Pattern transposition (part 2)

 Hi !

Today I'm getting back to pattern transposition and focus more on cool material that can be applied directly in a warmup situation or strict practicing sessions.

I've written a 9-bar phrase that can be broken down into 6 sequences. Each sequence can be view as an exercice on its own. This approach is inspired by the great Pat Metheny practicing book "Guitar Etudes".

This entry is about technical practicing with harmonic material such as chromatisms and arpeggios. Each element is transposed in intervals (2nd, 3rd, #4th).

Each separate element should be transposed and practiced in all neck areas.

( fig 1. ) is a chromatic lick is inspired by the great Mick Stern. A motive of 8 notes based on Bm starts with the 9th and the 11th and ends with chromatism. Then the motive is transposed in descending #4th cycles. B --> F --> B --> F, etc...

( fig 2. ) The pattern is based on major triads (Eb starting on the 3rd) transposed in 2nds. The transposed motive in Db is approached by a wide interval (sixth) to give an "open" sound. Eb --> Db

( fig 3. ) The pattern is a major 7th arpeggio with superstructure (9 and 13) that begins on the third. The transposition is in 2nds from G to A.

( fig 4. ) This pattern is based on Bm aeolian mode (Bmb6 sounds) and an augmented triad that starts on the b6. Then the motive is transposed in 2nd intervals. Basically, this is a pattern applied on B whole-tone scale

( fig 5. ) The pattern is a major 7th arpeggio with diatonic 4ths. The pattern is in F then transposed in descending 3rds (Db).

( fig 6. ) has an approach similar to ( fig 3. ). This is a major 7th arpeggios with super structure (9, #11, 13) transposed in 2nds. Basically, this is BMaj7(9/#11) made of BbMaj7 and Am7 arpeggios.
The C motive ends with a E triad to come up with CMaj7 #5/#11 sound.

Enjoy it!

Jean-François

www.soubelet.com