contemporaryChO fdKHANCEPTS

I ' I , '- t - tx x.-r tt

t l ^ t l

ChordHANCEPTS

RTgt|sHED svMnmnrrat Muslc, lNc.rM@ 79Xt MANHATTAN MUSIC, lNC.rM

All tughts Controlled andAdminisre:ei br- \VamerBros. Publ:cat;or.:s, lnc.All tughrs Rescn.ed.InternatronaI CopnrghtSecured. M;cie :r: rhe U.S..{.

Distrlbuted byWarner Bros.PublkatbnsrsS(xt N.w.48th AvenueMiami, Ft 3:l0l4

Anv ccpf ins of d:rs materia.lin n'hole ul n pan r+rthouttne elpress l{nnenperrnlsston of \yamer Bros.Pub|cattons rs a noiatron ofcopvnei:t la'*-.

l ^ t r ^ tx xr t t l

Tfr

Table of ContentsIntroduction

Unit 1 Superimposition of the iimT on UZ Chords g

Unit 2 Triads

Unit 3 Guide Tones Derivation 12

Unit 4 Elues

Unit 5 Rhythm and Blues/Gospel ChordalApproach 21

q!il 6 Harmony Built Across the Strings

Unit 7 iimT-V7-17-Vl7 Over a Pedal

Unit I Modes in Ghords Reference

Unit 9 Chordal Study Derived From a Linear Exercise 96

Unit 10 Ghoosing a Style 39

Unil 11 McGoy Tyner Left-Hand SUle Piano Voicings 40

Unit 12 Ghord Tones as Melodies

14

24

31

41

Unit 13 Gadence Approach Through Upper and lower t{eighborc 42

Unit 14 Gontemporary Voicings Reference U

Unit 15 Major-Minor Erercise

Unit 16 Ghord Ghanges lor Standards 53

Unit 17 Gm7-Smai7(il4) Exercise

Unit 18 0ctaves with Thirds lnside

Unit 19 G7 Pedal Ghordal Reference

Unit 20 About the GD

48

72

cDrCO TRACK OESCRIPTIOl{/TITLE

Tuning Notes (A = 440)Etmajor lriad Piece (Example 5)lbryiq Triad Piece (without guitar)G Shuffte Btues (Examptes Z-10 ar;d 12-19)G Shuffle Blues (without guitar)G,Gospel Blues (Examples 18-19) For play-along, use CD track t5lBlues/Rock Shuffle (use with any G bluis)'G Blues/Latin (use with any G blues)G Minor Blues (Exampte 1i)G Minor Blues (without guitar)F Jaz Blues (Examples 14-15)F Jaz Blues (without guitar)J:t.lI glt.lqpss the Stri nss (Smai) (Exampta 2tr31 )i i-V-l-Vl7 (Bhaj) (wilhour guitar)ll-J-! .Yl7 overG Pedat (even 8rh-nores)(Examptes 32-36)G Pedal (even 8th-nota) (without guitar)Chord Exercise^in Sequence over C pedil (Exampla 41-441q Pedal (even 8th-notes) (without guitar)!ryF - 3/4 Latin lamp in G (rxamptes +lZ)3/a Latrl Vamp in G (without guitar)ii-V-l C-adences (Bt maj) (Examples S2A-0)ii-V-l (Btmaj) (without guitar)!!L! ! Cadences (Gm) (Examptes 53A-D)iig-V-i (Gm) (without guitar)!rQor./q.!no1 Exercise in G (Exampta fr,g-62) For play-atong, use CD track t16lG Pedal/tatin

t1lI2lt3lt41t51t6lt7lt81te1t10ll11l112ltl3l114lt15lt16lt1 7lt18ltl elt20lI21lt22lt23lI24lt25lt26l

cD2CO TRACK DESCRIPTIOII/TITLE

'Mundo Desmondo" (Examples 63-65)'Mundo Desmondo" (without guihr)"Some Things You're Not' (Exampla 66A-C)'Some Things You?e Not" (without guitar)Qmf-fbm{zrl Exercise (Examptes 6Z+0)GmT-EbmajTt4 Exercise (without guihr)'Don Grolnelius" (Unit 19 - improvised oiece)C Pedal Shuflle (without guitar)l0Lntura City" (At7-Sm7 Latin Vamp)N-7-.VrtT Latin Vamp (without guihr)"Sliceville' (Bi Latin Blues)& Latin Blues (without guitar):{hqla!mo' (F7+747-F7 Larin Vamp)FI+747+7 Latin Vamp (without griihr)_Ggclnngl (ii-V-l-Vl7 Bhaj Larin VCmp)

'

ii-V-l-Vl7 Btmaj Latin Vamp (without guihr)

t1It2lt3lt4lt51t6lt7lt81telt10lt l 1lt12lt13l114ltl sl11 6l

upegal InanKs.My very Special Thanks to the lollowing people:

Al Gorgoni . . . for your friendship, generosity, talents, and tireless effoG in lrlping rne assemblethe play-along sequences which grace these CDs and which have been a part of my clinics andprivate teaching for the past several years. l'm so grateful and could NOT tnve clone this withoutyou, or your family. And to: Rob Wallis, Aaron Stang, Tom Roed, Bob Sherwin, Mike Selverne,Fruko, Christine Martin, Malcolm and Nina Pollack, Rob Mounsey, Felicia Michael, 0scarHernandez, Manolo Badrena, Marc Quifrones, Lynne White, Gloria Reuben, Blanca Lopez, CliffordCarter, National Guitar Summer Workshop, Ned Shaw, David Tan, Rano Johal, Viviana Gibelli, MikeLandy, Colin Schofield, Anita Padilla, Lilibeth Morillo, Yuny Reyes, Ed Rak, Dan Seeff, Bill andKristin Hart, Stan Smith, John Harris, Dan Keller, Anthony Jackson, Ruben Rodriguez, PatrizioChioza, Kenny Inaoka, Sabina and Seth 0rnstein, Oscar D'Leon, Sergio George, Robin Gould,Freddy Zerbib, Adam Gorgoni, Julian Gorgoni, Bayamo, Bernie Minoso, Bernie Williams, DerekJeter, Puerto Rico All-Stars, Dennis Chambers, Ellen and Barry Birnbaum, The Shapiros, DonnCunningham, Ron Carter, Juan Luis Guena, Reyna Carpio, Astellia Diaz, Clare Fischer, PonchoSanchez, Doug West, Betty Demont-Rahiou, Jimmy Anton, Jean-Michel Folon, Esther Flores, andJohn Locke.

AcknowledgmentsGibson Guitars (Jimmy Archy), Dean Markley Strings (Rich Friedrich), Sadowsky Guitars (RogerSadowsky and Ken Fallon), Walter Woods Amps (Walter Woods), Custom Audio Electronics (BobBradshaw), Aguilar Electronics (Alex Aguilar), Korg/Marshall (Mitch Colby), Yamaha (MasaakiNaito), lbanez (John Lomas), Danny K. Music Services, The Latin Ouarter (Carla Reyes), andManny's (The Goldrich Family).

DedicationThe work in this book is dedicated with love and gratitude to my mother, Gloria and to my sister,Laurie . . . and, as always, to my dear son, Heath.

CorrespondencePlease feel free to write, it's always great to hear from you!

Write to:

Steve KhanP.0. Box 1308N.Y.C., NY 1m11

lf you'd like a response, you must include return postage.

CreditsEdilorc: Robert Wallis and Aaron Stangilusic Engraving and Book LayouUllesign: Chelsea Music EngravingCover Design: H6l0ne C0t6Back Cover lllustration: Ned ShawCD Recording Inlormalion:Produced by: Steve KhanAssociate Producers: Al Gorgoni and Malcolm PollackExecutive Producer: Rob WallisProgrammed and Sequenced by: Steve Khan, Al Gorgoni, and Adam GorgoniRecorded at: Lightstream Studios, October 4 and 7, 1996Recorded and Mixed by: Malcolm PollackAdditional Sequencing: Rob MounseySequenced at: Flying Monkey StudiosFlying Monkey Assistant: Felicia MichaelPost-Production: The Review RoomEngineer: Mike Landy

lntroductionft geqms Stfange thatwith our instrument, in the wortd of pop and rock music, therec0ul0 exrst such a thing as a "rhythm guitai' player. A guitarist who just plays the chords. And, a"lead guitai' player, one who only plays solos, titis, andlicts. I find fliis old'tecause I betieve thatyou must try to play ALL of the instrument as best you can. 0bviously, you'll have strong and weakpoints, but don't let your shortcomings get the best of you. You Cntl devetop into a well-roundedmusician and guitarist.

Since the '80s, music education has advanced faster than one can keep up with. During the '60s,when I was trying to learn how. to play the guitar, you had private tbaci'rers, a few bilots, inoexchanges of information with friends, but mainly YOU HAD YOUR EARST liyou couldn't'trearlI!$ qulqlly, you were lost. No play along CDs, io videos, instructionat books with cassettes, no"REAL 800K," and no Jamey Aebersold's 'JAZZ AIDS' service.As a teacher I've been amazed at the technical advances on the instrument. Never has there been somany players with such incredible technique. 0ften-times that ability has come at the expense otacomprehensive knowledge of music: harmony and theory. In my experience, that has translated intostudents allowing their chordal knowledge to lag far, taiOenind. Sd, as a teacher. t've trieO tobringin the extremes and share my concepts about being able to put to use all the possibilities ine guitaioffers for more complete expression.

After I had moved to New York City in January of 1970, I began to slowly add more guitar and musicbooks to my library. I recall purchasing several "Chord Dictionary" pubiications, some with as manyas 80,000 chords. I remember thinking, 'How coutd there posiibiy be THAT many chords?" Asistudied these books and continued to learn about the guitar, I realizdd that most of fliese chords lustfulfilled a number in the book but proved to be virtually useless when making music with othermusicians. In this book, I've tried my best to make certain that everything

-presented has thepotential to be used in a variety of settings. I would be the first to admit thet I hai/; not covered every

single posibility, but, the work assembled here will certainly serve as an excellent source to whichto refer anytime. . t.In a sense, for my bwn qqploSch, I've tried to view things in a more pianistic manner. The pianistcan accompany their right-hand lines with their left-hand. So, in part, I've worked at playi'ng theguitar with this kind of approach in mind, but, the key difference for'me is NEVER view ttie tbt-iranOaspect as "just a bunch of chords!' The concept is to ALWAYS hear the top note of any chord ashaving melodic content. This.is of crucial importance. Your lines and your chords are of equilimport and can lunction beautifully together in your hands.My method for sharing this concept is actually a complete contradiction to the end result we hope toachieve. 8y that I mean, I treat chords as totally separate from the linear work. At the start, the twoare. only joined by harmonic theory. And, as the work progresses, the lines and chords slowly beginto function together. As there are many excellent books and videos which concentrate on th6 tin6arside of the instrument and improvising, I have chosen to focus on a chordal approach which canjoin those lines.

It's my sincere hope that you will work slowly through this method from the building blocks to themore sophisticated concepts. Approach things in small study units by making a series of short termgoals for yourself - somethiry y9u Cfttt accomplish in a reasonable amount of time. you mightfind it difficult to place a specific time frame for the mastery of these concepts, but patience and asteady course will surely win out in the end.All the best,

N,kNew York City, November 1996

HtograpnySlevg Khan admits that, when he was a teenager, "l was a tenible drummer with no musical training.I had developed a love for the guitar and, when I was 19, switched instiuments. I was determinfrthat I would not make the ume mistakes I had made with the orums, ano siioieo compoiitlon ano!|tgU.?t UCLA, along with private guitar lessons from Ron nntnony: lnl-970 rre moveo to HewYork City.From this point fonrvard, so much of Steve's career is welldocumented. In 1g74, he performed inone-of the firstcontemporary jaz guitar duos with Lany coryell. During this sam'e period, heb@ame a member of the Brecker Brothers Band. His lirit recdrdings as-a leader werb a tri6 oialbums for columbia Records tiiled: 'Tightrope" ('t927), .The Blue-lrtin;(igzg)and "Aryowf

{1919) ]n.e:g,recordings f{rtg9 Randy and Mictra'et grecter, David Sanborn, Don'Giotnici, lytikeMainieri, will Lee, steve Gadd, and others. In 19g4, sony Music/columbia released'a cDcompilation drawn trom these three Lps tiiled, "The Coltection."ln 1980, Steve recorded a brilliant solo acoustic guitar album, "Evidence,' wtrich paid tribute to hisearliat jaz inspirations and served to establish him as one ol the great interpreters of the music oiThelonious Monk. Between 198'l and 1985, he worked and recorOeO witn n'is quartet, iyenitnesi,which..included Anthony Jackson, Manolo Badrena, and Steve Jordan. Togettir they made threirecordings:-Eyewi-tnes" (198't), "Modern Times"/"Blades' (19s2) and .c& toco' (lg$j. srevejoined Joe Zawinul's Weather Update for it's one and only 6ur iri tgs6. nis was roiroweo oiingnoq!.ve, duet recording with keyboardist Rob Mounsei rne e mmmi-nominato Co wasiftreO'Local Color,' and was released in 1987. lggg saw the rdsunection ot Eywffress with Dave Wecklreplacing Steve Jordan for the 'Public Access" CD. Since that time, St6i nalooeo two itrabnianad'pn recordings which featured Ron Carter and Al Foster. 'Lets Call nis'anO .Headliie'were released in 1991 and 1992 respectively. In 1994, Steve found trimsat W in frJcompini ofArthony Jackson and Manolo Badrena, iOOing Dennis Chambers and Micnaet Brecker'for'crossings,' which was dedicated to the memory oi his late father, lyricist samny cahn.Recently, steve has contributed lo $ygla] $ecial proiects. His unique medte, of two GeorgeHarrison tunes graced Mike Mainieri's NYC Records'"Cbme Togefirer:A Guilar triUute to ThiBatles." Here he was accompanied by Marc J-ohnson, Peter Erski'ne and llrg tasconcsloi. SpeciaiOlympics. and the Holiday leason brought Stwe together again witr rB Bra*er Brothers for Ibalsil-styled interprehtion of his fathe/s one true Christmas song, The Chrbtnas WalE,' whichqppeared on Blue Note's 'Jaz to the World' CD. In 1996, Sted tearned rth Arg€ntint'vocaiiiiGabriela Anders, Rob Mounsey and New York Salsa All-Stars: nuOen noOrlrp. irlarc Ouinonesand Papo Pepin h contribute 'Don't worry Baby' ('No Te preocupes N€tn=iio .tvoutdn,t lt BeNice,'a tribute to Brian Wilson.

lecordd in $ptember of 1996, "Got My Menhl" brings Steve togetu kr 0E ru tirne witrJohnPatitucci and Jack Dejohnette. The.cD-ag-ain finds him using his uniqn guyng mo anangingperspeclive lo interpret the works of Wayne Shorter, Ornette Coleman, te trtoig;, it eOOn Uirrisjas urcll as standards by Rodgers and Hammerstein, and sammy cahn md.leni vil Ha6€n.Throughout his long and distinguished career, Steve has recorded witr cdl daw se ri6b a MilesDavis,.steely Dan, James Brown, Aretha Franklin, Ouincy Jones, Eddh Hnsr rrao,e xuouaio,StepsAhead and others too numerous to list. He has alsb produced rrydntr br Hh guiuristilarry.Coryell,lvlike Stern, Bireli Lagrene and Bill Connors ds netl as psrc eiir gn. rn"iOoitionlo lnil [or, he has published.three-other highty regarded boota:

'ru ruc rirrpmay outtarFolio,' 'Pat Martino: The Fally Years," and 'Guidr Wirrtshop Series - Stn rCs,tt*id, ieaifylunctions as.an Eyewitness songbook). In addition to recording nd p€firnrg-gd is ar aitiv6clinician and teacher.

range ol the guitar

0pen Strings

To thg eyes and ears 0f many, the range of rhe guitar, at its outer reaches, can artimes seem like it rivals the piccolo. lf the following diagram is studied carefully, the truth aboutwhere our instrument really functions can become clear. lf we're to be honest with ourselves then wewil l readily admit that, in our lower register, we're operating in the terri tory of most bassinstruments; and, in our middle to upper registers, we're essentially operating in the center of mostkeyboards. Whether we're the principal melodic instrument (the soloist) or simply part of a basic 4-piece rhythm section (keyboard(s)/guitar/bass/drums), it's essential to gain an understanding ofhow our instrument best functions.

Throughout recent decades there have been a multitude of chord books offering thousands uponthousands of chord shapes for the guitar. lt is my experience that in the context 0f making musicwith other instruments, most of the chord voicings which employ the "E" and "A" strings areessentially useless. The reason being, that when we're using these two strings, we're likely to be inthe way of the bass, and potentially clouding the lower register of the keyboard. lf one examines thestyle of Wes Montgomery, it's obvious that he used full sounding voicings as an active part of hisstyle and sounded tremendous. BUT, he was the LEADFR, and the arrangements were built aroundwhat he was playing. Pianists and organists knew, or learned, how to stay out of the way. ln manyrock, heavy metal, country, and folk musics, it's stylistically important for the guitar to use the lowerstrings. In the long run, always try to do what's right for the music as a whole!

As this book unfolds, I hope to make a strong case for using 2, 3, and 4-note voicings which layacross your D-G-B-E strings. As you work at developing an evolved sense of harmony and theory,I believe that you'll find this concept extremely useful in, firstly, just playing with a bassist, and laterwith the addition of a keyboard. I have tried to supply you with as many options as possible. Whenyou put these concepts to use, it then becomes a mafter of your own sense of harmony and taste.

Sounds

fingerings

pick

Middle C

IG B High D (Top of the range)

As I worked at amending my personal approach, which was fundamentally for groups without akeyboard player, I gradually began to adjust all my fingerings. This became especially true for the 2-and 3-note chord formations. These forms, when played as part of a voicing employing a bass noteon the "E" or "A" strings would be fingered in the traditional manner. I chose to finger thesevoicings in an individual way, not as if I had simply lifted off the finger which would have beenplaying the bass note. My reasoning in doing this was to try and smooth out - make as legato aspossible - the flow from one voicing into another. I feel conlident, that if given the time to sink in,usage of my fingerings will give you great results, especially if you're not happy with the cunentstate of your chordal movements.

