steve khan - chord khancepts

7/22/2019 Steve Khan - Chord Khancepts

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ChordHANCEPTSRTgt|sHEDvMnmnrrat Muslc, lNc.rM@79Xt MANHATTAN MUSIC, NC.rM

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a e onteIntroductionUnit Superimpositionf he imT nUZChordsUnit TriadsUnit GuideoneserivationUnit EluesUnit RhythmndBlues/GospelhordalApproachq il 6 Harmonyuilt crossheStringsUnit iimT-V7-17-Vl7ver PedalUnit ModesnGhordseferenceUnit Chordaltudy erivedrom LinearxerciseUnit 0GhoosingStyleUnil 1McGoyynereft-HandUle iano oicingsUnit12 Ghord onessMelodiesUnit 3Gadencepproachhroughpperndower {eighborcUnit 4GontemporaryoicingseferenceUnit15 Major-MinorrerciseUnit 6GhordhangesorStandardsUnit 7Gm7-Smai7(il4)xerciseUnit 80ctavesith hirdsnsideUnit19 G7PedalGhordal eferenceUnit20 AboutheGD


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cCO RACK OESCRIPTIOl{/TITLE

TuningotesA=440)Etmajorriad ieceExample)lbryiqTriadiecewithoutuitar)GShufftetuesExamptes-10r;d2-19)GShufflelueswithoutuitar)G,GospelluesExamples8-19)or lay-along,se Drack5lBlues/Rockhuffleuse ithny bluis)'GBlues/Latinuseithny blues)GMinorluesExamptei)GMinorlueswithoutuitar)FJazBluesExamples4-15)FJazBlueswithoutuitar)J:t.lI lt.lqpsshe trissSmai)Examptatr31i -V-l-Vl7Bhaj)wilhouruitar)ll-J- .Yl7verGedatevenrh-nores)(Examptes2-36)GPedaleventh-nota)withoutuitar)Chordxercise^inequenceverpedilExampla1-441q Pedaleventh-notes)withoutuitar)ryF 3/4 atinlampnG rxampteslZ)3/a atrl ampnG withoutuitar)ii-V-lC-adencesBtmaj)Examples2A-0)ii-V-lBtmaj)withoutuitar) L CadencesGm)Examptes3A-D)iig-V-iGm)withoutuitar)rQor./q. no1xercisenG Examptar,g-62)or lay-atong,seCDrack16GPedal/tatin

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CO RACK DESCRIPTIOII/TITLE'MundoDesmondo"Examples3-65)'MundoDesmondo"withoutuihr)"SomeThingsou'reot'Exampla6A-C)'SomeThingsou?eot"withoutuitar)Qmf-fbm{zrlxerciseExamptesZ+0)GmT-EbmajTt4xercisewithoutuihr)'DonGrolnelius"Unit9 improvisediece)CPedalhufllewithoutuitar)l0Lnturaity"At7-Sm7atinamp)N-7-.VrtTatinampwithoutuihr)"Sliceville'(Bi atinlues)&Latinlueswithoutuitar):{hqla mo'F7+747-F7 arinamp)FI+747+7 Latinampwithoutriihr)_Ggclnnglii-V-l-Vl7 hajLarinCmp)ii-V-l-Vl7 tmajatinampwithoutuihr)

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upega nanMy erypecialhankso heollowingeople:AlGorgoni. . foryourriendship,enerosity,alents,ndirelessffoGn rlpingne ssetheplay-alongequenceshichraceheseDsndwhich aveeenpart fmy linicsprivateeachingorhepasteveralears.'msogratefulnd ould OTnve lonehiswityou, ryouramily. ndo:RobWallis,arontang,omRoed,obSherwin,ike elvFruko, hristineartin, alcolmndNina ollack, obMounsey,elicia ichael,sHernandez,anoloadrena,arc uifrones,ynne hite,loriaeuben,lancaopez,lifCarter,ationaluitarummerorkshop,ed haw,avidan, anoohal,ivianaibelli,Landy,olin chofield,nita adilla,ilibeth orillo, uny eyes,dRak, an eeff, illaKristin art, tan mith,ohn arris, an eller, nthonyackson,ubenodriguez,atChioza,ennynaoka,abinandSethrnstein,scar'Leon,ergio eorge,obin oFreddyerbib,dam orgoni,ulian orgoni,ayamo,ernie inoso,ernie illiams,Jeter,uertoico ll-Stars,ennishambers,llen ndBarry irnbaum,heShapirosCunningham,on arter,uanuisGuena,eynaarpio,stelliaiaz, lareischer,onSanchez,ougWest, ettyemont-Rahiou,immynton,ean-Michelolon, stherloresJohnocke. AcknowledgmGibson uitarsJimmyrchy), eanMarkleytringsRich riedrich),adowskyuitarsRSadowskyndKen allon), alterWoodsmpsWalter oods),ustomudio lectronicBBradshaw),guilarlectronicsAlex guilar),org/MarshallMitch olby),amahaMaNaito),banezJohnomas),anny.Music ervices,he atin uarterCarlaeyesManny'sThe oldrichamily). DedicaTheworkn hisbooks dedicatedithove ndgratitudeomymother, loriand o mysisLaurie. .and,s lways,omy earon, eath.CorrespondPleaseeelreeowrite,t'salwaysreato hearrom ouWriteo:StevehanP.0. ox 308N.Y.C.,Y m11lfyou'dike response,oumustncludeeturnostage. CredEdilorc: obertallisnd arontangilusicEngravingndBook ayouUllesign:helseausic ngravingCover esign: 6l0ne0t6Back overllustration: ed hawCDRecordingnlormalion:Producedy: StevehanAssociateroducers: AlGorgonindMalcolmollackExecutiveroducer: RobWallisProgrammedndSequencedy: Stevehan,lGorgoni,ndAdam orgoniRecordedt: Lightstreamtudios,ctoberand ,1996RecordedndMixedy: MalcolmollackAdditionalequencing: Rob ounseySequencedt: Flying onkeytudiosFlyingonkeyssistant: FeliciaichaelPost-Production: The eviewoomEngineer: Mike andy


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lntroducft geqmsStfange hatwithurnstrument,n hewortdfpopndock usc0ul0xrstuch hingsa "rhythmguitai' layer.guitaristhoust layshe hordsleadguitai' layer,ne ho nly laysolos,itis, ndlicts.findliis ld'tecausebetieyoumustry oplay LL f he nstrumentsbestou an. bviously,ou'll avetrongndpoints,utdon'tetyour hortcomingsethebest fyou.YouCntldevetopntoa well-romusiciannd uitarist.Sincehe80s,musicducationas dvancedasterhan ne an eeppwith. uringhewhenwasryingo earnow.oplayheguitar,ouhad rivatebaci'rers,few ilotsexchangesf informationith riends,utmainly OUHADYOURARSTiyou couldnlI $ qulqlly,ouwereost. oplay long Ds,o videos,nstructionatooksith asseREAL800K,"nd o ameyebersold'sJAZZAIDS'ervice.Asa eacher've eenmazedt heechnicaldvancesn he nstrument.everashereemanylayersith uchncredibleechnique.ften-timeshat bility as omet heexpencomprehensivenowledgefmusic:armonyndheory.nmyexperience,hat asranslatstudentsllowingheirhordalnowledgeo agar,aiOenind.d, sa eacher.'verieOobin heextremesnd hare y onceptsbouteingbleoputouse ll hepossibilitiesnegoffersormoreompletexpression.Afterhadmovedo New orkCitynJanuaryf1970,beganoslowlyddmoreuitarndmbooksomy ibrary.recallurchasingeveralChordDictionary"ubiications,ome ith smas80,000hords.rememberhinking,HowcoutdhereosiibiyeTHAT anyhordsstudiedheseooksnd ontinuedo earnboutheguitar,realizddhatmost f liesehordfulfillednumbern hebook utprovedo bevirtuallyselesshen akingusic ithmusicians.n his ook,'veriedmybestomakeertainhat verything-presentedhapotentialo beusednavarietyfsettings.woulde he irstoadmithet hai/;not overedsingleosibility,ut,heworkssembledere ill ertainlyervesanexcellentourceowto efernytime. . t.Ina sense,ormybwn qploSch,'veriedo viewhingsna more ianistic anner.he iacanaccompanyheir ight-handineswithheir eft-hand.o, npart,'veworkedtplayi'nguitar ithhiskind fapproachn mind, ut,he ey ifferenceor'mes NEVERiewtie bt-iaspects justa bunchfchords 'he oncepts o ALWAYSearheopnote fany hohavingelodicontent.his.isfcrucialmportance.ourines nd our hordsre feimportnd anunctioneautifullyogethernyour ands.Mymethodorsharinghis onceptsactuallycompleteontradictiono heend esult ehopachieve.y hat mean,treathordss otallyeparateromhe inear ork. t hestart,heare. nlyoinedyharmonicheory.nd, s hework rogresses,he ines nd hordslowlyto unctionogether.s hereremanyxcellentooksnd ideos hichoncentraten h6 inside f he nstrumentndmprovising,havehoseno ocusna chordalpproachhicjoinhoseines.It'smysincereopehat ouwillwork lowlyhroughhismethodromhebuildinglocksomoreophisticatedoncepts.pproachhingsnsmall tudynits ymakingseriesfshortgoalsoryourself somethiry9uCftttaccomplishna reasonablemountf ime. oumfindt difficultoplacespecificime rameor hemasteryf hese oncepts,utpatiencensteadyourseill urelyin utn he nd.All he est,N,kew orkCity,November996


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Slevghandmitshat, henewas eenager,lwas eniblerummerith omusicalrainI had evelopedoveor he uitarnd, henwas 9, witchednstiuments.was etermthatwouldotmakehe memistakeshadmadeithhe rums,no iioieoompoiitlo|tgU.?tUCLA,long ith rivateuitaressonsromRonntnony:nl-970removeooHYork ity.Fromhispointonrvard,omuchfSteve'sareerswelldocumented.n1g74,eperformone-ofhe irstcontemporaryaz guitaruos ithLany oryell. uringhissam'eeriodb@amememberf heBreckerrothersand. isirit recdrdingss-aeadererbtri6albumsor olumbiaecordsiiled:Tightrope"('t927),TheBlue-lrtin;(igzg)andAry{1919)n.e:g,recordings{rtg9 RandyndMictra'etrecter,Davidanborn,on'GiotnicytMainieri,illLee,teve add,nd thers.n19g4,onyMusic/columbiaeleasedcompilationrawnromhesehreepsiiled,TheColtection."ln1980,teveecordedbrilliantolo cousticuitarlbum,Evidence,'wtrichaidributeohearliataz nspirationsndervedoestablishim sone l he reatnterpretersf hemusiTheloniousonk.etween98'l nd 985,eworkednd ecorOeOitn 'is uartet,yenitnwhich..includednthonyackson,anoloadrena,ndSteveordan.ogettirheymadehrrecordings:-Eyewi-tnes"198't),ModernTimes"/"Blades'19s2)ndc& toco' lg$j.srejoinedoe awinul'seatherpdateor t'sone nd nly ur ri gs6. is wasoiroweoiingnoq .ve,uetecordingith eyboardistobMounseineemmmi-nominatoowasiftLocalColor,'nd aseleasedn1987.ggg awhe dsunectiontEywffressithDave ereplacingteveordanor hePublicAccess"D. incehatime, t6i nalooeowotrabanad'pnecordingshicheaturedon arternd lFoster.LetsCall is'anOHeadwereeleasedn1991nd 992espectively.n1994,teveoundrimsat in rJcompinArthonyacksonndManoloadrena,OOing ennishambersndMicnaetreckecrossings,'whichasedicatedo hememoryihisateather,yricistamnyahn.Recently,teve as ontributedlo$ygla]$ecialproiects.isunique edte,f woGeoHarrisonunesracedikeMainieri'sYC ecords'"Cbmeogefirer:AGuilarriUuteoThBatles."ereewasccompaniedyMarc-ohnson,eterrski'nendlrg tasconcsloi.peOlympics.ndheHolidayleasonroughttweogethergain itr B Bra*erBrothersorbalsil-stylednterprehtionfhis athe/snerueChristmasong,heChrbtnasalE,' hiqppearednBlue ote'sJazto heWorld' D.n1996, tedearnedth Argntint'voGabrielanders,obMounseyndNew ork alsall-Stars:uOenoOrlrp.rlarcOuinoandPapoepin contributeDon'tworry aby''NoTepreocupesNtn=iiotvoutdn,tltBNice,'aributeoBrian ilson.

lecorddn$ptemberf1996,GotMyMenhl"ringsteveogetu r 0E u tirne itrJoPatituccind ack ejohnette.he.cD-ag-aininds imusingisuniqnguyngmoanangperspecliveo nterpretheworksfWaynehorter,rnetteoleman,e trtoig;,t eOOnirras rclls tandardsyRodgersnd ammerstein,ndammyahnmd.lenivil Ha6n.Throughoutis ongnd istinguishedareer,teveasecordeditrcdl dawe i6b a MileDavis,.steelyan,amesrown,retharanklin,uincyones,ddh nsr rrao,e uouaStepsAheadnd thersoo umerouso ist.He as lsb roducedrydntr brHh guiurilarry.Coryell,lvliketern,ireliagrenend illConnorssnetl spsrc eiir gn. rn"iOoilo nil [or, hehas ublished.three-otherightyegardedoota:ru ruc rirrpmay outtFolio,'PatMartino:he allyears,"ndGuidrWirrtshoperies Stn rCs,tt*id, eailunctionss.anyewitnessongbook).nadditiono ecordingd pfirnrg-gd isar aitivclinicianndeacher.


