Polytonality - Juampy Juarez

Polytonality

Bitonal and tritonal ideas

Twenty century classical composers get tired of tonal aspect of music, so they began to start to explore new stuff like 12 tone techniques, Atonalism, and more. One of that new devices was Polytonality, it means more than one tonality at the same time. Composers like Charles Ives and Stravinsky composed and explored with this tool. In Jazz, experimental compositions and improvisations belonging to legends like Sun Ra and Ornette Coleman used widely Polytonalism. Modern piano players improvise and arrange within, thinking in Bill Carrothers and Paul Bley, also Brad Mehldau. Hope you can enjoy these ideas a lot as I did it.

The four laws of counterpoint - Juampy Juarez

The 4 laws of counterpoint:

The four laws of counterpoint are parallel counterpoint, opposite (these two are the most important the next two are variations of these) similar and oblique.
The parallel counterpoint consists of moving two voices in the same direction and maintaining the same intervals, similar is a parallel counterpoint but not always with the same intervals.
Contrary are two voices moving in the opposite direction and oblique means a fixed voice and the other moves.
In the guitar these concepts are very useful when accompanying, composing, playing alone or improvising.
Here are some examples, licks or ideas, to use the counterpoint without going too deep into the theory. The idea is to be able to use it in an improvised way, not only as pre-established or pre-arranged arrangements, which, of course, is also a valid and effective option. I recommend applying these ideas to standards, such as intros, finales or chord melodies.
Have fun!

Coltrane's Pattern - Juampy Juarez

Hello friends !
In this new lesson I leave you some ideas with the "Coltrane's Pattern", based on the intervals T 2 3 and 5, widely used by the great saxophonist in songs such as "Giant Steps" and "Countdown", among many others .
The idea of playing this pattern on the notes of the arpeggio belongs to my friend and great Colombian guitarist Byron Sanchez, thank you Byron!
I hope you enjoy it.
Hugs and forward!
Juampy Juarez, October 2017.

3 Notes Clusters - Juampy Juarez

Hello friends!
These new ideas are chord clusters of 3 notes, the chords called clusters, are formed by at least one second in its composition, be it mayor or minor. These structures may or may not have thirds. If they do not have them they are hybrids and they do not remit to the sound mayor or minor immediately. All the chords of the two examples come from my research, trying to make sound, play or see the guitar as a fully polyphonic instrument (poly in Greek means many, and phono sound).
I consider that this way of seeing or understanding the guitar has much to explore, in addition to strengthening the fields that almost always the guitarists leave aside based on playing lines: 
One, understand the guitar better; Two, greater possibilities to harmonize arrange and compose; And among many others, greater resources for self-help.
I use pick and fingers to play these examples, another possibility would be to use only fingers in the classic way. If they use only the pick they would be missing many possibilities.
I wish you good practice! And be creative that is the most important thing that art has.

Major 7 Sound Exercises - Juampy Juarez

Hello friends and students, in this new example for Guitar Theory Research Center I show you some ideas to develop polyphonic thinking, that is, think and play more than one sound at a time. Horizontal and vertical harmonic ideas must be developed, as the pdf can see. These ideas will soon be reflected in my new book "Harmonic Inventions". Thanks for spreading.

Clusters - Hard - Juampy Juarez

The "Hard" Clusters are mostly built for seconds, Hard are called because their sound is very hard.
To be more dissonant, due to the number of second, they were used by composers like Ligue, among many others, and in the Jazz by the great pianist Paul Bley, the innovative artists like Cecil Taylor associated with the Free Jazz. On the guitar they can be heard in the brilliant Allan Holdsworth, among others. It can develop on all scales and shades.
It is advisable to raise the fretboard and lower the thumb, for a more comfortable technique, since the clusters want to open the left hand a lot.

Patterns - Juampy Juarez

These patterns are based on some ideas i heard from Tim Miller and Allan Holdsworth, and my friend Byron Sanchez of Colombia pointed out to me. I adapted these patterns so that they can be used in different modes and scales, and the ultimate goal is not only technical but not touch contiguous tones. on a scale.

2 Line Walking - Juampy Juarez

The Nested Pitch Field - Juampy Juarez

This technique consists of adding to each note of the 12 having a twelve-tone series or "12 tone row " tricorder previously chosen and can be 012.013, etc. For example, if the first three notes of the twelve-tone series are C, Db, and Eb, now the phrase should read as follows: C, Db, D.
We add D and Eb to Db, and D, and  E and F to Eb.
That is, that each note of the tricorder 013 that forms the first 3 notes of the twelve-tone row, we add a full tricorder 012.
The possibilities offered by this technique are endless and of course it is a technique from music atonal.