No matter how proficient you become in playing with a pick, as your abilities with chords broadenthere will'be times when the use of either the "pick and claw" technique or fingers alone will provemore expressive. The advantage of these techniques is the ability to bring out the top voice of anychord and insure that it speaks clearly as a melodic voice.

By using a pick only, no matter how quickly you strike across a chord, the higher voices will alwaysbe milliseconds late. By using the pick plus two or three fingers or fingers only, you can pluck allthe strings simultaneously and, perhaps best of all, bring out the top voice a liftle more.

So, if you're playing lines with a pick and some chords with fingers only, how does one solve thisback and forth problem? Several years ago, at a clinic, someone asked, "While you were playing, Inoticed every so often your pick would disappear when you played chords, where did it go?" At thatmoment, I honestly did not know what he was talking about. At first I asked if I'd put the pickbetween my teeth. He said, "N0." So, I tried to recreate the circumstances and, after a while, Irealized that lwould slip the pick between the 1st and 2nd fingers of my right hand in the areabetween the 2nd knuckle and where the finger joins the hand. So, when playing a 4-note chord, thethumb strikes the "D" string, 1st finger the "G" string, 2nd finger the "8" string, and the 3rd finger islree to bring out the top voice on the "E" string by applying a little more force. lt will take a lot ofconsistent practice, but you CAN do itl

pick and fingerslingen

Unit Onesuperimposition ollhe iimT on V7 chords

Erample 1: G7 Chord Tones

It seems so simple that a teyooaro Drayer wourd loox at a chord voicing ptayed acrosstwo hands and see it as, for erample, some form of Gi chord. 0ften on guitar. we can itay only aportion of the chord.voicing. For example: We mrght play only what the flght-hand of tfr'e kilyboirdis playing-a part of that G7 chord. We might view our voicing as perhapsi Dm7 over the bassist's"G," or any number of other options. In discusstons trere. and with one'another, it's fine t0 look atthings in this rather separated manner. Just don t lose sight of what the targer harmonic prcturereally is.

In this book we will build your chordal vocabulary from,

a) a 2-note (guide tones) approach,

b) through traditional and extended 3-note voicings,

c) and finally to 4-note chords all built upon upper extensions of basic chord.Throughoutthe book, l'll be relerring to iimT and VZ chords as being related and interchangeable. ltyou build chord voicings up from the 5th degree of G7 (D) you woutd construct om, omi, Dmg,etc. In so doing 1og ryogld be extending the harmony of Gi by adding the 9th (A), the 11th (c), andthe 13th (E): G7: G B D F

Chord Tones: 1 35 b79 11 13

D m 9 : D F A C E

Chord Tones: 'l b3 5 bZ I

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

ll we improvise using D minor voicings we'd constantly create these extensions of G7 and probablyproduce, what I would attempt to describe as a very majestic feeling in the mustc.

l[ve. se9 all this activity as functioning in the key of C major, then "G" is the V7 (dominant Zth) and"D" is the iim7, ln order to produce this "majestic" harmonic effect you're always superimp6singiimT chord voicings over the r00t 0f the V7.

C Major Scale: RootI Major]

5thtv4I

G7

As my own concept has evolved, I find that I rarely play a guitar voicing utilizing my low "A" or "E"strings. I've found that this keeps me out of the bass player's way, and, seems to fre'e us both. Moreimportantly, it expands our improvisational boundaries. This book will not deal with the traditionalguitar chords which utilize voicings where the lowestnote is on the "A" or "E" strings. lf you feeltheneed to shore-up this part of your knowledge, there are many excellentpublications which treat thisarea in detail. To name a few of the authors: Mickey Baker, Joe Pass, and Ted Greene. As we exDandon this concept and introduce progressively more and more ambiguous 3- and 4-note voicings, you'llfind that the bass part and the music grow freer and freer because the possibilities for spontaneousreharmonization of any chord become endless. And, you and your music will benefit most!

Erample 2: Harmonized Major Scale

Unit Twotriads

Example 3: G Triads

Top voice on "E" StingRoot (on top)

x t rffi

tttf,rnHflffil

: I I

Top voice on'8" Stdng

Example 3A: G ilinor TriadsTop voice on "8" SEing

Rmtxn

ffi,uffiIfFFFI

t t l

3rdxxtr|l-mF|-i-T-Fffi

FFm7frt l 2

5thx x xffiFFFFFI rofrH+#

. . 3 4 1

ll$ tqnq 2p VealS of teacirins, it still amazes me that so many exceptionany gifredgullarlsts could devel0p great technical facility_ in the linear aspects of the instrument and t6tattyignore the most basic chordal components. I'm speaking of ihe fundamental 2-note intervallicrelationships and the simple, but essential, major and minoi triads. Though this book deals with theadvanced uses of harmony, I feel that it's important that the usages of triad's ne rnituoed.Not too long ago in an interview, Robben Ford stated how he is always asked about his soloing. Hetries.to impres upon younger players that, except for a few momentl of soloing, the guitarist"mustfunction.as an accompanist most of the time. I couldn't agree more with thisissessment. So wemust acknowledge that often we will be asked to function as a small part in the greater context ofsomeone else's music. As a supporting player, we must operate in a ionic placelhat leaves roomfor the keyboards and bass to move freely 0bviously, if a piece of music is built around the guitar,the other instruments must then allow us the same tdtituOe. This means that most times we wiil play2-' 3-, and 4-note chords with the highest voice usually on the "8" or "E" strings. This is where athorough knowledge of the basic triads becomes so usefirl.It's been my experience that using triads in an accompaniment figure is most useful in R&8, Funk,and Jaz-Rock Fusion where the.underpinning is essentially based upon the two former styles. Theguitar is generally called upon for its percussive qualities and it is for this reason that iVe onfypresented triads where the highest note is on the "8" or "E" strings. I've chosen to omit triads withthe top voice on the "D" or "G" strings because I find these voiiings sound much to dark to cutthrough most textures. lt is important to know them, but, l'm going to ieave that pursuit up to you.

m3rdxxxlTrm

ffi,*

Top voice on "8" Sfiing

tilad supeilmposl$on ]ne !9tlowing Triad Superimposition' chafl is an imporhnt onej once yor nrt6frt ib rsageyou can continually refer back to it. What I've done is'to take a single Uss nft, [r rod In mostoses, and used.triads_(both.major and minor) which ascend cnromit*ilyd;fl* ,mt. ns vou;reproydq with a long lc" pgj{.vamg. on,the recording ttris woii ii desen6o ouei.e .'-rre ;ryr*illt't?lchord'function (ib theoretically correct naire)andthe rffiil;b one might need toknow lor improvising. when all is said dnd done, you'li actuaily nruito rn* this information forthe elsven other roots.Let's look at the fint example: F/G (an F triad over a G bass note). Although this chord can servesarcral fundions, it's usually thought of as a dominant nn (gzit)tije oi ffi0. gerause it containsno hird (h or Bl), it could be part.of the dominant or minor ctr6io ramiiiis. lF" is the t,7 of .G."[.tt ygq lypttimpose a triad 6ui[ from the bT.degrqe oygr a bass note, that triad suppties the r7th,$h, and tlth chord tones whichgives us G9(11) ti'omg(jil.-i6 iiih'drg,;ffin arso be refenedto as the 4th or as a suspension: Ggsus or Gmgsirs.

9jg'l,9fll!9yqllfg likg to add. You will hear these kinds of "stash" chords (F/G) reterred to,Inc0redly' as poly*hords. A poly-chord refers to harmony where two or more chordsare actuallyhing played simultaneously. Ydu will find this kind of ianiaitii ni'ilrrv, rlirt orten, in 20thcentury clasical music. Suctt harmony is extremely difficult to associate oni,'mooe or chord scalewih,.ard as,you can see, with the conventional 'slish" cnorOi prese,nbO nrrr, inry al readily givew eifinr a diahnic scale/mode or familiar scaletype with whibrL io improuii'e. i-true poty-btiordwould not do Snt so asily.

Erample f:trlrd supcilmpcltlon chail

ilalor TrladsIilrtfttrlrbbFrid/GBrieilG

G riad/G$riad/GA riad/G

Sriad/GB riadrec riid/G

Driad/G

Driat/GFrH/GE riad/G

illnor TrladsFm fiadrGFfn riad/GGm biad/GAl{n triad/G

Am fiad/G

Bkn triad/GBmtriadECm tiad6Dkn rhd/G

Dm fiiadGElm riad/G

Em fiad/G

Giold fam {rct functionatf ilode1ScateG7(e,11)This sound can functionlike a V7(alt.)chord

GmajFillGG7(13,9,111) orGmajTf(6,9)Gm7GmalT(6)Cmaj6 This sound is used inmany ways, and tends tohelp create a Gospel or BluesfeelingG7(t9, t5)

Gmd(9)CmTGG7(13, L9)

G Mixolydian, G BtuesG whole-tone/half-tonediminishedtclA t8t1 C tctl Dl E tFllB Harmonic MinorB tfil D E IFtltcl tAt18G M4or, G LydianG PhrygianG Lydian t 7G LydianG DorianG Lydian AugmentedC Major, C Blues, C LydianG Maior, G Blues

G halttoneAvhole-tonediminishedtGl tAb lBrBtDr lDEIF lG Mayor, G LydianC DorianG lnlf-tone/whole-tonediminishedtcl lGrl Bb t8l Dt D tEl F

G PhrygianG LydianG DorianG Altered DominantSuper LocrianG Major, G Mixolydian,G BluesG Locrian8l DorianG Malor, G LydianC DorianG tnlf-toneAvhole-tonediminishedG Mixolydian, G BtuesGl lnlf-tone/nrhole-tonediminishedG Major, G Mixolydian,G Blues

FrIyGGmalT(l4,9)GmG7(6, b9)

C66 This is a sound useda lot in Gospel musicGm7L5GmajTCm/GG7(13, E, 15)

c7(e)Gbl3(19)/cb9 in bas (rarety rsed)G6

triad usage

Erample 5: Trlad UsageEbmajTfi'fmm"

EbmaiTm.Ebtnafm,'EbmaiTm'

Bb7(b5,b9)xxxffiFffiot'

Bb9(sus)i+T+ f*-ffi ffiFfH-il l".l'.#

ffina mnul 2 l l 2 r c

I've tried to present one comprehensive example of just how you might go about using malor orminor triads in the context of a common chord progression (i-viz-iiz-V1. Let's exam-ine wnat tmight play, we'll just assume that this would blend with keyboards and the iest of the anangemJnt.lf vou have a problem understanding the theory behind wtiy I've setected an/ ot thesJtriaoiir11 tifigure it,out ygyrself by building up each chord from the ro6t in thirds and thln hbet each malo? orminor triad. lf that proves difficult consult with a musical friend or your teacher.The first chord is named EtmajT but al yo! can see, all I've chosen to play is a G-minor triad (G, Bb,lnd Q), the 3rd, 5th, and mal 7th of El. There are times when an anan1jer would name this'chordGm/Ef because he/she wants to make sure thatyou play a triad, wit-h some experience, you'llprobably lust know to do that by instinct. Ihe next chord ii Cm7, here I'm just ptaying an f r,triaO(El, G, B!), the l3rd, 5th, and bTth of c. 0ver the Fm7, I ptay an At,triad, witn tde ieasoning beingthe same. In bars 4 and 12, lhe inversion of the Ab triad remains but is now played over a gb Oasinote rnaking the chord a Bbg(sus). 0n the last chord of those bars, you'll notice that the top voicemoves for voice leading purposes. For greater harmonic interest and to create tension, in bar 8 onthe third hat, I played E/Bb which gives us Bt705,bg) In bar 16, with the principte being the samebutto add variety, lplayed GiBb to realize a 8b1309)and here I used descending chromatic voiceleading. This was more easily accomplished as I used a slightly higher inversion ol the AblBlchord.

Cm7I||lX

Etltbl3 fr

|'ru| ] 2

Bb9(sus)xxxFt-t'#

FFFf;Brr,I I L I f II I I T N

2 l I

Fm7.m."Fm7

x x xFNTN

F+fmFtm+llfrLLILIf

t 2 l

Bb9(sus)xxxmtrEFffiotI I t t t I

Cm7ff

bH*+a!rr|..!4

@t 3 2

Cm7rs_

EImlrnE+]f,

Fn7I X IqFFlFFFTH rr,ru

Bb9(sus) Bb7(13,b9)?+frr-' H+'-ffi FFHfiffi'o m7t

1 3 2 1 3 2

In most cases, an arrang€I (if there is one) will notwrite out what your top note should be, so it's upto you and your sense of harmony and good taste. The more you?e called upon to do this, the bettdryour instincts will become as to just what is the right thing to play. lf you wdre to turn the suggestedlop nota into half-notes or quarter-notes and sing them aloud witn tutt rhythmic value, theisiouldform a niql though simple,.long melody. Give it a tryl This style of guitar iccompaniment ii usuallyfound in R&8 (rhythm and blues), Pop, and varioud forms oi 'dande" music. There's a lot more t6doing it with improvised grace and logic than you might imagine.

Unit Threeguide tones derivation

Erample 6A: Am(ii)(key ot G)

Am7x x

|#F'-tffi

ffi,oDerivaton

Erample 68: D7(W)n7

Erample 6C: GmajT and G6 (lmaj7 and t6)

It^Xplqinly understandable that you wourd be easer to skip rishno the mostm.0.dgrn harmonic concepts, but it willall make more sens_e, and pay grealer oivioerios, if we beginwith far more basic musical formations. I'm speaking of 2-note lguid'e tonei; iimpte intervitiot4ths. Sths, and tritones (il4ths orfSths)which, when placed abovithe rootctearty Obtine tne cnorOfamily and outline the harmony In serving this function they also provide a oiJrc na1.monic back-drop without making the soloist a prisoner of y0UR conceptsiThe guide tone chart looks at the three basic chord families and views them on the guitar from theperspective of the root (located on either the "A" or "E" string and voiced functionally fiom there). 0nthe leftside, you see a full 4-note.chord, then to the right, witfr tne root and one other pitch rem6ved.The guide tones remain. When played in the context ot a iimz-vz-t ot i iimTpsi vz i progiesiion,it's obvious how smoothly these simple harmonic forms flow rnto one anothei. ns 1lbu

-progresdthrough the materials presented here, the guide tones will invariably serve as our nuilOing Ot"oct<s.Always, a "can't go wrong" place to start, especially when reading through a tune for the {irst time,

Am7l.]ffi

trftrffi 't 't

m3rd7th

GmajTx xffi

Lllru .^ -[ l I | | t u t rL l l a t II r r r

2 1 3 4

uox x x x

Effi'nffillfFt't-t

t 4

GmajTT I

}}{**l rcI I - I I

rrrrtI l . r :

GmajT c6 Am7 D7ffi ?#i ?#i f+r:++FEEm Ehtm:fr H1+# ttt-flFffirt ffi ffi'0,,@ Hl+t Fffi ffi,on

f t 1 4 t o , ,lM7 t6 ii v7

G6x x

ffi

aTTTft tfr| | I a I I

rrrf'F2 t 1 3

GmajTxx xxf-l-l-mffioorrrrn

I I

Gma17TnnHFFF er'H+#

: {lM7

maj 7th

Erample 6D

Example 6E: Am7(b 5)(iiu)Am7(b5) or A'7

x xffiFmrnl m m m _ -

l | . . | ) l rJrmmlTmm

Example 6FAm7b5x x x x

TNTIEI]]]lFffi:r,

il

i l m / b 5

Am7(b5) or A67tum'ou

xx xx

ffi'or'H1#1Fl-t-tfl

Am7b5x x x xT[mffi 'onn-iln

i im7b5

Clocluise trom top lefl: John Scofield, Bill Conno's, John Abercrombie, and Steye.Iaken at John ̂!e.cmmbie's llanhattan loft, January 5th. 1gg4. photo: Jonathan posrrl

Unit Fourguide tone blues

illiilisifri,i.,,o!,,!i:t!'ill,!!il,3l,j3,i;,ii,i,,ilii,,l.ilfilTi;ii,titillifilTifll#'jffifli|'bry,fll,fJf3,i,T:,"emins to.urse tt'e iyooui iibis ris a styre *rir ritson any or Jimmy smith,, s|'rar,rco,oins, rllll ff^ijilxifjfrT

trio iust check out xe'nnv euirerr

ll..tL:f:r]lq-,l-s9rglpte, l'velried r, plg,gllll rhe basics in rwo posirions (l0werand upper,iJiiii'il',i;,?ii,lTil,ly,ilil?iJ1}:ilXi,fi;TTftilXllili;siff;D;;;j;G;si;i;ss'ffi

Example 7: Lower Inversions

strutt te, i - ]=J )G7

Fmm,"rrflT1

t l

Example 8: Upper lnversions

s t r u t t t e , r l = J . hG7

nT.nffinuI-N+H

As we madlor moa hmrmic sqfiisticdion, [i ih ol Ur ephf hl b dt|hnirf.l$Ji',ll'i,l,1y* when vou improvise wih hsse m vur om, vai shoid sll64 tr lg16

Example 9: Lower Inversions- J -

snumeJ l=J )

ffi

tftfr1t l

c7

m,oHtlf,

t l

D7 Am7/D D7FHS FFM

ttrH -" tfr--r ! t l

Dm7/G(G7sus)t#tEE:EE 3 'ffi

l 4

Dm7/GtmEEEIH rof,

u

GmZC

H{4fl*

G7Dm7/G

Dm7/G

Dm7/G

Dm7lG

u /

Example 10: Upper Inversions- J -

Gm7/C C7 G7

st ru tneJJ=J )

tm

t l

c7crr!aTtTtl3ft

l 3

D7 l$t7lD D7t m t mEESE ron EIIEE ronI-IFFH FI-#iH

l l t a

G7u t

C7 Gm7/C C7

Example 11: Minor BluesGm7

x t r iu-lJJ..l

{$ff rr'ffirT.FFFl

A'7 D7TT-gF#t l.|-#

ffi,u ffi.ni l t l

G7 cm7

ffi" m,.Gm7

ffi,,,ffi

suspended sounds -G0nlemp0raryblues comping

AnTlDxxffi

ffi 'onrffttl

I t t 4

How can we beg_1n to break away from traditional approaches to blues harmony4 lfre folowing twoexamples are oflered as a conceptual and stylistic point of departure. Agin. att rre example-s arepresented over one of the most basic 12-bar blues progressions to allow the maximum amount oftime to enioy hearing each voicing. You may run into musicians and singers wlro wil f ind this kindof harmonic approach as too pretty 0r too "iazy" for their music. lf such is fre case then 0n thatlob, go back to something more basic.

ln Example 12, I've applied a iimT chord (Dm7)over the root "G.' (the basrc ctrord sound is GZ).This will invariably produce a suspended kind of sound and make the tnrmonrc feerrng very open, ittimes, lush and romantic.Example 13 adds a little more depth while being rhythmically more acrh? arE trrcusrve. Thisapproach is based upon a guitar inierpretation 0t Mc0oy Tynets pran $? \s r ti'e previousexamples, all chord sounds are the product of superimposing irml ;irc.:s ]rer re root ol thedominant chord.

