Steve Khan - Chord Khancepts

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Table ofContent Introduction Unit1 Superimposition oftheiimTonUZChords

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Unit2 Triads Unit3 Guide Tones Derivation

12

Unit4 Elues

14

Unit5 Rhythm andBlues/Gospel ChordalApproach

21

q!il 6 Harmony BuiltAcross theStrings

24

Unit7 iimT-V7-17-Vl7 Over a Pedal UnitI Modes inGhords Reference

31

Unit9 Chordal Study Derived Froma Linear Exercise

96

Unit10 Ghoosing a Style

39

Unil11 McGoy Tyner Left-Hand SUlePiano Voicings

40

Unit12 Ghord Tones asMelodies

41

Unit13 Gadence Approach Through Upper andlowert{eighborc 42 Unit14 Gontemporary Voicings Reference

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Unit15 Major-Minor Erercise

48

Unit16 Ghord Ghanges lorStandards

53

Unit17 Gm7-Smai7(il4) Exercise Unit18 0ctaves withThirds lnside Unit19 G7PedalGhordal Reference Unit20 AbouttheGD

72

cDr COTRACK OESCRIPTIOl{/TITLE Tuning t1l (A=440) Notes I2l Etmajor lriadPiece (Example 5) t3l (without Piece guitar) lbryiqTriad t41 GShuffte (Examptes Btues Z-10ar;d 12-19) t51 GShuffle (without guitar) Blues t6l G,Gospel (Examples Blues 18-19) Forplay-along, useCDtrack t5l t7l Blues/Rock (use Shuffle withanyGbluis)' t81 GBlues/Latin (use withanyGblues) (Exampte te1 GMinor Blues 1i) t10l GMinor (without Blues guitar) (Examples FJazBlues l11l 14-15) (without FJazBlues 112l guitar) tl3l nss(Smai) (Exampta 2tr31) J:t.lIglt.lqpsstheStri (Bhaj)(wilhour ii-V-l-Vl7 114l guitar) t15l overG (even Pedat 8rh-nores)(Examptes 32-36) ll-J-! .Yl7 (even GPedal t16l (without 8th-nota) guitar) t17l Chord Exercise^in Sequence over Cpedil(Exampla 41-441 (even q Pedal t18l (without 8th-notes) guitar) tlel +lZ) !ryF 3/4Latin lampinG(rxamptes t20l 3/aLatrlVamp guitar) inG(without ii-V-lC-adences (Btmaj) I21l (Examples S2A-0) ii-V-l(Btmaj) (without t22l guitar) t23l (Gm) (Examptes 53A-D) !!L! ! Cadences iig-V-i(Gm) (without I24l guitar) t25l Exercise inG(Exampta fr,g-62) Forplay-atong, useCDtrack !rQor./q.!no1 t16l t26l GPedal/tatin

cD2 COTRACK DESCRIPTIOII/TITLE 'Mundo t1I Desmondo" (Examples 63-65) 'Mundo t2l Desmondo" (without guihr) "Some t3l Things You're Not'(Exampla 66A-C) 'Some t4l Things You?e (without guitar) Not" t51 (Examptes Exercise 6Z+0) Qmf-fbm{zrl GmT-EbmajTt4 t6l (without guihr) Exercise 'DonGrolnelius" (Unit19- improvised t7l oiece) (without t81 CPedal guitar) Shuflle (At7-Sm7 tel City" Latin Vamp) l0Lntura N-7-.VrtT t10l (without Latin guihr) Vamp "Sliceville' (BiLatin tl1l Blues) & Latin (without t12l guitar) Blues (F7+747-F7Larin t13l Vamp) :{hqla!mo' FI+747+7 Latin 114l (without Vamp griihr) ' (ii-V-l-Vl7 tlsl Bhaj Larin VCmp) _Ggclnngl 6l ii-V-l-Vl7Btmaj 11 (without Latin guihr) Vamp

upegalInanKs people: Thanks tothelollowing Myvery Special generosity, . . . foryourfriendship, talents, andtireless AlGorgoni effoGinlrlpingrneassemble grace CDsandwhich have and which these been a partofmyclinics sequences theplay-along private years. tnveclone l'msograteful andcouldNOT thiswithout forthepastseveral teaching you,oryourfamily. MikeSelverne, Aaron TomRoed, BobSherwin, Andto:RobWallis, Stang, Michael, RobMounsey, Felicia 0scar Martin, Malcolm andNinaPollack, Fruko, Christine White, Reuben, Blanca Lopez, MarcQuifrones, Lynne Gloria Clifford Manolo Badrena, Hernandez, David Tan, Rano Viviana Mike Workshop, NedShaw, Johal, Gibelli, National Guitar Summer Carter, Morillo, YunyReyes, EdRak,DanSeeff, Billand AnitaPadilla, Lilibeth Landy, ColinSchofield, Ruben Rodriguez, Patrizio Anthony DanKeller, Jackson, JohnHarris, Kristin Hart,StanSmith, Robin D'Leon, Sergio George, Gould, Oscar Inaoka, andSeth0rnstein, Kenny Sabina Chioza, Bernie Williams, Derek Bernie Minoso, Bayamo, Julian Gorgoni, Zerbib, Adam Gorgoni, Freddy TheShapiros, Donn Birnbaum, Ellen andBarry Dennis Chambers, Puerto RicoAll-Stars, Jeter, Fischer, Poncho Reyna Astellia Diaz, Clare Carpio, RonCarter, JuanLuisGuena, Cunningham, Flores, Folon, Esther and Anton, Jean-Michel Demont-Rahiou, Jimmy West, Betty Doug Sanchez, Locke. John

Acknowledgme (Roger (Jimmy Guitars Sadowsky Archy), DeanMarkley Strings(RichFriedrich), Gibson Guitars (Bob AudioElectronics Woods), Amps(Walter Custom Walter Woods andKenFallon), Sadowsky (Masaaki (Mitch (Alex Yamaha Korg/Marshall Colby), Aguilar), Electronics Aguilar Bradshaw), (Carla (John Reyes), and TheLatinOuarter K.Music Services, Lomas), Danny Naito), lbanez (The Family). Manny's Goldrich

