Howard Roberts - Chord Melody

FOREU/ORD

My objective in writing this collection of studies is to outline some chordal techniquesthat have practical application in contemporary styles of guitar playing, value in fingerboardexploration and the development of a senseof musical coherence. I have chosen to do this through example rather than a discussionof harmonic theory with a view that a lot is to be learnedsimply by producing the soundsunder our fingersand in our ears. Many guitarists accumulatea large repertoire "guitar of chords" which, in themselves, are pleasant sounding and, perhaps, well suited to rhythm playing and variousaccompaniments.But a repertoire of "isolated" chords may remain in the players mind as disconnectedchunks of harmony, not easily applied to chord melody playing. The main academicpoint of this book is the resolution of this problem. One improves his musical and instrumental techniquesby acceptingthe challengeof more and more difficult material. Therefore,the examplesin this book have been developed, not for their simplicity, but for their direct usefulnessin contemporary music thereby representingsomeof the facets of advancedgtritar playing. ln view of this, I believe the reader is embarking on an adventure both musicallyand personallyrewarding.

My thanks to Mike Anthony for his contribution of Example38.

CONTEI\TS

FINGERINGS

,1

CHORDMELODYDEVICES

5

Example I

3 A t

.

6 1t

.

8 0

CloseBlock Voicings Open Voicings . ParallelMotion ContraryMotion . CounterLines CommorrTones Block Chords SustainedChord Background Short Chord Punctuations

. . . ,

. . . .

) 6 6 l

-7

8 8 9 l0

CHORDMELODYSTUDIES Example

l l

1 0 l, r , 1 2

l l l:

3,l4 5 ,l 6

l3 t 1 t a

1 8 ,1 9 20, 2 l 22 z5 1A

L-

)\ )'7 to 3l

l5 I (', lIE l9

26 28 30

33 5+

,c)

3 5 ,3 6 .3 7

3l -)_

38 PROJECT STUDIES Example 39,40,41. Instruction 42.43.44. Proiects 45. 46. Solution 4 7 , 4 8 , 4 9 . Projects 50,51 Solutions 5 2 , 5 3 ,5 4 . Projects 5 5 ,5 6 ,5 7 , 58 5 9 ,6 0 ,6 1 , Solutions 62,63,64 65 CHORDMELODYSOLO

36 338 ,19 39

.+0 +l 't l

+(r

FINGERINGS

While it is true that the same chord voicings can often be played on two or three dift'erentsets of strings,it is seldom possibleto do so without some change of the fingering. ln evaluating the feasibility of a change, first consider musical quality and mechanicalefficiency: a. As a rule. the musical quality can be etrhance d by choosrnga fingeringor a sct of strings in which the greater string lcrrgthis nraintained,thus permittingthe stringsto "sing" and sustainlonger. b, Meclianicalc-fficiencyis primarily a matter of' er,oicling unnecessary or awkward harrd or fingr.r movements.However,in developinua senseof mechanicaleffi_ clcncy. tlo not also develop a tear of radical jurltr-rsor large intcrvals on the fingerboard. for these techniques are frequcntll rcquired. For example,radical intcrval jLrrrps may supply a nice coutrastto srnoothscalc-wise line move_ ment. String numbers inciicetethe lower note of the chord and are in circlcsunder the staff. Fingering numbers are placed to thc lcft of the notes.The thumb is frequently usccl throughout the studies and is indicated(T).

CHORDMELODYDEVICES

Examples I through 9 demonstratesome structural devicesbasic to contemporary stylesof chord melody playing. As you become acquaintedwith these devicesyou will observetheir practical application through the studiesforming the main body of this book. Take plenty of time working through thesestudiesas the techniques are highly concentrated.In order to better retain what you learn here, you should make a direct effort to put these'devices'topracticaluseon a daily basis.

l l \ R ] I O N \ ' : \ E R ' l ' l (-,\ | . - H O I i I Z O N l ' \ t ,

Basicallythere are two conceptsof harmony: (1)

Its vertical structure which is nothing more than the stackingof notes into chords.Naturally, theseare played simultaneously.

(2)

Its horizontal movement which involvesthe way one chord progresses to another.

