2 Part Counterpoint Guitar Strumming

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

CLICK SUBSCRIBE!

2 Part Counterpoint Guitar Strumming: songwriting guitar style lesson

Hi Guys,

Today, a quick look at contrapuntal 2 part guitar strumming. This involves employing contrary motion technique where 2 parts move in different directions

This is not traditional Bach counterpoint but using and exploiting what works naturally on the guitar’s traditional tuning EADGBE.

In the first exercise we will just pluck some simple 2 part voicing’s leading to a plagal cadence.

counterpoint-songwriting-guitar-lesson-example

In the next exercise we will brings out the inner voicing’s whilst strumming rhythms on all the guitar strings.

counterpoint-songwriting-guitar-lesson-example

Now, we will move up to the next three strings and strum some more patterns.

counterpoint-songwriting-guitar-lesson-example

In the following exercise you will see how easy it is to create contrary motion through the different registers with the plectrum as [simple dyads or] 2 note voicing’s.

counterpoint-songwriting-guitar-lesson-example

Now, we will move up to the first and second strings,

counterpoint-songwriting-guitar-lesson-example

Here is a chordal variation with an added pedal note:

counterpoint-songwriting-guitar-lesson-example

The next example is in G major and produces a really lovely sound that resonates on the first two strings.

counterpoint-songwriting-guitar-lesson-example

Let’s now add a G pedal: Notice the ascending [but falling] scale motifs:

counterpoint-songwriting-guitar-lesson-example

Finally, we can employ another useful technique by using a pedal note with a chord. This is not contrapuntal, but it is useful for creating a clear sense of harmony with rhythmic drive.

pedal-strumming-guitar-lesson

Here we will add a little a “Down Down Up” plucked triplet motif to break it up.

al-di-meola-triplets-arpeggio-lesson

Full Exercise:

pedal-strumming-guitar-lesson

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Indian-esque “Style” Octave Raga Strumming

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

CLICK SUBSCRIBE!

Hi Guys,

Today, a quick blog on using octaves and open strings on the guitar to create Raga style compositions.

This is not “Classical” Indian” music but a means of adding an implication and fusing western guitar strumming with the Indian scale sound.

Below, we can see the scale we will employ. This is the Lydian mode. Here we have D lydian in a Hexatonic format.

indian-guitar-strumming-octaves-raga-example

Now, instead of using single notes we will double them creating octaves.

Adding to this we will employ the open strings of the guitar as we strum to create interesting rhythms. [See video above].

indian-guitar-strumming-octaves-raga-example

We can also use quick slurs and slides to create a dynamic Indian-esque effect

indian-guitar-strumming-octaves-raga-example

Now, let’s move over to the 4th and 2nd strings and do the same thing with the lydian octaves and open guitar strings. [see video above]

indian-guitar-strumming-octaves-raga-example

Finally, we will move over to the 3rd and 1st guitar strings and do the same thing. This time creating the C lydian mode.

indian-guitar-strumming-octaves-raga-example-c-lydian

Due to the guitars tuning you will notice that we are moving up in 4ths or down in 5ths.

This works well for composing becasue it creates a strong pull in terms of movement and power that can then be manipulated by percussive rhythmic strumming on the guitar.

PDF DOWNOAD:

Modern Jazz Fusion Chords part 2. Steely Dan, Dan Chord and Slash Chords

Al Di Meola Arpeggio Guitar Picking Part

yt_logo_rgb_light

CLICK SUBSCRIBE!

Al Di Meola Arpeggio Guitar Picking Part 2

PLEASE WATCH VIDEO ABOVE FOR DETAILED ANALYSIS:

Hi Guys,

Today we will look at Al Di Meola’s approach to picking chordal arpeggios. He terms it “Chordal Picking”.

I have composed a short riff based on “Meeting of the Spirits” performed by the guitar trio.

This is deliberate in order to show how the picking patterns can be the same but interpreted differently.

In this case it is 3/4 :

al-di-meola-arpeggio-guitarpicking-lesson

Or 6/8 [or 12 3 1 2 3]

al-di-meola-arpeggio-guitarpicking-lesson

What remains the same is the picking pattern which is “Down Down Down Up Up Up”

al-di-meola-arpeggio-guitarpicking-lesson

The next part deliberately employs a different time signature of 2/4

This is just to show how easy it is to fit alternate time signatures with these chordal picking patterns:

al-di-meola-arpeggio-guitarpicking-lesson

It might sound or look complex in words and notation, but, in reality it is quite natural to play, compose with and perform.

The next part employs “Dampening”. This is just simply resting my palm on the guitar strings and plucking the rhythm.

In this case the picking pattern is our old friend “Down Down Up”

al-di-meola-arpeggio-guitarpicking-lesson

For the strumming part please watch video at the top of the page as it is easier to show visually than with diagrams or notation.

Lastly, we finish with the “Down Down Up”pattern once again:

al-di-meola-arpeggio-guitarpicking-lesson

IF THESE EXAMPLES WERE OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!