Modern Music Theory Improvisation and Application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
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Today, a “Quirky” Fripp-esque/Crimson-esque guitar picking exercise.
Here is the first part:
As you can see this is very intervallic and as Robert Fripp might call it, “Finickity” picking pattern.
GUITAR TECHNIQUES:
Alternate picking starting on an upstroke works really:
Also, the pattern “Down Down Down Up” works well: [with a short amount of alternate picking on the C B E notes in the bass]
Moving on from this we have chromatic movement: So from here on in we employ strict alternate picking starting on an “Upstroke”:
In this next phrase we have a contrapuntal effect with arpeggio and scale movement put to good use.
We finish the first part with more descending chromatic movement with the last line imitating the phrase before it.
2nd Part “Chordal”
In the 2nd part we exploit whole tone scale movement:
We will decorate this by employing 4ths:
Now we will dismantle the whole tone scale by making a chordal quartal melody and strum this up a semitone and back to create a colourful sound:
This is then repeated up in Major thirds.
Up another Major third:
Finally we descend from the 12th fret with this little motif:
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Hi Guys,
Today, a quick look at using groups of 6 notes for double timing in Jazz/Fusion.
Although these are sextuplets I am using them as a double timing musical tool and hence thinking of them slightly differently. This is because I am using a tempo marking of 100Bpm.
Why would I do this?
The reason being – Around this tempo demisemiquavers or 32nd notes might be too quick to play and offset the rhythm too much:
and 16th notes [tetrachords] may be too draggy and not pushy enough.
So, grouping 6 notes together over [1 crotchet] or 1 quarter note works really well rhythmically for clear cut phrasing. This is the sort of thing Al Di Meola or John McLaughlin would do.
You can count this how you want. Below are some common examples.
In order to get forward momentum and shift the grouping along it is a really good idea to “Accent” the third note in each six note grouping: This also gives you a reference point and avoids muddying the groupings of notes.
EXERCISE 1:
Here is the first exercise starting on a down stroke with strict alternate picking:
EXERCISE 2:
In the next exercise the second part goes the other way on the guitar fingerboard.
EXERCISE 3: EXTENDED LONG LINE:
This is an extended exercise with strict alternate picking : Remember to count the groupings as you play to begin with so that you internalise them.
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