VERTICAL structuresare usually expressedin one of two basicvoicings: Example 1, CloseBlock Voicingsin which the notes are packedcloselytogether.

Ex. I

Thesevoicingscan also be played on the inside strings (5th, 4th, 3rd and secondstrings).

Example 2. Open Voicings in which the notes are spreadapart.

Ex.2

F m m flH HT

ffiGnal fl-HlA,"z

6n?

w

Gm1

Closed voiced chords can be opened up as far as your reach will permit, simply by movilg one or more chordal tones up or down an octave.

HORIZONTAL movement. The melody lines formed by each of the chordal tones is the most important single factor linking one chord to another. In four part harmony, for example, one is really dealing with four separatemelody lines' It naturally follows that there would be as many Inkage possibilitiesas melodies: a study of this question in its entire scope comes under the headingsof voice leading, harmony and linear counterpoint (see Shaping Forces o.f Music, Ernest Toch). The following example demonstratessome of the primary melodic aspectsof chord connections.

Example3' PARALLEL MorIoN, a chord progression in which each tone is movingthe samenumber of scalestepsand in the samedirection.

Ex. 3

m

ffifl

ffi eo Pu,c't

D'?

at3

w't crg

Example4. CONTRARY MOTION is, as the word implies,a situationin which the chordal tones are movingin oppositedirections.Example4 showsthe upper and lower linesin contrarymotion.

Ex. 4

E

TE

,rlzffi Gnn

bffl

Through experimentationwith paralleland contrary motion one can invent somepassages of considerable interest to both player and listener.Such passages are often quite useful as fingeringexercisesand for arrivine at a better understanding of the fingerboardin general. Example5. COUNTERLINES are usuallytreatedas a melodicaccompaniment to the main body of a tune. They are also usedas connectinglines from one chord to anotherand, on guitar,are frequentlyfound in the secondvoice from the top. When the main melody has little motion, the counterline can be more active.Example5 showsthe counterline (with stemsup) on the 3rd string.

Ex. 5

:r rSrln

ffi

H+++t I-H+H

ffi

(%A1

I

@ A counter line may be higher or lower in pitch than the main melody, or placed somewhereinside the chord as in Example5, or the bass line itself may sometimesbe treated as a counter line. Further, any choice of melodicintervalscan be used to develop a counter line.

Example6. A COMMONTONE is a note that is relatedto, and sustainedthrough, a sequenceof chords playedin succession. Example6 showsthe common tone on too.

Ex. 6

rtr^ m m +]-+t] [Lu.] l-.t4+.t-l ulJj-] ffiffi ffi.D.r ffioUo ffioh"'r ffiE/bs

!t {TTTTI ffi

l t t r l l

rrrrn

ffi1-fi nffH # l r | |

*^a"

Example 7. BLOCK CHORDS. Here is a rudimentary, yct eft'ectiveway of producing melody and harmotry simultaneously.This is done by placing a full chord underneatheach melody note. The chordscan be either close or open voicings.You rnight experimentwith picking techniqueshere: For example,all dowl strokes,or alternatc down and up strokes,or plucking all stringssimultaneously with fingers.Note: The Gm7 in bar 3 is being usedas a substitute for Eb mai 9.

Ex. 7

Itr

u,

f f i f f i

Itr

rTln] ilaatl

ffi

l a tI t l r-t-Ffi-t

u-t-l-tl!. L+-t-Ll-.]

ffi ffito ffiffi'ffi & e# ffi

lrr

ffin * , n ffi fr|t| H# rnflt tf||af

rtrrn t-+++.1-1 H+++{ H-t1+l ffrfl-l ffi nnn D2* EV^*q6oa) tine ?r{l ri

ilil|

?oo R,ft

The block chord eff'ect is best achievedwhen thc chordal tones are made to move when the rnelocl-v1ro\'!'\. atrd preferably in the same direction as the melody. Often tlie melody can be fingered casily without hlripg to change the chord form, but this tends to destroy the block chord effect; therefore it is more clesirrrlrlc tir changethe voicing or inversionwith each new melody note. in order to createthe eff-ectof all lirresnro\lng at once.