Example 12: G Blues @DmTsus/G

x trrfm

ffi,"

GmTsus/Cx xT[mFfft-tl

H#f;lf ror'l t : l

Dm/Gffiffi

EE1ID -.| | | r . r o rt l a l r t

2 l r

Dm7(9)/Gx x xffi,lFFftH 3frH+#

t 3 4

Dm7(9,11) G

Gm7(9)/Cx x t

H1#H rr'l#H#tfrtrt!

4 t l

Dm7(9,11)/GH'.-

ffi,offi

T_-i-rG

hGr--t

=

l-

**i

xx

ffi,nffil-|-rfn

t l t 4

Gm7/Cx x x

SffHrr'ffiffirfiJff1

4 l I

Dm7(9,11!GT+-ffi,"r+H

D?:GI--r

5E'"--

Exampre t t;,ff'Tjihutfre) (@x x x x x tffi Hl*lF|t||trrr FftfHffi r

ffi FSI*lst'

AbmT(sus)/G

Gm7(sus)/Ci furr. fuiHl+fl H#Ffd rr'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)/G

i+ffi'"iH*| 2 t i l 2 1

Db/G Dm7/G G7(13)i# i+i+ f+rar+

ffiu,,m'-m'"f l r i l l t 2 4

m."m."

Am7(9,sus)/Dl x x x rEEEtr n-rrn

ffi"'Hffirr,t-ftFH H{t+{

{ t l l i l l

c7(13)x x l x x ll...g g

ffi,,, Hffirr'l-Ft?&t F+it+l

l t . r I I r

Gm7/Cx x xrn-mffi

FFFIH si'i l 3

Eyoribass in Japan, lott t0 right: narolo EadEna, Anthony Jackson, Steve, and Stsvo Jordan.Talen orbide the Pit lnn, Totyo, Hay 198i1. ph0to: Tat$hilo Tanata

iaz-Upe blues The harmonic treatment of a'12-bar blues by a pz oriented phyer will usually differ from the formatwe've been using for a basic blues, in that we've been making use of only the 17, lV7, and V7 chords.You will see and hear differences in the approach to bars 2, 4, 6, 8, and 9-12. 0f special interest tome are bars 4 and 8. In bar 4, as we've already been playing over a 17 for the previous three bars,this is where our tonic becomes the dominant 7th M)to tB ]V chord. In the key of our example, F7is going to resolve to Bb7. The juz player takes advan@ of his moment by adding a iimT (Cm7)in front of the F7 to add more color, motion, and temion towards the eventual resolution. A familiarsubstitution/alteration in this process, generally asociated wi[t John Coltrane would be to use theb5 substitute for F7, which would be 87, and inseding a iimT (Frn7), thus creating a ditferentapproach to final resolution. In a sense, you're approaching resolution lrom onehalt step above.Just an alternate thought, what if you were to approach reolution trom onefull step belo#? Haven'tyou everdone thetwhile pleying ehords? You know, slidir|0 u0lo ttn tr7 from A7? what ilyouwere to try and slip a iimT chord in front of it? 0r, use SEt rnodality to approach resolution withyorrr lines Thinking about things like this, prior to actually play'ng f:rrr can grye rise to musicalcreations, born of thought, which might actually sound great to yot. lba any lnrm in trying!

Depending upon the color of the chord used in bar 9, that will go a lmg E s towards determininghow you might treat bar 8. Whatever is agreed upon, bar I can b a Vl7 (0n dord resolving toeither ll7 (G7) or iimT (Gm7). These same kinds ol harmonic prirupl€s dr abo be applied to the3-chord kind of blues we've been utilizing. We were, if you'll recall, rsrp a G blts. so bar 9 was aD7 (V7) in that progression. So, it's possible that we could ha,e reebd f 8 as a Ai (V7 of V7),bul we could even try to employ an E7 (Vl7). Here, however, m'rc rsrrg a bl d u, imagination asE7 is a V7 of Am7 which we have been superimposing over the D7 to drt fE Ermony so 'ilhycouldn't this work too? In transcribing solos by many past masters. l'rt seen far hm imply thischange even when the bass and keyboards were not. Again, give it a try rd sre r€l fBppens.

Erample 14: Blues in Fn

r i xxffil#ffi

FF;EF:fIH-rtfi' :

Bb7 F7xx xx

ffiH*tHrr.

G b 7rx xx|-{''{#HFl***lr I . r I r i l rLLLT-IJ

t l

On7 n

f f i f f iffi,'ffi'n

Bb7 D7TF#Hf l t l t . l

riFFN, i

c7tt t{rt+I]-l.t.,-g-I+tl

H++fl

D7xx xxlTrrFlHltfiar.n l a t ll r r r r l

t 3

aH,.FMm

nHfrr'

|ntxEIU

t l

G7x x i

Effi,'|..l'.l..u

t l

xx tx

ffi'oFfFt-tl

(Eb7)xx xl

ffiffi,o

t l

iaz blues with commontone chordal Punctuations

One of the most powerful lessons I've taken away-irom atl my Wes Montgomery listening andtranscribing was his orchestral (big band like) conception of the guitar. Whether he was soloing orcomping behind Mel Rhyne and Jimmy Smith, it seemed as though his high 3-note voicings wereacting like a trumpet section. His mid-register 2-,3-, and 4-note chords were like the saxophonesection, and when he'd riflwith octaves behind the soloist, it sounded like trombones, thus giving theguitar remarkable scope and color, Perhaps he would not have verbalized this concept in the samemanner, but I find this to be an effective way of expressing what I heard and still hear in his playing.

One method for getting a grip on this concept is to punctuate your guide tones with chord voicingsutilizing a top note 0n your high "E" string. lt's great for your developing ears to try and maintain ac6mmon tone in your top voice as often as is possible. l t also helps to hear how beautiful lyharmony moves, and how efficient harmonic motion on the guitar can be

An additional, and valuable, practice tool would be to use a kind of octave displacement in your topvoice. For example, in a "G" blues, play a voicing with "D" as your top note on the "8" string Thenanswer that with "D" as the top note of a chord on the high "E" string. As the chord progressionmoves along try to get "D" on top ol each chord if you can. 0nce you get the hang of it, you will beable to comp with a big band concept, with all three sections under your f ingers

Exampte tu @ F7(e)

Bb7(13)x x

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

Cm7(9) F7(9)x x x xIEtr:tr EITItr++*rl H+fHFTfllN'I FFfiEB.,iLiL]I' LILL!

F7(e)|...j...u

F++IHFFfi&fl.,,l-].]T

l . i - l . i

Fn-mmo"

F7(s)x xffiffi'nn-rrF1

D7(9)l'...!.''.I'...lT

ffi'"ffi

C7(b 5, bg)-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 s,f e)tuF+1t+ffi''i

I l . l 4

F7(e)TITiII lrTfl _.i i a H / [I I LtlaTNI ]

Gm7 c7(13,9) F7(13);+- ?+- ?+.r1ff i , ' t ff i t ' tm"tffi ffi H++r

l l i . l r 3 l l l l . l l i t : l

G7(fi5,ile)|ffi

HllfluriHlf,l

{ : t I I

turnarounds

Erample 16A: Blues Tumaround in F (Upper Invercions)

This brirqs us to disossirp ban 1 1 and 12, in a ierz-tyve blues nN plaFrs lii qi b re cltrr al7-vl7-ll7-v7 or l7-vl7iim7-v7 prograsion (2 hats per chord). t'm pbentrp'arpts n otin"F and.'G,'ilyog w.ere !o_be playing with, at the very least, a basist, you would usntty'na rse ttnnotes given on the low "E" and 'A" strings. However, in my attempt io cover as mudt material asposible, I wanted to make sure that, for those of you who have heard guitarists sound like they'reboth the guitar AND the bas, you have gained a sense of how this is done. Perhaps my favoiiteexample of this style (esentially it's guide tones with a bass note) was recorded by Jim Hail and BillEvans on their version of 'My Funny Valentine' ftom lJndercurrents (Blue Note/Solid State). Eachpart (the Mss line and the guide tones)could certainly function on its own, but here it's'a newclullenge to try and play both. The trick, fingering-wise, is the constant shifting of the 1st and 2ndfingers on your left-hand (if your pick is held in your right-hand). lf you were not playing the bassrytes, {l the minor 7th guide tones would be played with your 1st finger only, and att the dominant7th guide tones would be plrye! with your 1st and 3rd fingers. As a discipline, just try playing thebas lines by themselves and gain a feeling for how a bass player might approach sucn d tine.

F9 Eb7 D9t -Jf .I.JI 4 U J J r r l r r l

liflHer' H+H ,ffi,'nFSf, (tEtlE '.fr 'ffi'"': r l I t l r 2 l

G7 Db7x l x x t rEtErp ETTEDffi HFH

ffi 'oo (merr2 | ] | 2 l

c7x t x

.SIFH8fr' t t I - f I

tftfr|I t l

Gb7x x x

HfiHnnHfl+

F9x x x

ffi'nl.#-tiffifJi2 r l

Ab7X T T

l+-l+t{

l im rrrr2 1 3

F9x i lg

t*l*H

tffiro: l l

Eb7x x r

$tt.nI't+tHt r 3

D9

ffi,*H++f,

Ab7

'ffiootrFFF

G7x x t

tlHH:lrr,tEnt ? 3

Db7x x x

ME,lfrI t t l r l

t 2 l

c7x _ x x

lltlFl rr'

1 2 3

Gb7x x x

(frttE2r'|''H

FrfffJ

F9rftfrrnFIH-HH{1+r : l

tplI

,r,(-)I

dp (?)

Erample 168: Tumaround in GGmalT nd*if qftpfi'r'ffi'o ffirl-FFI,I TFFFN

(r)I

nx x xmffil..#

FillFlsr,2 r l

ilajorE7

ffffirr'Ettttrffi

BbmTx x x

l t t t t l

FtFIIlrffien

Am7x x x

ITTTT1

(lFtl+l srlfEfE2 5 5

Eb7x x xgFmffi

l4*l-{ e r.

D7x x t

tr1:mlT

Sllsr ': r : l

Cm7x x xEtrt{+++{

|'.l..l..l+

tlhftHrr'I l l

Bb7I I I

ffitffior,

Am7

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

Eb7x x xffiFtr]]]hffi.n2 r 3

A b 7x x trTrm

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

LLLLIJ

I | . r t - .un[ Fverhythm and blues/gospel chordal approach

Example 17: Derivation of Gospel/ Rhythm & Blues chordalstyleG7 Chord Scale (G ltirotydian):

C maj

Iltqlg.h.l wOuldn't^pgp.qltqllpt ,o posture myserr as a comprete historian onthe growth of gospel music's.ch.ordal style and lti oeep iooted plaie in Am6iil poputar music, Iam certain that lhave a good feeling for ihis music. Rnd, ahays lo,iiin rirj'ffi no matter how farout you may aspire to pray, the brues shourd arways be presenisomiwnri, rn vorir^i,The relerence sheet whichjoilgw,q (Exampre 17) is offered simpry as a prace to begin. As you,rlnotice, on the guitar (rike the.right-hand dt a piinistj, th,e styb ij,ootro'iniiipre major, minor,diminished, and augmented triads. ll you'd tnd to oiive oeepei inio tnityi; ;;il a pianisrs, p.intof view, make the effort to watch and listen to the videos aird recordings'oi ii,, Charles, RichardTee, and Dr. John.with two umpre choruses of a 12-bar'G".brues (Exampres 1g and rg), r've tried to give you mostor the basics as I might ttplov-]hqT:0lviously dne cdu.to oevote an 6hiiiJ teii m tnis area atone,but I hope that this will inspire you to explore this wonderfulgenirif gri.i;irr;gth. lvr atso ofteredan atternate introduction, or pick-up, ii' rne styre ;iw;;fi;;tsglrl,.y'b;ilil he did so manyclevet things with his blues oriented compositi6ns, especiatty in rriili{ilfi;ralet diminished7th chords.

F maj

Triad Shdrs:

G Blues Scale:

Ascendlry on Guthr:Fmaj Gm{

ffif rt ?ifTnHlIfl Hltlrr,l'.l-{.H l{..|+lFffiII

2 l l I | |

7th - Root

FmajTffm#t+F{+l

FFFf;llsr't 1 2

2N

Bbmaj

ffi'"ffi$'g"

GmajxxtF|***{

ffi'otfrFl.l

t 3 2

3rd

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

2 t t \

4th

BbmajxxxH***.1

ffi'ourffiFt

t 3 2

5th

Cmajx x x

ffiffi,,n6il'

Ogdonal vohings:Dm

nxl..I'.mlfiI I I t a l

t-f++fft t l

EmX I T

Fffi,uITTTJ1IJ-,I-LIJ

2 t l

AmxxtllJ-FFFl sr.LIMlmlnu l t a l

|ft-t-Fl

; : '

Dmxxx

ffi,onl..l'.l..l!

I-I-FFHt t l

.o.

EmxxxffiHg

FH#r:n3 3 3

o

i[m," DnVGT55- xrr

ffi,u m'nLTEIN H-FFH

ffiz 5 | 2 l I

=^

G.n C Gn/CI r r m o t tI I I I Nt I 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 f

IJ+!El-H*lFt-frtl

2 r 3

A m Cx x x

3"m'*

Am/G G?ii?n ?f+-tr

ffi,,m"3 t l 2 | |

Bb/c c7 ct:+- r!!-F+-t-{3.z.- }-t-.I-lJ-.t L!.I-.t-u

Hitfl"" Etfllrr, ffirr,ffi FHIJ FF|+*{

! i l t 4 t 2 t l

Bb/cx x x x x rLu+l u-.I-.t-u

ffiunffi'nFffr-n ffi|-|l

2 t r 3 t 2

*

AnVCx t t

{ I I m . nI I I l T

|-lftf'

c/Gx xffi

EEltbir'ffi

l l t l

L, \:

:ltrifrn::t

r a

IJxxx

FftlH'ol t l mr r r r r lr rm|mmmr-

2 i l

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

t l l

Perhaps the most often-used cadence in Gospel music is t|n aoo ffi 'Ar€n Cadence." lt canappear in a variety of forms, including: lv-|, lv7-1, lv7-17, iv-t ft .,'- rte *ould be used asan alternative to more basic V-l cadence. In the key of G, it carro @ srrfy as c to G or even919 lp 9 when playing over a btues or perhaps, 6ener ya ror srdc! rrru; a o peoi ltou iifind that a back-and{orth motion between simple triads flil st- r'lr,-1abrces

't've atieaOi

menlioned C to G and C/G to G, another variation of ttnt *wu I s E tr.rc and back to G. youcould view the Am as a function of C6/G, so, it too gerreraes J tftr^ .retrng the sense bimomentary resotution could atso be created with this nrrrn G b S,€ I I G nen back to Bt/G,and finally resting on G. Remember, just let the bass dc lrs ct FrrE - uass notes and youconcentrate on lhe colors created by the triads. Let tfEn g s.re* Fough this create! idominant 7th oriented feeling, it's-very common to sbrr rr rt safi J lnG-moving to Em/Gand then returning to rest on Dm/G. I hope that sfnrirp E sl!tr! csrtcs ,n the tefr witf netpyour.own analysis of Examples '18-19 as well as the r*rrr crl FEted in fxampfe 1i. iolwill hear all of these concepts put to use in the inprovr=c atr tr 3rotnelius" located onCD #2, Track [7] and performed in the kev of C.

I+5- ur--m,-m,'

x x xT[mffil-#l

FFf;trf,rr,222

Am/DxrxrrrFn| | l f nl..]'.I'.E

FFFlll5f.ff.FFH

i l l

Example tt @

GrIVc

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

2 3 1

An/C C7(9)

imi'" iiffi'.Bb/G G7(sus) G7

Eim*m*''m,*

G Am/G G

2 l r 3 4 t 2 4 1

F/G C/Gx x x x x r

FH{Hst H#Esnru l..J..l..U

3 1 2 3 1 3m,-m,-m,-

Altermte Into. (Wes tlontgomery Style) t . .

G o 7 , G b o T G o 7?+- ff- ?+-

ffi--ffi'*ffi'*rflt� TI.F|-FI ffFFH

I t 2 J l ! 2 4 t 3 2 4

c G 7x x x x x x

H+fH Ff#hHrnl-l&*l ra l'**!FHFffT'fl - "

rfl-Fl-l1 3 3 t 2 l

G 7 'xxx|-rrrnHj*Flror,H++#

t 4 t

n o nxxx xxx

ffilr, FFfffl3rrFf.H+ f++ulTrrrF rrn-n

2 t 3 2 l lm'',m,-

F7(9,13)fdm'u| 234

Ge(13)

SlsY3 ullh Wos tomlom8 t el he Holltrood Boul Co0cad, ca. 1966.nrlninrl Pohmld: Srmm Crhr

a

Unit Sixharmony builtacross the slrings

we will now buifd Gfiords,,rne v.rr. *^s *,,u re suide rones as a shrringpoint' You've arreadv beoun,by using youi 'D; ano ;6 .r'ng ru sn prde rone rrnes (exampres 20,23,26and29). Nexivoriwil;dd;;di;;0, youiie:sr,ipim,nd;"rf 2'i"it ano30). 0nce rrnris understood, you wi,iladd uoiCei on ooin yc,i,r""'g,ino .r"sr.sim;p wbt 2s.28 and 31).

