Frank Zappa Octave Displacement Composition/Improvisation Concepts
Please watch video above for detailed info:
Hi Guys,
Today, a quick look at the way Frank Zappa exploits octave displacement.
This, is a really useful compositional device especially when writing for a string quartet or stringed instruments.
EXAMPLE 1:
In this example we can see the use of the displaced octave [or Maj7th interval].
Musical notation illustrating Frank Zappa’s octave displacement used in string instrument compositions.
With further analysis, we will notice the employment of the minor 3rd interval as a means of connection and predictive avoidance.
Musical notation illustrating frank Zappa minor 3rd intervals in a compositional example.
Although, this phrase/motif descends a minor 3rd it is actually, [quite cleverly] copied up a semitone:
Musical notation illustrating Frank Zappa’s octave displacement and minor 3rd connections
FULL LINE:
Musical notation illustrating octave displacement for string instruments, highlighting the use of minor 3rd intervals.
EXAMPLE 2:
This example is the same as that found in Pat Martino’s 12 chromatic forms:
This amazing shape creates a really nice resonance/blend on the guitar. It’s also useful for various inversions and shifting positions around on the fingerboard.
Here, once again we see the exploitation of the minor 3rd interval to move and connect the shape.
Musical notation demonstrating frank Zappa’s minor 3rd interval and octave displacement
EXAMPLE 3:
This application employs everything that we have looked at so far in one short example.
Notice, the minor 3rd connection, the open string, the shape, etc. It all becomes familiar.
Example illustrating the application of minor 3rd intervals and octave displacement shape.
EXAMPLE 4:
The final example is similar in concept to our first one.
It has a motif/phrase which is connected by the minor 3rd interval, that, then copies it up a half step.
Frank Zappa illustrating the connection of phrase/motif using a minor 3rd interval, copied up a half step.
Full Example:
Frank Zappa illustrating a composition example using octave displacement and minor third intervals.
Today, a quick look at the fretting hand and fretting notes “Safely”and easily on the guitar.
This is essential to ensure a relaxed hand, relaxed elbow and relaxed shoulders that are aligned and in sync with the right alternate picking hand at uptempo BPM’s.
PART 1:
To begin with, let’s take a simple 5 noteprime number pattern and alternate pick it.
This will be done starting on an upstroke.
A guitar sheet music notation featuring a simple 5 note prime number pattern with for alternate picking.
From this simple 5 note pattern, we can move the fretting hand quickly avoiding pressure on the tendons.
Now that we have this let’s add another 3 note prime number pattern.
When these are connected togetherwe have a “Smooth” little phrase of picking and fretting in sync.
Standard music notation for a combined 5 note and 3 note alt pick pattern on guitar.
Now, let’s turn the 2 prime number patterns into “Standard” music notation – as 16ths.
Standard music notation for a 5-note prime number pattern as 16ths.
From here, let’s add a chord, so that what we have starts to become/sound like music:
Shakti/McLaughlin style alternate picking technique on guitar
PART 2: Ascending/Descending:
In this example, we will start with a chord and then comfortably play off of that chord ascending and descending into the next chord.
As you can see we have what looks like a bit of a stretch.
But, it is only a barred 2nd inversion C Major triad, with an F# note in the bass on the 4th finger.
The point here is that from that F# note we will start the alternate picking line from that 4th finger as it is already in position.
This makes it easy to do and connect to the next chord as the 1st finger will be in position to play the next chord.
Diagram illustrating the finger placements for the C/F# and D/E chords on guitar like John McLaughlin
The second part then descends nicely into the last chord of F#+7
PART 3: Ascending 5
Here, is another group of 5 + 3. Again, this is easy to fret and pick, and as before we will start on an upstroke.
The beauty of this is that when we finish the chord on the downstroke it is natural to then go into the opposite direction and descend into another chord connection.
PART 3:Sextuplets.
Finally, let’s finish with a much favoured guitar picking pattern that encapsulates 6 notes [Sextuplets]
We will employ our 5 note prime number pattern and add 1 note.
This will give us a nice and quick 6 note sextuplet pattern to execute.
Now, we will shift this up the fretboard as we repeat it.
Standard music notation for John McLaughlin/Al Di Meola style alternate picking pattern/exercise
Chords of guitarist John McLaughlin Lesson and Examples
IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Today, we will look at some more Modern Jazz Fusion Chords.