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rangel theguitar

0pentrings

To thg eyes and ears 0f many, theangef heuitar,t tsoutereaches,an rtimeseemiketrivalshe iccolo.f he ollowingiagramsstudiedarefully,he ruthbouwhereur nstrumenteallyunctionsan ecomelear.fwe'reobehonest ith urselveshenwewil l eadilydmithat,nour oweregister,e'reperat ingn he erritoryfmost assinstruments;nd,n ourmiddleoupperegisters,e'ressentiallyperatingn he enterf mostkeyboards.hethere'reheprincipalelodicnstrumentthe oloist) rsimplyart fa basic-piecehythmectionkeyboard(s)/guitar/bass/drums),t'sessentialogain nunderstandinfhow urnstrumentestunctions.Throughoutecentecadeshere ave een multitudef chord ooksfferinghousandsponthousandsf chord hapesor heguitar.t is myexperiencehat n hecontextf making usicwith thernstruments,ost f he hordoicingshichmployhe E"and A"stringsreessentiallyseless.heeasoneing,hat hen e'resinghesewo trings,e'reikelyobe ntheway f hebass, nd otentiallyloudingheoweregisterf he eyboard.fone xamineshestyle fWesMontgomery,t'sobvioushatheusedullsoundingoicingssanactiveart f hisstyle nd oundedremendous.UT, ewasheLEADFR,nd hearrangementsere uiltaroundwhat ewas laying.ianistsnd rganistsnew,r earned,owostay utof heway.n manyrock, eavy etal,ountry,ndolkmusics,t'sstylisticallymportantor heguitarouseheowerstrings.n heongun, lwaysry odowhat'sightor hemusics wholeAs his ook nfolds,hopeomakestrongaseorusing,3,and -noteoicingshichayacrossourD-G-B-Etrings. syouwork tdevelopingnevolvedensef harmonyndheoryIbelievehat ou'llind hisconceptxtremelysefuln, irstly,ustplayingith bassist,ndaterwith headditionfa keyboard.haveriedo supplyouwithasmanyptionsspossible.henyou utheseonceptsouse,t hen ecomesmafterfyour wn ensefharmonyndaste.

Sounds

fingerings

pick

MiddleCIG B HighD Top f he ange)As workedtamendingypersonalpproach,hichwas undamentallyorgroups ithoutkeyboardlayer,graduallyeganoadjustllmy ingerings.his ecamespeciallyrueor he2-and -notehordormations.heseorms, henlayedspart favoicingmployingbass oteon he E"or"A"stringsoulde ingeredn he raditionalanner.choseo ingerhesevoicingsn an ndividualay, otas f I had implyifted ff he ingerwhichwould ave eenplayinghebass ote.My easoningndoinghiswaso ryand moothut makes egatospossible thelowrom ne oicingnto nother.feel onlident,hatfgivenhe ime osinkn,usagefmy ingeringsillgive ougreatesults,speciallyf you'reothappy ith hecunentstatefyourhordalovements.Nomatterow roficientoubecomenplayingithapick, syour bilities ith hordsroadenthereill'beimes henhe se feitherhe pickand law"echniquer ingersloneill rovemorexpressive.he dvantagef heseechniquess heabilityo bring ut he opvoice f anychordndnsurehattspeakslearlys melodicoice.Byusing pick nly, omatterow uicklyou trike crosschord,hehigheroices illalwaysbemillisecondsate. y singhe ick luswo r hreeingersr ingersnly,ou an luckllthe tringsimultaneouslynd,erhapsestfall, ringutheop oice iftle ore.So,fyou're layingineswithapick nd ome hords ith ingersnly, ow oes ne olvehisbackndorth roblem?everalearsgo, ta clinic,omeonesked,Whileyouwerelaying,noticedveryooftenour ickwould isappearhenouplayedhords, hereid tgo?" t hatmoment,honestlyidnot now hat ewasalkingbout.t irst askedf I'dput he ickbetweeny eeth. e aid,N0."So, triedorecreatehe ircumstancesnd, fter while,realizedhatwouldlip he ick etweenhe st nd nd ingersfmy ight andn he reabetweenhe2nd nucklendwhereheingeroinshehand. o,whenlaying4-notehord,hethumbtrikeshe D"string,stingerheG"string,ndingerhe

8"string,ndhe rdingerslreeobringutheop oicen he E"stringyapplyingittle oreorce.twill ake otofconsistentractice,ut ouCANo tl

pick ndingerslingen


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nsuperimpositionllhe imTonV7chords

Erample:G7Chord ones

It seems so simple that eyooarorayerourdoox tachordoicingttwohandsnd eetas, orerample,omeorm fGi chord.ften nguitar. ecanportionf he hord.voicing.or xample:emrghtlay nlywhathe lght-handf frisplaying-a art f hatG7 hord.Wemightiew ur oicingsperhapsi m7 verhG,"orany umberfotherptions.ndiscusstonsrere.nd ith ne'another,t'sinthingsn his athereparatedanner.ust onlose ight fwhathe argerarmreallys.In his ook ewill uildourhordalocabularyrom,a)a2-noteguideones)pproach,b) hroughraditionalnd xtended-noteoicings,c)andinallyo4-notehordsllbuilt ponpperxtensionsfbasichord.Throughouttheook,'llbe elerringo imT ndVZ hordssbeingelatedndnterchyoubuild hord oicingsp romhe5thdegreef G7 D)youwoutdonstructm,oetc.nsodoing1og yogldeextendingheharmonyfGi byaddinghe9th A),he11the 3thE): 7: BDFChordones:35b79 1 3D m 9 : D F A C EChordones:lb3 bZ

Dm7(iim7):oot 3rd sth 7th grh

ll we mprovisesing minor oicingse'donstantlyreatehese xtensionsfG7 nproduce,hatwouldttemptodescribes very ajesticeelingn hemustc.l[ve. e9 ll hisactivitys unctioningn he ey fCmajor,henG"is heV7 domin"D"is he im7,norderoproducehis majestic"harmonicffectou'relwaysupiimThordoicingsverhe 00t f he 7.

CMajor cale: RootI Major]

5thtv4IG7

Asmyown onceptas volved,findhat rarelylay guitaroicingtilizing y owstrings.'veoundhathiskeeps eoutof hebass layer'say,nd, eemso re'esbimportantly,t expandsurmprovisationaloundaries.hisbookwillnotdealwithheguitarhordshichtilizeoicingshereheowestnoteson he A"or E"strings.fyneedoshore-uphispart fyour nowledge,hereremanyxcellentpublicationshicareandetail. oname ew f heauthors:ickeyaker,oePass,nd edGreene.swon his onceptndntroducerogressivelyorendmorembiguous-and -noteoicfindhat hebassart nd hemusicrowreer ndreer ecausehepossibilitiesorspreharmonizationf ny hordecomendless.nd,ou nd our usicill enefitost

Erample: Harmonizedajor cale


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UnitTwtriads

Example:GTriadsTop oice n E StingRootonop)

xt rffitttf,rnHflffil : I I

Top oice n'8 Stdng

ExampleA:G linorTriadsTopvoice n 8 SEing

Rmtxnffi,uffiIfFFFIt t l

3rdxx tr|l-mF|-i-T-FffiFFm7frt l 2

5thxx xffiFFFFFIofrH+#. . 3 4 1

ll$ tqnq 2p VealSof eacirins,tstill mazesehatomanyxceptiongullarlstsouldevel0preatechnicalacility_n he inearspectsf he nstrumentnd6ignorehemost asichordalomponents.'mspeakingf he undamental-notenterrelationshipsndhe imple,ut ssential,ajorndminoiriads.houghhis ookealsithadvancedsesfharmony,eelhatt'smportanthathe sagesf riad'se nituoed.Notoo onggonan nterview,obbenordtatedow e salwaysskedboutis olointries.tompresponoungerlayershat,xceptora ewmomentlfsoloing,he uitarisfunction.asnaccompanistostf heime.couldn'tgree ore ithhisissessmenomustcknowledgehat ften ewillbeaskedo unctionsa smallartn he reaterontesomeonelse's usic.sasupportinglayer,emustperatena onicplacelhateavesoforhe eyboardsnd assomovereelybviously,fapiecefmusicsbuilt roundhe uthe thernstrumentsusthenllows he amedtituOe.hismeanshatmostimesewiilp2-'3-,and -notehordsithhe ighestoicesuallynhe8 or Estrings.hisswhethoroughnowledgef he asicriadsecomesousefirl.It'sbeen y xperiencehat singriadsnanaccompanimentiguresmostsefulnR&8, uandaz-Rockusionherehe.underpinningsessentiallyasedponhe woormertylesguitarsgenerallyalledponor tspercussiveualitiesndt is or his easonhatVeopresentedriads herehe ighestoteson he8 or Estrings.'vehosenoomitriadsthe op oicen he D or Gstringsecausefindheseoiiingsound ucho darkothroughostextures.t s mportantoknowhem,ut,'mgoingoeavehat ursuitpoyou

m3rdxx xlTrmffi,*Topvoice n 8 Sfiing


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tilad upeilmposl$on ]ne 9tlowingriadSuperimposition'haflsan mporhntnej nceornrt6frt ibyou an ontinuallyeferacko t.What've ones'toakesinglessnft, [r rod noses, ndsed.triads_(both.majorndminor)hichscendnromit*ilyd;fl* ,mt.nsproydqwith onglc"pgj{.vamg.n,theecordingtriswoii i desen6ouei.e'-rreryllt't?lchord'functionib heoreticallyorrectaire)andtheffiil;b onemightknowor mprovising.henll ssaid nd one,ou'lictuailyruito n* this nformthe lsventheroots.Let'sook t heintexample:/GanF riad verGbassote).lthoughhis hordansarcralundions,t'susuallyhoughtfasadominantn(gzit)tijei fi0. gerauseitconohird h orBl),tcouldepart.ofhe ominantrminortr6ioamiiiis.F" is he,7o[.tt ygqlypttimposeriadui[ romhe T.degrqeygrbassote,hatriadupptiesh$h,andlthchordoneshichgivessG9(11)i'omg(jil.-i6iih'drg,;ffin rsoe etoas he th ras suspension:gsusrGmgsirs.9jg'l,9fll 9yqllfg likgoadd. ou illhearheseindsf stash"chordsF/G)eteInc0redly'spoly*hords.poly-chordefersoharmonyherewo rmorehordsarechingplayedimultaneously.duwill indhiskind f aniaitiini'ilrrv, rlirt orten,ncenturylasical usic.ucttarmonysextremelyifficultoassociateni,'mooerchorwih,.ards,youanee, ithhe onventionalslish"cnorOirese,nbOrrr,nryal readw eifinr diahniccale/moder amiliarcaletypeithwhibrLo mprouii'e.-truepotywouldot oSnt oasily.

