FRETBOARD FLUENCY
Martin Goulding continues his series with a look at the Aeolian mode in 5ths and 6ths.
The 10th part in our series follows on from our last lesson, where we worked through a multiple element ‘master exercise’ in E Aeolian, and with the associated chord, scale, arpeggio and intervallic pattern in 3rds and 4ths arranged in positions 1 and 4. This month we’ll revisit the same idea using 5ths and 6ths. In order to develop both legato and alternate picking approaches to scale and arpeggio playing in tandem, this month we’ll practice the Aeolian mode using a legato approach, with the minor 7 arpeggio executed using the sweeping technique in combination with hammer-ons and pull-offs. All intervallic patterns will be played as usual using alternate picking starting on a downstroke.
Playing through the scale using intervals of 5ths and 6ths may be challenging at first, so start by breaking each example down two beats at a time and work on memorising each four-note ‘fragment’ before moving on. Pay particular attention to the recommended fingerings as well as the direction of the pick strokes, which form the basis of the technique. As with all exercise routines, shake out the hands and arms as soon as you feel the onset of any tension or fatigue.
In the third part of the lesson, we’ll continue developing our recognition of the strongest intervals in the scale – the chord tones, or in this case the notes of the minor 7 b3rd, b7th arpeggio (root, 5th and degrees). We’ll do this by looking at two different approaches which use chromatic enclosures to heighten tension and direct the listener’s ear towards the target root and 5th degrees on the main downbeats. These examples will help to consolidate our visualisation of the key intervals contained within the Aeolian mode, as well as developing a new vocabulary of jazz inspired lines which we can use alongside our existing Aeolian ideas when improvising.
The key to using tension and resolution successfully is in the timing and placement of the line, with the ‘outside’ notes placed on the weaker upbeats and the target chord tones played on the main downbeats – 1 and 3. The picking-hand technique is based around legato playing with the pick following the conventions of economy picking when crossing strings, and with additional accents on the ‘ands’ of beats 3 and 4 for a jazzy, upbeat feel. Once developed, this technique offers speed and fluidity and is a common approach for many jazz and rock-fusion players. Once memorised, practise over the backing track supplied. As soon as you are comfortable playing the examples as eighth notes, try breaking them down into separate one-to-two-bar licks and developing them as 16th-note phrases, where they can be more easily integrated with your existing minor vocabulary when improvising.
NEXT MONTH Martin looks at more fretboard navigations, introducing Locrian mode