Here is the TAB/Notation for the “String Skipping” exercise in the style of guitar great Robert Fripp.
This 12 tone concept was taken from the brilliant 12 chromatic forms of jazz great Pat Martino.
EXERCISE– Analysis:
I am staring this little etude/exercise on an “Up” stroke with alternate picking guitar technique.
As an example here is the first part:
The key to be aware of, is the exploitation of “Octave displacement”. This creates unique harmonies and S.A.T [B] style lines.
As you can see, in the diagram above this is just the chromatic scale, but, moving/resolving through the different registers.
This octave displacement technique, offers us a way to create/extract interesting colourful music from the chromatic scale, whilst, keeping us far away from one string banality.
Although, there is octave displacement, there is also some basic scale parts to link it all together:
I am starting both of these scale fragments on an“Up” stroke with strict alternate picking once again:
Also, the last part descends back into the chromatic scale to tie the [Composition] etude back together and give clarity to the ear, and let it know that we are still in an atonal chromatic form.
Today a look at Messiaen’s first mode of limited transposition:
MODE 1
This is the Whole tone scale and has two transpositions and one mode. It is a “Hexatonic” scale that has a dreamy, enigmatic air to it due to lack of resolution as all of the tones are the same distance apart.
Creating an Etude from Messiaen’s Mode 1
The goal of this blog post is to create something interesting out of this scale.
So, here is my little Etude: I am basing this on the style of Robert Fripp [Plectrum guitar technique] and Olivier Messiaen’s compositional approach.
Here is the first bar: This employs a Fripp-esque repetitive picking “Riff”
From here, let’s make a smooth transition with an ascending whole tone scale:
Now, let’s employ some 20c Classical Messiaen style “Intervallic” movement to complete the phrase:
From here, we will descend with the whole tone scale and connect it to the augmented arpeggio:
Let’s now return to and exploit our intervallic movement as we ascend the guitar fingerboard:
Finally, let’s finish with some string skipping whole tone scale and a couple of plucks up high:
IN CONCLUSION
This was just an example of playing around with musical concepts and creating something colourful and interesting from Messiaen’s Mode 1.
Although, this is only a six note scale it has plenty to offer due to it’s non resolving/non diatonic nature. It works really well for riffs, motifs and hooks and really draws the listeners ear in. Even when used sparingly it can really add colour and texture to a composition [or part of] .
Pat Martino Intervallic Studies: Un-Published Book Lesson
PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:
Hi Guys!
Guitarist Mark Koch one of Pat’s students kindly sent me a copy of Pat’s un-published book on “Intervallic studies“.
It’s a fascinating look at the imaginative thought process and creative concepts that Pat was investigating for the development of the improvising guitarist.
Also, it’s a real eye opener for the development of scale applications and creating fresh lines form nearly every scale imaginable. This book has around 294 examples.
INTERVALLIC STUDY #1 “Whole Tone Scale”
In this first example we will look at the “Whole Tone Scale” Study:
From a music theory perspective if we take away the intervallic approach and place the notes in order we will get a whole tone scale ascending followed by a whole tone scale descending:
Now, we will put them back into the “Disguised” form with the clever approach of the intervallic design:
The key to playing these studies on the guitar is to decide on a methodical fingering and stick to it. [Below=Pat’s Fingering]
Also, it’s a really good idea to play in a staccato manner because there is a tendency for the open strings to resonate sympathetically with the string that has just been plucked.
I am employing strict alternate picking for this study starting on an upstroke:
FULL INTERVALLIC STUDY:
Same Study: From Pat’s book with fingering examples:
INTERVALLIC STUDY #2 “Pentatonic Scale”
Now we will look at how Pat breathes life into the pentatonic scale:
As before we will take this from a music theory perspective and remove the intervallic approach:
Here, we again find the same principle as the previous example. But, this time we have the Pentatonic scales ascending and descending:
Now, let’s disguise this with the use of intervallic exploitation and alternate picking starting on a “Downstroke”:
Same Study from Pat’s unpublished book:
INTERVALLIC STUDY APPLICATION with the “Chromatic Scale”
Finally, we will employ these intervallic concepts through a iim7b5 V7 i cadence.
Once again, we see the intervallic set up:
Now, let’s employ our music theory and place the intervallic notes in order. Here we find that we have the exploitation of the chromatic scale.
This clever approach is really effective because in the second bar beats 2 and 3 we have a literal chromatic scale that then anticipates the coming minor tonic chord of Em with an Em arpeggio.
Full Example:
In Conclusion:
This was just a quick look at the creative thought process and unique approach of Pat Martino, resulting in the application of this material into a minor iim7b5 V7 i improvised line to hear how they work and sound.
This approach to scales and improvising [and composing] with them is highly original and extremely useful when there is a need to bust out of cliches and seek colour and creativity in our playing.