Erample:trlrdsupcilmpcltlonhail ilalorTrladsIilrtfttrlrbbFrid/GBrieilG

G iad/G$riad/GA iad/GSriad/GB iadrec riid/GDriad/GDriat/GFrH/GE iad/GillnorTrladsFmiadrGFfn iad/GGm iad/GAl{nriad/GAmiad/GBkn riad/GBmtriadECmiad6Dknhd/GDmiiadGElmiad/GEmiad/G

Gioldam {rct functionatf ilode1ScateG7(e,11)ThisoundanunctionlikeV7(alt.)chord

GmajFillGG7(13,9,111)rGmajTf(6,9)Gm7GmalT(6)Cmaj6 his oundsusednmanyays,ndendsohelp reateGospelrBluesfeelingG7(t9,5)Gmd(9)CmTGG7(13,9)

GMixolydian,BtuesGwhole-tone/half-diminishedtclA 8t1 ctlDlE FlBHarmonicinorB fil DE Ftltcl At18GM4or, LydianGPhrygianGLydian7GLydianGDorianGLydianugmentedCMajor, Blues,LydiaGMaior,BluesGhalttoneAvhole-todiminishedtGl tAb lBrBtDr lDGMayor,LydianCDorianG nlf-tone/whole-todiminishedtcl GrlBb8lDtD ElFGPhrygianGLydianGDorianGAlteredominantSuperocrianGMajor,MixolydianGBluesGLocrian8lorianGMalor,LydianCDorianG nlf-toneAvhole-todiminishedGMixolydian,BtuesGl nlf-tone/nrhole-todiminishedGMajor,MixolydianGBlues

FrIyGGmalT(l4,9)GmG7(6, 9)C66Thissasoundseda ot nGospelusicGm7L5GmajTCm/GG7(13,,15)c7(e)Gbl3(19)/cb9nbas(raretysed)G6


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triadusage

Erample:TrladUsageEbmajTfi'fmm"

EbmaiTm.Ebtnafm,'EbmaiTm'

Bb7(b5,b9)xx xffiFffiot'

Bb9(sus)i+T+ f*-ffi ffiFfH-il l".l'.#ffina mnul 2 l l 2 r c

I'veriedopresentne omprehensivexamplef usthowoumightoaboutsingmalominorriadsn he ontextfa commonhordrogressioni-viz-iiz-V1. et'sxam-inenmightlay, e'llust ssumehathiswouldlendith eyboardsndheest f he nangelfvou aveproblemnderstandinghe heoryehindtiy'veetectedn/ot hesJtriaoifiguret,outgyrselfybuildingpeachhordromhe o6tn hirdsndhlnhbet ach alminorriad.f hatrovesifficultonsultithmusicalriendr oureacher.Theirst hordsnamedtmajTut lyo canee, ll 'vehosenoplaysaG-minorriadGlndQ),he rd, th, ndmal th fEl.Therereimes hennanan1jerouldamehis'cGm/Efecausee/sheantso makeurehatyoulay triad,wit-homexperienceoprobablylust nowodo hat y nstinct.henexthordi Cm7,ere'mustptayingn r,tr(El,G,B ),he3rd, th, nd Tthfc. 0verheFm7,ptaynAt,triad,itndeeasoningethe ame.nbars and 2,he nversionf heAbriademainsut snow layedvergbOnotenakinghe hordBbg(sus).n heast hordf hosears,ou'll oticehatheop omovesor oiceeadingurposes.or reaterarmonicnterestndocreateension,nbar othehird at, played/Bb hichivessBt705,bg)nbar 6,withhe rincipteeinghe abutto dd ariety,playediBbo ealize8b1309)andereusedescendinghromaticoileading.hiswasmoreasilyccomplisheds usedslightlyighernversionltheAbchord.Cm7

I||lXEtltbl3 fr|'ru | ] 2

Bb9(sus)xx xFt-t'#FFFf;Brr,I I L I f II I I T N2 l

Fm7.m."Fm7x x xFNTNF+fmFtm+llfrLLILIft 2 l

Bb9(sus)xx xmtrEFffiotI I t t t I

Cm7ffbH*+a rr|.. 4@ t 3 2

Cm7rs_EImlrnE+]f,

Fn7I X IqFFlFFFTHr,ru

Bb9(sus) Bb7(13,b9)?+frr-' H+'-ffi FFHfiffi'o m7t1 3 2 1 3 2

Inmostases,narrangIif heresone) illnotwriteutwhatouropnotehoulde, o t'sutoyou ndourensefharmonynd oodaste.hemoreou?ealledponodo his,he etyournstinctsillbecomes oustwhats heighthingoplay.fyouwdreo urnhe uggelopnota nto alf-notesrquarter-notesndinghemlouditnutt hythmicalue,heisiouformniql houghimple,.longelody.iveta rylThistyle fguitarccompanimenti usufoundnR&8rhythmnd lues),op,ndarioudormsi dande"music.here'sotmoredoingtwithmprovisedracendogichanoumightmagine.


13/80

nguideoneserivation

ErampleA:Am(ii)(key tG)Am7x x

|#F'-tffiffi,oDerivaton

Erample8:D7(W)n7

Erample C:GmajT ndG6 lmaj7 nd 6)

It^Xplqinly understandablehatou ourde aseroskipishnm.0.dgrnarmoniconcepts,uttwillallmakeoreens_e,nd ay realerivioeriofwitharmoreasic usicalormations.'m peakingf2-noteguid'etonei; impten4ths. ths,ndritonesil4thsrfSths)which,henlacedbovitheootcteartybtinfamilynd utlinehe armonynservinghis unctionheylso rovideoiJrc a1.drop ithoutakinghe oloistprisonerf 0URconceptsiThe uideonehartookst hehreeasichordamiliesnd iewshemnhe uitperspectivef he ootlocatedneitherheAor Estringnd oicedunctionallyiomtheeftside,ouee ull4-note.chord,heno height, itfrne ootnd ne theritcThe uideonesemain.henlayedn he ontextta imz-vz-tt iimTpsiz proit'sobviousowmoothlyheseimplearmonicormslownto ne nothei.s1lbthroughhematerialsresentedere,he uideonesill nvariablyervesournuilOAlways,can'tgowronglaceostart,speciallyheneadinghroughuneorhe irs

Am7l.]ffitrftrffi 't 't

m3rd7th

GmajTx xffiLllru .^ -[ l I | | t u t rL l l a t II r r2 1 3 4

uox x x xEffi'nffillfFt't-tt 4

GmajTT I

}}{**l rcI I - I IrrrrtI l . r :

GmajT c6 Am7 D7ffi ?#i ?#i f+r:++FEEm Ehtm:fr H1+# ttt-flFffirt ffi ffi'0,,@ Hl+t Fffi ffi,onf 1 4 t o , ,lM7 t6 ii v7

G6x xffi

aTTTft tfr| | I a I Irrrf'F2 t 1 3

GmajTxx xxf-l-l-mffioorrrrn

I I

Gma17TnnHFFF r'H+#: {lM7

maj7th

ErampleD


14/80

ExampleE:Am7(b)(iiu)Am7(b5)rA'7x xffiFmrnlmmm_-l | . . | ) l rJrmmlTmm

ExampleFAm7b5xx xxTNTIEI]]]lFffi:r,

ili l m / b 5

Am7(b5)r A67tum'ou xx xxffi'or'H1#1Fl-t-tfl

Am7b5xx xxT[mffi'onn-ilni im7b5

rom op efl:JohnScofield, illConno's,ohnAbercrombie,ndSteye.tJohn e.cmmbie'slanhattanoft J an ua r th .1 4. hoto: osrrl


15/80

n tFguideone lues illiilisifri,i.,,o ,, i:t 'ill, il,llifilTifll#'jffifli|'bry,fll,fJf3,i,T:,"eminso.urset'eyoouiibisisson nyr immymith,,|'rar,rco,oins,llll f^ijilxifjfrT rioustheckute

ll..tL:f:r]lq-,l-s9rglpte,'velried, plg,gllll rhe asicsnrwo osirionsl0we,iJiiii'il',i;,?ii,lTil,ly,ilil?iJ1}:ilXi,fi;TExample:Lowernversionsstrutt te, i- ]=J

G7Fmm,"rflT1t l

Example:Uppernversionss t r u t t t e , r l = J . h

G7nT.nffinuI-N+H


16/80

Aswemadlormoa mrmicqfiisticdion,i ih olUrephf hl b dt|hnirf.l$Ji',ll'i,l,1y*whenoumproviseih sse vurom, aishoid ll64r lg16Example:Lowernversions

- J -snumeJl=Jffitftfr1t l

c7m,oHtlf,t l

D7 Am7/DD7FHS FFMttrH -" tfr--r t l

Dm7/G(G7sus)t#tEE:EEffil 4

Dm7/GtmEEEIHof,u

GmZCH{4fl*

G7m7/G

Dm7/G

Dm7/G

Dm7lG

u /

Example0:Uppernversions- J -

Gm7/C 7 G7

st ru tneJJ=Jtm

t l

c7crraTtTtl3ft

l 3

D7 l$t7lD D7t m t mEESEonEIIEEonI-IFFH FI-#iHl l t a

G7t

C7 Gm7/C 7


17/80

Example1:Minor luesGm7

x t r iu-lJJ..l{$ff rr'ffirT.FFFlA'7 D7TT-gF#t l.|-#ffi,u ffi.ni l t l

G7 cmffi"mm7ffi,,,ffi

suspendedoundsG0nlemp0rarybluesomping

AnTlDxxffiff i 'onrffttlI t t 4

Howanwebeg_1no breakwayromraditionalpproacheso blues armony4fre olowingwexamplesreofleredsaconceptualnd tylisticoint f departure.gin.att reexamplepresentedver ne f hemost asic 2-barluesrogressionso allowhemaximummountimeo enioy earingachoicing.oumayun ntomusiciansnd ingerslrowil f ndhiskinofharmonicpproachs ooprettyr oo iazy"for heirmusic.f suchsfrecase hen n hlob, obackosomethingoreasic.lnExample2, 've pplied imT hordDm7)overhe ootG.'(the asrctrordoundsGThiswill nvariablyroducesuspendedind fsoundndmakehenrmonrceerrngery pentimes,ush ndomantic.Example3adds littlemoreepth hile einghythmicallyorecrh?rE rrcusrve.happroachsbasedpon guitarnierpretationt Mc0oy ynetsran$? \s r ti'epreviexamples,llchordoundsre heproductfsuperimposingrml irc.:s rer e root l hdominanthord.