Dedicatio Gloriaandto mysister, to mymother, withloveandgratitude Theworkinthisbookis dedicated son,Heath. . . . and, asalways, tomydear Laurie

Corresponden great tohearfromyou! Please feelfreetowrite,it'salways Write to: Khan Steve P.0.Box1308 N.Y.C., NY1m11 postage. youmustinclude return lf you'dlikea response,

Credits Stang Wallis andAaron Edilorc:Robert Music Engraving Chelsea andBookLayouUllesign: ilusicEngraving C0t6 CoverDesign:H6l0ne NedShaw BackCoverlllustration: Inlormalion: CDRecording Khan Steve Produced by: Pollack AlGorgoni andMalcolm Producers: Associate RobWallis Producer: Executive AlGorgoni, Gorgoni Khan, andAdam by: Steve andSequenced Programmed 4 and7,1996 Lightstream Studios, October Recorded at: Pollack Malcolm by: Recorded andMixed RobMounsey Additional Sequencing: Monkey Studios Flying at: Sequenced Michael Felicia Monkey Assistant: Flying Room TheReview Post-Production: Mike Landy Engineer:

lntroductio ourinstrument, inthewortd ofpopandrock music, there ft geqms Stfangethatwith

c0ul0 exrst sucha thingasa "rhythm guitai'player. A guitarist whojustplays thechords. And,a "lead guitai'player, onewhoonlyplays solos, titis,andlicts. I findfliisold'tecause I betieve that youmusttryto playALLoftheinstrument asbestyoucan.0bviously, you'llhavestrong andweak points, butdon'tletyourshortcomings getthebestofyou.YouCntldevetop intoa well-rounded musician andguitarist. '80s, '60s, Since the music education hasadvanced faster thanonecankeep upwith.During the whenI wastryingto learnhow. youhadprivate to playtheguitar, tbaci'rers, a fewbilots,ino exchanges of information withfriends,butmainlyYOUHADYOUR EARST liyou couldn't'trear youwere qulqlly, lost.Noplayalong CDs, io instructionat books withcassettes, no lI!$ "REAL 'JAZZ videos, 800K," andnoJamey Aebersold's AIDS' service. Asa teacher I'vebeen amazed atthetechnical advances ontheinstrument. Never hastherebeenso manyplayers withsuchincredible technique. 0ften-times thatabilityhascomeattheexpense ota comprehensive knowledge ofmusic: harmony andtheory. Inmyexperience, thathastranslated into students allowing theirchordal knowledge tolagfar,taiOenind. Sd,asa teacher. t'vetrieO tobring intheextremes andshare myconcepts aboutbeingableto putto useallthepossibilities ineguitai offers formore complete expression. AfterI hadmoved toNewYorkCityinJanuary of1970,I began toslowlyaddmoreguitarandmusic "Chord books purchasing tomylibrary. I recall several pubiications, Dictionary" some withasmany 'How as80,000 chords. I remember thinking, posiibiy coutd there beTHAT many chords?" Asi studied these books andcontinued to learnabout theguitar, I realizdd thatmostoffliesechords lust fulfilled a number inthebookbutproved to bevirtually useless whenmaking music withother -presented musicians. Inthisbook, I'vetriedmybestto make certain thateverything hasthe potential tobeusedinavariety ofsettings. I wouldbethefirsttoadmitthetI hai/;notcovered every posibility, single but,thework assembled here willcertainly serve asanexcellent source towhich torefer anytime. . t. Ina sense, formybwnqqploSch, I'vetriedto viewthingsin a morepianistic manner. Thepianist canaccompany theirright-hand lineswiththeirleft-hand. So,in part,I'veworked at playi'ng the guitarwiththiskindofapproach in mind, but, the key difference for'me is NEVER view ttie tbt-iranO "just aspect as a bunch ofchords!' Theconcept is to ALWAYS hearthetopnoteofanychordas having melodic content. This.is of crucial importance. Yourlinesandyourchords areof equil import andcanlunction beautifully together inyourhands. Mymethod forsharing thisconcept isactually a complete contradiction totheendresultwehopeto achieve. 8ythatI mean, I treatchords astotallyseparate fromthelinearwork.Atthestart,thetwo are. onlyjoinedbyharmonic theory. And,astheworkprogresses, thelinesandchords slowlybegin tofunction together. Astherearemanyexcellent books andvideos whichconcentrate onth6tin6ar sideoftheinstrument andimprovising, I have chosen tofocus ona chordal approach which can jointhose lines. It'smysincere hopethatyouwillworkslowlythrough thismethod fromthebuilding blocks tothe moresophisticated concepts. Approach thingsinsmallstudyunitsbymaking a series ofshortterm - somethiry goalsforyourself y9uCftttaccomplish in a reasonable amount of time.youmight findit difficult to placea specific timeframe forthemastery oftheseconcepts, butpatience anda steady course willsurely winoutintheend. Allthebest,

