Full Lesons Good Ideas

8/12/2019 Full Lesons Good Ideas

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Tertian ArpegiosWhen a chords tones are stacked in thirds, the chord is said to be in "tertian order". In otherwords, if you have a Cmajor13 chord (which contains all the notes of a C major scale: C, D, E, F, G, A, B and C) andthe order of the notesfrom low to high is C, E, G, B, D, F and A, that C major13 chord is in tertian order. This chordis pictured below.Similarly, if you order the notes of a C minor11(b13) chord C, Eb, G, Bb, D, F and Ab, thatchord is in tertian order.This chord is pictured next to the major13 chord below.

Since there are only 6 strings on the guitar (well, on the standard guitar) there is no way to playa complete 13 chordof any kind. However, if we arpeggiate the chord tones, we can convey the sound of a tertiansonority. Below is thetertian arpeggio for a C major13 chord. The most efficient way to play this is most likely bysweeping it. The symbolsabove the notes represent picking directions. The symbol that looks like a "V" represents anupstroke while thesymbol that looks a little like a staple represents a down stroke. The two up-strokes in a row

might be awkward forsome. If it is, just pull-off from the last note of the arpeggio to the first note and pick the rest ofthe exercise asnotated.



By flatting all the E's, A's and B's in the major version, you have the tertian arpeggio for anatural minor scale, thecomplete chord being a C minor11(b13). The technique is the same as the major version.

Now that you've got the basic major and minor tertian sonorities down, let's apply it to the other5 modes of the majorscale. Since you already know the major and minor patterns, altering them to convey thesound of another mode

should be easy. For example, to change the major (Ionian) arpeggio to the Mixolydian tertianarpeggio, just flat the 4thnote of the major arpeggio (the 7th note in the major scale). If you want to change the minortertian arpeggio to theDorian arpeggio, simply sharp the 6th note in the arpeggio (the 13th note in the scale). Belowis a sequence that goesthrough all 7 modes diatonically starting and ending with the C major tertian arpeggio.



Most guitarists are familiar with legato playing on guitar (i.e. hammer-ons and pull-offs). Whatmost guitarists aren'tfamiliar with is playing long lines that span all six strings without ever picking a singlenote. This is the technique thatwe'll focus on in this lesson. The example below is a 3 note per string sequence in Eminor. Since all the notes in the

exercise are played legato, the important thing to pay attention to is hammering on to the firstnote of each string hardenough that those notes are the same volume as the rest of the notes in the exercise. Forthose of you who aren'tfamiliar with this kind of idea, muting is essential. To do this without strings ringing out, theflesh of you left hand (frethand) index finger must mute all of the strings above the one you're playing on while the palmof you right hand (pickhand) mutes the string below the one you're playing on. For example, while you're playing thenotes on the 3rd string,your left hand index finger is muting strings 1 and 2 while your right hand palm is muting strings4, 5 and 6. Remember,once you get the run down in E minor, don't forget to transpose it to the other 11 keys.

Now let's try the descending version of this pattern. You'll probably notice that it's much harder

to pull-off than it is tohammer-on, so go slow, make sure every note is precise and make sure no strings are ringingout.

Now that you've got the ascending and descending versions down, it's time to connectthem. This is prettyself-explanatory. The thing to watch out for is keeping the notes on the top and bottom stringsat the same tempo asthe notes on the middle strings.



Now that you've got the basic idea, try this concept in all positions on the neck, in all thedifferent scales you knowand in all the possible permutations you can think of (Like string-skipping, for example).

Tapping arpeggios

This exercise provides a creative way to play arpeggios in a triplet kind of feel. None of the

notes in this pattern are

to be picked, which means there are going to be a lot of hammer-ons and pull-offs. The basic

pattern used

throughout is going to be a hammer-on followed by a tap which is then followed by a pull-

off. Those three

articulations are what form the triplet feel. The circled "T's" in the written example are to be

tapped with the ring finger

of your right hand while the uncircled "T's" are to be tapped with your right hand middle

finger. The pattern on the

first two strings is going to be the exact same pattern as the middle two and top two strings, so

once you've got the

first two strings down, it's just a matter of shifting that pattern up the fret board for the

remaining strings. Try it out.