Example2:GBlues@DmTsus/Gxtrrfmffi,"

GmTsus/CxxT[mFfft-tlH#f;lfor'l t : l

Dm/GffiffiEE1ID -.| | | r . r o rt l a l r t

2 l r

Dm7(9)/Gx x xffi,lFFftH3frH+#t 3 4

Dm7(9 ,11)

Gm7(9)/Cx x tH1#Hr'l#H#tfrtrt4 t lDm7(9,11)/GH'.-ffi,offi

T_-i-rGhGr--t=

l-**i

xxffi,nffil-|-rfnt l t 4Gm7/Cx x xSffHrr'ffiffirfiJff14 l

Dm7(9,11 GT+-ffi,"r+HD?:GI--r5E'"--


18/80

;, u rex x x x x tffi Hl*lF|t||trrr FftfHffi rffi FSI*lst'

AbmT(sus)/G

Gm7(sus)/Ci furr . fuiHl+fl H#Ffdr'ffi |#Fffi-H t-l-fft-t2 l l . t i l r

Dm7(sus)/GftmLl.l4til - ^L l x I a ) l fUIlTI I I l T

Dm7(sus)/Gi+ffi' iH*2 t i l 2 1Db/G Dm7/GG7(13)i# i+i+ f+rar+ffiu,,m'-m'l r i l l t 2 4

m. m

Am7(9,sus)/Dl x x x rEEEtr n-rrnffi 'Hffirr,t-ftFH H{t+{{ t l l i l l

c7(13)x x l x x ll...g gffi,,, Hffirr'l-Ft?&t F+it+ll t . r I I r

Gm7/Cx x xrn-mffiFFFIHi'i l 3

EyoribassnJapan,ott 0 right: aroloEadEna, nthonyackson,teve,ndStsvoordan.Talen rbide hePit nn,Totyo,Hay198i1.h0to:Tat$hiloTanata


19/80

iaz-Upelues The armonicreatmentfa'12-barluesyapz orientedhyer illusuallyifferromheormwe'veeensingorabasiclues,n hat e'veeen akingse fonlyhe 7,V7, nd 7 hordYou illsee nd earifferencesn he pproachobars ,4,6,8,and -12. f specialnteresome re arsand . nbar ,aswe'velreadyeenlayingver17or he revioushreearthisswhereuronic ecomeshe ominantthM)to tB ]V hord.nhe ey four xampleisgoingoresolveoBb7.heuzplayerakesdvan@fhismomentyaddingimTCmin ront f heF7 oaddmoreolor, otion,ndemionowardshe ventualesolution.amilsubstitution/alterationn his rocess,enerallysociatedi[tJohn oltraneoulde ousehb5 ubstituteorF7,which ould e87,andnsedingimTFrn7),hus reatingditferapproacho inalesolution.na sense,ou'repproachingesolutionrom nehalttepbovJust nalternatehought,hatfyouwereoapproacheolutionromnefull tep elo#?aveyouverdonehetwhileleyinghords?ounow,lidir|00lotn r7rom7?hatlyowereo ryand lipa iimT hordn ront f t?0r, useSEt nodalityo approachesolutionityorrrinesThinkingbouthingsike his,prioro actuallylay'ng:rrr cangryeiseo musiccreations,orn f hought,hich ightctuallyoundreatoyot.ba anynrm n ryingDependingponhe olor f he hord sedn bar , hatwillgoa mgE s towardseterminhow oumightreat ar .Whateversagreedpon,ar can aVl7 0n dord esolvinoeitherl7 G7)r imTGm7).heseameindslharmonicriruplsr abobe ppliedo h3-chordind fbluese'veeentilizing.ewere,fyou'llecall,srp aGblts. sobar wasD7 V7)n hat rogression.o,t's ossiblehat e oulda,eeebd 8asa Ai (V7 fV7bulwe ould venry oemploynE7Vl7). ere, owever,'rcrsrrga bl d u, imaginatioE7saV7ofAm7which ehave een uperimposingverheD7 o drt fE Ermony o ilhcouldn'thisworkoo?n ranscribingolos ymanyast asters.'rt seenar hm implyhichangevenhenhe assnd eyboardsereot. gain,iveta ry d sre l fBppens.

Erample4:Bluesn Fnri xxffil#ffiFF;EF:fIH-rtfi' :

Bb7 F7xx xxffiH*tHrr.Gb 7rx xx|-{''{#HFl***l

r I . r I r i l rLLLT-IJt l

On7 nf f i f f iffi,'ffi'n

Bb7 D7TF#Hf l t l t . lriFFN, i

c7tt t{rt+I]-l.t.,-g-I+tlH++flD7xx xxlTrrFlHltfiar.n l a t ll r r r r lt 3

aH,.FMmnHfrr'

|ntxEIUt l

G7x x iEffi,'|..l'.l..ut l

xx txffi'oFfFt-tl

(Eb7)xx xlffiffi,ot l


20/80

iazblues ith ommontone hordalunctuations One f themost owerfulessons'veaken way-iromtlmyWesMontgomeryisteningndtranscribingas isorchestralbigbandike) onceptionf heguitar.Whetherewas oloingrcompingehind elRhynend immy mith,t seemeds houghishigh3-noteoicingseractingikeatrumpetection.ismid-register-,3-, and4-notehords ereikehesaxophosection,ndwhen e'diflwith ctavesehindhe oloist,t soundedikerombones,hus ivingheguitaremarkablecopend olor, erhapsewould othave erbalizedhisconceptn hesammanner,ut findhis obeaneffectiveay fexpressinghatheardnd tillhearn hisplayingOnemethodorgettinggripon hisconcepts opunctuateour uideones ith hord oicingutilizing opnote nyour ighE"string.t'sgreatoryour evelopingarso ryandmaintainc6mmononenyourop oicesoftens spossible.talso elpsohearow eautifharmonyoves,nd ow fficientarmonicotionn he uitaran eAnadditional,nd aluable,racticeoolwould e o use kind foctaveisplacementnyouropvoice.or xample,na"G"blues,layvoicingithD"as ourop oten he 8"string heanswerhat ithD"as heop ote fa chordn he ighE"string.s he hordrogresmoveslongry oget D"on opoleachhordfyou an. nce ougethehang f t,youwillbeableocompith big andoncept,ith ll hreeectionsnderourngers

Exampteu@ F7(e)

Bb7(13)xx

Bb7(13,9)xxTN-TIrflttl6riFMroHl l t l eI:ml]mlTl

Cm7(9) F7(9)x x x xIEtr:tr EITItr++*rl H+fHFTfllN'I FFfiEBLiL]I' LILL

F7(e)|...j...uF++IHFFfi&fl.,,l-].]Tl . i - l . i

Fn-mmo"F7(s)

x xffiffi'nn-rrF1D7(9)l... .''.I'...lTffi'"ffi

C7(b, g)-t-rrnflfaf h I rf T I t a lIIII-III_LLIIJ

G7(9,13)txffiFhlfl:i I rr- T - Ht t t l xILLU

D7(f,fe)tuF+1t+ffi''i

I . l 4

F7(eTITiIIlrTfl i i a HI I LtlaTNI]

Gm 7 c7(13,9) F7(13);+- ?+- ?+.r1ff i , ' t ff i t ' tm"tffi ffi H++rl l i . l r 3 l l l l . l l i t : lG7(fi5,ile)

|ffiHllfluriHlf,l{ : t I I


21/80

turnaroun s

Erample6A: lues umaroundnF Uppernvercions)

Thisrirqss odisossirpan11and 2,na erz-tyveluesN plaFrsii qi b re cll7-vl7-ll7-v7r 7-vl7iim7-v7rograsion2hats er hord).'m bentrp'arptsnFand.'G,'ilyog.ereo_belayingith,t he eryeast,basist,ouwouldsntty'nasnotesivenn he owE"andA"strings.owever,nmyattempto coversmudtmatposible,wantedomakeurehat,orhosefyouwho aveearduitaristsoundikehbothhe uitarNDhebas,you aveainedsensefhowhis sdone. erhapsyaexamplef his tyleesentiallyt'sguideones ith bassote)asecordedy imHailnEvansn heir ersionf MyFunnyalentine'tomJndercurrentsBlue ote/SolidtateparttheMss ine ndhe uideones)couldertainlyunctionn tsown, utheret's'aclullengeo ryand layoth. herick,ingering-wise,s he onstanthiftingf he st nfingersnyoureft-handifyour icksheldnyouright-hand).fyouwere ot layingherytes,l theminorth uideones ouldeplayedithour stingernly, nd tt he om7th uideones ouldeplryewith our st nd rd ingers.sa discipline,ustryplaybas inesy hemselvesndain eelingorhowbasslayerightpproachucn ine.

F9 Eb7 D9t -Jf .I.JI 4 U J J r r l r r lliflHer' H+H ,ffi,'nFSf, (tEtlE.fr 'ffi'"': r l I t l r 2 l

G7 Db7x l x x t rEtErp ETTEDffi HFHff i 'oo (merr2 | ] | 2 l

c7x t x

.SIFH8frt t I - f Itftfr|I t l

Gb7x x xHfiHnnHfl+F9x x xffi'nl.#-tiffifJi2 r l

Ab7X T Tl+-l+t{l im rrrr2 1 3

F9x i lgt*l*Htffiro: l l

Eb7x x r$tt.nI't+tHt r 3D9ffi,*H++f, Ab7'ffiootrFFF G7x x ttlHH:lrr,tEnt ? 3

Db7x x xME,lfrI t t l r lt 2 l

c7x _ x xlltlFl rr'1 2 3

Gb7x x x(frttE2r'

|''HFrfffJ

F9rftfrrnFIH-HH{1+r : l

tplI

,r,-)I

dp (?)Erample68:TumaroundnGGmalT nd*if qftpfi'r'ffi'o ffirl-FFI,I TFFFN

(r)In

x x xmffil..#FillFlsr,2 r l

ilajorE7ffffirr'EttttrffiBbmTx x xl t t t t lFtFIIlrffien

Am7x x xITTTT1(lFtl+l srlfEfE2 5 5

Eb7x x xgFmffil4*l-{ e .

D7x x ttr1 :mlTSllsr ': r : l

Cm7x x xEtrt{+++{|'.l..l..l+tlhftHrr'I l l

Bb7I I Iffi

tffior,Am7,ffi,*H++f,2 3 3

Eb7x x xffiFtr]]]hffi.n2 r 3A b 7x x trTrm

t f f i4 l i' |-l..mLLLLIJ


22/80

I | . r t - .un[Fverhythmndblues/gospelhordalpproach

Example7:DerivationfGospel/ hythmBlueshordalstyleG7Chord caleGtirotydian):

Cmaj

Iltqlg.h.l wOuldn't^pgp.qltqllptopostureyserrs compreteistorihe rowthfgospelusic's.ch.ordaltylendti oeepootedlaienAm6iil poputarusicm ertainhathavegoodeelingorhismusic.nd,hayso,iiinrirj'ffi nomatterowaut oumayspireopray,he rueshourdrwayse resenisomiwnri,n orir^i,Theelerenceheethichjoilgw,qExampre7)sofferedimprysapraceobegin.syounotice,n he uitarrikehe.right-handtapiinistj,h,etybj,ootro'iniiipremajor, inodiminished,nd ugmentedriads.lyou'dndooiive eepeinionityi; ;;il apianisrs,.inofview, akehe ffortowatchndisteno he ideosirdecordings'oii,, Charles,ichaTee,nd r. ohn.withwo mprehorusesfa 12-bar'G".bruesExampresgandg), 'veriedogiveoumosorhe asicssImighttplov-]hqT:0lviouslynedu.toevoten6hiiiJeiim nis reatonbut hopehathiswillnspireouoexplorehiswonderfulgenirifri.i;irr;gth.vratsofteranatternatentroduction,rpick-up,i' rne tyreiw;;fi;;tsglrl,.y'b;ilil he id omanclevethingsith isbluesrientedompositi6ns,speciattynrriili{ilfi;ralet diminish7th hords.

FmajTriadShdrs:

G Blues cale:

AscendlryonGuthr:Fmaj Gm{ffif rt ?ifTnHlIfl Hltlrr,l'.l-{.H l{..|+lFffiII2 l l I |7th - Root

FmajTffmt+F{+lFFFf;llsr't 1 22N

Bbmajffi'"ffi$'g"

Gmajxx tF|***{ffi'otfrFl.l

t 3 23rd

Cmajxx xtlrErru l t t lIJ.LLH ^.r r r r o u t rt I t a l I

2 t t \4th

Bbmajxx xH***.1ffi'ourffiFtt 3 25th

Cmajxx xffiffi,,n6il'

Ogdonalohings:Dmnxl..I'.mlfi

I I I t a l

t-f++fft t l

EmXI TFffi,uITTTJ1IJ-,I-LIJ2 t l

AmxxtllJ-FFFlr.LIMlmlnu l t a l|ft-t-Fl; : '

Dmxx xffi,onl..l.l..lI-I-FFHt t l.o.