Basic voice leading principles as you add voices acr'ss trE strings:1. Iry to keep a common tone in your top voice as the chords shift2. Try to move the top voice chromaticaily up or down as yOu hear the rnrmony shifting.while attending u'c'L'A., l.felt lwas so far behind my.classmates firat I sought extra help withplf!9,piaT harmony and lheory ressons rror i rrrisicirinsrnrcroisil'r;#;,y hard to have meundersland lhe conceot 0f "the ilill of the tone." ni irre time, r irrioionr G ii p*r.,rp, because herorientation was to communicate to rc i, iiiiriirji'ia,monic rangr.nge and nor with a pop, Rock,or Jaz vocaburary which might have touno inetteiionnection with me.lf you observe the movemenl of th-e guide tones as the v7 resolves to the tonic, the intervals of the3rd and t7, within the dominant nd inoro, seem iiirrougn they MUST resorve. The 3rd ,,must,,resotve to the root of the tonic, and the rz 'mus;; reiorve.to-the miror oiminoisrd. rnrr, with onrytwo voices, the harmonv is crearry defineo inJ tnose vo,ces now do seem t0 have a "wiil,, of theirown. Play the nexl exambte. tisten toi now tieiiO ,].lif'rnn of the F7 chord "pul" rowards the tonicand 3rd ol the Bb chord.

when you add arterations CIs,b5,fg,rg)as chromatic passing tones, you mightwanr to make surethat the movement of the oitches. is rettdcteoln now'y-ou ctrooie to 'tp6ll" the'Choro. By this I mean,using shaps to indicale ascending motil ailii;['for oesiending ffi;#;nr ;n choosing one orthe other, you mioht be indicating-tha u,e rs or irreiominant will resolve up to the 3rd of the tonic.But the l'13 might-resolve down tdthe gln orihe tonir. orr system of music notation is not that strictrwhen it comes to the labeling.of chords, out roilneiaie otitearcorrun]"iil, it is something to[i!3oqut..nner ail, vou ry1g qlece oi;riic pr;yrd as you hear it as soon as possibre and crearcommunication in your writing speeds up tnat pr6criss

Erampfe ^ eGtn7

I X I

FFI;TI 8fiEEEE

i l l

o.

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

Bblna�i7m,"

BbmajTm.'2t l

BbmaiTm*t l

Bbmaj9(add 6)m*I r 3

Bbmai(d 6)m'-

Bbmaj(ad6)m."| 3 2

Bbm49(add 6)m'"| 1 3 3

Example 20 I

Example" e

G7(il}m'"t 3

G7(be)m,"t 3 2

G7(*5,b9)m"

G7(alt)m'-t 3

G7(fs)---' (bs)m" m'.t 2 4 t 2 l

F/(bg,b13)m'" G7(b9,b13)

b;'

Exampfe " e

Erample" eCm7

g n

r"r"1tfrEEEE

t l

F/(e)m'"t 3 a

F/(b9,13)m'" BbmajT

Erample" e

m'". l 2 t 4

Example 26BbmajTxxo xr

ffirfl1-nffi

n-ffr1I

Exampte " @Cm7(9)x x x

ffiHlH#Ffi-t-H

t 3 4

maj9(add6)

iFffiiffi

Bb

Erample " @

Eramplett @

Cm7(sus.)tu$ffiffff't-l

BbmajT(6,9)

H#Frr,FtrMt-fJrtl

4 2 t l

G7($5)TTTmffirtin-Frrt

G7(ts,ss)

ffi-> (b9)

x!-IJJJ+]

|''mIIIILI

l 3 t 3

Erample " @

Erample* @Cm7(9)x t xffiHt#Hl+fl

l l 4

F7(9,13)xxrT.TT'1H-.1.|5.,-

FFI-I-HI 3 4 4

F7(b 1 3)x x x

ffir]

ffi

Bbmaj9(add 6)xxffi

ffffi,oH{H

3 4 l l

Unit SeveniimT-V7-l-V7 over a pedal

-lp"ltlinqs a great music lesson can come from a most unexpected source Intne earry years of my career, I accompanied many "pop" m-usic singers. gtten rn-such a setting thebasic rhythm section is augmented bya ful l oichesira (s trumpdts, qlromnones,5 reeds plusstrings) For chordal instrume.nts..espdcially the guitar ['can oe i grert irrirrg experience to beforced to see and hear that pLAylNG LESS can ne SRytrue fVOnft J ' -- '

In any glven performance, there.would almost always be a moment when the singer would tell astory over a L0NG vamp, sometimes this vamp was over a peoat pointlone rtatic pitch from thebassist) As lwould srt amongstthe orchestra and l isten, lcould hear the chords moving eventhoug,h.the,bass was only playing a single note. The pedalwas invariably the root of the VZ chordand all the harmonies sounded beautiful over this one note. Truly this *ir'rgiratirranger's devrce.l.n this series of examples l've presented everything in the key of C major;therefore, we will use a"G" pedal under the entire progression. We 5egin'with fxanipte sz,tl[;ing"jrrt the guide toneswhich supply the basic harmonic movement in tlie progression. In Exampte j5, *L uoo a thrrd voice9l llt

"8. string, attempting to maintain a common-ione top voice as an eir-trarning disciplrne.Adding a fourth voice on the "E".string in Examples 34, the common tone priniipre on the top voiceremains. When this is not possible, the top voice should move in a manner oirtutro by where ourears seem to lead us.

Examples 35 and 36 extend.the concept by introducing ascending and descendrng chromaticmovement in the top-voice. As a discipline, I've attempted to make ihis voice move nr half-stepswnene.ver possible. Always keep in mind that I've just choser ONE option. you have many cnotcesand after a time your own style of harmony will dictate y0UR choices.When you feel that you are comfortable with these exercrses over the "G" pedal, try to transpose therdeas t0 work over the "C" pedal provided on the recording Since the ;'C" peOit is the ioot ot adomrn^ant_chord you ' l l be. in the key of "F," and the movement woulb take you throughGm7-C/-Fmaj7-D7(alt.). When you're practicing, rehearsing, or jamming wittr a oassist anctdrummer, try this conceptas an extended introductron to a staidard,'or perhips one of your ownoriginal tunes.

Most of the exercises in this book are presented in the form of whole notes. I feel that it's importantt0 grow accustomed to the beauty of long tones as the harmony slowly moves through the ihords.Long notes on the guitar can, at times,-be just as effective ai ttre srrort percuisive strokes withwhich we guitarists are most associated.

fyewi|ness in 1989. Clockwise from lowef lefl: Anlhony Jackson, Manolo Badrena, Sleve, and Dave weckl.original Ned Shaw pencil sketch for ,,pUBLlG ACCESS', CD cover.

guide tones I

Example 32: Key of G with G(U as a PedalLoruer Invercions

Dm7/Gxx xxITITN

bH++l rrrlfm

CmajT/G

ffi*Cm4(add 6)/t0

xx xrEnt12frFtFrl

t l

G7

Fl*++l3rrIJJJJ-J

l 3

Upper InverslonsDm7/Gxx xrffi

Hqtf,ffi

Ff;ffi ron

CmajT/Gm,- Cmaj(add 6)/G

ffi'-G7

TX I I

Ffll'flcr|..l.ru

l l

Lorer InversimsDm7

xx xxffiFFE+I]frHl#

t 4

Cm{T/G

ffi*Cmaj(add 6)/Gm'',G7

xx xxtTrrnl-ilFlJ rn

|rut 3

ATtGrx xx

H.tfi Jfr|...I...ru

l 3

Uppc lnversionsDm7

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

t l

CmajT/Gm,,' Cmaj(add 6/Gm'"ATtGu x x

Ftl+ti r I fr

Hl+flt 3

G7x x s

rt-ft19ft|..ru

t 3

3-note Yoicings with common tonesExample 3il: Key of C with GM as a Pedal

Dm7/Gx x r

H*!Hrr.H]#

G7x x tl l l l l l

l*frl rr,I t l ! t lI,ILE

l 2 l

CmajT(9)/Gm''' A7(bsycm..2 a l

Dm7(9yG

ffi"G7(13)m,"

t24

CmajT/Gm'- A7(b9I 3m'"4 2 1

Dm7(sus/G

ffi,"G7

ffirfl1ifi 8ftl+t*+.{

2 1 1

Cmaj9(add 6/Gm'"l t 3

AlbslGm."Dm7/Gr x xITITN

ftt5 rofrl l l

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

1 3 4

Cm47(13)m,, r||qtslG

H,.,l l I

4-note voicings with common tonesExample 34: Key of C with G(V) as a pedal

Dm7(9,11/G G7(b9,13)m,"o

Dm7(sus)/GftEt t t r l l

F?5fr

G7(9,13)l(L

f!ffilfr

| 3 4 4

<e

Cmaj9(add 6)/GXIu t r r f

FFFFF|5frIII-LLI

3 4 t I

o

A7(i5,bgycx:

rrl-talfr[ l t i

l t 2 l

A7(*sycm'-t 342

G7(13)xxl-fl*ilror'ffi

4 t 2 l

a

CmajT(6,9)/GT{--l**Hcrr

u-t-Ltln 3 3

oe

A7(b5,bgyc?frmffi,,nI r 2 t l

l D oD I f

G7(b9,13)m"t 2 t 4

e| 3 2 4

e

Dm7(srs)/Gxxffirrsrrr3 fr

ffi

Dm7(sus/GtuHiJ*lerH#

1 4 t l

o

Dm7(sus,9)/Gn|'.I-m

H#!l,znru

1 l 2 l

a

G7(b9,13)

G7(b5,$9)U(

btffieeu l a t I@

, 1 3 4 2Il.

eue

'rE>If'e

l;.lj*l,T:*':, .: Tff ;,i,lT :TIa' i c i s m @Ascending

Dm7(sus)/G

ffi,oHi#*iii- Eroken drord $yle

G7(f5)

imi,''t23

m'.

G7($5,b9)m,,"4 l 2 l

Cmaj9(add6)

ffi,ooHH

33r4. , +

Cmaj9(add 6)/Gm'-

Cmaj9(add6)xxL a l | | |LI IMmmt l t | n

FfFrE15fi"

A7(beycm,,,,

A7(fsycx x r

HJififfi'n

t23

A7(b5,b9)/G

m.-FII.FH

A7(b5,bgycffimffi"u1 l 2 l I

r p r eD g

1 2 3 1 4t-o,

&

Example 36: Key ot G with GM as a pedalV

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

G7(b9,13)funtr,r-ffrtl#FIIIH

I3 .1 |

b*

CmaiT(6,9)/G|..m

ffi#,onr-rrrF

I l 1 1

o.{}

CmajT(6,9)/GTrrm|ffi

FFFIf, 5fr

ffi2 3 t 4

o.

AIlbe)c

ffi 'u,Fr-iffj /

A7(f 5,b9)/Gxxl..Iffiffi

ffi'nn-Ffn

I t 3 3 3

DIl.

A7(f s,f gycx x r

fffior,FFH{-{rTtftl

4 t l

Dm7(sus)lG

I t 2 t 4

r to .D E

{}

G7(#5,b9,$9)x x

ffio'iirffi-tffi

l-hffi4 t l l

Cmaj9(add 6)/G

ffi,uSTTF

CmajT(9)/GI..]...|.fr

L I I r uLTTIT]rrrrn

1 3 2

G7(f5,#e)

Fffirr.ffil#Ftffi

4 t l

Plating tor pass-the-hat al the Focus Gillory cott€€ House i[st afler aniving in l{ew york ciry, 1920.Trio dates rere rith John miller (bass), ani David Friedmin (yibes).

30

Unit Eightmodes in chords In assembling my sludies for presentation, my soat is that you'tl

someday enioy the ume improviutional fluency with chords as you now do with your improvisedlines. I've chosen to pass along the manner in which I approached solving this problem for mysell.Having offered this method many, many times to private students, and in clinics and seminars, I haveseen it work, and I'm sure that you'll see its particular kind of logic and follow through with the work.We begin by separating the three chord lamilies: dorian (minor), mixolydian (dominant), and lydian(malor). When I did this for myself, it was my hope that if I could rmprovise upon one rsolatedfamily, and hear melodies with chords, I would be able to do the same when faced with harmony inmotion perhaps having less time to observe each passing chord.

The following examples are presented so that the first row contains common voicings; as you scandown the page the options become more sophisticated. Each example is presented in "G" (G dorian,G mixolydian and G lydian). The top voice of each chord is on the "E" string, with each note ol themode being harmonized with a modal chord voicing. Generally speaking, the first two rows offerchord forms which guitarists are expected to know. Beneath certain pitches, two options can be seenag being standard.

I want to take a moment and discuss the major chord family and why the lydian mode will be thescale of choice throughout this text. lf we continue, for purposes of discussion, to use "G" as ourroot, then you should know that the "G' ionian mode is the "G" major scale (G, A, B, C, D, E, Fil),The notes in the 'G" lydian mode (G, A, B, Cl, D, E, Fl) differ only in that the 4th degree of the scaleis Ct instead of C. So, why choose one over the other? lt's purely a choice of sound by convention.For the most part, this choice usually appears in jaz and pop-standard song contexts. In most rock,country, and folk styles the l4th of the major scale/ionian mode is most appropriate. When you'replaying, your choice should be based upon what you hear as sounding best for the music!

As you grow more familiar w'rth the basics, all you would have to do, when putting any of thereference charts to use, is,look straight down the page, follow the columns connecting the voicingswith a common top-note and your sonic options would begin to grow. What should eventuallydevelop is that these voicings become familiar "sound shapes" and NOT just some chords youknow. You will end up HEARING how you use these sound shapes and, in being able to hear that,you'll find your freedom.

When playing in pop, rock, or R&B contexts, especially where a vocalist is involved, there will betimes when you must harmonize the melody note which is sung. lf the note is in one of these threechord families, you have an at-hand reference for finding the sound shape which might fit theharmonic style ol your group.

ln an instrumental setting, you may want to add harmony to a specific note in the melody ol anoriginal tune or a standard. These three chord lamily charts should provide you with most of thebasic voicings and those which offer more color tones.

The standard practice method to employ here is to choose any one ol the chord families for work ata particular sitting and while playing along with the umple 'G" pedal, go up and down the mode inchords, playing them in long tones (whole notes at least) until they seem to fall easily under yourfingers. A vital secondary aspect to your practice regimen would be to sing along with the top voiceof each chord so that its melodic aspect begins to be a part of the way you HEAR the voicing. Then,like with your single-note lines, you'll be that much closer to playing what you hear and that's whereyou want to be.

Example 37: Basic Voicings (G Dorlan)

Additional Voicings:

Voicings with more Color Tones:x x

ffii'tffi

Ft-Hrtattl

. { l t i

Additional Voicings:

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..lJ

1 l 1 4

, 0WE

:E l , , . .I t a t I I

Imml.u]Tt

- J t l

. rO,I

Ddr

ffi,u,,rin-hl

I r : . 1

t o'Ir

tuH#HHtl+

i l t l

Root (R

r l rFFTII.IFF;+H 8frffi

;il'-o.

Example 38: Basic Voicings (G llirolydian)

HEft#fiilrr't r l T l

rrrrnt 2 t l

Root (R)m'" m,,"II

ffit?t?-

2 l t a6rho

2 3 1 4

5rhIl'

E

ffit 2 t aR

<e

| | r 27rh-o.

Additional Voicings:

Voicings with morc Golor Tones:

Additional

Losl in Amrrica on lour rilh tho Brscler Brolhers.Photo later bt Ctarissc laylor in a hol6l room, "Anywhere," U.S.A., 1976

m,,"

x x�TTEFlTl-1ll0frT I I I T I

|.ml..]..IT

|'ru4 t 2 l

g

m,.m,,"

m,,,,m,,-

Example 39: Basic Voicings (G Lydian)

m*i a 3 2 l

mai 7fli m," [fffi,''I t1z2 2 ] ] . t4, Root(R) 2nd

++--EIIIIltlfrI l | i l

3 t 2 l

2th

ffi'.n

m"m'"m""

xxIITIT|

H*Esrilmml.mt.-| | | r l l

t l 3 3

3rd

xxr r r r t l

rT-"t19 fl

I I | r r l T

+li''m,,,'

t l t l

6th

xxrrffi1rTnTl l0frI I I a I It I . I N

124 |

:

Vohings wih morc Color Tones:L Hf f i 'n , f f i ,uf f i ' H + H

l i l 2 t i l 1 3

Addidonal Voicings:

ffffirtf f i :

i l l I I

m'-m,',m"m"

tuffi'- m*xx

ffi

rrrTbl0fr

| 1 3 3

ole

ffi,,,ffi

Example 39A: ilinor7 Chord

f f i t u iF m f f iHl+f, Hl+fl

3 4 l I I I

(4th) (srh)

basic 3-noteu*lqs (g dorian)

basic 3-note yoicings (c mirolydian)Example 398: Dominant 7 Chord Family (C7)

Additional Yoiciltgs:

basic 3-note uoicings (f lYdian)

Example 39C: llaior 7 Chod Family (F Maior 7)

Additiotd Yttit$rys:

Family (G minor 4r x x

ffiffir,iili

m.',m'-ffi'''(2nd)

m,,.(3rd)

bc

t x x

ft&LH snITfml-t-t1+l

I l 3

(R)

m'-2 i l

(R)

tuH#H roriFFFH

i l 4

(f,4)

Unit Ninechordal studY deilvedlrom a linear erercise

While deVelOping a praCtiCe fegimell which accelerates vour srorth, IOef iiue VoriiiinO tnatheariig what you practice willinable you to eventually play what yo!.MWnifi feirning to feel free witn cndrOs, you can always count on.taking the.simplest of linearpiliiirJiOrii(i''gnt lrom your earliest siale and. modal work) and apply it at half-speed' so tobpeak, with the iop-voice m'oving in chords as the line would.

Use Example 40 as an illustration. Example 40 is a sequential line in F maior (G dorian andC 'i'i*fyJiin ,ri moOes in that family with the exact same notes) which goes up a 3rd and down ajtrp, i1fii grO, elc. This metody is th6n harmonized with the different voicings in Examples 4'l-44.ffii#'-Gt peOat on the recording and play each chord slowly. lt.can really help.if you sing the topiltr;rt toud ieven if you don't naie a good voice, this will pay off down the road).

