GUERRILLA TACTICS FOR GUITAR IMPROVISATION A Non-Jazz Oriented Approach
WHY GUITAR IMPROVISATION? The guitar s fretboard presents some unique problems because of its tuning disposition. The work offers deep insight to understand its logic Although some examples can be applied to any instrument, a lot of them apply to the guitar exclusively
WHY A NON-JAZZ APPROACH? Improvisation is a part of contemporary music itself. Unfortunately most information on this topic is aimed towards playing jazz exclusively. I want to contribute new material that is relevant for guitar players who are not interested in jazz
GUERRILLA TACTICS? A catchy name for the project s diverse ideas to develop practice routines for improvising
METHODOLOGY: GUERRILLA TACTICS A complex task can be divided into small steps to overcome its difficulty In general terms the strategies focus on isolating a simple musical element to work on it The reader designs his/her own learning route, the ideas given don t follow a particular order necessarily
LITERATURE AS INSPIRATION Music! Melancholic nourishment for those of us who live from love - Julio Cortázar -
CONSTRUCTIVISM AS A FOUNDATION We generate knowledge and meaning through an interaction between our experiences and ideas Knowledge should not be divided into different subjects, it should be discovered as an integrated whole (McMahon,1997) The learners should be actively involved in their process to better construct their understanding. (Von Glaserfeld, 1989) The instructor and the content s role as facilitators. (Gamoran, Secada, & Marrett, 1998)
THE PROJECT S CONTENT The project is designed for guitar players of an intermediate level or higher with a knowledge of basic harmonic concepts It will have three main sections: The Basics, Guerrilla Tactics and an Appendix It will also include a recording of full-band backing tracks to practice the Guerrilla Tactics
SHAPING THE TOOLS The work s main objective is to be simple and easy to understand. All examples will be in A- or C All backing tracks are at 92 bpm Usage of Berklee s notation It is intended to be used in any order after The Basics chapter Small chapters, focusing on a particular strategy
SECTION 1 THE BASICS
THE BASICS This section focuses on visualising chord and scale shapes on the fretboard and understanding how they are related To explain the horizontal fretboard logic (across frets) the CAGED system will be used To explain the vertical fretboard logic (across the strings), I ll use Jon Finn s Warp Refraction Threshold
THE BASICS CAGED SYSTEM Uses five basic open position triads: C, A, G, E and D as a starting point to visualize the fretboard The diamonds represent the root of each triad
THE BASICS CAGED SYSTEM If we relate those shapes to a single key (C in this case)the fretboard will be divided in five sectors
THE BASICS CAGED SYSTEM The next step is to relate those shapes to the major scale located within them C Major triad and Scale using the C shape:
THE BASICS CAGED SYSTEM C Major triad and Scale using the A shape: Note that the scale uses some notes one fret below the triad shape, this is to ensure positional playing
THE BASICS CAGED SYSTEM This system helps players to play in different keys because the shapes are movable Eb Major triad and Scale using the A shape:
THE BASICS CAGED SYSTEM The system can be applied to any chord or scale C minor triad and Scale using the G shape:
THE BASICS CAGED SYSTEM C chords (including 7ths) using the E Shape: C Maj7 C -7 C 7 C -7(b5)
THE BASICS JON FINN S WARP REFRACTION THRESHOLD The guitar strings are tuned a Perfect fourth above when crossing from low to high strings Except when you cross from the 3rd to the 2nd string, which are a Major third apart This difference creates a lot of confusion for many players
THE BASICS JON FINN S WARP REFRACTION THRESHOLD This tuning issue creates two different universes (as Jon calls them) coexisting in the fretboard: 6-3 string groups and 2-1string groups The crossing point between them is called The Warp Refraction Threshold
THE BASICS JON FINN S WARP REFRACTION THRESHOLD The fretboard works just like in the light reflection experiment with a pencil and a glass of water The object of the refraction looks twisted but it hasn't changed at all. It s an optical illusion.