N,k

NewYorkCity,November 1996

Htograpny "lwasatenible Slevg Khan admits that, when hewasateenager, drummer withnomusical training. I haddeveloped a lovefortheguitar and,when I was19,switched instiuments. I wasdeterminfr thatI would notmake theumemistakes I hadmade withtheorums, anosiioieocompoiitlon ano private UCLA, along with guitar lessons from Ronnntnony: lnl-970rremoveo toHew !|tgU.?t York City. From thispointfonrvard, somuch ofSteve's career iswelldocumented. In1g74, heperformed in jaz guitarduoswithLanycoryell.During one-of thefirstcontemporary period, thissam'e he b@ame a member oftheBrecker Brothers Band. Hislirit recdrdings as-aleader werb a tri6oi 'Tightrope" .TheBlue-lrtin;(igzg)and "Aryowf albums forcolumbia Records tiiled: ('t927), grecter, f{rtg9 Randy andMictra'et David Sanborn, Don'Giotnici, lytike ]n.e:g,recordings {1919) Mainieri, willLee, steve Gadd, andothers. In 19g4, sony Music/columbia released'a cD "The compilation drawn trom these three Lpstiiled, Coltection." "Evidence,' ln1980, Steve recorded abrilliant guitar soloacoustic album, paidtribute wtrich tohis earliatjazinspirations andserved toestablish himasoneolthegreat interpreters ofthemusic oi Thelonious Monk. Between 198'land1985, heworked andrecorOeO witnn'isquartet, iyenitnesi, which..included Anthony Jackson, Manolo Badrena, andSteve Jordan. Togettir theymade threi "Modern recordings:-Eyewi-tnes" (198't), Times"/"Blades' (19s2) and.c& toco'(lg$j. sreve joined JoeZawinul's Weather Update forit'soneandonly6uriri tgs6.nis wasroiroweo oiin duet recording gnoq!.ve, with keyboardist Rob Mounsei rne e mmmi-nominato Co wasiftreO 'Local Color,' andwasreleased in1987. lgggsawtherdsunection otEywffress withDave Weckl replacing Steve Jordan forthe'Public Access" CD.Since thattime, St6i nalooeo two itrabni 'LetsCallnis'anO.Headliie' anad'pnrecordings which featured RonCarter andAlFoster. were released in1991 and1992 respectively. In1994, Steve found trimsat W infrJcompini of Arthony Jackson and Manolo Badrena, iOOing Dennis Chambers and Micnaet Brecker'for 'crossings,' which wasdedicated tothememory oihislate father, lyricist samny cahn. Recently, stevehascontributed Hisunique medte, oftwoGeorge lo$ygla]$ecialproiects. graced Harrison tunes MikeMainieri's NYC Records'"Cbme Togefirer:AGuilar triUute toThi Batles." Here hewasaccompanied byMarc J-ohnson, Peter Erski'ne andllrg tasconcsloi. Speciai Olympics. andtheHoliday Stwetogether again witrrB Bra*erBrothers forI leasonbrought balsil-styled interprehtion of his fathe/s one true Christmas song, TheChrbtnas WalE,' which 'Jaz qppeared onBlueNote's totheWorld'CD.In1996, Stedtearned rth Arg€ntint'vocaiiii Gabriela Anders, RobMounsey and New York Salsa All-Stars: nuOen noOrlrp. irlarc Ouinones 'Don'tworryBaby'('No preocupes .tvoutdn,t andPapo Pepin h contribute Te N€tn=iio lt Be Nice,'a tribute toBrian Wilson. "GotMyMenhl" of1996, brings Steve togetukr 0Eru tirnewitrJohn lecorddin$ptember Patitucci andJackDejohnette. The.cD-ag-ain findshimusinghisuniqnguyngmoananging perspeclive lointerpret theworks ofWayne Shorter, Ornette Coleman, te trtoig;,it eOOn Uirrisj asurcll asstandards byRodgers andHammerstein, andsammy cahnmd.leni vil Ha6€n. Throughout hislonganddistinguished career, Steve hasrecorded witrcdl dawseri6b a Miles Davis,.steely Dan, James Brown, Aretha Franklin, Ouincy Jones, EddhHnsr rrao,exuouaio, StepsAhead andothers toonumerous tolist.Hehasalsbproduced rrydntr br Hh guiuristi larry.Coryell,lvlike Stern, Bireli Lagrene andBillConnors dsnetlaspsrc 'ru eiir gn. rn"iOoition hehaspublished.three-other highty regarded boota: ruc rirrpmay outtar lolnil [or, 'PatMartino: Folio,' - Stn rCs,tt*id, ieaify TheFally Years," and'Guidr Wirrtshop Series lunctions as.an Eyewitness songbook). Inaddition torecording p€firnrg-gd nd isar aitiv6 clinician andteacher.

rangeol theguitar

To thg eyes and ears 0f many, therange ofrheguitar, atitsouter reaches, canar

times likeit rivals seem thepiccolo. lf thefollowing diagram isstudied carefully, thetruthabout where ourinstrument really functions canbecome clear.lf we're tobehonest withourselves thenwe willreadily admit that,in ourlower register, we're operating in theterritory of mostbass instruments; and,inourmiddle to upper registers, we'reessentially operating inthecenter ofmost keyboards. Whether we're (thesoloist) theprincipal melodic instrument orsimplypartofa basic4piece (keyboard(s)/guitar/bass/drums), rhythm section it'sessential to gainanunderstanding of howourinstrument best functions. Throughout recent decades therehavebeena multitude of chordbooksoffering thousands upon thousands fortheguitar.lt is myexperience of chordshapes thatin thecontext 0f making music "E" withother instruments, mostofthechord voicings which employ the and"A"strings are essentially useless. Thereason being, thatwhen we're using these twostrings, we're likely tobein thewayofthebass, andpotentially clouding thelowerregister ofthekeyboard. lf oneexamines the styleofWesMontgomery, it'sobvious thatheusedfullsounding voicings asanactivepartof his styleandsounded tremendous. BUT,hewastheLEADFR, andthearrangements werebuiltaround whathewasplaying. Pianists knew, andorganists or learned, howto stayoutoftheway.ln many rock,heavy metal, country, andfolkmusics, it'sstylistically important fortheguitarto usethelower Inthelongrun, strings. always trytodowhat's right forthemusic asawhole! Asthisbook I hope unfolds, tomake a strong case forusing 2,3,and4-note voicings which lay yourD-G-B-Estrings. across Asyouworkatdeveloping anevolved sense ofharmony andtheory, I believe thatyou'llfindthisconcept extremely in,firstly,justplaying useful witha bassist, andlater youwithasmanyoptions withtheaddition ofa keyboard. I have triedtosupply aspossible. When youputthese concepts touse,it thenbecomes a mafter ofyourownsense ofharmony andtaste.