Example B. SUSTAINED CHORD BACKGROUND is a modification of the block chord stylc. in rh.ir one chord is sustainedthroueh two or more melodv notes.

Ex. 8

g

ffi

$ffi

ffi

bvb

It [rrrn ffiTF |#

i t l ? t l ,l

, | | |

ffrrn

gII'

E-r |.T55n

m-n

f+++il ffi

t a t l fl

l.+1++l nrrn ffi

rnrn

|'..{'...+ l | | l l

ngq

6hrn1

mx ffnn

??w

?h"fc v @

NOTE Whett a chord is sustainedthroughout a long seqLrcnce of melody notes. tingr'ringrcquircnrcnt:tr.'t1.,m a k c i t n e c e s s a r tyo d r o p o n e o r m o r e o f t h c c h o r d a l t o n c s i n o r d e r t o r n a n i p u l l t et h c n r c i o c i r .I i , , . especiallytrue in improvisingwith the alorernentionedcommon guitar voicingswhen thc voiec ltltl iirr : not beett fully worked ottt. Howevcr.if each chordal tone is sustaincdfor as long as possiirle.tltc li\r..n..r', r"rstrally rememberthose lrotesthat havc been droltped.

Exarnple9. SHORT CHORD PUNCTUATIONS. Becauscof thc listcncr'sability to remember the sorrn of harmony. it is possible to outline tlic llow of harmony by short chorci pr-rr-rctuations. Thesc can be usc without sacrilicirrgharmoniccontinuity, whcn they are playcd with atrthority ancllppropriately placeclwitltir the bar. This cor-rtinuitycan be lurther rcinfbrced by choosrrrgmclocliesrvhich ernphasizechordal tones.

Ex. 9

Itr

NTTR rrffn l.H

a t t t l l nfrtl

trl=n l i t t l l

rtn-n ffi

H+iflF

rrrrn >

H+t+t nrrn

IA (l

Ea

It

ltfrn

It

t t I t a l Ffi-TH

a tt a t l

fffffl

lTn]

|'.# l t t t a l

5-tTfl F+i-+-H

rirn

iHtft rfffl-1

nrffl

Bb''-

l0

ffi 0'

t t a a t l

t+++-l ++-l-+-.t

,

s0

l l l l l l

Ydr

CHORDN{ELODY STUDIES Exanlplesl0 through l2 dcal with variottsapplicationso1-the devicesor-rtliledi1 ExamplesI tlrotrgS .) The following studic'sare uot to be consideredas Llnaccolnpanied solos,but rather as eramplesof t6c *,r otre night pcrlorm iu a combo. For cxantple,the basslines arc oflen incompletein that most corlttos hrrr.' bass players filling this fiutction. lreeing the guitar playcr to work with rnelodies,ancl to clc'u,c6'r5-, harmonic color residentin the llpper extensionsof the chords.E,xamplesl0 thropgh l2 presclt a fer.vo1 rlr., (ll, V or Il. V, I) common to so many standarcltuncs. rnal1yways to treat thc root progressior-r

Ex. l0

#-

i l I t a l F+-t-+-Ft

ttalI

Frrrn ffTFH rrrrn ffnil

fr*vs

s,_ ?+t#l

g.-

nwl_

ttaf tl

[Hfl

F{-H

H-l-t+ t-fH+l

ffi

H.H-H

rnrn

fffff1

*5

E)ort

er'n4

?.I.t!J

I+]JN ffiil ffi-H-1 bvts St

Ex.l1

s.,,

'ffi

i l ?tIl l-# l a t ? t l

ffirn

rfi-fi-l

i t ? t t l

nffn itt?I L nTfn

ffftfl

ffi

lFfrct

i l l l t i v '

I

Ex.12

? tft | l

s_

E^ |-|-ITr]

fu-1t-l

rrnTl

l.Frfn l#

/ I I t a l

rFFFN

m]l4

ffi

ttt?|

eV'svq HJ+H

ffnn

l1

*frrffil

atItaa

ffi

ffil

ftbna'l

Gm1

tf+N.l

s-

fTlfFl

ffiT t-+-.t-.t-J-.1

Examplc 13 illustratesclosc voicings.very effectivebrrt uot too often used,on the guitar.Thesecan bc nsccl as tcxturc contrast to the big sor.tndof open voicings.Notc: T h c G 6 i n b a r 3 is lirnctioning as u dominant chord (Eb + 7b9).