Example 41 uses basic shapes and Example 42.adds chords with more color tones. lt's essential

tna 11b,j t f,r tne time to Oo lne same wor( with the remaining two basic chord families: G maior (G

lydian)and G dominant 7th (G mixolydian).

Examples 43 and 44 are intended for use over the C pedal as il we.were improvising over an

iiiririr-o C oomlnant 7th ulmp. lrrre I've presented how once the dominant 7th 'feeling' and;rounO;-nirEen estaUtisneO, ine superlmposition of iimT (Gm7) chords, serves to open up the

sounO. fxamOfe 43 uses basic chord forms and Example 44 brings in the color tones

Erample 41: Chordal Exercise Using Sequence @

tuffi'"b';'

ffi,.ffi

tum'on,U 'DII

tuf f i s f rrrrtflrolrl-Ll,

: '

m''--o

Exampre* e)Use over G Pedal or C Pedal

|\7

f tg,rFHHHllfl

2 l l 4

Gm7xxffi

N T I -I I t a t I

t 4 2 :

bo

iiffi* ffi'*HH

Example* @

xx

ffirr'It'ft'fl|.ffiIttitl

4 l t l

bo

Gm7TL-FFi# ilftt r f t l ln-fln

c7tum''o3''

bE

xxrrrmrtffi 12fiLIJ-ID

i l 3 3

-o.{>

TI

Exampte* @

Use over G Pedal or C Pedal

c7(9)xx

ffiH11+

Gm7(sus)x x '

ffi|ffi

Fffi*lsnl l 3 l

bo

Gm7(9,11)m'-

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

o{>

Gm7(sus)ffi

ffi'ou

bs '

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

rrrrn

T'e

Gm,l3(sus)

ffi,,uFrtfti

I l 2 l

Publicity ph0t0 taken at David Tan's studio ln Manhattan, ca. 1993-19g8.

Unit Tenstyle ThOUgh it'S my feeling that aniving at your own styte win not be at the exctusion of

any 0l your options, making a deep stylistic commitment to some style will be important.So as.food for thought, I've presented three examples used with the dominant 7th chord family. As timegoes by, you might want to weigh your options within the major and minor chord families as well.

Bass Vamp

This example offers a common and simple guitar approach which is essentially rooted in theinherent blues quality of the instrument:

Example 45: Simple Guitar Styb @

ffi" ifffii'.I+ffii'.1 3 2 3 r 2

Here we extend the harmoryic territory with small clusters (closed voiced chords) in the style ofpianist, Bill Evans. Therg arb those who might find this approach for blues-based material ai "toopretty.' Listen and see what you think!

Erample 46: Bill Evans Style (Closed Voicing) @

Style (Open Voicing)

ffi'.

This example is in the style of McCoy Tyne/s left-hand concept. These types of fingerings are called"o-pen voicings." ln a sense, this style should open-up the harmonic feeling, but, I find that Example46 can accomplish this as well. There will be those who find the Tyner approach to be too "Far East"sounding due to all the 4ths in the chords. Again, listen and decide for yourself.At any stage of your development, you will not be able to totally escape your influences. Should yoube lucky enough to truly develop your own voice and style, I believe it will be accomplished whenyou?e not trying so.hard to consciously break free ol your influences. lt's my feeling, and especiallywhere your harmonic concept is concerned, that at some point, you must make a commitment to th-eshapes of your lines and the chordal and harmonic sense you hear along with those lines. This is trueeven if, as guitarists, we don't accompany ourselves in a trio setting as a pianist does with their left-hand. lts important belore playing to remind yourself that, "THIS tS THE wAY I PLAY, AND THIS lSTHE WAY I HEAR MAKING MUSIC!" The lirst person you have to convince of this is yourself, onceyou've done that, convincing your peers and listeners in general won't be such a ditficult task.

ilcCoyTynern x

EttHFFFTH 5ft

I t lm'',m,"

l l 2 l i l 3 1

Erample 47:

ffi'"

Unit ElevenMc0oy Tyner left-hands$le piano voicings

W.hgn t was trying to arrive at an approach b rnrmony on rre sitr. Iended up finding my greahst inspiration from the keyboard. I did spend a lot of time sturlying hchordal concepls of many of the guita/s great masters before moving away. In making this dnoice, tsimply chose the style to which I felt the most emotionally connected. Witnout a doubt, that styl!was Mc0oy Tyne/s. Especially his consistently centered left-hand approach. As we've arrived at fia'90s, there's hardlya-kgybo_ard improviser who hasn't been touched in some way by Mcco/splaying. Along with McCoy Tyner, the individuality of Herbie Hancock, Chick Corea, J6e Zawinil.and Keith Janett has also touched this work.In trying to pas along my approach in the most direct manner, I have isolated the three basic chordfamilies: major, minor, and dominant. For you, in your practice, the idea would be to developfluency by practicing playing over one chord family for extended periods of time. In doing this, yuwould be developing your own sense of hearing these "left-hand" voicings moving in a metodic lndemotional way. What makes this kind of practice approach readily usable is that, in manycontemporary iaz artl rock settings, you're asked to improvise/solo/jam over one chord (usuallyminor or dominant). Whether or not it's a finite length (like 8 bars or 16 bars)or something thafstotally open ended, extended improvising practice over a pedal will have you totally prepaied futhese situations.Though countless hours were spent listening to Mc0oy's work with John Coltrane's legendaryquartet, his own recordings for M0,Vlmpulse, Blue Note, and Milestone, and his work as a sidemanon countless Blue Note classics, I've lound that the left-hand aspect of his style remains consistentand classic.I've tried to lay out what he might likely play (using "G" as a tonal center) when confronted witrdominant,-major, or minor chord sounds. The only non-Mc0oy contribution comes lrom listeninglq Cllck Corea, especially his mid-sixties work as a sideman on numerous Latin-jaz recordings(Cal Tjader and Herbie Mann). 0n minor chords, in addition to the voicings in 4ths, Chick adds (inthis key) a simpbBl triad over the "G" bass (spelling out a simple Gm7 chord), but when throwninto the mix with ttie more open voicings, it adds something wonderful.Try to remember that on the piano, the left-hand is usually not played too far above the area olmiddle "C.' 0n guitar, I've found that you'll achieve a consistent tone by keeping these 3-notevoicings played across the D-G-B strings. So, depending upon the root, your choices for whalyou'll play and where you'll play it become obvious.

Erample 48: G7r r x

ttlttl lfr

Enmpte 49: G minor 7

m* m,,

Exatnple 50: G ilajor 7

n x

Hflfi

l

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

Unit Twelvechord tones as melodies

Example 51A: G minor 7

Example 518

Erample 51C

Erample 51D

ffi Tlffil T+- T|_

ffi'- m'- m'-

In previous gxgrcis0s, you've looked at such simpte devices as common tonemovement, chromatic top voice movement, octave displacement of the top voice, scale passages,and.harmonized scale sequences for chords. Now, how about harmonizinj chord tones and modalpitches as melodies.To get the most out ol this kind of exercise play the examples as single notes first. Then sing alongwith the. melody. For the moment, allow yourself to believe that thitis your melody. When-it feeliexpresive to you, try adding the chordal suggestions I've supptied.Here's a perfect opportunity to make use of one, or all, of the applicable chordal reference sheets. lfyou were dissatisfied with the sound of any chord shape (for example, a voicing with "A" as the topvoice on the 'E'string), go to the reference sheets, look down the column and iry some of the otheroptions in context. flso, try to use completely different voicings for an entire example. Finally, makeup your own line with single notes and then carelully harmonize it as you would hear it. The lhoicesyou now make are sending you 0n your way to a concept that's all ydurs. No two players will makethe same choices.

m,- m,,,I I I I 1 3

TTrinffi'*

3f!

I t 3 3

2 t t 44 t 2 3 4 1 |

m,.

Unit ThirtThe notion of playing "outside" rhe harmonic boundaries has becom il,r0l sludy l0r students of the music of Ornette Coleman, Miles Davis, John Coltrane, and alt tr

uppor and lower neighborc

cadences:apploaches through supporting talents they've nuilured over the years.

BbmajT(6,9)

BbmajT(6,9)

ls there fly.rurggd upon system g{.logic which appties to the tones, and configurations of piht;outside the "right notes?" I would like to offer my perspective on ttris, and it g-;s back to an ilidq' !l?t like good drama, good music must havetension and release. Withoutipptying this notinand all its possibilities to harmony, we'd be left to create tension with ont1l Oynirjri6s i'rO refany.It's my.belief that virtually all passages which to our ears seem to baoLitside the acceptatllconcepts of harmony, can be explained as having some kind of "dominant function," U7ri.

--- -

l'd like to offer the following exercise ideas as a means to explore this world through chorrhlmovement. The essential idea.is that you take a chord (where the top voice is a melody niteitltriOhas an emotional connection for you and try to sunound it by using consonant (Oiatonic/wifnin f:

Eramplet* ()Cm7(9)

m,'| l a

F/(13)

m,'

chord scale or mode) and/or chromatic upper and lower neighbors to create a iitile tension as f: 1harmony releases and comes to rest.The given qxgmples provide ideas for both major and minor tonics. lf you see a note, especialty a itop voice which seems to make no sense in relation to the tonic, look bick a bar or two anb see it nis a part of the altered dominant (super locrian mode) scale of the V7 cnoiO. rn most cases, [palswer should lie there, but, the real decision making factor will always be in pLAylNG WHATTRULY SOUNDS GOOD TO YOU!

Bbmaj(6,9)

ii#i'.Eiffi'.3 4 t r 3 4 1

Eramprc5zE G)

Cm7(sus)m,-Erample 52C

Cm7fu.oHH

3 3 t I

Eramfle"o @Cm7(9)m'"

F/(b5,b9)m'-t 2 t I

F/(be)m,,,

m'"m'"

Bbmaj9(6)r#- *-- *E''"m,,-H # g

ffi"uffi'ru ffiffi |..{+

i l 3 3 i l 3 1 l l 2 l i l 3 3

Exampte"o CAm7(b5)m.-

2 3 1

D7(be)m."t t2

Example"t eAm7(b5)m."

23 t1

m*m'', ffi,-

Gm7D7(il5,b9)m."r 2 l 4

Itr.- ltl- xr rl+l++{ t:m EIIFFEXfl..* mD5fr EEnEsfrFffitt-" t+l++{ t{-t+jtl

Edffi

-___--

t*'ff,ffem,"

r 333

Examples3D e

m,,"32a I ffi

i l 3 1

D70s,l9)- , o o

ffiI l 3a

o.

Unit FourteehcontempolarY ThiS SelieS Of ChOrdal referenCe materials iS, inessence,anexterriqr

ot't-nr pri*rrty prisented unit titled M0DES lN CHORDS. Again, the greater goal is to provide yutwith as many options as Possible.you'll notice that lor this study, only two of the three basic chord lamilies are representd: Wlriruoilni-i'ii Minor (dorian). ine d'ominant 7th (mixolydian) chord family has seemingly beat;i'iii,;j. inir iJ tilrry roii'0, ano the thinking udnino this is as follows: As has been stated andiliabd, ai gunarists'we can irtenO tne narmoiy of any dominant 7th chord by,superimposing iimTri,iri'rigi/rhoiOi over the VZ root. So, in this'contemporary series of .sound shapes we. FI l0il;rd lil t-r*ony as often as possiUie. By only using mindr (iim7) voicings against the V7 thafsprecisely what we would be accomplishing.

At times, the manner ol this presentation ol 4 and 3-note voicings/chords will. seem very logical'l'nd ii otnir times, quite randbm. All in all, it's not a harmonically sequential reference. I've chosenirril metiioo to chalbnge 1lori "o as weli as your chordal dexterity so that, on a purely technicallevel, your lingers never get bo comfortaUte a[ tnls stage. Like before, the melodic voice is loundascending on the high "E' or'8" string.

I believe the best exercise for initial and long term results is to play each voicing within a row.noroinglt for tno bars oveitne "O; peoa on th--e recording. Establish your own feeling for wha! gach,ou-,iJ-:rriaie notoiemotionirry tor'vou. As you. begin to use the basic and contempirary voicingsi'iioniuniiion with one anoin6r, iow relati6nshipio all that you hear and play will have a muchdeeper connection.Try to create r rtiitt of short term practice goals and follow them through over a proiected tirtirjme. Ar*ivs be patient wiin ioursetiand you;lt find you're progressing almost without noticing it.

3rd

l+ft5 sftffiFt-tl

2 3 1 4

IT

m,,,m,'"

uoicings lefelence

f-note oPen uoicing sYstemsErarele 5f: G LYdian Mode

m47tl

m*il4rh

IX

l+rrH _-|..l..1..lT rtr

fll-u-r2 3 1 4

5thxxI l r r r l

Ffft{d,r.ffi

IJJJJ'2 l t 4

majTth

tEftilffit:r'

2 3 1 4

*-2 3 1 4

{E> *o

m"m'. im"m,- m'-m,,m,."

m" m''"ffil

HfiN

;. '€

-o{o*B

$"[''m'"i m "

m'-m"m'''m'"

4-note open mHng syritcmsExample 55: G llolbn llode

7th Root (R)

a ) l

Addnional Voicings:ffirt :ffiFFFFH

m3d

tuFFIIF ! r'HltE

2 a l a

bo

4thlt-tFmirrffi

2 ! l a

.e

srh'I-tttfi lnH#Ejln

2 t l 1

.o.

?lfin

H*tfirrffi

#'1-l-

H*t*srffi

HJlfletH:m

ffiror'H#f,

ff--

flJJflrrr,HM

'|1-

ffi,,,ffi

tuffi,"

!l!-

ffi'oHt]{

ffi

ffi'" ffi'ot{l-}ll

f*-

ffi'ur,tfr,-n

ffi''olrttll

fffirtETEITH

tfff!|3 frIttl#ttffi

t{-FEFI6frH]ifitlm

EttEFltfiHt+f,EIE

3 a 2 |

f+-FFFFFI r3 frFFFFF

FTFFFIIFI 'iHM

3-note open Yoicing systemsExample 56: G Lydian lilode

,4r' 5SliFFfr2fr EffII r ft

Hflfi H+ifi

FTTTFIJ i'

ffiFtttFlE rffi

H-FFFFF 0ft

ffiFFFTF|2 fititaflEEE

2J1 l

be.

6tlFmFTFIE ' frHM

l a l

m4 7th

HflH ?r,HM

3rt I

Root (R)

t ! 2

m-m|-llrn--

l l 2

3-note open voicing systems

Example 57: G Dorian Mode

Root (R)tmFTTFF E TIffi

Firdsl

m'"FFIH

l l I

additional Yoiclr| ]GlerenceErample 57Ar G tydan tode

majTth , Rool (B)

ffiIr, 'FMtffi

4 2 1 I

ffi'oHTm

m'oHl#

fiprr.ffi

IttEtts rr

STEVE KHAN TRIOLecrRrc

Eurcleanlour mr,]..y,1994. L6ft to rigit Anttotly Jaclsor, St6Yr, ad DtmlrChambors'lll".rErlnn'I.d SirI

{4rh

mroFFM

l t t 2

t!-

ffi'uHH

tr-tFFFl,2nEIT+Ftfifi

ffi'oFt#

tt-

EtEESl' ' '�rHl#

fuer.ffi m''"

l

hffi

4 2 1 |

Imffitlffi

a2 l I

Unit Fifteenmaior/minor exercise This is one of mY perconal favoilte exercises! ld liketo prcseilhb

one in an elongated study forni. Lets analyze this repeated lour-bar pattem as if il nere a hatrnonicoroblem we neided to s6tue. In doing thswork for y0u, as I might do it for mysell, its hoped ttldiou'll be able to applv this same thought and analytical process when you have a pr0blem witfi anyieries ot ctrorcs uiiitrin a song. The purpose is to axpedite the process ol HEARING THROUGH THECHANGES as early as possible.

First, look at the chords and try and determine the chord family, and then the-mode 0r scale bas€dupon the root In this case we liave a GmalT tor 2 bars and a Gm7 for 2 bars. Generally speaking, ina iaz oriented context, when you come across a major ch0rd, you use the lydian mode because'mbst times, ttre sounC ol the'14 is far more appealing to the ear than that of the natural 4th (thesuspensi0n). For most minor chords, you would apply the dorian mode.

For the next step, I would take the time t0 jot down the basic pentat0nic possibilities using twosimole formulas. 0n maior chords, a player ian apply minor pentatonics based upon the 3rd' 6th'and Tth degrees of the hajor scale. 0n any minor chord, a player may apply minor pentatonicsiroot, mgrd, +th, 5th, and tTth) built upon tlie root' 2nd, and 5th; and, the dominant 7th pentatonicinooi, zno, gro, stn, and bTth) built on the 4th degree of the dorian mode

What's accomplished by just making this kind ol elfort is you've given.yourself the chance t0 playthrouoh this chord prodression and ptay the "right notes' Laying out the pentatonics gives you.aninitiaiopportunity tb tiep some ol yorir lines aloser t0 the blues language which is such a vitalComporient in all popular music. But, in dging this'. what's NgT accomplished, other than sgmebasii improvising, id that you?e not yet "speaking the language" of jaz or any other style' and'that's a discussi0n best left for another text.