Sounds

MiddleC

I Strings 0pen

fingerings

pick pickandfingers lingen

G

B

HighD(Topoftherange)

whichwasfundamentally AsI worked mypersonal approach, for groups withouta at amending player, I gradually keyboard began toadjust allmyfingerings. Thisbecame especially trueforthe2These forms, whenplayed and3-note chordformations. aspartofa voicing employing a bassnote "E" "A" would befingered inthetraditional onthe or strings manner. I chose to finger these voicings in anindividual way,notasif I hadsimplyliftedoffthefingerwhichwouldhavebeen playing in doingthiswastotryandsmooth thebassnote.Myreasoning out- make aslegato as possible theflowfromonevoicing intoanother. I feelconlident, thatif giventhetimetosinkin, will giveyougreatresults, usage of myfingerings especially if you'renothappy withthecunent movements. state ofyourchordal youbecome Nomatter howproficient in playing witha pick,asyourabilities withchords broaden will'be there times when the"pick theuseofeither andclaw" technique orfingers alone willprove moreexpressive. Theadvantage ofthese techniques is theabilityto bringoutthetopvoiceofany chord andinsure thatitspeaks clearly voice. asa melodic youstrikeacross Byusinga pickonly,nomatter howquickly a chord, thehigher voices willalways youcanpluck bemilliseconds late. Byusing thepickplustwoorthree fingers orfingers only, all perhaps thestrings simultaneously and, best ofall,bring outthetopvoice a liftle more. playing So,if you're lineswitha pickandsomechords withfingers only,howdoesonesolvethis "While years youwere playing, back andforthproblem? Several ago,ata clinic, someone asked, I noticed every sooftenyourpickwoulddisappear whenyouplayed chords, where didit go?"Atthat moment, I honestly whathewastalking didnotknow about. AtfirstI asked if I'dputthepick between myteeth. Hesaid,"N0."So,I triedto recreate thecircumstances and,after a while, I realized thatlwouldslipthepickbetween the1stand2ndfingers of myrighthand inthearea between the2ndknuckle andwhere thefingerjoinsthehand.So,whenplaying a 4-note chord, the "D" "8"string, 1stfinger thumb strikes the string, the"G"string, 2ndfinger the and the finger 3rd is "E" lreetobring outthetopvoice onthe string byapplying a littlemore force. lt willtake a lotof practice, consistent butyouCAN doitl

UnitOne superimposition ol lheiimTonV7chords

It seems so simple thata teyooaro wourd looxata chord Drayer ptayed voicing acro twohands andseeit as,forerample, someformofGi chord.0ftenonguitar.wecanitayonlya portion ofthechord.voicing. Forexample: Wemrghtplayonlywhattheflght-hand oftfr'ekilyboir isplaying-apartofthatG7chord. We might viewourvoicing asperhapsiDm7overthebassist "G," oranynumber ofother options. Indiscusstons trere. andwithone'another, it'sfinet0lookat things inthisrather separated manner. Justdont losesightofwhat prctu thetarger harmonic really is. Inthisbook your wewillbuild chordal vocabulary from, (guide a)a2-note tones) approach, b)through traditional andextended 3-note voicings, c)andfinally to4-note chords allbuilt upon upper extensions ofbasic chord.

Throughoutthe book,l'll berelerring to iimTandVZchords asbeingrelated andinterchangeab lt youbuildchordvoicings upfromthe5thdegree of G7(D)youwoutdconstruct om,omi, Dmg etc.Insodoing1ogryogld beextending theharmony ofGi byadding the9th(A),the11th(c),and (E):G7:GBDF the13th C h oT r do n e1s3:5 b 7 91 11 3 Dm9:DFACE 'l b3 bZ Tones: Chord 5 I

Erample 1:G7ChordTones Dm7(iim7): Root

3rd

sth

7th

grh

ll weimprovise usingDminorvoicings we'dconstantly create these extensions ofG7andprobabl produce, what I would attempt todescribe asavery majestic feeling inthemustc. asfunctioning inthekeyofCmajor, then"G"istheV7(dominant Zth)and l[ve.se9allthisactivity "D" "majestic" istheiim7,lnorder to produce this you're harmonic effect always superimp6 iimT chord voicings over ther00t 0ftheV7.

Erample 2: Harmonized MajorScale

CMajorScale: Root I Major]

5th

tv4

I

G7

Asmyownconcept playa guitarvoicing hasevolved, I findthatI rarely utilizing mylow"A"or "E" I'vefoundthatthiskeeps strings. player's meoutofthebass way,and,seems tofre'eusboth.More importantly, it expands ourimprovisational boundaries. Thisbookwill notdealwiththetradition guitar chords which utilize voicings where thelowestnote isonthe"A"or"E"strings. lf youfeelth part need your to shore-up this of knowledge, therearemanyexcellentpublications whichtreatthis areaindetail. Toname a fewoftheauthors: Mickey Baker, JoePass, andTedGreene. AsweexDan progressively onthisconcept andintroduce more andmore ambiguous 3-and4-note you'll voicings, findthatthebasspartandthemusicgrowfreerandfreerbecause thepossibilities forspontaneo reharmonization ofanychord youandyour become endless. And, music willbenefit most!

UnitTwo triads

Example 3: G Triads Topvoiceon"E"Sting

tqnq 2p VealSofteacirins, itstillamazes methat somany exceptionany gifred ll$ gullarlsts great could devel0p technical facility_

inthelinear aspects oftheinstrument andt6tatty ignore themostbasic chordal components. I'mspeaking ofihefundamental 2-note intervallic relationships andthesimple, butessential, major andminoi triads. Though thisbook deals withthe advanced uses ofharmony, I feelthatit'simportant thattheusages oftriad's nernituoed. Nottoolongagoinaninterview, Robben Ford stated howheisalways asked about hissoloing. He tries.to impresupon younger players that,except forafewmomentl ofsoloing, theguitarist"must function.as anaccompanist mostofthetime.I couldn't agree more withthisissessment. Sowe must acknowledge thatoften wewillbeasked tofunction asasmallpartinthegreater context of someone else's music. Asasupporting player, wemust operate inaionicplacelhat leaves room forthekeyboards andbass tomove freely0bviously, if apiece ofmusic isbuiltaround theguitar, theother instruments must then allow usthesame tdtituOe. Thismeans that most times we wiilplay 2-'3-,and4-note chords withthehighest voice usually onthe"8"or"E"strings. Thisiswhere a thorough knowledge ofthebasic triads becomes sousefirl. It'sbeen myexperience thatusing triads inanaccompaniment figure ismostuseful inR&8,Funk, andJaz-Rock Fusion where the.underpinning isessentially based upon thetwoformer styles. The guitar isgenerally called qualities uponforitspercussive and it is for this reason that iVe onfy "8" presented triads where thehighest noteisonthe or"E"strings. I'vechosen toomittriads with thetopvoice onthe"D"or"G"strings because I findthese voiiings sound much todarktocut through most textures. lt isimportant toknow them, but,l'mgoing toieave thatpursuit uptoyou.

