Tags: music theory

At the start of each week, focus on Space and Silence + Broken Chords. By the end, experiment with Drone + Melody or Less is More during the simulated performance day.

Frisell-Style Phrasing for Scales

1. Space and Silence
   • Play 2–3 notes, then pause for 2 full beats.
     
   • Let the silence feel like part of the phrase.
2. Broken Chords
   • Instead of running the scale, outline small fragments (C–E–G or A–C–E).
     
   • Let notes ring into each other.
3. Double-Stops
   • Add simple dyads (two notes together) from within the scale:
     
   • 5th fret G + 5th fret B
     
   • 7th fret D + 7th fret G
4. Wide Intervals
   • Skip strings while ascending (e.g., A string → G string → E string).
     
   • Creates a spacious, open sound.
5. Dynamic Swells
   • Play a single note quietly → gradually swell in volume.
     
   • Works beautifully with sustained scale tones.
6. Slides and Ghost Notes
   • Slide between scale tones instead of picking each one.
     
   • Add muted “ghost plucks” for texture.
7. Drone + Melody
   • Hold a low C or A as a drone.
     
   • Play short scale ideas on top, almost like a conversation.
8. Less is More
   • Restrict yourself to 3 notes from the scale.
     
   • Find variation through rhythm, space, and tone.

Dyads

A dyad is simply two notes played together. Unlike a full chord (which usually has 3 or more distinct notes), a dyad can be seen as the “essence” of a chord. On guitar, dyads are often used to outline harmony without playing full chords.

1. They simplify harmony → you capture the sound of a chord with just 2 notes.
2. They’re easier to move around → great for rhythm, riffs, or fills.
3. They highlight essential intervals:
   1. 3rds & 6ths → define major/minor quality.
   2. 5ths (power chords) → strong, open sound.
   3. 4ths & 7ths → more modern, suspended sounds.

Dyads on Guitar

1. Power Dyads (root + 5th)
   
   1. Example: E5 = E (open 6th string) + B (2nd fret 5th string).
   2. Used in rock/metal for their strength and neutrality (neither major nor minor).
2. 3rd Dyads (root + 3rd)
   1. Define major/minor tonality.
   2. Ex: C + E (major 3rd), C + Eb (minor 3rd).
3. 6th Dyads (root + 6th)
   1. Inversions of 3rds, very sweet and melodic (common in country, jazz, soul).
   2. Ex: C + A. 4.
4. 4th Dyads (root + 4th)
   1. Neutral, open sound (used in modal and jazz contexts).
   2. Ex: C + F.

Power dyad (5th)

e|---
B|---
G|---
D|-2A|-2E|-0E5

Major 3rd dyad (C + E)

e|---
B|---
G|-0D|-2A|-3E|---
   C major flavor

6th dyad (C + A)

e|---
B|-5G|-5D|---
A|---
E|---
   Sweet "soul/jazz" sound