For th0se 0l vou who do t/vant to tmprove your iaz playing and perhaps pursue a life in the music,how does this exercise work towards that ooal? How many times have we seen pr0gressions thatlook something like this:

GmaiT / Gm7 Q7'/Fm ai7 | Fnl Bb7 I EbnaiT lEbnl Abl I DbnaiT t Anl D7

lf we orouD the bars in trio ditterent \/vays, the functioning 0l the chords can take 0n two distinctlyoittere"nt tdois. In one view, isolating blrs 1-2; 3-4; 5-6; this movement could be seen -as l-majgoing to i-minor. you may be askingi how can you say that with if0r example in bar 2) the C7-chordinJ,rf fnis is where the 2nd view iomes into'play. if we iust look at bars 2-3ior 4-5; &-7; andg-ri, omz, C7' and FmajT are all in the key ot F maior' Gm7 (G dorian);.c7 (c mixolydian); andimaiZ (f ionian) att have ihe same notes, iuit beginniirg and ending on ditlerent scale degrees So,it wd view nar 2 as only having Gmi (G dorian) and ch.ose. not l0 gbserve.the C7 because thepitches are the same, then bars 1-2 could be scene as moving lrom mlor rc mlnor'

This exercise can be a preparation for negotiating such proglessions.in a diatonic manner. Again,the accomplishment of lust hearing the 'righf lormations 0J sound through the chgrds paves theway for evintually addirig the alterations (15' 15, 19, and 19) s0 thd the lension created on the v7chord resolves as you go t0 the I maior tonic.

when trvino t0 learn to hear the movement of harmony in ordel to improvise I lirmly believe the mostimoortait tint steo is to "establish the chgrd sounds.' lvould almys suggest beginning with theturidamental building blocks, your guide tones. Simple 2-n0b vgicings which outline the harmony. Itend to asociate theie voicings as an integral part of Jim thll's appr@ch t0 accompaniment'

Example 58: Sten f @

G

Example5g:Step, O

H€c tr€ pns€fl be usaoe of lonqqlq iDlyino a mtody in trt @ v(ria ya| nidr fi b,playing a 3-n0h chord acroas [p ]GS $rirus f0lld by a +mb OrorO Ui1|0 a top voir oilhe.'F slrin0. lhe.id€a is to rraks your top, higtEr voicsd chord, fundion as a rFl6dic ;r€spofE8.t0 the lourcrvoiced chord. HeJe llye pglposely us€d more haditioml guihr voicins which wd mightassociate with great playors like Wes Montgomery, Krnny Bunell, Jim Hall, and Joe pass. -

Gm47IH

fflfi'ottttfl

2 t l

ll*t-Ft f?tEIEE 5Ntt8

Gm7tt--rffitoffi

t

ft*m'"| 3 1 3 t t 2 a

Grnatl9)

m'"1122

Grnalg

ffi'oflEtttFt-fH

| ! t .

It_

ffi'"tf*m'"

Tfnnm'o

Gm7H-I+Hn-Ftrl | | fr

23t1

Gm7(sus)

ffi'ooH++ttETITD

I l2a

&-ffitoffi

t l t a

.o.

}{r-,-n

ffi'otttttt

ffir,fttttEt

Gm7

In this example you?e presented with Mccoy Tyner style voicings apptied to me guiw. iocondense the presentation, l've employed a 'call and resp0r6e' approach b€tned| [€ loF, :]-m:voicings, and the higher register 4-note voicings. Usage of this style should giw you a moremodern and ooen sound.

Example 60: Step 3

Gm47(6,9)t+-

ffi'"Gm7(sus)

H#rt,Hllfl

l l lffi

tlttn

GmajT(6,9)

tt#cr, t Elhr'Hjltr FH++l

r u l n : l

Gm7(sus)firilr fu

ffi''o ffi'oI t ! 3 I t 2 l

tf,..{ tf,,.{

HESron ffi'roFI|FH t-+{+l{

tL-.J1ffi2r, Hilfiffi moo

I t l I t l

EEEEF

ffi'"Gm7(sus)

' ' m''ol r l l

m,," m,," m,."

GmaiT(6,9)II*m""FFFTF

l l l l

Gm7(sus)

FllEflror.

I l 2 l

r{,,+ t+.+ffira ffirrEfin tfin

Example6l:Step4 @

GmaF(6,9)

ffi'oFM

3 a l

Gmaj7(6,e)

FFFH ?frm

l a l

Gm47(6,9)tl--J

H+H 12i

tffi

GtttqT(6,9)!*.-{

m{fr mrnHffi HM

a t 2 a t ?

t*-*ffirtHr;tf,

t+.-,fmronFF}}}ItlrE

This step is do/oted entirely t0 3-noh voicinqs ofleri0o a h€al[ry cr6s bdwr dos*stylechords, whici one might ass0ciate iti$ Bill Evans (bars 9-12), and op€r|.slyh tu(6 assehHv{ilh players like Mc0oy Tyner, Herbie Hancock, Chick Corea, Joe Zawinul, and Keih Janetl. T}Esechord color tones lr0m the extended harmony d0 wonders t0 open-up the lexture l0r you and l0r tiesoloist you might be supporting.

lmFTFM ?hffi

Gm7(sus)

m'frFffi

4 1 2

h,{FFMffi

a l 2

Gm7(sus)tl-rH+#rr,

a a t I

ffiHmrtrEl

l a l

ffiHffi

1 1 2

Gm7(sus)ffiroHmr.FFln

! 4 t

Example62:Step5 ()

Gm47(6,91ffi,oFITHItTT]f

riffit 2fr

In this final presentation, we?e using larqer open-voicings with an ascending melodic hp voir' [spresented using long tones t0 force you t0 G0 SLoWLY and hear the content ol each chord $4ebver the root. tn doing this, you?e diveloping a personal atnchment to each sound. Belore plryingany chord, make certain that each note is speaking properly - that no one string is accidenhllybein0 muted or muffled.

As you know, you can use the C0NTEMP0RARY V0ICINGS REFERENCE SHEEIS which wete laidout-precisely 16r this exercise. They?e in place to make sure that these options are. right in front 0fyou and made easy to explore. When learning how to hear these sounds as. part 0l your approach'iry to keep the m6vemerit of your top voice down to a whole note or half note as lhe harmonicmovement will still be clear.

Gm9(sus)tffit IM]f iffi

2 3 t 4 2 l l 4

to

H+mFtnF rftHTfi-l

Gmaig(6)H_FEIF 5ftHmrrll!

l l l a

Gmaig

ffi,0H]ffi

1 t 2

cmaj9(6)

ffi'oHffi

a t !

t{r,-nffJJfi zrH#

2 3 1 4

Gm7(sus)nrmffi,off-lta

2 3 1 4

Gm7(sus)trsFffi'o

4 t 2

Tf*FttFF lot

ffi

oifiz(sus)mm'o

4 1 2

ffirtItlt'

Unit Sixteenchord changeslor standads

One could certainly spend volumes presentin0 ,,standard,,chordalmovements/progressions ff91 oooutar song forms (R-n-AjR and A-A') buf, I crrose to use justtwo examples which would lend themselves as exercises for this mat6riit.'goth tunes presentharmonic movements which are constant and very logical.Example 63 ("Mundo Desmondo'') is performed with a bossa nova feeling which, as an even gth-notegroove,.can be close to jan and Latin jaz, as well as lighter forms of pop, Rock, and R&8. you'regiven a.basic rhythm along with the essential bass notes.leaving your cnoroit cnorces to speak clearly.In,this lirst example, you're,asked to explore the usage of both invenions oi ine guloe tonis. nJ1tou;ieallowed to mark the chord changes without any k-eyboard interference, you ifroutO near lusi frowclearly these two-note guide tones oufline the harmonic movemenr.Example 64 offers comping in an.orchestralstyle. The.idea is that, with your guitar, you have a big9!F il your hands. The concept.being, that you imagine the top note of'the ciord i/oiclng; d ih;"8" string) as the saxophone or trombone section, anO tne 3- dr +-note voiclngs with thd top noteon the "E" string as the trumpets.. Dynamrcs are important here, and you mrght tiy playing tf'e to*etvoiced chords at mezo piano and the high-voiced chords at forte.Letter B, of Example 64, is an example of using octave leaps in your top voice. Remember it's amelodic voice and an octave can be a very eipressive interval. A simple suggestion, try thismovement in reverse.

The final.section (A3) presents the concept of having the top voice slowly ascending through theprogression. In your own improvising, try, once again, to reverse the pr6cess creating onj rongdescending line in your top voice throughout the progressionExampl.e 65 offers my own approach based upon a Tyner-inf luenced guitar style. l f you'vefamiliarized yourself with the presentation ol how to actuitize his voicings in tne guitar tnen iniiexample should make a lot of sense. I'd like to point out one special ha'imonic approach which I$sssssssssssssss�sociate with.McCoy Tyler a1d you can observe and listen to tfris as you play A AZ, nars Z anO q;B, bar 5;and A3, bar 6. Whathe does so often over a iimT-V7 is to inimeO'iatery play ftre titn-t}lpechord voicing of the V7 even though the bassist usually observes the roots ot Ootn tie iim7 andiheti._Yqu might have to force yourserf to make use of this approach, as opposed to always pl;ting ;iimT chord voicing first, but, if you find an emotional connbction to the sound, then you wi'll in timestrike a balance with its usage.

Example 66A ("Some Things You're Not") begins with the guide tone approach. lt is my firm beliefthat this is always a good place to start and then expand your concept trom tnere. One litile "tiicl; totake note of (in bars 3,11,18,.22,27,and 34) is thatover a V7 chord I often use the guide ioneifrom the prevtous iimT for the first two beats, giving the sound a heightened feeling otiuspensionand release. Try playing these bars with only the dominant Zth g"uide tones and listen to thedifference, then, make your own choices.Example 668 employs a Mc0oy Tyner/Chick Corea approach for the entire tune. lt should be notedthat if you were to attempt to.play exactly like this behind the melody or a soloist ilou woufO Oeguilty of some serious overplaying. For the purposes of this book l;ve tried to jam in as muchinformation as possible, but, in a real playing context you would have to weed out a lot of this whilelistening to what's going on around you.

I'm often asked to apply som.e of the "0pen Voicing" concepts to a standard. In Example 66C I tookone chord.al "sound shape" from the "Open Voicings" refeience pages and attempterito appty iiiogvery b_ar if possible. As this example stands, it is a composite oitne open voicing concepi'and theTyner/Corea approach and should add to your growing sense that these voicirigs are

'Oecomingpopular sound shapes-things you really hear.Since all the play:a.long examples were constructed with the aid of computer sequencers, I havechosen to use an R&B oriented shuffle feel, with some Latin undertones, is a substitute foi a laz-like medium bounce. To my ear it's still difficult to make machines ieel like efvin loneJ,'noyt]ayl9s, Jack DeJohnette, Al Foster, Tony Williams or Philly Joe Jones. lt's alsomy teeting tnit thLshuffle is a feel, an attitude, that most musicians, from all genres, can relate to.

EDb

Example 63: "Mundo Desmondo" (GuideTone$@

majT(6,9)t+,--l{

ffitor,

Dm7 G7'$-+{ tH{

ffi'ooffiot'| | l !

CmaiT

H{fior'ET

F7

ffi,oH]]fl

l l

Cmaj6 Cm7II---$ t+..++TEEEE 7r, tfllllHffi SffiII,ttltfl Etrrrt

1 4 l r

Bb majT

ffi'o

Bbm46FFtrEFFIFF r fiHM

Em7 A7rI',!t ti-,+t

m'om'oEllN EtttE

Dm7 G7r+.+{ l#{ffi,o ffi'o

t a ! l

DmajT Dmaj6t!----!!

tbFtHar. H+Har,FFffi FEfl]|tfin Ellff

D7(b 5, b 9)ffrmmo"

I ]

um/ r l

E!!,. Elm:' i

Htlrl ffi

DbmajTl-Fl-{-H

FFFfH }I.ffi

Dbmaj6

H*hH rr'Ft-t-t-H

l l

Cm47

FFfl{ 2 fi

H++F

Cmai6

FSFtlzr,f-H-t+ltfirrr

DmajT Dmaj6r!.,-if T+.-4Il..|-l-H ffitfllll ttfficrim''r, ffi

l t 1 4

BlmalTrITmffitn

Em/mffi'zr'

A7EMff i"ottttt

t l

u rr#tffirf-ftl9tEED

fidffi'o

Gm7

ffi,oHi#

c7FFMmro

t l

rrii-4fmrf,H1111

t l

Am7H,+{ffi'or.H+{f,

t t

fitt1? ft

t l

D7trmmroi i

l l

Lower lnveFlons

Upper Inversions

Cm7FMffito

Uppef Inverslons

ubmautrFnEFFIE rofi

CmajTFSmffi'u

Cmaj6

ffi'oHt+ETrlN

FM

I ]

Dlmai6 Dm7F-,iF i#tElTEU8ft EIIIDffi ffiror.

Cm7FFFFFf f i - 'rrrr-n

t 3

Dmaj6 D7(bs,bs)

lFrF_t _ t+at+1. t

I I t l

umalr

Effior,Hflfi

t l

A7

HSF'NHr]fl

l l

6tmal/

m'"Bbmal5

ff i 'uHt#

Lmt

ffi'uFrlfuuln

Example 64: Orchestral-Style Comping @m l ^ ,Lj-J Ubmq/

ffiffiEIITE'O

l r l

6rmalt

Effi'nH1fld11n

r l l : r

munHtl+

G7(9,13)

mnnffi

t l J 4

CmajTer. ffi

EfEtf lofiEntl

l l 43 4 1m,"im'"

I 1 2 4 t224

ffi',,ffi.,,rx D |rtm

BbmajT

ffitott t:.FFT+N

l l a

EmajT(g)

f f i ' to

l 4

iiffi* i+m,,"m'"| 1 4 l l l 4 t l l 4

E ol'4,cIIm Fmff ioo ff i ' ,nEITE Ttl6

t t ! t r 4

FFFFF 6fIffi

l l 4

DbmaiT(9) Dm7(9)

Em7(9)F+HFF;TF 5 fIH]#

I t 4

Dm7trm FHEffi'0,, EflSEr2rrF+fl+ ttEtt

t u l t24

ffito

G7(b 9,13)

A7(13)trm

1 2 1

A7(bs) DmajTFtrE".. FMH+p'- Ftmofiffi H]fl

1 3 2 4 t r 4

CmajTCI]E ITf,EE,m,,, m'"

2 t t l [ ]

DmajT(9)

FFFIE FFMEblEElar, EbftH arrtfi# H:fin

l l 2 I 1 2

cm7(9)

H*Fldsr'FFI.FHrrrin

t

Cm7(9)EE!tfffirr'I-FI-FHiflfn

I l 4

D7(b5)

Tl''''nH{frl4 rr,ffi

F7(9,13)

F7(9)

HTMmr"ritFF!

t r 4

G7(9,13)

mooffi

l l l a.e

la-l| - | Dm7(9)tt-,4l..|-H

FFTTF T frHffi

Cm7(9)fiff'rHMH]+

r l a

n(e)t|.{+

ffi'rTTI1I

I t t l

Am7(sus)ffitfrlbElll.^._rrltE

t 2 l 4

:at

Cm47FrrmFl-hlh 'r ft

EELII2 l !

r-Fl- Dbmai(6,9)Edffi'ortTI!

l l l

Bbm47(5)t{,,+

ffi'o l

Dm7(9)

FFITE rfiffi

l l a

G703)

Hffr| lfi

EEEUl2a

Bbm47(6,e)l-.+

ffiror.l l l l

Em7(sus)lHffi'ooHffi

l a l

DmajT(6)IH

m''r,I l !

13)

I lofr

A7(b9,

$.--* 't{*{ffirn ffit"tffrtr H-{-H.{

A7*..-{ t{-

ffi,,, ffi'ol r l l t 2 l

D7(e)tt-Hi1#ffiru'i

l 2 l 4

Cm7(sus)g--.!t-|-+.t-Hl-t-l-i-HE!!m 6 iitiG

! 4 1

D7(sus)

FttFfFfiFffi

D7(b5,b9)Erm'"

1 1 2 |

F7FT1Tnt't-tl-t 6li

2 a l

Example 6{i: Gontemporary'S$fe Comnine @

Dlm47(s)

ffi'oHTM

l l l

Bbm47*,,+m'o

l

D7(alt)llrm H#

m'"ffi'"

m,"I b majT

ffi'"H]tfl

I l 2 t

Cm7CIIIE If EEEEEHi+{q fffirr'il-lfn iitfn

r t l | | ]

Drm4/

[ ]

Dm7lH t#

ffi m'o1 2 4 | t l

G7

I t l

CmaiT

|m'o mto

c7

tuffi'o

Dbm47

FHro

6bmal/

tfrrr' Hll!ffi #'o

t l l l t l

( t ,

Ttnn Tfnnffi.. m'o

I t 2 t t l l l

Dm7

I D l

umaj/fg-

m,oHflf,

! !

Em7 A7

ffiro Hl+flffi m'o

t 2 1 I t l

Dm47Tirnrffi'n

| l l !

m,"mi'*Am7

t*..{ ft.-+ttfr.ir, Hli!ffi ffi'o

t | | ]

Cm7

ffi," ffi'"F]]q FFFFF

2 t t t 4

r- 3 ----;-,

Cm7

ffi'"ffi,"H]rl1 Hllf,

1 2 4 I l 2 l

H)li-t-FH

ffi," 2 l

Hffirn ltltflffi m'o

l 2 a l l l

D7(alt)Imm'"

I l 4 ?

Abm47r{,,{f tHfffi'o ffiroHlI{ FFM

I I l a

Example 66A: "Some Things You're Nol" (Guide Tones)@

mt , r | F m /

ffi.nFFM

Dbm47r{-#tffiroHM

H#rr'FFFFfl

BbmT

ffi"offi

I t

Dm7

FFTTF ] i'FFM

l 4

Fnlln I fr

H]ffil l

GmaiT#,.4fffitoFFM

t#fffiooH]lfl

ffiooHtm

rf,,{f lHlffirt ffisnHl# FFTTF

GmajT

m1f.FFFH

Ebm47

Ab ma,7r{-flffitnFFFTfl

tf*l{ffiffi

r+,,{{ffiFFFM

t !