Root(ontop)

3rd

xtr

xxt

tttf,rn

F|-i-T-F

ffi

Hfl ffil

: I I

ffi,u ffi IfFFFI t t l

Topvoiceon "8" Sfiing

ffi rofr FFFFFI

FFm7fr tl2

Example 3A:Gilinor Triads

xn

xxx

ffi

Topvoiceon'8" Stdng

Topvoiceon "8" SEing Rmt

5th

r|l-m

m3rd xxx

lTrm

ffi,*

..

H+# 341

tiladsupeilmposl$on

Erample f: trlrdsupcilmpcltlon chail

TriadSuperimposition' chaflis animporhnt onejonce yornrt6frt ib rsage ]ne !9tlowing youcan continually refer back toit.What I'vedone is'totakea single Ussnft, [r rodInmost oses,andused.triads_(both.major andminor) which ascend cnromit*ilyd;fl* ,mt.nsvou;re proydqwithalonglc" pgj{.vamg. on,the recording ttriswoiiii desen6o ouei.e.'-rre;ryr*i (ibtheoretically correct naire)andthe rffiil;b llt't?lchord'function onemight need to know lorimprovising. whenallissaiddnddone, you'liactuaily nruitorn* thisinformation for theelsven other roots. Let's lookatthefintexample: F/G(anFtriadovera Gbass note). Although thischord canserve sarcral fundions, it'susually thought ofasadominant nn(gzit)tije oiffi0. gerause it contains lF" isthet,7 nohird(h orBl),it could bepart.of thedominant orminor ctr6io ramiiiis. of.G." ygq bT.degrqe atriad6ui[fromthe oygr abass note, thattriadsuppties [.tt lypttimpose ther7th, $h,andtlthchord tones whichgives usG9(11) ti'omg(jil.-i6iiih'drg,;ffinarso be refened toasthe4thorasasuspension: Ggsus orGmgsirs. likgtoadd. Youwillhear these kinds of"stash" (F/G) chords reterred to, 9jg'l,9fll!9yqllfg Inc0redly' aspoly*hords. A poly-chord refers toharmony where twoormore chordsare actually hing played simultaneously. Yduwillfindthiskindofianiaitiini'ilrrv, rlirt orten, in 20th century clasical music. Suctt harmony isextremely difficult to associate oni,'mooe or chord scale 'slish"cnorOi wih,.ard as,you cansee, withtheconventional prese,nbO nrrr,inryal readily give w eifinra diahnic scale/mode orfamiliar scaletype withwhibrL io improuii'e. i-truepoty-btiord would notdoSntsoasily.

ilalorTrlads Iilrtfttrlrbb Frid/G BrieilG

Gioldfam {rct functionatf G7(e,11) Thissound canfunction likeaV7(alt.)chord

Griad/G $riad/G Ariad/G

Driad/G

Gmaj FillG G7(13,9,111) or GmajTf(6,9) Gm7 GmalT(6) Cmaj6Thissound isusedin many ways, andtends to helpcreate aGospel orBlues feeling t5) G7(t9,

Driat/G FrH/G Eriad/G

Gmd(9) CmTG L9) G7(13,

Sriad/G

Briadre c riid/G

FmfiadrG Ffnriad/G Gmbiad/G Al{ntriad/G

FrIyG GmalT(l4,9) Gm G7(6,b9)

Amfiad/G

C66Thisisasound used alotinGospel music Gm7L5 GmajT Cm/G G7(13, E, 15)

DmfiiadG Elmriad/G Emfiad/G

GMixolydian, GBtues Gwhole-tone/half-tone diminished tclAt8t1CtctlDlEtFll BHarmonic Minor Btfil DEIFtltcltAt18 GM4or,GLydian GPhrygian t7 GLydian GLydian GDorian GLydian Augmented CMajor, CBlues, CLydian GMaior, GBlues GhalttoneAvhole-tone diminished tGltAblBrBtDrlDEIFl GMayor, GLydian CDorian Glnlf-tone/whole-tone diminished

tcllGrlBbt8lDtDtElF

illnorTrlads

Bkntriad/G BmtriadE Cmtiad6 Dknrhd/G

ilode1Scate

c7(e) Gbl3(19)/c b9inbas(rarety rsed) G6

GPhrygian GLydian GDorian GAltered Dominant Super Locrian GMajor, GMixolydian, GBlues GLocrian8l Dorian GMalor, GLydian CDorian Gtnlf-toneAvhole-tone diminished GMixolydian, GBtues Gllnlf-tone/nrhole-tone diminished GMajor, GMixolydian, GBlues