Emxx xffiHgFH#r:n3 3 3o


23/80

i[m," DnVGT55- xrrffi,u m'nLTEIN H-FFHffiz 5 2 l I=^

G.nC Gn/CI r rmo t tI I I I Nt I i a lrrrrh

Em/Gx x xffitt+t+i /._Lt.UUt r | m m l n

Dm/Gx x rl ..J..J..l - -L L l a l I t t fIJ+ El-H*lFt-frtl2 r 3

A m Cx x x3"m'*

Am/G G?ii?n ?f+-trffi,,m"t l 2Bb/c c7 ct:+- r -F+-t-{3.z.- }-t-.I-lJ-.t L .I-.t-uHitfl"" Etfllrr, ffirr,ffi FHIJ FF|+*{

i l t 4 t 2 t l

Bb/cx x x xx rLu+l u-.I-.t-uffiunffi'nFffr-n ffi|-|l2 t r 3 t 2

*

AnVCxt t{ I I m . nI I I l T|-lftf'

c/GxxffiEEltbir'ffil l t l

L, \:

:ltrifrn::tr a

IJxxxFftl t l mr r rrrm|m

2

G7r x xfrrl-nLLTAIJ . -I r a r a t J t ttlm.lmlnlmml..I.-ml."l..l.Ut l l

Perhapshemost ften-usedadencenGospelusics |naoo fi 'ArnCadencetappearnavarietyf orms,ncluding:v-|, v7-1,v7-17,v-t ft .,'- rte *ould e sanalternativeomoreasic -lcadence.n he ey fG, tcarro@ srrfy as toGore919p 9 when layingver btuesrperhaps,eneraror rdc rrru; ao peoi ltfindhat back-and{orthotionetweenimpleriadslil st- r'lr,-1abrcest'veatmenlionedo GandC/Go G,anotherariationf tnt *wu I s E tr.rc andbacko G.couldiewheAmasa functionf C6/G,o, t toogerreraestftr^ .retrngthesenmomentaryesotutionouldtso ecreatedithhisnrrrn Gb S, I I G nenbackoBandinallyestingnG.Remember,ustet he assc rs ct FrrE - uassotesndconcentraten hecolorsreatedy he riads.et fEng s.re* Foughhis redominantth rientedeeling,t's-veryommonosbrr r rt safi J lnG-movingoEandheneturningo est nDm/G.hopehat fnrirp sl tr csrtcs ,n heefrwityour.ownnalysisfExamples18-19

aswell s he*rrr crl FEted in xampfei.willhearllof heseonceptsut ousen henprovr=ctr tr 3rotnelius"ocaCD 2, rack7]and erformedn he ev fC.

I+5- ur-m,xx xT[mfil-#lFFf;trf,rr,22 2

AmxrxrrrFn| | l fl..]'.I'.EFFFff.FFH


24/80

Examplet @

GrIVc

Am/G Gxx x xxoooxF{.*ttl 'rr +-{-*r-.,Ff?FH FFI-++{ffi ffirfitn Frfl-h2 3 1

An/C C7(9)imi'"iffi'. Bb/G G7(sus) G7Eim*m*''mG Am/GG

2 l r 3 4 t 2 4 1

F/G C/Gx x x x x rFH{Hst #Esnru l..J..l..U3 1 2 3 1 3 m,-m

Altermtento.(Weslontgomerytyle) t . .G o 7 , G b o T G o 7?+- ff- ?+-ffi--ffi'*ffi'*flt TI.F|-FI ffFFHI 2 J l ! 2 4 t 3 2 4

c G 7x x x x x xH+fH Ff#hHrnl-l&*l ra l'**!FHFffT'fl - " rfl-Fl-l1 3 3 t 2 l

G 7 'xx x|-rrrnHj*Flror,H++#t 4 t

n o nxxx xx xffilr, FFfffl3rrFf.H+ f++ulTrrrF rrn-n2 t 3 2 l l m'',m,

F7(9,13)fdm'u| 234Ge(13)

SlsY3llh Wosomlom8 el he Holltrood oulCo0cad,a.1966.nr n nr Pohm d: Srmm Crhr


25/80

UnitSharmonyuiltacrosshe lrings we will nowbuifdGfiords,,rne.rr.*^s *,,u esuideonessoint' ou'verreadveoun,bysingouiD;ano6 .r'ng rusnprdeonernesexa3,26and29).exivoriwil;dd;;di;;0,ouiie:sr,ipim,nd;"rf2'i"it ano30sunderstood,ou i,iladdoiCein oinc,i,r""'g,inor"sr.sim;p wbt 2s.28nBasicoiceeadingrincipless ou ddoicescr'ssrE trings:1. ry o eepcommononenyourop oiceshe hordshift2.Tryomoveheop oicehromaticailypordowns Ouhearhenrmonyhifting.while ttending'c'L'A.,.feltwasso arbehindy.classmatesirat soughtxtraeplf 9,piaTarmonyndheoryessonsror rrrisicirinsrnrcroisil'r;#;,yhardohnderslandhe onceotf theilillof heone."i rreime,rrioionrG ii p*r.,rp,becrientationasocommunicateo c i, iiiiriirji'ia,monic angr.ngend orwith poprJaz ocaburaryhich ightaveounonetteiionnectionithme.lfyou bservehemovemenlf h-euideonesshe 7resolveso heonic,hentervrdand7,withinhedominantd noro,eemiirrougnheyMUSTesorve.he rdresotveo heoot f heonic,ndhez mus;;reiorve.to-theiror iminoisrd.nrr,wiwo oices,he armonvscrearryefineonJ noseo,cesow oseem0have"wiil,,own. layhe exlxambte.istenoinowieiiO ].lif'rnnf he 7 hordpul"rowardshndrd l he b hord.

whenou dd rterationsIs,b5,fg,rg)ashromaticassingones,oumightwanromakhathemovementf he itches.s ettdcteolnow'y-outrooieo tp6ll"the'Choro.yhismsinghapso ndicalescendingotilailii;['foroesiendingfi;#;nr ;nchoosinhe ther,oumiohtendicating-tha,esorrreiominantill esolvepo he rd f heuthe'13might-resolveowndthe lnoriheonir. rrsystemfmusicotationsnothahentcomeso heabeling.ofhords,utoilneiaie titearcorrun]"iil, t ssomet[i 3oqut..nneril, oury1gqlecei;riic pr;yrds ou eartas oonspossibrendommunicationn our ritingpeedspnatr6criss


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ErampfeeGtn7I X I

FFI;TI8fiEEEEi l l

o.

F/(ilg) -+ (b9)m'"m,"

Bblna 7m,"BbmajTm.'t l

BbmaiTm*lBbmaj9(add)

m* 3

Bbmai(d6)m'-Bbmaj(ad6)m."3 2

Bbm49(add)m'"1 3 3

Example0I

Example"e

G7(il}m'"3G7(be)m,"3 2

G7(*5,b9)m"G7(alt)m'-3

G7(fs)---'bs)

m"m'2 4 t 2 lF/(bg,b13)m'" G7(b9,b13)b;'

Exampfee

Erample"eCm7g nr"r"1tfrEEEEt l

F/(e)m'"3 aF/(b9,13)m'" BbmajT

Erample"e m'"l 2 t 4


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Example6BbmajTxxo xrffirfl1-nffin-ffr1

I

Exampte@Cm7(9)x x xffiHlH#Ffi-t-Ht 3 4

maj9(add6)iFffiiffiBb

Erample@

Eramplett@Cm7(sus.)tu$ffifff't-l

BbmajT(6,9)H#Frr,FtrMt-fJrtl4 2 t l

G7($5)TTTmffirtin-Frrt

G7(ts,ss)ffi -> (b9)x -IJJJ+]|''mIIIILIl 3 t 3

Erample@

Erample*@Cm7(9)x t xffiHt#Hl+fll l 4

F7(9,13)xxrT.TT'1H-.1.|5.,-FFI-I-HI 3 4 4

F7(b3)x x xffir]ffi

Bbmaj9(add)xxffiffffi,oH{H3 4 l l


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UnitSeveiimT-V7-l-V7 verapedal -lp ltlinqs a greatmusic lessoncanomerommostnexpectedourtne arryearsf mycareer,accompaniedanypopm-usicingers.ttenrn-suchsettingbasichythmectionsaugmentedya ull ichesiras rumpdts,lromnones,5reedslstrings)or hordalnstrume.nts..espdciallyhe uitar'can e grertrrirrgexperiencobforcedosee nd earhat LAylNGLESSan eSRytrueVOnftJ ' -- 'Inany lvenerformance,here.wouldlmostlwaysea momenthenhe ingerouldelstory ver L0NGamp,ometimeshisvamp as ver peoatointlonetaticpitchromhbassist)s wouldrt mongsttherchestrandisten,could earhe hordsovingvthoug,h.the,bassas nly layingsingleote.he edalwasnvariablyhe oot f he Z hoand ll he armoniesoundedeautifulverhis ne ote.rulyhis ir'rgiratirranger'sevrl.nhis eriesfexamples've resentedverythingn he ey fCmajor;therefore,ewill seG pedalnderhe ntirerogression.e egin'withxaniptez,tl[;ing jrrthe uideonwhichupplyhebasicarmonicovementn lieprogression.nExampte5, *L uoo hrrd oi9l llt 8.string,ttemptingomaintaincommon-ioneop oicesaneir-trarningiscipAdding ourthoicen he E .stringinExamples4,he ommonone riniipren heop oiremains.henhissnot ossible,heop oicehouldovena mannerirtutroywhereearseemo eads.

Examples5and 6extend.theoncepty ntroducingscendingnd escendrnghrommovementn heop-voice.sa discipline,'ve ttemptedomakehis oice overhalf-swnene.verossible.lwayseepnmindhat 'veustchoser NEption.ouhavemanynotcand fter ime ourwn tylefharmonyill ictate0URchoices.Whenoueelhat ou re omfortableithhesexercrsesverhe G pedal,ry o ransposehrdeas0work verhe C pedalrovidedn he ecordingincehe 'CpeOits heoot tdomrn^ant_chordou ' l l e . inhe ey f F, andhemovementoulbake ou hrouGm7-C/-Fmaj7-D7(alt .).henou'reract icing,ehearsing,r ammingit tr oassistndrummer,ry his onceptasn xtendedntroductronoastaidard,'orerhipsne fyour woriginalunes.Most f heexercisesn hisbook re resentedn he orm fwholeotes.feelhat t's mportt0grow ccustomedo hebeautyf ongoness heharmonylowlymoveshroughhehordLongotesn he uitaran, t imes,-beust seffectivei ttre rrortercuisivetrokesitwhiche uitaristsremostssociated.

fyewi|nessn1989. lockwiseromowefefl:Anlhonyackson,anoloadrena,leve,ndDave eckloriginal ed hawencilketchor ,pUBLlGACCESS',D ove


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gu e nesIExample2:Key f GwithG(UasaPedalLoruernvercionsDm7/Gxx xxITITNbH++lrrlfm

CmajT/Gffi* Cm4(add)/t0xx xrEnt12frFtFrlt lG7Fl*++l3rrIJJJJ-Jl 3UppernverslonsDm7/G

xx xrffiHqtf,ffiFf;ffi ronCmajT/Gm,- Cmaj(add)/Gffi'-G7TX IIFfll'flcr|..l.rul l

Lorer nversimsDm7xx xxffiFFE+I]frHl#t 4

Cm{T/Gffi* Cmaj(add)/Gm'',7xx xxtTrrnl-ilFlJ rn|rut 3 ATtGrx xxH.tfi Jfr|...I...rul 3Uppc nversions

Dm7u r xFfff+{u-t+uFFffi ror,t l

CmajT/Gm,,' Cmaj(add/Gm'"ATtGu x xFtl+ti r frHl+flt 3G7x x srt-ft19ft|..rut 33-noteoicingsith ommononesExampleil:Keyof CwithGM asaPedalDm7/G

x x rH* Hrr.H]#G7x x t

l l l l l ll*frl rr,I t l t lI,ILE l 2 l

CmajT(9)/Gm''' A7(bsycm..a lDm7(9yGffi" G7(13)m,"24 CmajT/Gm'- A7(b9Im'"2 1Dm7(sus/Gffi," G7ffirfl1ifi 8ftl+t*+.{2 1 1 Cmaj9(add/Gm'"t 3 AlbslGm."Dm7/Gr x xITITNftt5 rofr

l l l

G7(e)L|J+.Il-filtfl gfr

1 3 4

Cm47(13)m,, r||qtslGH,.,l I


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4-noteoicingsithcommononesExample4:Key fCwithG(V) sapedalDm7(9,11/G G7(b9,13)m,"oDm7(sus)/G

ftEt t t r l lF?5fr

G7(9,13)l(Lf ffilfr

| 3 4 4


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Example6:KeyotGwithGM asapedalVorffir,

lffl.ml]ml::]Ttm|mml.m-m

G7(b9,13)funtr,r-ffrtlFIIIHI3 .1b*

CmaiT(6,9)/G|..mffi ,onr-rrrF

I 1 1o.{}

CmajT(6,9)/GTrrm|ffiFFFIf,5frffi2 3 t 4o.