07t+-,t{ffiror,Hl#

l a

IHIffitoHfifl

FlmTffiffitoFFM

l a

m'oHlH

FffieoFfifl

FF1tflm."FFM

l a

Eb m/

ffiI I

c r t|:]:r--

H1111t l

AbmajT

fl{ffictffi

GI! CEEtFFlfis,, H+FHrr.H+F H]#

DlmaiT

FFIHron.ffi

t l

U b M IcrEH{fl*ffi

ffi'oEflN

t l

Cm7

H{fisr,ffi

B 7

mouHlUl

l l

ffi,nffilftfn

t l

c7

m?' ififfiotH]]fl

tuEEE

l l z l

Lt+lrHhin

l t l

i:]:]r

l t l

EM

u l

|:]:]Et-l+].].^._

l@

l

tJmt Et

fffth;r ffi1"''ffi FFtsFfi

BbmTIIIEH#6nHtl{

E D I

trFHI ]

AbmajT

H*tH rr,F+l+l

l l

FtrMFFFTF rfiffiH Hltfl

l l

. i . l, Eb7 , .

rrrrn tIf,! Em

m6r,ffisriHEH',,u-t-Lt-l tl-t-l-l-.t H-l-ljll

l l t 2 , 4

f u f u ntilIg'" ttftH 5 r,r-++H btttIt

n l t n t l

Abn47EM

mH,on l

Dbm47 Dm7@ @

HEH]ft HftHs..H++fi f{lt+

t 2 4 l t l

CmajTtu tu r+- Hi-'-'

m'"m'"m'" ffi'" 2 t 2 t l l 2 l l l

x!_! 7!_I '!5--.--a

ffi,"ffi,"ffi*t'r-tft-r

t l 3

Cm7x!-r

ffi,offi

l l l

Ab matTll- F -''n i+rirr

ffi'offi,offi'ot l 2 t l t 3 l 2 l

FttT

l

o o l

muot 2 4

tuE b majTI:]:]E

ffiror.dlln

I l ? l

iiffiffi'"

!!- ;I--

H1+fi fffi,t'EEE t:]::E

l r 2 t l l

Am7CEEH#rtFFFTF

l

D7m

1 2 4

EEI

l t l

l lI I 3

umq/

ffi,"I t 3

CrIE

t1_Finl l l

D7

l.l-rfn| l ]

clr

m'uttttE

m'Trr mlrr ffiH#

| | !

Ef,EErr,

Emar/*-; r,..+ F.,,+SitH r r' Hit$r2 fr HFtHt t nEllN ttttE EIETIIt l l 4 l 3 l 4 l l l a

ff,* H*

m"'o m''oTTTEE EIE

! t ! l l l l l

Ab maiT

ff i ,tff i ,tEITEI] EIIIE

! l l 3

C7(alt)

Dbm47t+* l+.Tn

ffi'" ffi,oo-iin -r rr l

Bb m7I + * H Hffi,' ffiet ffirnu-l-l.lt q-1-l-1-l t-l-l-l-ft

| | 1 ] l l l l l l

DbmT Gb7 , .'+,..{ ?# '

m'n ffi'ot1lfi Ilrm

r24 I l l

t D l

6d Hd Hdm'"m'" m'"l

l l l 1 2 1

Cm7tt-f

ffi'ortttll

!

Bo7tmrflir| -

EEIIJl l a

ffiI t l

AbmajTt+,,-,1ffi,orrrtt'

2 l

G7(alt)

l 2 a

C7(al0fiffetHffi

a t I

ErdrpbGe Adding One Orn-Voiclng Shape @

E Fmt BtmT

l!!!E-_ rlallFF 'iffi H#."

ffiff i"F]ln

AbmajT

ffi"ffi."ffi*

utm4/

ttffi-- lttlt 6iHgH- FffittIII] EEEEE

0m7 G7

ffi'"ffi"ffi'"f f i f f i f f i

rbmal/tu.. Hffi'" ffi'"IEI* dft

FMffil'"ffi

8t7

ffi'" tu,"ffi

Hflfi". H11* | rf,

f f i f f i

D7

ffi'"Alm47

tu*FM

tt$fi reiEM

F{m7

F]]N Ii

FM

EdH#,"ffi

07 GmajT

FqlT DNFMH#

ffi

ffi

ffi'"E# Hdffi'"

B7 Em47 C7(all)t#Bffi'"

Cm47

ffi'" H#

tr Eb7

ffi'offi

l

t{,-FFIll4affi

t+-FTFFF 6tr,Hrm

'AlmajTflh-l

ffi,ot t !

Db majT

ffi^,TfiNTr-r-Frl

u b m /ffiffi,*

r l J

FFtFll 7 frHffi

2 l t 4

Cm7FFFM 6N,ffiEETE

2 3 l a

ED t+'+

ffi'"8 7

ffior.l 2 a

E D T

b b m /

EEETtrH#FE otH+fl

I

t lbml

H1frl^r'NE

AbmaiTBfr FFtFllrn

ffi2 3 1 4

lf*EEllfi 6aHrm

2 3 t a

c7({s,{s)

m'o12231

tllblirity gttoto lrlen EAldo Ma!rc In lha basemenl ol my aparlmenl

Unit SeventeenGm7-EbmajT(t4)

G dorian: G A Bl, C D

Etlydian: G A Bt C D

F

F

It's the continuing goal of lhis book ro inspire you to come up with your ownsimple practice exercises and devices which would accelerate the process ol .hearing through thechanges." The following is one of my favorites, because for the most part, many of the voicings cansustain themselves through both chords though these two chords might seem uirelated.Again the movement between the chords is simple and repetitive, a four-bar phrase, two bars for eachchord. S0 why v{ould these chords have so much in common? Let's look at the modal oitches first:

t E l

l-iLl=

I

RootAs you can see, though G dorian is derived from the key of F maior and Et lydian the key of Bt,maior, they only differ over the usage ot Et or Er. S0, to put it simply, as long as you avoid thosepitches, any chord voicing you play will sustain through the entire four bars.Example 67 focuses 0n long tones. The chords stay the ume and only the bass note moves. yet,the change is made and will actually sound obvious. Example 678 features inner-voice motion whilethe top-voice remains fixed. Try playing these as written, in broken chords, 0r in an arpeggiatedstyle and of course use your own rhythmic ideas.Example 68 contains some vamp ideas utilizing triads in conjunction with 3-note open voicings.The short focus is on common-note top v0ices with the motion in the inner-voices. you shotlddiscover while playing and listening to these vamps iust how contemporary simple triads can soundwhen used alongside voicings u/hich might be considered modern.Example 69 features a stationary top and bottom v0ice wilh only the middle moving back and forthbetween 'A'and 'C." In bars 8, 12, and 16, l've added a kind of chordal answer t0 the phrase, againbeginning with 2-n0te voicings and building t0 4 notes.

---=o

Erample 6'7A (with Common Tone Ton Voice) @

--T--o

Gm7FmFFFFF tNffi

2 l l a

Eb majT

=T--o.

--T-o

Erample 678 (with Common Tone Top Voice)um/' t u t um'" ffi."

2 1 t 1 l r l l

EbmaiT

tsbm4/Gm7

Example 68 (lncoreoratinS Triads) @

Ebmaj9(add 6)ffffrr,ffiHffi

t 4 l

FIE! Bb/Eb F/Eb Bb/Eb F/Eb Bb/Eb

m'-ffi'-m'n ffi'o m'"m'"J t 2 1 2 t 3 t 2 l 2 l 3 t 2 l 2 l

Gm7(sus)

mroHTM

Gm7(sus)

m'oFffi

1 t 2

Gm7FH

t2 l

Bb/Eb

H{++llirll' 6fi

l 2 l

Ebmajg(add 6)t6t--J

m'offi

Bb/Eb Elmaj9(ath 6)

ffi*ffi*3 2 t a t 2

r /ED DD/ED

tI]I]] EEtbft rotbLbtH rotrFFFFH FI}HII

l

a t 2

exarqiib'trttr Inner Voice uovement; ClGm7

ff i,offi,uH1TT1 Hffi

1 t x l 4 l

Eb majT({a)

EbmajT({a)

We.lier lrlrhls Eumpean Torr, P6rugta, tt.ty, Joty 13,1986.lenb ighl: Joa Zarin!|. Pelar E.sline, Viclor Bailey, Stsva, and noberlTlomas, Jr. ph0t0: Carlo pieroni

Unit Eighteenoclaves with thirds Inslde

Erample TllA: G Dodanlop Yotc. on "E" Stslng

In attemillng to couer as much malellal as posslble, laboErto ores€nt an'ootion-which may barely qulily as a thord,' but can ofuinly give tF moc son-rariety. For studerrb ol guihr history, I'd have to say trEt, in this atea, Georoe Benson has done Uldeep€st exploration hrough improvising with thes€ formations'

The lorm is that of an ochv€ play€d acloss h0 'N and '8" $rings 0r the 'D' and high 'E sfinswih tie inteflal ol a 3rd added dn ttre 'G' strino in the lomer, and he 'B' strin0 in tlE laltet. Jtdtrv and conceive ol thae f0tr6 as iu$ anothet sound slupe, anoth$ rn€ans 0f coloring a melodicoitch. lt's additional material t0 the chordal fundamentals and extensions plosented in thsIreference' series of matetials. A simple pBctice suogestion: try and apply th€se chor&l stEpeswitnin arw ol the arercises and exampies present€d in the book Select an ocrcise/oGmple use tFtop voice as your point ol reference and tllen substitute the corresponding octave plus 3rd fiom tlEsame chord family and see hovt it s0unds.

7fiEfuTFIFH,frHllfl

l a l

i'-rioot tnli *,r-: ffi,*: Hrqil, I a l

2nd'|,hm'*

I �

mSrd*f-

ffi"uHM

3 a l

4tr1I'l-t-

tt}&PrfrHffi

! 4 l

stlt*f-ItttDroftffi

! a l

I

6trt{#-

I 2 l

a

7thfH.t.l

FFttFr!rrHM

3 4 l

a

Tog Voloc cl "8" Stillol--no(R): rdd: f f i ' o

4ft

@ 1 , -

l+t+H

! : l

sfi*{,,{H*fH!ftEE{qI t l

7tlt .t-,ttfi.nn 6f

! 2 t

2tt

H#to tm! l l

Erarple 708: G LYdlanTop Yolor m "E" Sulng

majT$ i-iitt

m ' o : mETq : 51

To9 Volcc o|| "8" Stlrlg

{1f' 5lrJ-r t +tttfrrt H+E f f i f f i'i'ii '5-

adt!.t-m'"

3 a l

Srd8.I..

m'nllh

tt-r-t-+.H+{

m'nI 2 l

sttll.'{nHlallr0tt

3 a l

&

6tltt t-ffirEIDHH

l a l

€

mai 7ttm"-l 2 l

r2n

maj 7Uti,+,,{ffi'rmI l l

N

l{.Hl{ 106

t 2 r

3tdr-t -fHi*H ru r,m

! l l

l4tll+Hffirrnm3 l l

7thFnmFFFFF B ft

I 4 l

sth 6thF+p i,li HTmTflfl FFFER Tr|iffi

. 1 . 1 1 I l l

a a

2nd 3rd

FFEEg'5ft ffi'''H+IH FfII-H

I t t I 2 l

3rdFtttrtHJ*H r-'r,itq++l

5th 6th 7th Root (R)

f f i f f i f f i : f f if f i ' f f i ' f f i"" im' '- ' f : i i = , , r '

EreFTttC:G MixolYdianTop Vohe on "E" String

7th ' Rc

iiripr', EE f f i ' Ff f i t E

i r l a

ToD Voice on "8" String

4th

a.at-]-l l#tllfi

Witlr tie BEGker 8rus. 8and at the Village Gate 0n Jlly 21' 1975i'rom iehio rigltt oavia sanbom, Michaei Brccker, Randy Btec*er, and sleve Pholo: Erika Ptioe

Unit NineteenC7 pedal chordal reference oftgn in a SOIO SeCtiOn or iust a long iam over a Yamp' voure Fked t0 play otfer q

;irft-d;t6;rt nh ;httc.lor yean ot prilate teachi-in:g, and at clinics and seminars lle been aslcdilitr),il ti,; i,rt;n expairo wnar rhe', can do o,-ver these kinds ot situati'ns. The lollowingrdlererice charts are otfered as a basis to work lrom.

Beoin with the basic notion of establishing the sound ol the dominant 7th chord, in this case- c7.ffi;;i; il;kft.h,ilvoicinsi witt co-ntain 'E naturals and "B' llats somer here within ofien;il;;ffid iil h,*ony bey;nd these sounds by adding iimT voicings.usuailv associated wirrir"riziii,iriii-' iiJirittriiioui6isentiairiiipiiiin6 ir'oiitrt *turals iith 'F's!o that almost allthe chords have a suspended leeling.

As with all our other chordal relerence charts this one is to serve as a place to.return t0 when youleirri rjarl uiv a ii,tlcrnr prootem. pertraps the answer wiil tie within the foilowing examples.

Example 71: llixolydian (Basic Voicings)

stt

Iiffi,"ml l l .

6thfiTmE!!GI

ffiro2 l l 4

{}

7thnrmffi."

l 2

bo

3rdFfTmFn'ln l0 tr

l l 2 a

4th'l'fi

ffit l ! a

. -o

l+-11

ffi'o

t0t i

Addtloml Voicinos:

Vddry wl$ molr Color Tones

#-n

ffi'"

ll''''nffi,orl�TE

FFFM

ffi." m'" Hmm'"

tmFtm rriFffi

I l 4

(3rd)

Ba3lc }llob Volclngs

ffiJ'"Hllfl

2 a l

(R)

'fi,n{

ffiFFFTfl

1 3 4

(2nd)

FmffiEETED

l ! 2

(5f')

IH

ffit ! 2

(7rh)

FFI+f, ' '�iffi]

!r-+m'"

er}} oorr* (Bastc votctngs)

Rmt (R) 2nd m3rdt{- ll- H-

ffi'" ffi'" ffi" t l l a t a 2 2

Volclus ul$ no|€ Color Tones

ra_ t+* ;l*m'u ffi'o tttt!f f i H H m f f i

a u t 4 l 2 l I l l S

Addtlordvoldtqs: m,-

ft-

ffi,o

4trrlfnnm'o

tJ2a

trnrffi'o

tuffiun

tuffir,''ETTTIJ

u ! !

ffiraFFM ffi'"

rf*

ffiror,rttttt| | | ft

r!-

ffitnffi

? t -

ffi'ooETTTD

Adddordvddry: m,"

Erample 73: G Dorian A'lir;i,; Spen Voicings (Mode Ascends on "E" Stilng)

ftfr'r'r|?rnFirfl

1 4 l r

7ht!-Ittfi tot

ffi2 3 l a.o.

trEH++fl3 r'Fr+

! a l I

ft-ffito|rlln

?tl.l-ntbnronffi

l+'+irfififfrrtHm

lrt | |

I!--

ffi,nHflN

I t l l

!r!-- tf-

m'" ffi'"*l t r!

-T-r n

l!- tl* ll'-'-'r

mrot ffino ffi"oHH qH 5ffi

ErH1*n'r'FM

l a l I

.e

;t-- l{-nttilli6ft Etfllf8ftHIJfi H11+E;H q?fl

ffffiFFFFFirrf'FtrHEIE

ffi* m'." m""

Ern?b 74: G Dorian 3-Note Voicings (Mode Ascends on "8" String)

@mi'"

3 2 1ffi'oo

t

ffiE:I

3 2 |

t]mH#H,t

t

6th

FFFFH 5 TI

l 4 l

3 l l

i Root (R): FT+M' ffier,

ffitfrlH]+F

I l t

(5th)

ffiFl]fl

I ' l l

(4rh)

ffiHfflffi(6rh)

ffi

3 t 2

ffi

t 2 l(7rh)

ffi+ffirrr.

3 r 2

bo.

- ' : .

Sffier,FFffi

l 4 t/R\

FtrHFFIFF 8 iiHr#

t 1 4

(2nd)

H+F

ffi(3rd)

bo

UNIT 20about the cd Plobably the most dilliCult aspect 0f this endeavor, and for that matter,

teaching 0r giving a clinic t0 a large group, is t0 make the work inspiring and educational for thosewho have the farthest t0 g0 without sounding like you are talking down t0 the more advancedplayers. lt's an extremely fine line t0 walk and doubtlessly, somewhere al0ng the way, s0meone leelsslighted. I am now hoping that for most of you I've walked that fine line in an acceptable manner.

The examples which are presented on the CD were done at tempos designed to offer CLARITY; s0that you can hear what lam doing and then practice the same thing without it being t00 difiicult.Generally speaking the performed examples on the CD will be followed by the same track, onlyminus my guitar, leaving the now empty space to be filled by you. There will be cases however,such as the G blues examples and various pedals, where you are offered several dilferent 'feels' 0r'grooves'with which to experirnent using the same written examples.

ln ExamDles 2G-31 where the written music is olfered in whole-notes and half-notes, you are lree t0play them in precisely that manner, but, I've also suggested that you try t0 w0rk 0n your own 'feel' byimprovising simple rhythms. This is what I did in performing those examples. lf you like what I did'sometimes it can be a great learning exercise to transcribe the rhythms I played. The pitches will beiust as they appear.

In Examples 33-36, once again you will see that the exercise was presented in wh0le-notes. Initiallyit is important to practice them in that manner and make certain that each voice is speaking. Anothermethod which can accomplish the same end is t0 play the chords in a'broken chord'style. In lheperlormance 0f these examples, you will hear, at times, that this is what I did. Please try doing it thisway as we .

Though engineer Malcolm Pollack and I have done our best t0 share with you the technical detailsof most of the sounds you \,vill hear 0n the CD presentations not eveMhing turned out exactly as Ihad hooed. 0n a number 0t the recorded examples, you will hear some distortion 0n the guitarsound. Do notworrylll lt is not your CD, it is not your stereo, lt was actually my fault Atthe time ofthe recording I didn't understand one 0f the contr0ls on the amp and did not fully realize exactlywhat kind of s0und was going t0 tape until we went to mix it. So, to all of you, my apologies. Thelesson here is t0 ALWAYS take the extra time to double-check such things. lt will save you greatembarrassment laterl

From the moment it was known that there would be a play-along CD included in the book, I plannedon including several improvised pieces. Pieces which w0uld not necessarily exist as fully realizedcompositions but would serve t0 demonstrate iust how your lines and chordal harmony can bepresinted side-by-side while you're actually playing. lt is hoped that the pieces lvill inspire each ofyou to work hard at putting to use c0ncepts trom the book in your own music, but, lN Y0UR oWNWAYII! | would like t0 say a little about each 0f the pieces.

over the course of the bo0k, reflections 0n the influence 0f pianists 0n my work was a constant.There exists, up until this moment, the absence 0t one very significant pianist and person in my life,Don Gr0lnick. Though Don passed away earlier this year (1996), his influence on me personally andmusically can be feit throughout. During the earliest 0f our days with the Brecker Bros. Band' weused to iehearse/jam in Don's apartment in the Village in New York City. Incredibly, Don lived in abuilding where his neighbors were Will Lee and Chris Parker . . . so, the whole rhythm section wasright there, in residence! During the early'70s, we were all SOUL TRAIN fans-and Don worked reallyhard at perfecting his Don Cornelius impression. lf you can picture Don Grolnick's persona andstature, it's a pretty big stretch l0r him to get this impression down . . . but, he worked and w0rked atmastering the "Love, Peace, and Soul!" good-bye lrom the show, Finally, one day he got prettyclose t0 it and Will called him Don Gr0lnelius. Anyway, lwanted to impr0vise one example pullingtogether all that is suggested in Unit 19. I decided t0 use our basic shuffle groove (itself a tribute todrummer Bernard Puidie) and try and evoke a sense of Don's immense keyboard presence Havingspent s0 many years making music with him, his influence on how I play, and now stand as my ownhbdgepodge of styles - perhaps mostly a mix of R&8, Jaz, and Latin - is, in part, due to Don.We all loved him, his music, and being his triends. We miss him deeply.