Ex. 13

ffirt fffifi

r-H[ ffrTtl

Hffi H+f+l |Trl-r

[H

ffi

ovw

Bb"q

'fr* rlTm

E,,,

][

t#++{ H+1{1 Fffi ffiH [ffi rt-nTl ffi

| | l t f l

ffi

Nnal

ht.b

[fli W"t

Itr,

mx Iil

ila

Hffi ffi 6to

In Examplc 14. cach line is deccndirtgitr cc'rnsccrrtive n holr-'-stc1-r. Iillf-step seqlleuces(symrnetrica diminishcdscales).One linc ntoving whole-step.halt'-stcp.rvhilc lnothcr iinc is nrgvilg lalt--step.whole-step producingthe chord changesas the symbolsincliclte.

Ex. 14

ffit

ffrrH |.i'.{+ ||tara

TTFFPI

ITTII

t i | l t l

€h^a1

tu

i t t t a a l-Hl

l-{+1-{.t if+-t+l ffi-rl Drl

gn4

f^o

r I

L

tffitso tf+]tru t+fifiu t-itt-H

H+

H]#€b,nr ffililAb,oo ffi

ll

xx

FFFfN

ffi

uJ-+-1..1 l t t t t ,

rfl-fh

f1ttfi nnF

Example 15. This is a simple harmonization of the C (diatonic) scalewith some isolatedchromaticisnr. The Eo and Dbo chords are both functioning as 1^7b9,and are being used to provide s o m ec h r o m r t i er c l i c l from the monotony of diatonic lines. It is good ear training to improvise this sort of t h i n g i n a l l k e y s .u i t h various diatonic melodies.

Ex. 15

rmm uJJl-.I t++l-H' g l f l = t+HJl t t a a t l l..+.{#

ffi ffi gto

D't

rtr

s. rnTn

ffi

MH ulJ-ll rrffE t-FFl-u u+l+-l Fnrn

ffi

{fifil

ffnn

Qnfl

||tlta ffi

| | l | l r

ga

Dma

loo

fr H-t-t+1

Dnn 0n1

Itr

,t a | | | F{**#

3m?

G'8.

ffi

t+-{-.t-.| t-t-ft-H fftffl LE 9vt

!rr

Example 16 illustrates(1) exaggeratedchromaticismand (2) the gradualaddition of notes (in eonrrurr motion) to expand the voicingswithout opening them. Note: the spellingof the chord symbolsin Errnrfl: l6 is lessimportant than the voice leadingwhich createsthem. Accordingly,symbol identificationof the.r "sounds") chords (more properly is awkward and unnecessary,Their functional or Roman NLrnrcr.identification(i.e. ll1, Vl. etc.) dependsupon analysisof thc entire phrasein which the chordsoccgr.

Ex. 16

l3

Example 17. A fingering exercisein short chord punctuations using a Cycle of 5ths with #9 chords. Ex. 17

e*q

dfi*q

Ab?*q

F?*1'--:\

Example 18. A fingering exercisefor running diminished chords acrossthe strings.Make a specialeffort to sustaineach chord for its full time value.

Ex. 18

X.

ffi Example 19 is a fingering exercisefor running augmentedtriads acrossthe strings.Play this in r \3rier! of keys up and down the fingerboard.Sustain each chordal tone for as long as possible.In generll. r6i. means to keep your fingers in place until it's absolutely necessaryto move them. This will contribur... measurablyto the continuity of your chord melodl, style.

Ex. 19

ffi

H# ffi

9+

]E

Itr

mm

ffi

ffi

drfi

l5

Example 20' Short Chord pttnctltatiotrswith chords clcscenclirrg paralkl iu ntinor thirds. This typc t, passagecan be very effectivc whctl playcclf'ast.Notc thc use o1'thc right hanclin ailclingthc buss1o1eut tlt. end. Ex. 20

eilq

Ot*q

,FF;. rrfiit '

Frrffi Itttfl ffi

I t t ? | |

rrFrn l..g

a

t++#

TIn

llftii

-+-fir

ffi l l l l l t |#-{-{-{

ffffn

i

l # tt

I

al

. l l l l l j l - \

Co-01/'-L--

@ E x a n t p l c 2 1 . A s t r e t c h i r l ge x e r c i s ew i t l i s t a t i c i n t c r i o l r o i t f

i l n r l ( ) r , l t . rv o i c c s i n c o n t l l r v r n o t i o n .