To change this pattern to a minor arpeggio, all you have to do is flat all the E's in the majorexample. The techniqueis going to be the same.

Now that you've got the basic major and minor arpeggios down, expand the concept as far asyou can. Try tapping



out chord progressions, try doing diminished and augmented version of the pattern, figure out away to use thisconcept on 7th chords, etc. The sky's the limit.

legato

A first glance at this sequence might tell you that it is very difficult. However, it is not. Let'sbreak it down. The entireascending pattern is based around the figure below. The first 3 notes go right up the B Lydianscale and are followedby a 6 note pattern on the 5th string. The pattern goes back down the scale and repeatsitself. Try this out a few timesuntil you can play it starting on any fret of the 6th string. Like with the first legato lesson, nonotes are picked, andwatch your muting.

Now try the entire sequence. The descending version is a combination of the 6 note sequenceon 5th string of theabove example and a bunch of strait up and down patterns. Try to find out the patternyourself. I'm sure you'll havemuch more success decoding the sequence yourself than if I try to describe it in any moredetail than I already have.Be sure to warm up before attempting this at high speeds.



As with the other examples, I encourage you to take this basic idea and expand it to includeyour style. Try usingdifferent scales, playing in all keys, just playing on the middle strings, just playing the idea onthe top and bottom stringsonly, etc, etc....

It was Shawn Lane who enlightened me to the idea of separating hammer-ons and pull-offs. Usually, guitarists linkhammer-ons and pull-offs together. However, it is possible to play lines that only incorporatehammer-ons or onlyincorporate pull-offs. Below is a line in the D pentatonic minor scale that only uses pull-offs. Basically, every note ispicked in these groupings of sixes except for the second of six notes and the sixth noteitself. Try the line out andyou'll see it's actually very easy to play.

Now for the ascending version. The same rules apply for this version except that we are onlygoing to usehammer-ons.

Quintal ideaIn this lesson, I'd like to focus on one way to use quintal harmonies in a melodic way on theguitar. What is a quintalharmony? Basically, It's a series of 5ths stacked on top of a root note. This is depicted on theright side of the staff onthe picture below. With the root note C, the next note on top of that would be G, a perfect 5thhigher. On top of that



note is D, a perfect 5th higher than G, then A above that, etc., etc. Because of the number ofstrings on the standardguitar, we'll only be working with a 6 note quintal idea, but you may certainly devise ways toarranger quintal ideas withmore or less than 6 notes. The harmony conveyed by this idea is that of a Major scale or thatof a Lydian scale. By

collapsing the notes into a tertian sonority (Seen on the left side of the staff below), you cansee a C Major scale withoutthe 4th note, F. It can also be seen as a C Lydian scale without the #4, F#.

To play this idea, there will be multiple cases of one note being played twice in a row but with adifferent finger of the lefthand each time. For instance, the note G is fretted with the left hand ring finger the first time itis played, then with theindex finger of the left hand immediately after that. Without these seemingly awkwardfingerings, there would be no wayto execute a melodic idea of this type and range on the guitar. The exact fingerings of every

note are written below thetab.



Now, take this idea and expand on it. Create a quintal idea that has more or less than sixnotes. Find out where thiskind of idea can be theoretically and musically. Repeat each note 3, 4 ,5 or more times. Getcrazy!

Cuartal

After posting the lesson on the Quintal idea, I thought, why not do a lesson on a Quartalidea? So here it is. I thought Iwould go with the idea of repeating notes as in the Quintal lesson. This pattern is a little morecomplex. To start out,let's take a look at what this 7 note Quartal idea looks like on a staff in both the collapsed form(below left) and Quartallyspaced form (below right). By starting this pattern on the note C, we have all the notes of a DbMajor scale. In relationto the note C, these notes form a C Locrian scale.

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