robert fripp – Modern Music Theory Improvisation and Application

Robert Fripp Flat 5th “Tri-tone” Guitar Technique: Exercise 1

Posted on October 5, 2024October 5, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the Robert Fripp flattened 5th [tri-tone] guitar shape and its right hand picking patterns, rhythmic concepts and single note lines and chordal applications.

GUITAR LINE: EXERCISE:

In the first part we can employ, “Down down down up” or plain alternate picking:

From here we can either exploit the “Down Down up” pattern or once again employ our old friend alternate picking:

Also, notice how the rhythm is working. It’s a bit like triad pairs in the way it is counted, set up and felt. [It also creates a 1 2 3 effect]

We now carry this on and break it up with two 4 note groupings. [Finishing with 3 notes in the bass]

Flattened 5th shape as chords:

This shape can also be employed brilliantly for chords and chordal picking.

Here, we play all 6 strings on the guitar and leave the open E and B strings to resonate around the flat 5 shape.

This, then gives way for a quick fire ascension of the b5 shape:

We now shift the shape up higher and imitate the process:

And, move the figure up also,

To complete the phrase we will descend the b5 figure with strict alternate picking starting on a “Down” stroke:

From here, we will break it up with a group of 4 notes employing Down Down Down Up to 3 notes with Down Down Up:

To:

And finally, finishing with four Am9 chords:

CONCLUSION:

This example/exercise was just to exploit the b5 shape and show what is possible both rhythmically and in terms of the right hand picking techniques.

The key though is to employ and develop it sparingly. This way it can cause surprise and rhythmic interest.

It’s a really useful guitar tool for composition and creating a unique and individual voice for the serious creative guitarist.

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fripp-guitar-b5 Download

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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

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Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Posted on August 10, 2024August 19, 2024 by Modern Music Theory and Application

Fripp Intervallic Guitar Alternate Picking Exercise: Right Hand Technique

Please watch video above for detailed info:

Hi Guys,

Today, a look at some Fripp style “Intervallic” guitar alternate picking exercise/vamps.

First, we will employ 8th notes and then extend this by adding a double timed bar moving from 8th notes to 16th notes.

EXERCISE1

In the first exercise we will perform a repetitive loop or vamp. This will start on a “Downstroke” with strict alternate picking throughout.

In regards to the fretting hand, be aware of the necessary“Pivoting” when string skipping to the F# note. It is only a small movement but it makes all the difference for a clean execution of the exercise. [see video above]

EXERCISE 2

Here we have 2 bars of music. Notice the double/repeated note B natural. This is good for control of your right hand plucking/picking technique.

This loop/vamp is great to train alternate picking repetition of notes and right and left hand synchronisation and consistency: [See video above].

EXERCISE 3:

This time we will add 16th notes to double the time and create rhythmic interst and melodic movement. This is also reminiscent of guitarist Al Di Meola’s picking technique.

Part 1-8th notes:

Part 2-16 notes [Double timing]

Variation/Extension:

In this example we move from 2 bars of 8th notes to 1 bar of 16th notes.

Right hand Guitar Technique:

If we look at the above diagram we will see that the strings are being crossed and alternate picked along a “Straight” line.

This ensures that we are always “Aligned” with the string/note that we wish to pluck.

It is not guess work but a relaxed right hand that knows where to pick along that line and hence we can pick complex patterns regardless of time and intervallic distance with confidence and clarity.

CONCLUSION:

These exercises are very good at revealing the right hand picking to the left hand fretting and creating an awareness of “Alignment” and synchronisation.

Following the straight line is so helpful as it means that we can get on with the playing of the music and not concern ourselves with anything outside of that, like “Will I play the correct note”, or “Here is the awkward bit”, etc.

Just align with the string along the straight line, pivot with the fretting hand if needed and just play.

FREE PDF DOWNLOAD:

Fripp Download

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