E x .2 l T'T f ll-

ltTrn rrFrn |..{.+-+.+-t t+.lJt-t t-l4l-l-t

Tt [rn-n m-fn rfl-tn il?ttl t-{-+-Fl-1 rrrrn tuu-j t-l++1"1 rrnTl | | l ll I

$tH6'q HtH

rrnF

ul-tl]

$,,

t t t t t !

rTfn

Itr [-|Ifr T''FN ffffl-] mrrFl

tlt_l1_i | | l

Fl-ITn Trn-n

itttt

-Fr-FFt rr | | rr

nn-h

ell

L l l :r I

|l-fffi

rfffi-1

IIIl i l

l

t -

wure

F;q

16

-

gYh 2 b t

Example 22. A type of threc n o t c v o i c i r . r gc o u l l o l t basedon 12 bar blues.

t o c c l t a i n s t y l e s o f r h - v t h n rp l a y i n g .T h i s ' t L r . . i ,t ,\

Ex.22

F .g

rmiiffiffiffi

m-J'n rrrrn n-rfl-1 t-flfn

[t111fTlil] n.ffi [1111 l-u-t+t-t-l-l+?il?ll ril tI

.r || rr f_l_.l+l.l +ll+ l_l_l_ll_.1 t t t t t l r r r r r r l t t t r l f f f m

F ev&"

ITITN

It W. TTN-N r-ffi-r rfl1f1 nrrn ffi l-.{-H rfftf]

[Ht rrmt fiffi IHT rrrrF rrFrn rrnn nm ffi w Ab r.#o bv t t l t t t

F{-# f t t ?I I

| l | t l

Itr

X.

IIi,

m

{TTTN

rrrrn H+N rrn'il ffi-rF H++].1 nm f{-.}-4-.f-t

ft11tl

F

i l | l l

bb

i a Yfi

I

S.nn

T

rJTilI ffiH u,l+u

[ItE

t l t t t l

t t t a t l

ffiil Frffi1

ffi ov Aob

gfro

I

3F Itr,

riTm aIatl

Frm-1

mil rffffi r

6V" F1

61

tl

Example 23. The use of two notes to create the overall effect o t ' h a r m o n y h a s b e e n r e l a t i v c l , . unexplored in guitar playing. particularly in inrprovisation,and could, w i t h p r a c t i c e .m a k e a v a l u a b l , contribution to the versatility of one's stylc..Example23 utilizesthis devicein the basic l 2 bar blues.

8x.23

3

c1

"*" |..i++l i llil l

"*, l-.ffi u-lJ-J-.I

itfifi

Hffi

i+l-t# i]#fl ffi rfl-1-F Abts G's

l8

"Full"

Example 24.

block voicingsin a big band style. as m i g h t b e a p p l i e dt o a n e n d i n g .

Ex.24

E

IE

[I-rfr]

ffFFfl

MT ffnFl dq

Cm?

d*t

4

ffi

l-l]-l-+..1 l l l l l l

P^n

ffi

ffi-rn l#

etrA'7

Fnel

Frffh

f-t'ftfl

l | | l | l

l||ilr

.Jto \f

Fnl

7 . 9

rffil

U"?

#^, 4

Itr fi-t-iTt

g. t-T-ITti

ffitr

ffiil Htiu ffnn

rrrrn

ff,

dq Aq A,e 2

mm

ffi

l+tfil

|# |# t t a l a l t a l a t l

Httr

t ? t a t l

MH $^n

IItaaa

fffffi

Jtr,, mriTt rnTn

rrrml

U]J]J

t+.1+.1-.t

Dn'7

III,

TTITN FM ffffi

4'

II t-ft-fR

ffiffi |#

m

ffi ii++tl nnn

ftfff+

r

IE

TFI-TN #H

:E II-TTN

[TI-N

ffi

l t t a a l l..#

I I taaI

t-t-t-ff1

H+i# ffffn

ffffn

Itr.