These are primarily based around a MajorTriad [played] over a different bass note: Commonly called “Slash” chords.
Here, are some essential common slash chords employed in/for reharmonisation.
PART 1:
The first chord we will investigate is the tri tone concept of C/F#.
This unique voicing creates a colourful dissonant timbre.
In this example we have a 2nd inversiontriad of C Major played over an F# bass note.
Chord diagram and tablature for the C/F# slash chord, highlighting its bright voicing and tritone
Next, we will examine the most common slash chord type.
This is the 7 Sus 4 chord. And, in this case it will be C/D. They may be played in succession or as a substitute for a dominant chord. [for example C/D instead of D7]
This type of chord is heard a lot in pop songwriting, but is also highly prominent and best known for the sequence in Herbie Hancock’s composition “Maiden Voyage”.
Maiden Voyage Herbie Hancock 7sus Chord Example
[What you will start to notice is that the Major triad has a lovely bright quality when played over a different bass note]:
Here, is the guitar voicing with a root C Major chord over a D bass.
Guitar chord diagram illustrating the C/D slash chord for modern jazz fusion.
The next chord is the classic Dominant 7th in its 3rd inversion.
Generally in Fusion these chords do not resolve and/or are played once again in succession.
For, our example we will employ a triad of D Major with it’s 7th [C] in the bass
D/C slashchord diagram illustrating voicing and finger placement for guitar.
Next up, we have one of John McLaughlin’s favourite Slash Chords.
This is an Eb triad over an E [up 1/2 step] bass. [This is also known as a13b9 that works well with the diminished scale].
Slash chord diagram illustrating the Eb triad over an E bass note by jazz guitarist John McLaughlin.
Here, we have an interesting chord that is also a favourite of the late great jazz guitarist Pat Martino.
With the open E note resonating in the bass this produces an extremely beautiful set of tone colours in one chord.
Slash chord diagram depicting Fmaj7b5/E on guitar for modern jazz fusion.
In order to create that big ethereal/dissonant sound let’s exploit John Mclaughlin’s unique nylon string guitar voicing.
This is a B Major triad over a C Bass. [This also works well with the open E string ringing out].
Slash chord diagram illustrating the B/C chord voicing for guitar, showcasing positions and finger placements.
Finally, we will manipulate another tri-tone voicing:
This will be a less bright but highly resonant sound with a root F# triad over a low G bass note.
F# triad diagram over a low G bass note for creating a slash chord
PART 2:
Okay, you might ask. What do we do with these chords?
How to we compose with them?
Re- harmonise with them?
Actually use them?
Well, firstly, lets take a basic/common chord sequence like,
iii Vi ii V7 I
Slash chord modern fusion substitutions and reharmonisation
For the first chord we will employ a C6/9, but, we will only use the E A D G tones and create a “Quartal” sound.
From here we will move a tri-tone away from the Am7 chord and employ an Eb triad. We will still establish the dominant in the bass by employing the 5th note of Am7, [the note E] hence we have Eb/E.
For chord ii [Dm7] we will have a C triad over an F bass note acting as a First inversion Dm7 chord. [You could also think of this as having an added 9th and 11th]
The dominant chord will now have the dominant root in the bass with a Db Major triad, [a flat 5th/tri-toneaway] on top in the treble.
This then returns to the CMaj 6/9 tonic chord
Below is another example:
Notice, the reharmonisation and how the basic chords are exploited with colourful slash chords.
Example of reharmonisation using colorful slash chords in a blues 12-bar structure.
THE BLUES
To complete this, let’s put them into a blues 12 bar structure [turn around] so that you can clearly see how to create composition from them:
Blues chart example showcasing slash chord substitutions and harmonic rhythm in a 12-bar structure.
From the above chart notice that the first 4 bars are more of a long drawn out affair in the tonic key. Next, this is repeated in a similar fashion [or a variation] with chord IV of the key.
But, in the last four bars we exploit the harmonic rhythm to create drama and turn the music around.
A blues chart showcasing various slash chord progressions, highlighting ii, V7, iii, and Vi patterns.
BLUES CHART: Example,
Blues chart example showcasing substitutions and slash chord progressions.