triadusage

I'vetriedtopresent onecomprehensive example ofjusthowyoumight goabout usingmalor or minor triads inthecontext progression ofa common (i-viz-iiz-V1.Let'sexam-ine chord wnatt play, might we'lljustassume thatthiswould blend withkeyboards andtheiestoftheanangemJnt. problem have a understanding the theory vou behind wtiy I've setected an/otthesJtriaoiir11 ti lf figure it,outygyrself bybuilding upeach chord fromthero6tinthirds andthlnhbeteach malo? or proves minor lfthat triad. difficult consult withamusical friend oryour teacher. Thefirstchord isnamed EtmajT butal yo!cansee, allI'vechosen toplayisaG-minor triad(G,Bb, aretimes when ananan1jer would name this'chord lndQ),the3rd,5th,andmal7thofEl.There Gm/Ef because he/she wants playa triad,wit-h tomake surethatyou you'll some experience, probably todothatbyinstinct. Ihenextchord ii Cm7, lustknow hereI'mjustptaying anf r,triaO (El,G,B!),thel3rd,5th,andbTth ofc. 0vertheFm7, I ptayanAt,triad, witntdeieasoning being thesame. Inbars 4 and12,lheinversion oftheAbtriadremains butisnowplayed overagbOasi noternaking thechord aBbg(sus). 0nthelastchord you'llnotice ofthose bars, thatthetopvoice purposes. moves forvoice leading Forgreater harmonic interest andtocreate tension, inbar8on thethirdhat,I played gives E/Bb which usBt705,bg) Inbar16,withtheprincipte being thesame buttoaddvariety, lplayed GiBb torealize a8b1309)and here I used descending chromatic voice leading. Thiswasmore easily accomplished asI useda slightly higher inversion ol theAblBl chord.

Erample 5:TrladUsage EbmajT

Cm7

fi'fm

m"

|'ru

II LIfI I I I T N

2 lI

.m." Fm7

Ebtnaf

m'

FFFf;Brr,

|]2

m.

EbmaiT

xxx Ft-t'#

Etltbl3 fr

EbmaiT

m,'

Bb9(sus)

I||lX

Cm7

Fm7 x

ff

x

FNTN

bH*+a!rr |..!4 @

t32

F+fm Ftm+llfr LLILIf

t2l

Cm7

rs_ EImlrn

E+]f,

x

Fn7 I

X

I

qFFl

FFFTH rr, ru

Bb9(sus) B b 7 ( b 5 , b 9 ) xxx

xxx

mtr

EFffiot I I ttt

I

ffi

Fffiot'

Bb9(sus) i+T+

f*-

FfH-il

l".l'.#

ffi

ffina l2l

ffi

mnu l2rc

Bb9(sus) Bb7(13,b9) ?+frr-' H+'ffi FFHfi

ffi'o 132

m7t

132

Inmost (ifthere cases, anarrang€I isone) yourtopnote willnotwrite outwhat should be,soit'sup toyouandyoursense ofharmony you?e andgood taste. Themore called upon todothis,thebettdr yourinstincts willbecome astojustwhat istherightthingtoplay. lf youwdre toturnthesuggested quarter-notes nota into half-notes or andsingthem aloud witntuttrhythmic value, theisiould lop formaniqlthough simple,.long melody. guitar Give itatrylThisstyle of iccompaniment ii usually found in R&8(rhythm andblues), Pop, andvarioud forms oi 'dande" music. There's a lotmore t6 grace doing itwithimprovised youmight andlogic than imagine.

UnitThre guide tones derivation

understandablethat youwourd beeaser toskiprishno themos It^Xplqinly m.0.dgrn harmonic concepts, butit willallmake

more paygrealer sens_e, andlguid'e oivioerios, if webegin withfarmore basic musical formations. I'mspeaking of2-note tonei;iimpteintervitio 4ths. Sths, (il4ths andtritones orfSths)which, placed when abovithe rootctearty Obtine tnecnorO family andoutline theharmony Inserving thisfunction theyalsoprovide a oiJrcna1.monic back drop without making thesoloist aprisoner ofy0UR conceptsi Theguide tonechart looks atthethree basic chord families andviews them ontheguitar fromthe perspective oftheroot(located oneither the"A"or"E"string andvoiced functionally fiomthere). 0n youseeafull4-note.chord, theleftside, then totheright, witfrtnerootandoneother pitchrem6ve Theguide tones remain. played When inthecontext ota iimz-vz-t oti iimTpsi vz i progiesiio -progre it'sobvious howsmoothly these simple harmonic forms flowrntooneanothei. ns1lbu through presented thematerials here, theguide tones willinvariably serve asournuilOing Ot"oct Always, gowrong" a"can't place tostart, especially when reading through atune forthe{irsttime,

Erample 6A:Am(ii) (keyotG) Am7 x |# F'-tffi

Am7

x

l.]ffi

trftr

ffi,o

ffi't't Derivaton m3rd 7th

Erample 68:D7(W) n7

Erample6C:GmajTandG6(lmaj7andt6) GmajT T

G6

I ffi

}}{**l I I - I I

rc

rrrrt I l.r:

x

x

aTTTft | |

I a I

rrrf'F 2 t13

tfr I

GmajT xx xx f-l-l-m

ffioo rrrrn I I

uo xx

xx

Effi'n ffil lfFt't-t t 4

GmajT x

x

ffi

Lllru

.^ -

[l I | | tutr Ll lat I I r r r

2134

maj7th

Erample 6D GmajT ffi FEEm Fffirt @f t lM7

c6 ?#i Ehtm:fr ffi Hl+t 14

t6

Am7 ?#i H1+# ffi'0,, Fffi

D7 f+r:++ ttt-fl ffi,on

ii

v7

to

,,

Gma17 Tnn HFFFer'

H+# :{ lM7

Example 6E:Am7(b 5)(iiu) Am7(b5) orA'7 x

x

Am7(b5) or A67

tu

ffiF mrn lmmm_-

m'ou

l|..|)lr JrmmlTmm

Example 6F Am7b5 xx xx TNTI EI]]]l

Fffi:r, il

ilm/b5

Clocluisetromtop lefl:JohnScofield, Bill Conno's, JohnAbercrombie, andSteye. Iakenat John^!e.cmmbie'sllanhattanloft,January posrrl 5th.1gg4.photo:

Am7b5 xx

xx

T[m ffi'on n-iln

iim7b5

xx

xx

ffi'or'

H1#1

Fl-t-tfl

UnitFou guide toneblues

illiilisifri,i.,,o!,,!i:t!'ill,!!il,3l, to.urse tt'e iibisrisastyre iyooui *rirrit llifilTifll#'jffifli|'bry,fll,fJf3,i,T:,"emins

trioiustcheck outxe'nnv euir onany orJimmy smith,, rllllff^ijilxifjfrT s|'rar,rco,oins,

l'velried r, plg,gllll rhebasics inrwoposirions (l0werand ll..tL:f:r]lq-,l-s9rglpte, uppe