I-IFITI fllTfl t-ft-Fil

Htil1DbttH1#l nffn l-+-FtiH

rffffi

| | l l t l

lmT

flTTR

rrrfn }#

rlll?l

t-l-{-l+ l t t t l

nrn-l

19

4

H+1+l rrrrn

||tttl

Itr

?rn'l

Example 25 offers exercisesin three areas:Contrary motion, parallelmotion and expandedvoicinss. 8x.25

ffiffiffiffi

ffifu H#fr#ffiH# ffi#ffi# rn-ffi ffr-fflffffn f{+++-l l-++++l

ffiH

4

F+lt-+-j

Hff, Hltr

'*w

g$V5 4

b8*s BWl Am? Ab^q Grt' I

Itr

rt[.

m rTm ??1+{1 H-l-]-i{ rtfff1 ffi

ffi

nffi Hrr ffir HiH Hlt Hlil 4

wrf

rfI-TN Ittffl F,H

t-ftrfl

H++ll

Httll Hffi r l l

F+

e+tl L

) ^

s?gfi-: t / l

Example 26 is a study in parallel motion with the melody doubled on the bottom. This entire phrase could also be played over a G minor chord.

Ex.26

TI

ffi

|.l.#t laf| | |

ffi rnfi

) =qz G^

II qTl-fr

ffiffi u-j-.t+ [tffi

de' A"0b

It

[m fffi

H+H ffiff1

IIII,

m-rn rrffn

i.]=# I t a r aI

rfl-ffl

t-t-l-{-+-.]

rlilll l i l | t

r

Dt

20

1\

.Yft'\

e bV Ar,

Example 27. Another version of the band type block chord style.

Ex.27

-*-

ffiffiffi

t t a t a l }++\ar+]

t++++] t-fffH

ffiffiffi

ffig,o ffi ffi*o

rffrF1

ffffH

€^1-bbo

lE lrl-fn

II

l]Im gj+fl

|'.#

l t a t t t

fft-tt1

t a t , a l

fflfil rrrrn ffffF

rrffF

ffilt Fnff:

F1

]II

IE

:E

ffi

m ffi H++flffH+] F+H]

Htt enq

€m1

[ffi ffit|l

ffiil ffifl

eblh t l l

fFm ffi

FI+H ffrtn t-ft-ffi

Hfifl G6

FFFTN

rrrrn

trFFF rrrFr

t+Jl-u

fiIf,

Htt

ITP111

l#

t+ljt-l

d,

i l aatl

rrnn

f

Example 28. Very close (tight) voicings in parallel motion. Note: the 9th of the chord voiced on tht bottom next to the 3rd. This voicing can also be played nicely on the inside strings. Ex. 28

ffi

ffiH H-t-Ht Cn?

1\O vfi'

ffnn €V*q

21

Example 29. Counter line accompaniment,The chords occllr aft 'r the initial melody note. Slrstainthe first note of each bar as long as possible.

Ex.29

gtr

][t

t-l-IT| rrHfl hffiff1

I|ITN

ffi

H+l]

ffHtl

H+1+l

l l l l i l

l i l t i l

t-fT]T] 4

Y;

ffi-ffi #

F?bq 4 ,t tJ1!

2

;!*

&'w € ml-lTl--

Example 30 has the same melody as E,xample7 ancl r l t t t t o r . t sn t t L : l r t o t l t e r . \\'av to approachthe final chord via chords voiccd in Fourths ascendingchrontaticallr,.

Ex. 30

v]]T

TtiTn

I'

Tr.

g

|?rrl I

l?..la

rrrlTl

M I I r.L]-r.r.r H f f *-ttl i

rFtiT] ffffn |-i-.{-.'l.N

l | i l t ffi t t t t t l

nm

H]+fl H]l.]i l++m rj ttft-t-l t-rft-tl t1ffi

Poco R r r

') -)

The following three pieces,Examples31, 32 and 33, are structurallyand harmonicallyfairly sintplci.ut dentonstratesome ways to gcneratecolor and variety without destroyingthe basic simplicity of th.'ttrnr Look for short chord punctuations,open and closedvoicings.

