Musical Resources for the Improvising Music Therapist: Middle Eastern Idiom for Guitar

GUITAR TECHNIQUES IN A MIDDLE EASTERN  IDIOM

LOOKING AT THE SCALE BASED on D Major

• This particular Middle Eastern Idiom is based on a major scale (D, Eb, F#, G, A, Bb, C#, D)
• Based on a major scale with the 2^{nd (E-Eb)} and 6^{th (B-Bb)} degrees lowered a ½ step
• Triads: I Major, II Major, iii minor, iv minor, V7 b5^th, VI Major, vii min- 3^rd double flatted and minor 5^th
• Highlights: Minor 2^nd, leap between 6^th and 7^th degree and I and II chords are both Major
• I and II chords create the tensions and “pull” between the harmonies

FINDING THE SCALE

• Begin by playing the scale on 1 string only while singing
• Play the scale (1 octave) starting with 1^st finger on D (5^th string/5^th fret), 2^nd finger on Eb (5^th string/6^th fret), stretching the 4^th finger to F# (5^th string/9^th fret), 1^st finger on G (4^th (string/5^th fret), 3^rd finger on A (4^th string/7^th fret), 4^th finger on Bb (4^th string/8^th fret), 2^nd finger on C# (3^rd string/6^th fret), and 3^rd finger on D (3^rd string/7^th fret)
• Over emphasized vibrato while playing the scale on each note is recommended. So dig in! (using vibrato is an important characteristic of the guitar, and can bring the notes and melodies to life!)

 BASIC GUITAR ACCOMPANIMENT

• Utilizing the I and II chords (both Major) beginning with the open string D major chord, and sliding (same finger position) up 1 fret making an Eb Major chord
• Utilizing the I and II chords (D and Eb) using 5^th string root bar chords, or 6^th string Root Bar chords
• Tuning the low E string down to D to be used as a pedal
• The first 3 strings beginning with low E (tuned downed to D) are now D, A, and D can be used as a drone
• Utilizing the 3 low strings as pedals while playing a melody on the G string (#rd string) beginning on the 7^th fret (D) (locate the entire scale on the G string beginning on D)
• Using octaves: Finding D on the 5^th fret of the 5^th string (A string) with 1^st  finger, and locating the octave on the 7^th fret of the 3^rd string (G string) using the 3^rd finger

ATTACKING THE STRINGS

• Experimenting with different strumming patterns while singing within the scale
• Experimenting with arpeggios within the chords while singing within the scale
• Experimenting with “choppy,” detached playing and continuous strumming that creates a “wall of sound”
• Experimenting with 2 string chord “clashes” (dissonance)
• Muffling the bass notes of the chord with the right hand while playing
• Experimenting with down up picking, tremolo picking

Are you interested in expanding your knowledge regarding improvising and developing musical frameworks based on styles and idioms? If so, come join us on August 1st and 2nd at Molloy College.

Are you interested in creating a range of musical frameworks for your clients in order to target specific musical repsonses? If so, come join us on August 1st and 2nd at Molloy College.

This excerpt is taken from the “Orchestrating Affective Relationships” (OAR) Training Module: Music Therapy and Neurodevelopmental Disorders of Relating & Communicating. Copyright © 2009 John Carpente. All rights reserved