THE BASICS JON FINN S WARP REFRACTION THRESHOLD Notice how the 5ths look different when crossing the threshold The reasoning is that the half step (or one fret) difference of tuning is compensated in the guitar by adding a fret in between shapes
THE BASICS JON FINN S WARP REFRACTION THRESHOLD WRT can be applied to scales as well 3 notes per string Mixolydian Scale with WRT 3 notes per string Mixolydian Scale without WRT
THE BASICS JON FINN S WARP REFRACTION THRESHOLD This system explains the vertical logic of the fretboard The purpose of Finn s methodology is to visualize the original shapes as they were originally The WRT makes learning scales a lot easier, only one pattern must be learned and then it is easily adapted
THE BASICS PUTTING IT ALL TOGETHER (MY CONTRIBUTION) Major Shape triads and how they look across the fretboard (Note they represent the G, C and E shapes) The same G shape without WRT. The relationship between CAGED shapes is evident
THE BASICS PUTTING IT ALL TOGETHER (MY CONTRIBUTION) An E shape evolves into A and then D shapes If we understand the WRT learning one chord shape is enough to adapt it anywhere on the neck
SECTION 1I GUERRILLA TACTICS
GUERRILLA TACTICS Guerrilla Tactics implies this section is designed to be used in any order It s a compilation of lessons learned from books (Hal Crook, Jamey Aebersold, etc) as well as from private teachers The focus varies in each chapter: some will require isolating a specific musical device, others will suggest playing scales or arpeggios in a certain way, etc
GUERRILLA TACTICS The tactics will be organised into: Melodic Tactics Rhythmic Tactics Harmonic Tactics Pentatonic Tactics Guitar specific Tactics
GUERRILLA TACTICS MELODIC TACTICS EXAMPLE Developing sequences: The notes of a scale are assigned a number according to its number of notes (C=1, D=2, etc)
GUERRILLA TACTICS MELODIC TACTICS EXAMPLE A numerical sequence of 2-5 notes is created and then repeated on the next scale tone 1234 sequence (notice how the 4 note pattern repeats exactly but on each following note)
GUERRILLA TACTICS MELODIC TACTICS EXAMPLE Interesting patterns are formed by using more complex sequences To make things sound non mechanical a nice device is to use the patterns in rhythmic groups of different subdivision 1235 sequence (4 notes) played in triplets (3 note groupings)
GUERRILLA TACTICS RHYTHMIC TACTICS EXAMPLE Stealing rhythmic ideas from songs: 1st Step: Take any melody from any song (for example Jingle Bells ) 2nd Step: Dissect it into its rhythmic essence only
GUERRILLA TACTICS RHYTHMIC TACTICS EXAMPLE Use that rhythmic idea as your improvisation s core By sticking strictly to this we are forced to play more concrete musical ideas
GUERRILLA TACTICS HARMONIC TACTICS EXAMPLE Triad Pairs within Altered Scales: Any melodic minor scale has two major triads located a whole step apart in its 4th and 5th degrees Therefore an altered scale will have them in their #11 and #5 degrees This triads contain 6 notes from the scale, while spelling out a characteristic sound of their own
GUERRILLA TACTICS HARMONIC TACTICS EXAMPLE The triad pairs in this example would be Bb and C
GUERRILLA TACTICS HARMONIC TACTICS EXAMPLE Triad pairs are a great jumpstart device for interesting lines like this one: If you want an extra fingerboard workout, try playing your triad pairs lines horizontally, as well as with positional playing
GUERRILLA TACTICS PENTATONIC TACTICS EXAMPLE Creating new pentatonics for altered sounds: An altered chord contains a minor pentatonic scale located a minor third above the root (on another chapter or tactic) Another approach is to change a note in a pentatonic scale to create new sounds
GUERRILLA TACTICS PENTATONIC TACTICS EXAMPLE Knowledge and understanding of the CAGED system as well as the WRT is crucial to switch scale shapes on the fly Let s take for example an minor pentatonic scale and lower its 5th
GUERRILLA TACTICS PENTATONIC TACTICS EXAMPLE For comparative purposes the pentatonic b5 shape shared the same root as the shape where it came from But actually this scale spells an altered sound when played a whole step below the root of the altered chord Notice the roots are spelled with an X. This is because they are not played in the scale
GUERRILLA TACTICS GUITAR SPECIFIC TACTICS EXAMPLE 2-1 Scales: The basic idea is very simple: play 2 notes on a string and only 1 on the next one, then repeat This is a very guitaristic approach that creates quite unique sounds: unpredictable, like a cross between an arpeggio, an scale and a pentatonic
GUERRILLA TACTICS GUITAR SPECIFIC TACTICS EXAMPLE A minor in three notes per string fingering A minor with 2-1 concept applied
GUERRILLA TACTICS GUITAR SPECIFIC TACTICS EXAMPLE 2-1 Scale Patterns should be treated as a separate scale rather than just a gimmick to squeeze out the most of them Written version of the previous example Sequenced lick using that pattern
GUERRILLA TACTICS MIXING THE TACTICS EXAMPLE The tactics can be mixed between them! 1-2 scale 1234 pattern applied to the 1-2 scale
SECTION III APPENDIX
APPENDIX Contains a brief explanation of harmonic concepts used throughout (modal interchange for example) It s meant to be a quick reference, not a harmony book. Further reading is suggested If necessary (or possible) a suggested listening guide will be included here as well
APPENDIX Accompanying disk: Improvisation is a skill that can only be improved with a hands-on approach Using Berklee Valencia s facilities, an accompanying CD was recorded (12 tracks) to provide a context in which the book s concepts can be applied It features full-band backing tracks, focusing on specific features like one chord vamps or chordal resolutions
APPENDIX Accompanying disk: The examples were recorded in a variety of musical styles (reggae, funk, blues, rock, latin, etc) All tracks were recorded at 92 bpm (as Hal Crook suggests) They don t last more than three minutes (as Mick Goodrick suggests)
APPENDIX Accompanying disk: (Medium Swing) Resolving altered chords David Villarreal Example of one of the backing tracks
Working within the limits of the medium forces us to change our own limits. Improvisation is not breaking with forms and limitations just to be free', but using them as the very means of transcending ourselves. Stephen Nachmanovitch- (Free Play: Improvisation in Life and Art)
THANKS FOR LISTENING David Villarreal Masters in Contemporary Performance Candidate!