I recently recorded some stuff on my guitar synth and was asked to explain what I was doing: I use a number of techniques that involve
chromatic stepping dodecaphonics ( Sheets of Sound for Guitar ) parallel intervallic displacement metric-meter displacement sequential forward motion odd-note-groupings, etc. Synthentic pentatonic scales (7b9, min6, Maj7#5, 7sus4) I'll discuss these in this thread or a series of threads.
For # 5:
The technique I am currently working on expanding in my own playing is a variation of side-stepping combined with sequential forward motion. Hal Galper has a video and book out about forward motion but it basically revolves around taking groupings of 4 notes but starting them on the end of the previous beat instead of right on the beat. So the 2nd note of the pattern falls on the downbeat. I have been working on taking pentatonics or triads in forward motion and applying various side stepping techniques to them.
For example, over G7
| Dmin pentatonic | Ebmin Penatonic | F#min Pentatonic | Dbmin Pentatonic |
| F | Gb | A Triad | E Triad |
i could play 8 notes of each or 4 notes of each depending on the harmonic rhythm.
I also do a variation of the forward motion where I play groupings of 5, 6 or 7 note groupings with the pentatonics and/or triads.
I have recently been trying to get more of the synthetic pentatonic scales under my fingers and I will augment the above example using the synthetic pentatonics. See also, my youtube videos on playing outside:
I transcribed the John Coltrane Tune 26-2 head as played by Ravi Coltrane on his Mad 6 album. I didn't do the intro which is in 5/4 but the head and improvisation are in 9/4 written and performed as alternating bars of 5/4 and 4/4. Here's ravi's performance And here's the lead sheet.