AIlbe)cffi 'u,r-iffj /A7(f ,b9)/Gxxl..Iffiffiffi'nn-Ffn

I t 3 3 3DIl.

A7(f,fgycx x rfffior,FFH{-{rTtftl4 t l

Dm7(sus)lG

I t 2 t 4r to .D E

{}

G7( 5,b9,$9)xxffio'iirffi-tffil-hffi4 t l

Cmaj9(add)/Gffi,uSTTF

CmajT(9)/GI..]...|.frL I I r uLTTIT]rrrrn1 3 2

G7(f5, e)Fffirr.ffilFtffi4 t l

Platingorpass-the-hatl heFocus illory ottHouse[st afler nivingn {ew orkciry,1920.Trio atesererith Johnmillerbass), ni David riedminyibes).


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UnitEighnchords In assembling ysludiesor presentation,yoats hatousomedaynioyheume mproviutionalluency ith hordssyounow owith ourmproviselines.'ve hosenopass longhemannernwhich approachedolvinghisproblemormysell.Havingfferedhismethod any, anyimesoprivatetudents,ndnclinics nd eminars,haveseent work,nd'm urehat ou'll eetsparticularind f ogic ndollowhrough ithhework.

We egin yseparatinghe hree hordamilies:orianminor), ixolydiandominant),ndydian(malor).hendid hisormyself,twasmyhopehatf I couldmprovisepon ne solatefamily,nd earmelodiesith hords,wouldeableo do he ame henaced ithharmonynmotionerhapsavingessimeoobserveachassinghord.Theollowingxamplesrepresentedo hat he irst ow ontainsommonoicings;syou candownhepageheoptionsecomeoreophisticated.achxamplespresentedn"G"(Gdorian,GmixolydianndG ydian).heopvoice feach hordson he E"string, itheach ote l hemodeeing armonizeditha modalhord oicing. enerallypeaking,he irst wo ows fferchordorms hichuitaristsre xpectedo know. eneathertainitches,wooptionsan eseenag eingtandard.I wanto ake momentnd iscusshemajorhordamily ndwhyheydianmode illbe hescalefchoicehroughouthis ext.fwe ontinue,orpurposesfdiscussion,o useG"asourroot,henou houldnowhathe G'ionian odes he G"majorcaleG, ,B,C,D,E,Fil),The otesn heG"lydian odeG,A,B,Cl,D,E,Fl) differ nlyn hathe4thdegreef he caleisCt nsteadfC.So,why hoosene verheother?t'spurelychoice fsound yconventionFor hemost art,his hoicesuallyppearsn azand op-standardong ontexts.nmostock,country,nd olkstyleshe 4thof hemajor cale/ionianodes most ppropriate.henou'replaying,ourhoicehoulde asedpon hatou ears oundingestor hemusicAsyougrowmoreamiliar'rthhebasics,llyouwouldaveo do,whenuttingny f hereferencehartsouse,s,looktraightownhepage,ollowhe olumnsonnectinghe oicingswitha commonop-notend our onic ptions ould eginogrow.What hould ventuallydevelops hatheseoicingsecomeamiliarsoundshapes"ndNOTust omehordsouknow. ouwillend pHEARINGow ouuseheseoundhapesnd,nbeing bleo hearhat,you'llind ourreedom.Whenlayingnpop,ock, rR&B ontexts,speciallyherevocalists involved,here illbetimes henoumust armonizehemelodyotewhichs sung.f thenotes none f hesehreechordamilies,ouhave nat-handeferenceor indinghesound hape hichmight it theharmonictyle lyour roup.ln an nstrumentaletting,oumaywanto addharmonyoa specificotenthemelodyl anoriginalune r a standard.hesehree hordamily hartshould rovideouwithmost f hebasicoicingsndhose hichffer oreolorones.The tandardracticeethodo employeres o chooseny ne l he hordamiliesorwork taparticularitting ndwhile layinglong ith heumpleG"pedal,oupand ownhemodenchords,layinghemn ongoneswholeotest east)ntil hey eemo alleasily nderourfingers.vital econdaryspectoyour racticeegimenould e o sing long ith heopvoiceofeach hord o hattsmelodicspecteginso beapart f heway ouHEARhe oicing.hen,likewith our ingle-noteines,ou'll e hatmuchloseroplayinghatouhear ndhat's hereyou antobe.


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Example7:Basic oicingsGDorlan)

Additionaloicings:

VoicingsithmoreColor ones:x xffii'tffiFt-Hrtattl. { l t i

Additionaloicings:

m,'m'ftrmt t t a t t l t r l tI I I t a tI t t t I Il..l...l..lJ1 l 1 4

, 0WE

:E l , , . .I t a t I IImml.u]Tt

- J t l. rO,IDdr

ffi,u,,in-hlI r : . 1t o'Ir

tuH#HHtl+i l t lRootR

r l r FFTII.IFF;+H frffi;il'-o.


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8:Basic oicingsGlirolydian)HEft#fiilrr't r l T lrrrrnt 2 t lRootR) m'" m,,"Iffit?t?-2 l a6rh

o2 3 1 45rhIl'

E

ffit 2 taR


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Example9:Basic oicingsGLydian)m*a 3 2 lmai fl i m, [fffi,'' t1z2 2 ] ] . t4, Root(R) 2nd ++--EIIIIltlfrI l | i l3 t 2 l2th

ffi'.n

m m'm

xxIITIT|H*Esrilmml.mt.-| | | r l lt l 3 33rd

xxr r r r t lrT- t19 flI I | r r l T+li'' m,,,'l t l6thxxrrffi1rTnTl l0frI I I a I It I . I N124

:Vohings ih morcColor ones:

L Hf f i 'n , f f i ,uf f i ' H + Hl i l 2 t i l 1 3

AddidonalVoicings:ffffirtf f i :i l l I I

m'-m,',m mtuffi'- m*xffirrrTbl0fr| 1 3 3ole

ffi,,,ffi


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9A:linor7Chordf f i t u iF m f f iHl+f, Hl+fl3 4 l I I(4th) (srh)

gdorian)

-noteoicingscmirolydian)98:DominantChord amilyC7)

oiciltgs:

-noteoicingsf Ydian)9C:laior7ChodFamilyFMaior )

Yttit$rys:

FamilyGminorr x xffiffir,iili m.',m'-ffi'''2nd) m,,.(3rd)bc

t x xft&LHsnITfml-t-t1+lI 3(R)

m'-il(R)

tuH H roriFFFHi l 4(f,4)


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UnitNichordaltudYeilvedlroma inear rercise While

deVelOping praCtiCeegimellwhichccelerateourOefiueVoriiiinOnatheariighatou racticeillinableouoeventuallylay hatoWnifieirningo eelreewitn ndrOs,ou an lwaysountn.takinghe.simplepiliiirJiOrii(i''gntrom our arliestiale nd. odalork)nd pplyt athalf-spbpeak,ithheop-voice'ovingnchordssheine ould.Use xample0asan llustration.xample0 s asequentialinenF maiorGdorCi'i*fyJiin ri moOesn hatamilyithhe xactameotes)hichoespa3rd ndjtrp,i1fiigrO,lc. hismetodys h6narmonizedithhe ifferentoicingsnExampffii#'-Gt peOatnheecordingnd layachhordlowly.t.caneallyelp.ifou iniltr;rt toudevenfyou on'taiegoodoice,his ill ay ff ownheoad).

Example1usesasichapesndExample2.addshordsithmoreolorones.t'setna11b,jf,r neimeoOonesameor(withhe emainingwobasichordamilies:mlydian)anddominantth Gmixolydian).Examples3and 4arentendedoruse verheCpedals l we.weremprovisiiiririr-oCoomlnantthulmp.rrre 've resentedow ncehedominantth fee;rounO;-nirEenestaUtisneO,nesuperlmpositionf imTGm7)hords,erveso opesounO.xamOfe3usesasichordormsnd xample4bringsn he olorones

Erample1:Chordalxercisesingequence@tuffi'"b';'

ffi,.ffi

tum'on,U 'DII

tuf f i s f rrrrtflrolrl-Ll,: '

m''-o


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e)Use verGPedal r CPedal|\ 7f tg, rFHHHllfl2 l l 4

Gm 7xxffiN T I -I I t a t I

t 4 2 :bo

iiffi* ffi'*HH@xffirr'It'ft'fl|.ffiIttitl4 l l bo

Gm7TL-FFi ilftt r f t l ln-flnc7tum''o3''bE

xxrrrmrtffi 12fiLIJ-IDi l 3 3

-o.{>

TI


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Exampte*@Use verGPedalrCPedalc7(9)xxffiH11+

Gm7(sus)x x 'ffi|ffiFffi*lsnl l 3 lbo

Gm7(9,11)m'-

cRg,13)ffi | t a H{ 1 i r xJ T T I

o{>

Gm7(sus)ffiffi'oubs '

Gm7(sus)rlTT1H+E,."-t f t l orrrrn

T'eGm,l3(sus)ffi,,uFrtftiI 2 l

Publicityh0t0akentDavid an'studionManhattan,a. 993-19g8.


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UnitTenstyle ThOUgh it'S my feeling that nivingtyour wn tyte innotbeat he xctusionfany lyourptions,akingdeeptylisticommitmentosometyle illbe mportant.

Soas.foodor hought,'ve resentedhreexamplessed ithhe ominantth hordamily.s imegoesy, oumight antoweighour ptionsithinhemajorndminorhordamiliesswell.BassVamp

This xamplefferscommonnd impleuitarpproachhichsessentiallyootedn heinherentluesualityf henstrument:Example5:Simple uitar tyb@ffi" ifffii'.I+ffii'.3 2 3 r 2

Here eextendheharmoryicerritoryith mall lustersclosedoicedhords)n he tyle fpianist,illEvans.hergrbhosehomightindhis pproachorblues-basedateriali "toopretty.'istennd ee hatouhinkErample6:BillEvans tyleClosedoicing)@

StyleOpenoicing)ffi'.