,iJiiii'il',i;,?ii,lTil,ly,ilil?iJ1}:ilXi,fi;TTfti Example 7:Lower Inversions struttte,i-]=J ) G7 Fm

m," rrflT1 tl

Example 8:Upper lnversions struttte,rl=J.h G7 nT.n ffinu I-N+H

Aswemadlormoahmrmicsqfiisticdion, [i ih olUr ephf

hl b dt|hnirf.

wihhsse mvurom,vaishoidsll64tr lg16 vouimprovise l$Ji',ll'i,l,1y*when

Example 9:Lower Inversions -J-

s n u m e J l =) J Dm7/G(G7sus) t#t

ffi

Dm7/G

G7

3' EE:EE

ffil 4

tftfr1 tl

c7

u/

Dm7/G

m,o Htlf, tl

D7

Am7/DD7

FHS

FFM

r!

tl

Gm7/CC7

G7

Dm7lG

ttrH -" tfr--

Example 10:Upper Inversions -J-

s t r u t n e J J =) J Dm7/G tm rof, EEEIH u

tm tl

c7

ut

GmZC

crr!

H{4fl*

aTtTtl3ft l3

D7

l$t7lD D7

t m ron t m ron EESE EIIEE I-IFFH ll

FI-#iH ta

C7 Gm7/C C7

Dm7/G

G7

Example 11:Minor Blues Gm7

A'7

D7

xt ri u-lJJ..l

TT-g F#t

rT.FFFl

ffi,u ffi.n

rr' {$ff ffi

il

suspended sounds

ffi,"

GmTsus/C xx

T[m

Ffft-tl

H#f;lfror' l t : l

Dm/G

x

ffi'on rffttl

EE1ID -.

Gm7(9)/C x x t rr' H1#H

Itt4

H'.-

4 t l

Gm7/C x

x

x

SffHrr' ffi ffi

rfiJff1 4lI

hG

T_ -i-r

ffi,o ffi

H#t frtrt!

tlt4

Dm7(9,G 11)

Dm7(9,11)/G

l#

ffi l-|-rfn

x

H+# t34

2l r

ffi,n

x

ffi,l FFftH 3fr

| | | r.ror tlalrt

xx

ffi

ffi

Dm7(9)/G

ffi ffi

AnTlD xx

cm7

ffi"m,

ffi,,,

tl

xt

rrfm

G7

Howcanwebeg_1n to break away fromtraditional approaches to bluesharmony4 lfrefolowing two examples areoflered asa conceptual andstylisticpointof departure. Agin. attrre example-s are presented overoneofthemostbasic12-bar bluesprogressions to allowthemaximum amount of timetoenioyhearing eachvoicing. Youmayrunintomusicians and wlro f singers wil ind this kind of harmonic approach astoopretty0rtoo"iazy"fortheirmusic.lf suchis fre casethen0nthat tosomething more basic. lob,goback ln Example 12,I'veapplied (Dm7)over a iimTchord theroot"G.'(thebasrc ctrord sound isGZ). produce Thiswillinvariably asuspended kindofsound andmake thetnrmonrc feerrng veryopen, it times, lushandromantic. Example 13addsa littlemoredepth whilebeing rhythmically moreacrh?arEtrrcusrve. This approach is based upona guitarinierpretation 0t Mc0oyTynetspran$? \s r ti'eprevious examples, allchord sounds aretheproduct of superimposing irml;irc.:s]rer re rootol the dominant chord.

G0nlemp0rary blues comping

Example 12:GBlues @ DmTsus/G

Gm7

l.|-#

r--t

G

=

Dm7(9,11!G

D?:G

T+-

l-

I--r

r+H

**i

5 E'" --

ffi,"

Exampre tt;,ff'Tjihutfre) (@ x ffi

x

x

x

F|t||trrr ffi

ffi

x Hl*l

Dm7(sus)/G ftm

t

FftfH r

Ll.l4til Llx UIlT

FSI*lst'

l

x

EEEtr

x

t-l-fft-t ilr

x

r

n-rrn

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

i+ffi'"iH*

|#

Am7(9,sus)/D

il l

lf

Dm7(sus)/G

ifurr.fui rr' Hl+fl H#Ffd Fffi-H 2ll.t

m."m

-^

I I I l T

Gm7(sus)/C ffi

I a)

AbmT(sus)/G

|2t

c7(13)

Gm7/C x x x rn-m Hffirr'ffi si' ffi,,, l-Ft?&t F+it+l FFFIH

x x l...g

lt.r

l

x

x g

l

IIr

il3

Eyoribassin Japan,lottt0 right:naroloEadEna, Anthony Jackson, Steve, andStsvoJordan. ph0to:Tat$hiloTanata TalenorbidethePitlnn,Totyo,Hay198i1.

il 21

Db/G Dm7/GG7(13) i#

i+i+

f+rar+

ffiu,,m'-m'" flr

ill

t24

phyer fromtheformat willusually differ blues byapz oriented Theharmonic treatment ofa'12-bar making in we've been useofonlythe17,lV7,andV7chords. for basic blues, that we've been using a interest intheapproach tobars 2,4,6,8,and9-12.0fspecial to Youwillseeandhear differences playing already been overa 17fortheprevious three bars, mearebars4 and8.Inbar4,aswe've Inthekeyofourexample, 7thM)to tB ]Vchord. F7 thedominant thisiswhere ourtonicbecomes byadding a iimT(Cm7) Thejuz player takes advan@ ofhis moment isgoing toBb7. toresolve resolution. towards theeventual Afamiliar motion, andtemion infrontoftheF7toaddmore color, generally wi[tJohnColtrane would betousethe inthisprocess, asociated substitution/alteration b5substitute a ditferent a iimT(Frn7),thuscreating forF7,which would be87,andinseding you're resolution lrom onehalt step above. resolution. In a sense, approaching final approach to tromonefullstepbelo#? reolution Haven't ifyouwere toapproach what thought, Justanalternate

