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.
These differ slightly as they incorporate alternate picking to chord and back to alternate picking technique.
Adding a chord [or chords] can throw some players off when alternate picking, so these exercises can be really helpful.
All of these little exercises are around the 140 bpm metronome marking.
EXERCISE 1:
In this primer exercise we will have two sets of 16th notes that then accent a D quartal chord.
This exercise starts on a Downstroke and accents the 3rd note in each 4 note grouping.
By accenting these pitches it will make picking the exercise much smoother, due to the the last 2 notes in each 4 note grouping being prepared for and hence plucked in a deliberate fashion.
Musical notation for a guitar exercise focusing on alternate picking with accents.
EXERCISE 2:
This time we will extend the previous exercise, but, start in the bar on the 2nd semiquaver.
Again, these simple concepts will affect how you pick. So, this is set as if it is for a riff or hook that is doubled up with another instrument, hence, creating a much more compositional approach.
Sheet music for alternate picking guitar exercise focusing on chord integration.
Here is the Full Exercise:
Musical notation and tablature for Exercise 3, showcasing alternate picking techniques for guitar.
EXERCISE 3:
This time we will ascend and descend.
This exercise demonstrates the different amount of notes per string.
Many, alternate picking exercises revolve around the 3 notes per string concept.
But, real music dosen’t work that way as we have – Melodies/Vamps/Hooks/Riff/UnisonInstruments-this means, there maybe 1 note on one string and 4 notes on the next string and then 2 notes on the next string and then 3 notes etc.
This exercise is tailor made for the above, as, it employs the two main music devices being that of an arpeggio and scale.
Here is the first part.
Guitar alternate picking exercise showing arpeggio, scale, and chord for varied note patterns.
The second part, starts on an Upstroke, because, we finished the last phrase on a downstroke as we plucked the chord.
Sheet music for Exercise 3, illustrating descending guitar patterns for alternate picking.
EXERCISE 4:
This exercise involves crossing over to the 1st string and back again, with different amounts per string.
So, to begin with let’s break this down into a simple 2 string exercise:
As before, notice the accents on the 3rd note in each 4 note grouping:
Detailed notation for a guitar exercise focusing on alternate picking with accents on specific notes.
Full Exercise:
Musical notation and tablature for a guitar alternate picking technique exercise, highlighting a minor third and arpeggio.
In conclusion:
These exercises are just a few ideas that are really useful when working on alternate picking guitar technique.
This is because many hooks and vamps and compositional devices don’t work on 3 note per string picking.
The great improvisers like John McLaughlin, Don Mock and Pat Martino play long fluid phrases along with weaving in and out of chords, chromaticism and implied harmony [double stops/Octaves]. So, being able to pluck odd and even groupings [or any amount of notes per string] with embellishments and chords is essential.
Hopefully, these exercises will be of some help with that.