Thisxamples n he tyle fMcCoyyne/seft-handoncept.heseypesf ingeringsre alle"o-penvoicings."nasense,his tylehouldpen-uphe armoniceeling,ut,findhat xamp46 an ccomplishhis swell. hereillbehosehoindhe ynerpproachobe ooFarEastsoundingueoall he thsn he hords.gain,istennd ecideor ourself.Atanytagefyourevelopment,ouwillnot e bleo otallyscapeournfluences.houldoubeuckynougho ruly evelopour wnoicend tyle,believet willbeaccomplishedheyou?eotryingo.hardoconsciouslyreakreelyournfluences.t'smy eeling,nd speciawhereourarmoniconceptsconcerned,hat tsomeoint,oumust akecommitmento h-eshapesfyourinesndhe hordalnd armonicenseou earlong ithhoseines.hiss rueevenf,asguitarists,e on'tccompanyurselvesna rio ettingsapianistoes ithheireft-hand.ts mportantelorelayingo emindourselfhat,THIStSTHE AYPLAY,NDHISSTHEWAYHEARAKINGUSIC "heirstpersonou aveoconvincef hissyourself,nceyou'veonehat,onvincingour eersndistenersngeneralon'te uchditficultask.

ilcCoyTynern xEttHFFFTHft

I t l m'',m,"l 2 l i l 3 1Erample7:ffi'"


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UnitEleMc0oyynereft-hands$lepianooicings W.hgnt was rying oarriveat anapproachrnrmonnendedp inding y reahstnspirationromhe eyboard.did pend otof ime tchordalonceplsfmanyf he uita/sreat asterseforeovingway.nmakinghsimplyhosehe tyleowhichfelthemostmotionallyonnected.itnoutdoubwasMc0oyyne/s.speciallyis onsistentlyenteredeft-handpproach.swe'ver'90s,there'sardlya-kgybo_ardmproviserho asn'teenouchednsome ay yplaying.long ithMcCoyyner,hendividualityf Herbieancock,hick orea,6and eithanettas lsoouchedhis ork.

In ryingopasalong y pproachn hemostirect anner,havesolatedhehreefamilies:ajor, inor,nd ominant.or ou,nyour ractice,he dea ouldefluencyypracticinglayingver ne hordamilyorextendederiodsf ime.ndoinwoulde evelopingourwn ensefhearingheseleft-hand"voicingsovingnamemotionalay.Whatmakeshiskindofpracticepproacheadilysablesthacontemporaryazartl ockettings,ou'reskedo mprovise/solo/jamver ne hominorrdominant).hetherrnot t'sa initeengthlike bars r16bars)oromtotally pen nded,xtendedmprovisingracticever pedal illhaveouotallyrtheseituations.Thoughountlessours erepentisteningoMc0oy'sork ith ohnColtranquartet,isownecordingsorM0,Vlmpulse,lue ote,ndMilestone,nd isworksoncountlesslue otelassics,'veoundhatheeft-handspectfhis tyleemaiand lassic.I'veriedo ayoutwhatemightikelylayusingG"asa onal enter)henondominant,-major,rminorhordounds.he nly on-Mc0oyontributionomesrolqCllckCorea,speciallyismid-sixtiesorksasidemannnumerousatin-ja(Cal jaderndHerbie ann).nminorhords,nadditiono he oicingsn4ths, hthis ey)simpbBlriad verhe G"bassspellingut simplem7hord),utwhintohemix ithtiemorepenoicings,taddsomethingonderful.Tryo rememberhat n hepiano,heeft-handsusuallyotplayedooarabovemiddleC.'0nguitar,'veoundhat ou'll chieveconsistentone ykeepinghvoicingslayedcrossheD-G-B trings.o, ependingponhe oot,our hoicyou'lllaynd hereou'lllaytbecomebvious.

Erample8:G7r r xttlttl lfr

Enmpte 9:Gminor

m* m,,Exatnple0:G lajor7

n xHflfil

m'"m."m'- m- ffi"uH1+f,


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Unit welvchordonessmelodies

Example1A:Gminor

Example18

Erample1C

Erample1D

ffi Tlffil T+- T|_ffi'-m'- m'-

In previous gxgrcis0s, you'veookedtsuchimpteevicess ommononmovement,hromaticop oice ovement,ctaveisplacementf he op oice,caleassagand.harmonizedcaleequencesorchords.ow,owboutarmonizinjhordonesndmodpitchessmelodies.Togethemostut l his ind fexerciselayhe xampless ingleotesirst. hening lonwithhe. elody.orhemoment,llowourselfo believehathitisyourmelody.hen-iteelexpresiveo ou,ry ddinghe hordaluggestions'veupptied.Here'sperfectpportunityomakese fone,rall,of he pplicablehordaleferenceheetsfyouwereissatisfiedithhe oundfany hordhapefor xample,voicingithA"as heopvoicen heE'string),goo he eferenceheets,ookownhe olumnndrysomef he theoptionsncontext.flso, ry ouseompletelyifferentoicingsoranentirexample.inally,akup ourwninewith ingleotesndhenarelullyarmonizetas ouwouldeart.Thehoiceyou owmakere endingou n our ayoa concepthat'sllydurs.owo layersillmakthe amehoices. m,-,,, I 1 3 TTrinffi'*

3f

I 3 3

2 t 4t 2 3 4 1

m,.


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UnitThirtThenotionof playing outside"rhearmonicoundariesasec0lsludy0rstudentsf hemusicfOrnetteoleman,iles avis,ohnColtraneuppor ndower eighborc

cadences:apploacheshrough supportingalentshey'veuiluredverhe ears.

BbmajT(6,9)

BbmajT(6,9)

ls herefly.rurggdponystem{.logichichpptieso heones,nd onfiguratioutsidehe rightnotes?"wouldikeooffermyperspectiven tris, nd t g-;sbacidq' l?t ike oodrama,ood usic ustavetensionndelease.ithoutipptyand ll tspossibilitieso harmony,e'd eefto createension ithont1l ynirjri6s'rOIt'smy.beliefhat irtuallyllpassageshichoourears eemobaoLitsideheconceptsfharmony,an eexplainedshavingomeind f"dominantfunction,"7ril'd ikeo offerhe ollowingxercisedeassa meanso explorehisworldhroumovement.he ssentialdea.ishat ouake chordwhereheopvoicesa melodyihas nemotionalonnectionoryouand ry o sunoundt byusingonsonantOiaton

Eramplet* )Cm7(9)m,'l a F/(13)m,'chordcalermode)nd/orhromaticpperndowereighborsocreateitileenharmonyeleasesnd omeso est.The ivenxgmplesrovidedeasorbothmajorndminoronics.fyou ee note,stop oicehicheemsomakeo ensen elationo heonic,ook ick bar r wo nisapart f he lteredominantsuperocrianode)calef heV7cnoiO.nmosalswerhouldie here,ut,he eal ecisionakingactor illalwaysenpLAyTRULYOUNDSOODO OU

Bbmaj(6,9)ii#i'.Eiffi'.4 t r 3 4 1Eramprc5zEG)Cm7(sus)m,-Erample2C

Cm7fu.oHH

3 3 t

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UnitFourtcontempolarY ThiSSelieSOfChOrdaleferenCe aterialsS, nessencot't-nrri*rrty prisentednititledM0DESNCHORDS.gain,he reateroals oprowith smanyptionssPossible.you'll oticehator his tudy,nlywo f hehreeasichordamiliesreepreseiruoilni-i'iiMinordorian).ne d'ominantth mixolydian)hordamilyas eemi;i'iii,;j. inir iJ ilrry oii'0,anohehinkingdninohiss as ollows:shas eentiliabd,aigunarists'weanrtenOne armoiyfany ominantth hordy,superimri,iri'rigi/rhoiOiverheVZ oot. o,n his'contemporaryeriesf.soundhapeseil;rd lil t-r*ony softenspossiUie.yonly sing indriim7)oicingsgainstheVpreciselyhatewoulde ccomplishing.

At imes,hemannerl hispresentationl4and -noteoicings/chordsill. eemerl'ndi otnirimes,uiteandbm.ll nall, t'snot harmonicallyequentialeference'virrilmetiiooochalbngelorio asweli syourhordalexterityo hat, napurellevel,ouringerseveret o comfortaUte[ nls tage.ike efore,hemelodicoicascendingnhe ighE'or'8" tring.I believehebest xerciseor nitial ndongermesultss oplay achoicingithnoroingltornobarsveitneO;peoanh--eecording.stablishour wneelingorw,ou-,iJ-:rriaieotoiemotionirryor'vou.s ou.eginousehe asicnd ontempiri'iioniuniiion ith ne noin6r,owrelati6nshipioll hat ou earnd laywillhavdeeperonnection.Try ocreatertiitt ofshorterm racticeoalsndollowhemhroughver proiirjme. r*ivs e atientiinoursetiandou;ltind ou'rerogressinglmostithouto

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n emaior/minorxercise This s oneof mYperconalavoilte xercisesd iketoronenanelongatedtudyorni. ets nalyzehisepeatedour-barattems f lnere horoblemeneidedos6tue.ndoinghsworkory0u, s might ot formysell,ts hoiou'llbe bleoapplvhis amehoughtndnalyticalrocesshenou avepr0blemieriestctrorcsiiitrinsong.heurposes oaxpeditehe rocesslHEARINGHROCHANGESs arlys ossible.

First,ook t he hordsndryand eterminehe hordamily,ndhenhe-moderscauponheootn his aseeiaveGmalTor2 bars nd Gm7or2 bars. enerallypea azorientedontext,henou omecrossmajorh0rd,ou seheydian odembstimes,tre ounCl he'14s armoreppealingo heearhanhat f henatursuspensi0n).ormost inorhords,ou ouldpplyhe orianode.Forhenext tep,wouldakehe ime0 otdownhebasicentat0nicossibilitiesimoleormulas.nmaiorhords,playeranapply inorentatonicsasedponheand th egreesf he ajor cale.nanyminorhord,player ay pplyminoreiroot,mgrd,th, th, ndTth) uilt ponlie oot' nd, nd th; nd,he ominantthpeinooi,no,ro,tn, ndTth)uilt n he th egreef he orianodeWhat'sccomplishedyustmakinghis ind l elfortsyou'veiven.yourselfhe hanthrouohhis hordrodressionnd tayherightnotes' ayinguthe entatonicsiveinitiaiopportunityb iep somelyorirines loser0 hebluesanguagehichs suComporientnallpopularusic.ut,n dginghis'. hat'sgT ccomplished,therhbasiimprovising,d hat ou?eot et speakingtheanguage"f azorany thertthat'sdiscussi0nesteftor notherext.Forh0selvouwho o/vanto mproveourazplayingnd erhapsursueife n hhow oeshis xerciseorkowardshat oal?owmanyimesavee eenr0grelookomethingikehis:GmaiTGm7 7'/Fmi7Fnl Bb7EbnaiTEbnlAbl DbnaiTAnlD7lf we rouDhe arsn rioditterent/vays,heunctioningl he hordsanake n wooittere"ntdois.none iew,solatinglrs1-2;3-4;5-6;hismovementould e eegoingo -minor.oumay e skingiow anouayhat ithf0rexamplenbar ) heCinJ,rf nis swherehe nd iewomesnto'play.f weustook tbars-3ior -5;&g-ri,omz,C7' nd majTre ll n he ey tF maior' m7Gdorian);.c7cmixolimaiZf ionian)tthavehe ameotes,uitbeginniirgnd ndingnditlerentcaleeitwd iew ar asonly aving mi Gdorian)nd h.ose.ot 0gbserve.the7bepitchesrehe ame,henars-2 oulde cenesmovingrommlor cmlnor'This xercisean eapreparationornegotiatinguchroglessions.indiatonicantheaccomplishmentfusthearingherighflormationsJ oundhroughhechgrdwayorevintuallyddirighe lterations15' 5, 9, nd9) 0 hd heensionreatechordesolvess ou o0 hemaioronic.whenrvino0 earnohearhemovementfharmonynordelo mproviseirmlyelieimoortaitint steos o"establishthe hgrdounds.'vouldalmysuggesteginnturidamentaluildinglocks,ouruideones.imple-n0bgicingshichutlinehetendoasociateheieoicingssanntegralartfJimhll'sappr@ch0accompan

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In hisexampleou?eresentedithMccoy ynertyle oicingspptiedo meguicondensehe resentation,'ve mployedcallandesp0r6e'pproachtned| loF, :voicings,ndhehigheregister-noteoicings.sagef hisstyle houldiw youmodernnd oenound.Example0:Step

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Example62:Step5)Gm47(6,91ffi,oFITHItTT]f

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In his inal resentation,e?esingarqerpen-voicingsith nascendingelodicp vopresentedsingongones0 orceou0G0SLoWLYnd earhe ontentleachhorbverhe oot.ndoinghis, ou?eivelopingpersonaltnchmentoeachound.elorany hord, akeertainhat achotes speakingroperly that oone trings accbein0utedrmuffled.As ou now,ou an seheC0NTEMP0RARY0ICINGSEFERENCEHEEIShich out-precisely6rhis xercise.hey?enplaceo makeurehatheseptionsre.ightnyou ndmadeasyoexplore.henearningowohearheseoundss.art lyour piry okeephem6vemeritfyouropvoice owno awhole ote rhalf ote s hehamovementill till e lear.