0n Don's last CD, 'MEDIANoCHE" (Warner Bros.), he explored Latin jazz. Don's composition'"Rainsville," essentially a sophisticated blues with a cha-cha feel, was my favorite tune without question.I simply extracted the Bt key, the attitude, and just kind 0f put my own spin on it. As oul hasty mixeswent, lhave t0 say that I now feel the guitar sound here is as close as I've gotten t0 s0unding as I'd like.Odd, in this contaxt, because I remember Don really disliking reverb t0 the degree I like t0 employ ilThe t i t l e i sanod toDon 's tune . . . a l so inou rowns lang . . .whenyou ' vebeen l i red ,0 r th ingsdon twork out, well, you've been "sliced" and you'te 0n the last train to "Sliceville."

"Don Grolneliu*" O

"sliceville" Gl

r l

"Khalatmo" @

"Gracinha" @

"Cintura Ciry" e

This is actually the title of my play-alono Latin file in Al Gorgoni's computer system, now l\ilac'sStudig Vision.it sgunded so funiry,'l decitied to use it as a title. The chgrd pr6gression is inspired byone ol the tunes on Cal Tiadeis ;SSUL BURSf LP from the mid-'60s which features sgme brilliantChick Corea piano v{ork . . . work which changed my whole approach to playingl lt's an 8-bar vamp:

8 lt F7 lF7 tBrT lv7 lBtT lw7 lF7 l FT l

Its a great dominant 7th workout, terrific lor employing the superimposition of iimT chords

This piece is simply an 8 bar, double-time, Bb turnaround:

8 ll,cnl I cn7 lF7 lFi(att.\ lBrrai lr l ,l G7(att)tl

Thouoh it has little to do with Brasilian music, it is named l0r Gracinha Laporace-Mendes, the m0slincreiinG vocatist, and wite 0l pianisvarranger, Sergio Mendes. His last twg CDs, "BRAS;LE1R9"

inO 'OCtlNS,' have been in my CD trayi constantly. In Grancinha's voice and phrasing isevervttrino tnat mates music so uDiilting and inspirinq. For guitarists, these CDs teature the brilliantaccomoaiiment ol paul Jackson, Jr., alsg easily v'/orth the price ol admission. He sgunds lantasticon lhese recordingsl!!Alter soendino so much ot the last couple of years hanging out and hearing all lhe great salsavocatisis anC ineir Uands in the clubs ol Manhattan, Brgoklyn, queens, and the Br6nx. plus takingSalsa/Mambo dance lessons, I novi understand why s0 many lyrics pay tribute t0 the movement 0tthe ltaists (la cintura) of women dancing. As I grew-up in Los Angeles, specifically westwood, wheniwas i litttb iiO a nein busines area was bein! built-up, Century City . . , so, I guess this is sort 0ta play on words . . . VERY sort ofllll This is also a simple vamp, 4 bars repeated:

Q li A!7 / At7 / BknT / thnT,ll

The chord 0r00ressi0n and feel is kind of a hybrid ot two influences: (1) The Puerto Rico All-stars'co. ;oe nriore-sot and (2) "Africando" Vol. i. This track oflers the exchange ol two diflerent guitariounas, nthv re0ular iolnd presenting only the chords tor 16 bars; and {2) one of my overdriveiounOs e,ir,,'ptoying the lbanez Tirbe Screamer ior 16 bars ot lines. For thgse lines. I used a '335' tgneiittino *ttliti barios nios sho$,ed me years ago. Here it is: Put ygur pick-up selector in the middleiiiiti6n so noitr pirt-ups are on. Thed have the bridge pick-up set with the Vglume contrgl 0n '10'

inC ini foni conirot ori '8.t0'. The 'trick' is that your neck pick-up only uses the Volume controlit S'. tipinq ib fone c0ntrol at about'8'. When playing live, and for 99o/" of the playing heard.hereiirc in m'v cbi, t ontv use the neck pick-up with ihe tone control as low as '5' sometimes WheniecorOin,i tt'is Oriuei engineers nirtslll Both, Malcolm Pgllack and James Farber beg me t0;6iior'len:u'ptio*...S;lg0toabout'8'...Now,backt0thelbane-z.TubeScreamer,ithasthreecorirofi.nO thiy are set aslollows: LEVEL: 11 0'clock; DRIVE: 12 g'clock; and the final contrgliiiiiriiils ini iev . . . 1ONE: shut-offll! In addition t0 this, I d0 N6T use the chgrus pedal.at.all.yyithiiiiiiiundi itriie ngt uied a sound tike this on ANY CD 0f mine since '79 . . . and I dgn't think myiiunO ttren wai half this good. These days the gnly time I even l00l argund with this sgund is atclinics and during sound checks. I hope you all enjoy it.

Technical Guitar I nformationllain Guihr: Gibon ES-335 (lrom the 1980s Herihp Series)ffi GuiW: Fender Strdoca$er (ca' 1963)with EMG pick-ups:

Diiihtzio Bridge with Gibson SpacingN0IE: merl only on STfiad ExamPle 7

lmlifiE: walterwoodsstercoPrcampPo*erAmp'Sild: fwo Uarstratt '1912' Spdeis - roh cabinet with one 12' speaker (Stock)

EificB, Emie BatlVolunp Pdil, lbarpz EBL-S Etfecs Pedal Board

pc&il Bmrd conhim five p0dals, 99% of $p time, lonly use_three ol them.fhe main source of 'my'

;orndEh0ibilEu OCf-tb Cnonnnhnger Pedal (Metallic Blue in colo0. The specilic settings arecfollors:

IODE DlAl-: Pooition t3l (4-32 nVsec.)DELAYIIME: 110'clodSPEED: 12 o'clockWIDIH: 2 o'clodtD€IAY I,EVEL: 2 o'clodREGB{ERAII0I{: Shut'off

Ihsn are tuo diglhil delry sals in ttre board. tbny Kdh (&np and.Elgr$!$ Ggniqs) wtled uptn igi bmd-with a'irilro-mixe/ so tlnt tlre tio Oetan go out LEff & RIGHT' They have ai[f.r rsti,tg . . .'iine siOe a a quarhr note (lF I'm realry_[ling careful!!!), ?lqlht other side with aq,nril nilt[dd. FoirecorOing ttr!'re set to'put out at VERY low lanls or illalcoim will kill me!!!

SdJiD C$lCEpT: Whd I'm TRYING to ac{ria,e wih tris sound is to lrave tr're single ngtqsQu.tlO;il [Ey ars uldronrsd, hrt, when a voicing is pl@, Sr chorusing should'open-up'and exist as;lufnnn.t 66rty. nt-t-lmes, lm hop!1git.sgYrin t1re Larry Young's incrcdible orgn sound ' '.'il'hcilghl loil iti notercn'closeUi fo-nis &y, I ha,e not found one single ottpr pedal whichglb ttr ily closer to iltis sruM!

Engineering NotesAll Ol thg inStlUmgnts other than Steve's guitar were mixed 'live" as they emergedfrom Al Gorgoni's sequencing equipment, the guitar being the only thing that required something asold{ashioned as a taDe recorder. In this case, the tape machine was an Otari 1' 16-track, modelMX-70, and the console was a TAC Scorpion.

The guitar was recorded with a pair of Neumann u87s, one in front of each cabinet. Themicrophones were a foot or so from the grillecloth, and slightly off the main speakel uis, using acardioid pattern, no low-end roll off, and with the internal 10 dB pads switched on. The signalwassent to tape unequalized, but slightly compressed. The compressor used was a dbx 166 stereocgmpressor (as can be found, I believe in every project studio in existence), set at a modest 2:1ratio. I imagine the gain reduction rarely exceeded 3 dB, although I can't be sure ol that, as Icertainly didn't spend much of the session watching it.

The mixing was done with a very basic setup - two reverbs, a delay, and a stereo pitch-shifter, asfollows:Yamaha Rev-S: Vocal Plate. The only things I usually edit in this preset are the diffusion, which Ilike at 10 instead of the usual 5, and the E.R./Reverb parameter (one of the "internal parameters'),which I set to 20%. A nice transparent reverb.

Lexicon PCM-70: Rich Chamber. Rather denser, and darker, than any of the Yamaha reverbatgorithms. I customarily edit this preset rather extensively, Here are the new settings ol theparameters I changed:Location Parameter Valuet0.61 High Cutoft 9.02 kHzt1.01 RT Low (Reverb Time) 2.05 st1.11 RT Mid 1.25 s11.31 RT High cutoff 5.75 kHz12.01 Diffusion 99

Yamaha SPX-90: Pitch Change C. A simple stereo harmonizer algorithm, without any edits. I usedit mostly to treat the delay,but also used iust a little of it on the guitar.yamaha SPX-90: Delay L,R. A delay. This program offers a stereo output, but I only used one side. Ididn'tedit anything here, except of course the delay time, which varied from piece to.piecedepending on ine tempo and the feel. Usually it was set at an interval conesponding to ar eighth-noie, a doled eighth-note, or a quarter-note triplet, and generally was in the 2ffi-to-350 millisecondrange. I am templed to digress at length about delay, which can be used in ma.ly sttbtle ways to addlile-and depth t6 mixes. However, as this is Steve's book and not mine, I shall refrain. In this case,the delayed signal, after a bit of high-end roll-off and some feedback, was not added directly to themix, but instead was sent only to the pitch-shifter.-Malcolm PollackBrooklyn, NY

Steve Khan DiscographyThese recordings feature:Randy Brecker, Micnaet Brecker, David Sanborn, Don Grolnick, Wll Lee, Mike Mainieri, and Stan Gdd:

'Tightrope"'The Blue Man'"Arrows'"The Best of Steve Khan''The Collection'

Solo acoustic guitar:

"Evidence'

Columbia. JC 34857 1977Columbia. JC 35539Columbia, JC 36129Columbia, JC 36406

197819791980

Columbia. CK 57907 1994

Arista/Novus, AN/3023 1981RCA/Novus,3074-2-N '1990Polydor, P0CJ-1892 Uapanl

Steve Ktnn and Eyewitnas recordings featuring Anthony Jackson, Stew Jordan, and Manolo Badrena:

'Eyewitnes"

"Blades'As'Modern Times'"Casa Loco"

Antilles, 422-848-821 1981Polydor, P0CJ-1893 [Japan]PassportJaz, PJ 88001 1982Polydor, P0CJ-1 894 [JapanlAntilles,422-848-822 1983Polydor, P0CJ-1895 [Japanl

'Best of . . .i Selections from 'Eyewitness,' 'Blades," 'Casa Loco,' and "Evidence," plus three newtracks featuring: Clilford Carter, Bill Evans, Cafe, NeilJason, and Chris Parker:

'Helping Hand' Polydor, P0CJ-1896 lJapan] 1987

Duet with Rob Mounsey, keyboards, leaturing acoustic guitar:

"Local Color' Denon, 33CY-1840 1987

Steve Khan and Eyo,rritnes recording featuring Anthony Jackson, Dave Weckl, and Manolo Badrena:'Public Acces" GRP Records, GRD-9599 1989

Polydor, J00J- 20364 [Japanl

Trio with Ron Cafter, acoustic bas, and Al Foster, drums:

'Let's Call This" Polydor, P0CJ-1060 lJapanl 1991Bluemoon. R2 79163 1991

Trio with Ron Carter, acoustic bass, Al Foster, drums, and 0tnilet with Anthony Jackson, bas;Dennis Chambers. drums; Manolo Badrena, percusion:

Polydor, P0C,J-1115 [Japan] 1992Bluemoon, R2 79179 1992

Steve Khan and Eyenritnes recording leaturing Anthony Jackson, Dennis Chamhrs, ManoloBadrena, and Michael Brecker:

"Crosings' Verve, P0CJ-1217 lJapan]Verve,314 52326V2

Featuring John Patitucci, Jack Dalohnette, Don Alias, Bobby Allende, Marc Ouiflones, and Cafe:

Dan Contemporary Uapanl 1997Evidence 1997

19941994

'Got My Mental"

PublicationsPat Martino Guitar Solos: The Early YearsThe Wes Montgomery Guitar FolioSteve Khan and Eyewitness Songbook/Guitar Workshop Series

CPP BelwinGopam EnterprisesWarner Bros. Publications

As Producer"Two for the Road''Step lt'"lnferno""Foreign Affairs"'Time In Place'"Jigsaw""Fanhsia""Paulistana"

Larry Coryell and Steve Khan

Bill ConnorsEireli LagreneBireli LagreneMike SternMike SternEliane EliasEliane Elias

Arista, AB 4156BMG 819D-47025Evidence EC}22080-2Blue Note, CDP-7-4801 6-2Blue Note, CDP-7-90967-2Atlantic, 7-81840-2Atlantic, 7-82027-2Blue Note, CDP 7-96146-2Blue Note. CDP 7-89544-2

197719881985198719881988198919921993

i ' u - ; ] - - " v c -

0rlllnel Pen and lnk by Jsan-ilichol Folon. Glyon lo Sloyo as a oltt for a nossible ronobool coyer tn tqsn

Also Available from Warner Bros. Publications

Book/Audio TitleJoe DiorioRobben FordAllan HoldsworthB.B. KingFrank GambaleMike SternJohn Aberctombie, Keuin Eubanks'Frank Gambale, Scott Henderson'Steue Lukather, Mike SternPat MartinoSteve Morse

John Scofield

Fusion GuitarThe Blues and BeYond

Just for the CuriousBlues Master

TechniqueUltimate PlaY-Atong

Lessons with the Greats

Creative ForceThe Complete StYles of Steve Morse

The Essential Steve MorseJazz-Funk Guitar

Videos'with these Artists:Al DimeolaAlbeil LdeScott HendersonB.B. KingPat MartinoJoe PassJohn ScofieldDon Mock

Allan HoldsworthJoe lliorioHerb EllisRobben FotdFrank GambaleSteve MorseGarlos Santana

Also available bY Steve Khantrom warner Bros. PubliCations:Pat Martino Guitar Solos: The Early Years

SteveKhan:EyewitnessSongbook/GuitarWorkshopSeries

For a comPlete catalog ofDGI Music Video, REH Video'andManhattanMusicPublicationscontact:Warner Bros. Publications15800 NW 48th Avenue, Miami, FL 33014(800) 628'1528 or (305) 620'1500

h a n h a s h a d a n

expans ive and d iverse

c a r e e r a s a g u i t a r i s t . A s a s o l o

ar t i s t , S teve has re leased f i f teen

s o l o r e c o r d i n g p r o j e c t s . S i n c e

h i s f i r s t r e c o r d i n g s f o r C o l u m b i a

R e c o r d s i n r y 7 7 , S t e v e h a s

e s t a b l i s h e d h i m s e l f a s a t r u l y

i n d i v i d u a l a n d i m p o r t a n t v o i c e

o n g u i t a r . H i s u n i q u e a p p r o a c h

o n g u i t a r c a n b e h e a r d o n

r e c o r d i n g s b y s u c h d i v e r s e

a r t i s t s a s M i l e s D a v i s , S t e e t y

D a n , J a m e s B r o w n , Q u i n c y , / o n e s ,

a n d t h e B r e c k e r B r o t h e r s , t o

n a m e a f e w .

ilitllirtffilrill lrlq ftze r s76,,23s64s'ONTEMPORARY CHORD KHANCEpTS p resen ts

i n f o r m a t i o n f o r g u i t a r i s t s o f a [ [ s t y t e s - f r o m

R o c k , L a t i n , a n d F u n k t o C o u n t r y , l a z z , a n o

A l te rna t i ve . S teve sha res h i s app roach to cho rd

c o n s t r u c t i o n , a n a r e a h e h a s b e c o m e k n o w n f o ron gu i ta r .

I n t h i s b o o k , h e h a s t a k e n a c o m p l e x s u b j e c t

a n d b r o k e n i t d o w n i n t o s i m p t e b u i l d i n g b t o c k s

a n d s m a l l s t u d y u n i t s . y o u w i t t l e a r n t o e x t e n dy o u r s e n s e o f h a r m o n y b y t h e s u p e r i m p o s i t i o n

o f cho rd fo rms wh ich a re fam i l i a r , as we t [ as awor ld o f new ones . you r ab i t i t y t o exp ressyourse l f and c rea te tex tu res and mus ica I moods

w i l I i m p r o v e i m m e d i a t e t y .

The tex t i s accompan ied by two CD 's fu l [ o f pe r_

fo rmed examp les , p tay -a tong t racks , and f i ve

c o m p l e t e l y n e w c o m p o s i t i o n s b y S t e v e o n l y

a v a i l a b l e i n t h i s p a c k a g e . ,

F o r g u i t a r i s t s , t h e K h a n c e p t s i n t h i s b o o k w i Ise rve as an un l im i ted sou rce o f re fe rence ma te_

r i a l s a n d i d e a s f o r a s l o n g a s y o u e n j o y p l a y i n g

t h e i n s t r u m e n t .

. ll lllJllUfl|[[lUilllll, ..:ffi#,.,

o l

vK

!

eq