Ex.3l

--Eil tarl ffiH

l-+++.1-.1

ffiA" rfrrn

9r9

9^Q-

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7 I

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l.l-.{-.B t a aI | |

l+-l-ffl nftt1 t a a | |l

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rr

f 1 a

Ex.3l (cont'dl llt

TTTTFI l\]fr1

Frrrh rffffi rrrrn ffnl

bJs,x+

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ffi g

rl"r-ftl f+f1{

TFITN |#

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I | | I aa

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t-ffi l-t-+-+-l-.] l | | t i t

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f , l t al

frTlt1

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ffi-rh

H.i1+1 rrn-l

x.

vTrr

itfrftg frF tli,l, t-uJ-I..t T* **1"

t ?I ? t I t-Ft-FFt

Ililll il- r T Llllr l-ll-ll-l lllrlLlil l,

tittfl rrrm

A o F.Yly

Yf,e:r*'!'l{+= >r a

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\

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hn'?

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rrm ?I

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lL

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fr rrrrn m+ tffffl

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ataat I

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illftI

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ev

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3

3

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tu*

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r

b

t

l-s

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a

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Ex. 33 (cont'd)

FFFffi

u

i-tt+u

uuu t-{-{-t+-l FFI-FH ?*q-

ffi! t+lu]

ll.t+f.l

ffi

Ab13

gbg4 A"p , f--

Abr i

-r---

rIl...l.'.l.'.U

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m

m" , 7 I

FTFffi |#

FFFFF |.lJ-l-JJ

l-HT+]l+{+# rrrrn fffffl

drtr-.e,s trtr-t t-ft-tgl

ttt+r5|(3)'

Dts

l-{-i.#

Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies.This i: d1.' to the addition of extensions.i.e. +5, +9, etc. You will also observethat notes other than the roor rr: frequently used to form the bass line. Thesehelp to produce harmonic textures presentin some of the mor: recent jazz forms. In this example, make a specialeffort to sustainas many of the chordal tones as possib,le

Ex. 34

fr

tat?ll

Llt-fil

,*ar7r-

l-l-FfH e?+a ffilTl

I

ffi

-f\. l

-

l

Ff

f11+t1

ffftt1 rfffh

ffiu"

ffiD'oo(e)

sffil

ffirfi

t

\

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As,

-

fi,,

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1#+N

a|.# t a i l l ta I I t(t,

mx

F+-t-+iF{

Itt??l rrrrn

HM

t-+-{-.I-+-l

wtrF

stl

9Y, '110t" at ^,:.'i

29

Ex. 34 (cont'd)

fRTT

t-t-l+lt Fffrfi

%ffi

trFFF |.#

t+{Jll

HH

*,o4D Ir r,-,.-, @

ffi [ffi

ffi

RTM

H{$+l

t+..|+.1

IJJ+#f) ,

ffiFfJ A \ O ( s t -

Example 35 shows the primary progressionconsistingof G6, Am7, Bm7, Cmaj 7 (one chorcl l.rcrl..,rr being connectedby the passingchordsG#m7+5, A m 7 + 5 . e t c . Ex. 35

trrm

FFFfN

a l t t a l

rrTTI

ffi

uJ]+

[ffi ffrffl

FFFFFT f-t-tffl

f | | i a l

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t-fft-ti

ffffh t-FFt-t-j

fftlfi

rTFff1 _l

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-w'

ffiff1

6^c*

ffi I taa I

l-ftfH

ffi Aoa

ifttti

rrrm

Af",*S

bJ+s et"1Vr

(nn'7

4

Example 36 is the same chord progression being connected by passingtones (forming .r ir.rl1 c o u n t e rl i n e ) a n d a l t e r i n gthe chord symbols as indicated Gmaj7, 4*(maj 7), etc.

Ex. 36

FFM ffi

f+11-i.t

? I I I ' I

|rrtn

rFFTI ffffr

Gb

?'V

@

Gna1

At'f

(mrz) bn',? g.,

Ar(t^E

,&

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t+ @

2,7

@

Example 37 shows further developmentof a counter line resultingfrom the extensignol rftc 1..i..1... tones into a more melodic pattern.

