. This gives us an easy and excellent way to exploit the High to Low or Low to High counterpoint effect.

Now let’s do the same with a piece of scale: [Starting on an “Upstroke”]

al-di-meola-string-skipping-scales

Again, the octave makes this flow and connect easily from the low to high.

The next point is to take a chord sequence and use this “String skipping/intervallic” effect: Here we have Vi ii V7 I

al-di-meola-string-skipping

HARMONY

Th next essential point is to acknowledge the harmony in this position:

We will do this by exploiting the Cycle of 4ths in this simple 5 fret position.

al-di-meola-cycle-of-4ths

Here you can see that we have a huge amount of harmony available to us right under our fingertips. These chords don’t have to be Major, they can be minor, diminished, augmented etc. This gives us even more material to work with.

If we move down a fret [Semitone] then we have another set of harmony in 4ths awaiting us.

al-di-meola-cycle-of-4ths

Along, with this we have chord inversions and all of the inversions of A Major:

So, as you can see there is a huge amount of harmony right in front of us even in this one position that we can exploit and create lots of music from.

Lastly, let’s create another “String skipping intervallic” example:

I’m going to create a phrase outlining a D Maj#11 chord.

al-di-meola-string-skipping

To make this sequence quite quick I am going to add some scale from high to low:

al-di-meola-string-skipping-scales

Now we will add a V -I cadence

Now, let’s view the whole line:

al-di-meola-string-skipping

PDF DOWNLOAD:

al-di-meola-guitarstring skipping harmony Download

PDF DOWNLOAD 2:

contapuntal-guitar-lessonIntervallic guitar Download 2

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!