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UnitSixteehangesstandads One ould ertainlypend olumes resentin0,standardmovements/progressionsf91oooutarongormsR-n-AjR nd -A') uf, crroseouseusttwo xampleshich ouldendhemselvessexercisesor hismat6riit.'gothunesresenharmonicovementshichre onstantnd eryogical.

Example3 "Mundoesmondo'')sperformedith bossaovaeelinghich,saneventh-notegroove,.cane loseo anand atinaz,aswell s ighterormsfpop,Rock,ndR&8.ou'regiven.basichythmlong ithhe ssentialassotes.leavingour noroitnorcesospeaklearly.In,thisirstexample,ou're,askedoexploreheusagefbothnvenionsi neguloeonis. J1tou;ieallowedo markhechordhangesithoutnyk-eyboardnterference,oufroutOearusi rowclearlyhesewo-noteuideonesuflinehe armonicovemenr.Example4offersompingnan.orchestralstyle.he.ideas hat,with our uitar,ouhave big9!F il your ands.he oncept.being,hatoumagineheop otef'theiord/oiclng;d ih;8"string)s he axophoner romboneection,nOne -dr+-noteoiclngsithhdop oteon he E"stringsherumpets..ynamrcsre mportantere,nd oumrghtiyplayingf'e o*etvoicedhordstmezo ianondhe igh-voicedhordst orte.Letter,ofExample4, sanexamplefusingctaveeapsnyourop oice.emembert'smelodicoicend noctavean e very ipressiventerval.simpleuggestion,ry hismovementn everse.Theinal.sectionA3) resentshe onceptfhavinghe op oicelowlyscendinghroughheprogression.nyour wnmprovising,ry, ncegain,o eversehe r6cessreatingnj ongdescendinginenyourop oicehroughouthe rogressionExampl.e5offers yown pproachasedpon Tyner-inf luenceduitartyle.f you'vefamiliarizedourselfithhe resentationlhowoactuitizeis oicingsn tne uitarnenni iexamplehouldake otofsense.'d ikeopointut ne peciala'imonicpproachhich$ssssssssssssssssociateith.McCoyyler 1d ou an bservendisteno frisasyouplayAAZ, ars anO;B,bar ;andA3,bar .Whatheoesooftenver imT-V7s o nimeO'iaterylaytreitn-t}lpechordoicingf he 7 venhoughhe assistsuallybserveshe ootstOotnie im7 ndiheti._Yqu ightaveo orceourserfomakese f his pproach,sopposedoalwaysl;tingiimT hord oicingirst, ut,fyouindanemotionalonnbctiono he ound,hen ouwi'lln imestrikebalanceithtsusage.Example6A"Somehingsou'reot")eginsithhe uideone pproach.t smy irm eliefthathis salwaysgoodlaceostart ndhen xpandour onceptromnere. neitile tiicl;totake otef inbars,11,18,.22,27,and4) s hatoverV7 hordoftensehe uideoneifromheprevtousimTor he irstwobeats,ivinghe ound heightenedeelingtiuspensionand elease.ry layinghesears ith nlyhe ominantth "uideonesnd isteno hedifference,hen, akeourwn hoices.Example68employsMc0oyyner/Chickoreapproachor heentireune.tshouldenotedthatfyouwereoattempto.playxactlyikehis ehindhemelodyra soloistlouwoufOeguiltyfsomeeriousverplaying.orhe urposesf his ook;veriedo amnasmuchinformationspossible,ut,nareal layingontextouwould aveoweeduta otof hiswhilelisteningowhat'soingn roundou .I'moftenskedoapplyom.ef he 0penVoicing"onceptso astandard.nExample6C tookone hord.alsoundshape"romhe OpenVoicings"efeienceagesnd ttempteritopptyiiogvery_arfpossible.s his xampletands,t sacompositeitne penoicingoncepi'andheTyner/Coreapproachnd houldddoyour rowingensehatheseoicirigsre

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UnitSeventeGm7-EbmajT(t4)

Gdorian:G A Bl, C DEtlydian:G A Bt C D

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It's the continuinggoal of lhis bookro nspireouocomepwithourwsimpleracticexercisesnd eviceshich ouldccelerateheprocessl.hearingthroughhechanges.heollowingsone fmy avorites,ecauseorhemostart,manyf he oicingsansustainhemselveshroughoth hordshoughhesewo hordsighteemirelated.Againhemovementetweenhe hordsssimplendepetitive,our-barhrase,wo arsoreacchord.0why {ouldhesehordsaveomuchncommon?et'sook t hemodalitchesirst:t E ll-iLl= IRoot

As ou an ee,houghdorians derivedromhe ey fFmaiorndEt ydianhe ey f Btmaior,hey nly ifferverheusagetEtorEr.S0,oputtsimply,song syou voidhospitches,ny hordoicingou lay ill ustainhroughhe ntireour ars.Example7 ocusesn ongones.hehordstayhe meand nlyhebass otemoves.et,the hangesmadend illactuallyoundbvious.xample78eaturesnner-voiceotionhilethe op-voiceemainsixed. ryplayingheseswritten,n brokenhords,r n anarpeggiastylend f ourseseourwnhythmicdeas.Example8containsomeampdeastilizingriadsnconjunctionith -notepenoicingThe hortocussoncommon-noteop 0icesithhemotionn he nner-voices.oushotlddiscoverhilelayingndisteningo heseampsust owontemporaryimpleriadsanounwhensedlongsideoicings/hichighte onsideredodern.Example9 eaturesstationaryop nd ottom0ice ilh nlyhemiddle ovingack ndorthbetweenA'andC. Inbars,12, nd 6,'ve ddedkind fchordalnswer0 he hrase,gaibeginningith-n0teoicingsnd uilding04notes.

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UnitEightoclavesithhirdsnslde

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UnitNineteC7pedalhordaleference oftgn in a SOIOSeCtiOnor ust ongam verYamp'oure ked0play;irft-d;t6;rt nh httc.loryean tprilateeachi-in:g,nd tclinicsndeminarsle beenilitr),il ti,; i,rt;n expaironarhe',an oo,-verheseindstsituati'ns.heollrdlerericehartsre tfereds basisoworkrom.

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UNITabouthecd Plobably he most dilliCultaspect0f hisndeavor,ndorhateachingrgiving clinic0 a argeroup,s 0 makeheworknspiringnd ducationaowhohavehe arthest0g0without oundingikeyouare alking own0 themore dplayers.t'sanextremelyine ine 0walk nd oubtlessly,omewherel0ngheway, 0meslighted.amnow opinghatormost fyou'vewalkedhatine ine nanacceptablean

The xampleshich representedn heCDwere one t emposesignedo offerCLAthat ou anhear hatam doing nd hen racticehesamehingwithoutt being00dGenerallypeakinghe erformedxamplesn heCDwillbe ollowedy he ameraminus yguitar,eavinghenow mptypaceobe illed yyou. here illbecasessuch s heGbluesxamplesnd ariousedals,hereou re fferedeveralilferenf'grooves'withwhichoexperirnentsinghe amerittenxamples.ln ExamDlesG-31 herehewritten usics olferednwhole-notesnd alf-notes,ou rplayhemnpreciselyhatmanner,ut,'ve lso uggestedhat oury 0w0rk nyour wnimprovisingimplehythms.hiss whatdid nperforminghosexamples.fyouikewhsometimest can eagreatearningxerciseo ranscribehe hythmsplayed.he itcheiust s hey ppear.InExamples3-36, nce gainouwillseehatheexerciseas resentedn wh0le-notit s mportantopracticehemn hatmannerndmakeertainhat ach oicesspeakinmethodhichan ccomplishhe amends 0playhe hordsna'brokenhord'stperlormancef hesexamples,ouwillhear, t imes,hathis swhat did.Pleaserydoinway sweThoughngineeralcolmollacknd have one urbest0 share ith ouhe echnicofmost f hesoundsou,vill ear n heCDpresentationsoteveMhingurnedutexahad ooed.na numbert he ecordedxamples,ouwillhear ome istortionn hsound. onotworrylllt is not ourCD,t is not our tereo,twas ctually y aultAtthethe ecordingdidn't nderstandne f hecontr0lsn heamp nddidnot ully ealizwhat ind f s0und as oing0 ape ntilwewento mix t. So,o all ofyou,myapololesson eres t0ALWAYSakeheextraime odouble-checkuchhings.t will saveoembarrassmentaterlFromhemomentt was nownhathere ould eaplay-alongDncludedn hebook,pon ncludingeveralmprovisedieces.ieceshich 0uldotnecessarilyxist s ullycompositionsutwoulderve0demonstrateust ow ourines nd hordalarmopresintedide-by-sidehile ou'rectuallylaying.t is hopedhat hepiecesvill nspiryouowork ard tputtingo use 0nceptsromhebooknyour wnmusic, ut,NY0UWAYIIwouldike0say ittle boutachf he ieces.overhe oursef hebo0k,eflectionsn henfluencefpianistsnmyworkwas cTherexists,puntilhismoment,heabsencetone ery ignificantianistnd ersonnDonGr0lnick.houghon assedwayarlierhis ear1996),is nfluencenmepersomusicallyanbe eit hroughout.uringheearliestf ourdayswithheBreckerros.usedo ehearse/jamn Don'spartmentn heVillagen New orkCity.ncredibly,onibuildinghereisneighborsereWillLee ndChris arker. . so, hewholehythmecrighthere,n residenceuringheearly'70s,ewere llSOULRAINans-andonworhard tperfectingisDonCorneliusmpression.f you an ictureonGrolnick'serstature,t'saprettyigstretch0rhim ogethismpressionown. . but, eworkedndwmasteringhe Love,Peace,ndSoul "ood-byerom he how, inally,ne ay egclose0 t andWillcalled imDonGr0lnelius.nyway,wantedo mpr0visene xamtogetherll hatssuggestedn Unit 9. decided0 use urbasichufflerooveitselfdrummerernarduidie)nd ryand vokesensefDon'smmenseeyboardresenspent0manyears akingusic ithhim, is nfluencenhowplay, nd ow tand shbdgepodgefstyles perhapsostlymix fR&8, az,and atin is, npart,uWe ll ovedim, ismusic,nd eingis riends.emissim eeply.0nDon'sastCD,MEDIANoCHE"(Warnerros.),eexploredatinazz. on'som"Rainsville,"essentiallysophisticatedlues ith cha-chaeel, asmy avoriteune ithouI simply xtractedheBtkey,heattitude,ndustkind fputmyown pin n t. Asoulhawent,have0sayhatnoweelhe uitarounderesascloses 've otten0s0undinOdd,n his ontaxt,ecauserememberon eally islikingeverb0 hedegreelike 0 eThet i t l e i sanodtoDon 's tune . . .a lso inourowns lang . . .whwork ut, ell,ou'veeen

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