Ex. 37

ob

$.'z

A^1

J I

Cnfi

E,xample38 is a chord melody solo embodyingthe structuraldevicesoutlined up to this point. Look f'or vertical textures,contrary motion. parallelmotion, connter lincs, block chords,sustainedchord backgrounds and short chord punctuations. Ex. 38

fffr" rrrrH

ffi

#

Ittt | |

mnTl

iT-ffi

g

; l t t t t , l t l t t |# Lt*-l-*.I

F+T

O C 3 + O

tffi" ilffi

[ffi

|Im

A*V5

r

FM

il-]+il tttt-l-l

ffiffi Ab^.

m

F++-{+-.1

H++]l Fl'#

ffin

ev

Example 66 is a chord melody solo basedon a standardcliord progressionand includesthe structural devicespresentedthroughout this book. Continne to explore other possibilitiesof the material presented here, in applicationto other tunes. The more of this you do, the more proficient you will becomeand you will then begin to acquire an instinct for finding the right chord voicings.jr.rmpingoctaves,etc.. thus bringing you within reachof extemporaneous improvisingin a chord melody style of your own.

Ex. 66

ffi irfff

|-#+.1 l ?| t t I

|-|FFN

rrnF rrnTl Ah,r

@O

I'

ffi uj-ll.l H+++{ ffi

ffftfl

nt

[Tm Iill|l

| | | l f f

TFTF ffrrF

ffit-nD*th

trrrF

Frrrn rfl-rn t--t-'t--f-+{

ttatII

Frrrn

rnn

Abq

52

FFffi t-ffil l-++lJ..l

t t a l t l

ffi

H#

rrnTl n'rrn ffi-ffi ! | a l

Gtl

fu"1

Ex. 66 (cont'd)

tu u++fl

,,S,,

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tttf|

++-++.t

l-t^ff1'1

iltttl

| #

H#

l l l l a l

ttattt I | | tal

t-t-.1+.1-l

ttttil

f++-{-t-.]

| { ' . , #

l l l l l l

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l l l l l l

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ab*'Z-nA*uGA't

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Ex. 66 (cont'd)

rE,

rFffi

t t ? t a l

rrrtrn rrn-n

ffi

H-t1+l nffn

l-{-'t-{-{-{

u-t-llt t t t t t l

ffi

nnn

T*1fi^,

A'7*1

Mbq

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ffi IHX nrm

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l+-t++l Htrl-t-t-ttl

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frt+

ath

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l l

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x FFTF |.{.,'l#

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t a t | | l

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ffi

rFmll ftt-tft l-fH.H

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6 @uo

ffi

ffirn

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Ex. 66 (c

(x)

m

i l t t l l ffi Iilill

ITTII] I t r t l l

en't

r

ffi -+"

l-tiFt+i

LT'IU

ffi t{+u.l

HJ+N

t++t# ffitl

ffi

4-

a - l

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ffi

ffi 4.

fr

U]JJ]

ffitr u-l+1..1

F-9ru

m

It FFFFF

liltr ataill I]T1Tl

c't-

t-tfti-t m ffit Hffll

l l l l l l #

| - . # l l l l l l

l i l i l l l-t-ltlt+i t. gt t t t l

llllll i l l | l

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g

ffiffiffi ,,ffff,0b'-......_..... t3t*zE^ '

Ex. 66 (cont'd) !Lr flTTN

!

l-I-n]t Ia aI at

ffi

l ? t t | l |#

H+]+l

rHffl FFF**I

% tl 4

Amf>f1 ( o . ' 1 f f 1t

;l.at \\-/-f

ffi

t+++# H+f+l

Htffi l | | t ghbs

fi"tl ' l F .

arT?d

3

Itr.

[f]Tn

ffi rll?ll H++l H+u.] nrfl-l Gt?

IIt TTITN FRTT ffffn '#

#rn rrfn ftffij

ffit

H-i-i-F ffnn [fi| Cn;7

@ @@ ' 6

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Fffi ff,Tf1

flm ffi 9ttl

t t t t e a

t-ft-l-F1

rrnTl

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nnn c6/q