blues iaz-Upe

pleying you A7? what ilyou You know, ttntr7from slidir|0 u0lo ehords? thetwhile everdone resolution with to approach wereto tryandslipa iimTchordin frontof it?0r, useSEtrnodality play'ng yorrrlinesThinking aboutthingslikethis,priortoactually f:rrr cangryeriseto musical great toyot.lba anylnrmintrying! which might actually sound bornofthought, creations,

determining uponthecolorofthechordusedin bar9,thatwillgoa lmgE s towards Depending to you barI canb a Vl7(0n dordresolving isagreed upon, how might treatbar8.Whatever prirupl€s (Gm7). (G7) harmonic be applied to the kinds ol dr abo iimT These same ll7 or either if you'll recall, rsrp a Gblts. sobar9 wasa Wewere, we've utilizing. kindofblues been 3-chord ha,ereebdf 8 asa Ai (V7ofV7), thatwecould So,it'spossible D7(V7)inthatprogression. as however, m'rcrsrrga bl d u, imagination anE7(Vl7).Here, trytoemploy bulwecouldeven overtheD7todrt fE Ermonyso'ilhy E7is a V7ofAm7whichwehavebeensuperimposing pastmasters. l'rt seen far hm imply this solos bymany thisworktoo?Intranscribing couldn't giveit atryrd srer€l fBppens. not.Again, were andkeyboards when thebass change even

14:Bluesin F Erample n ri ffi l# ffi

xx

FF;EF:fI H-rtfi

':

F7

Bb7 xx

xx

tx

ffi

ffi'o

H*tHrr.

FfFt-tl

On7

Gb7 rx xx |-{''{#

xx

ffiffi

H Fl***l r I.r I rilr LLLT-IJ

ffi,'ffi'n

tl

(Eb7)

Bb7

xx

xl

ffi ffi,o t l

c7

tt t{r t+I]-l.t.,g-I+tl

H++fl

D7

xx xx lTrrFl

Hltfiar. n l a t l l r r r r l

t3

n

G7

xxi

Effi,' |..l'.l..u t l

D7 TF# H fltlt.l riFFN , i

a H,. FM

m

n Hfrr' |ntx EIU tl

withcommon iaz blues tonechordal Punctuations

listening I'vetakenaway-irom atl myWesMontgomery lessons and Oneof themostpowerful (bigbandlike)conception Whether hewassoloing of theguitar. or washisorchestral transcribing hishigh3-note voicings asthough were MelRhyne andJimmySmith,it seemed behind comping 2-,3-, and4-notechords werelikethesaxophone Hismid-register section. actinglikea trumpet liketrombones, thesoloist, it sounded thusgivingthe behind he'driflwithoctaves andwhen section, in thesame hewouldnothaveverbalized thisconcept guitarremarkable scope andcolor,Perhaps whatI heard wayofexpressing andstillhearinhisplaying. manner, butI findthistobeaneffective yourguidetoneswithchordvoicings istopunctuate forgetting a griponthisconcept Onemethod "E" earstotryandmaintain a a topnote0nyourhigh string.lt'sgreatforyourdeveloping utilizing lt alsohelps to hear howbeautifully asis possible. asoften toneinyourtopvoice c6mmon canbe motion ontheguitar harmonic moves, andhowefficient harmony inyourtop practice displacement a kindofoctave toolwouldbeto use andvaluable, Anadditional, "8" play Then onthe string with"D"asyour topnote a voicing ina "G"blues, voice. Forexample, "E" "D" thetopnote progression Asthechord onthehigh string. ofa chord answer thatwith as "D" moves alongtrytoget ontopol eachchordif youcan.0nceyougetthehangofit,youwillbe yourfingers under sections withallthree concept, witha bigband tocomp able

tu Exampte @

F7(e)

xx

xx

TN-TI rflttl6ri

F++IH

FFfi&fl.,, l-].]T

F7(s)

l'...!.''.I'...lT

ffi

Fn-m

I rr

ffi'"

ffi'n n-rrF1

mo"

tx

Gm7

c7(13,9) ;+-

ffi,'t ffi lli.l

LILL!

D7(9)

xx

xx

Fhlfl:i -T-H t t t l x ILLU

LiL]I'

l.i-l.i

Bb7(13)

G7(9,13)

xx

IEtr:tr EITItr ++*rl H+fH FTfllN'I FFfiEB.,i

|...j...u

FMroH l l t l e I:ml]mlTl

ffi

Cm7(9) F7(9)

F7(e)

Bb7(13,9)

F7(13) ?+.r1

D7(fs,fe)

tu F+1t+ ffit'tm"t ffi''i H++r ffi

?+-

r3ll

ll.ll

I l.l4

ffi

G7(fi5,ile)C7(b5,bg) |ffi

-t-rrn

Hllfluri Hlf,l

h Ir flfaf! f T I t a l IIII-II I_LLIIJ

{:t I I

i t : l

F7(e) TITiI IlrTfl i

i a H I I Ltla TNI]

_. / [

turnarounds

Thisbrirqsustodisossirp ban11and12,ina ierz-tyve nN plaFrs blues lii qi b re cltrr a l7-vl7-ll7-v7 prograsion or l7-vl7iim7-v7 (2 per pbentrp'arpts hats chord). t'm n otin "F and.'G,'ilyog playing w.ere with, you at the very least, a basist, would usntty'na rse ttn !o_be given notes onthelow"E"and'A"strings. However, inmyattempt io cover asmudtmaterial as posible, I wanted tomake surethat,forthose guitarists ofyouwhohave heard sound likethey're boththeguitar AND gained thebas,youhave a sense ofhowthisisdone. Perhaps myfavoiite (esentially example guide ofthisstyle it's tones with a note) bass was recorded by Jim Hail andBill Evans ontheirversion of'MyFunny Valentine' ftomlJndercurrents (Blue Note/Solid State). Each part(theMsslineandtheguide tones)could certainly function onitsown,buthereit's'anew clullenge totryandplayboth. Thetrick,fingering-wise, istheconstant shifting ofthe1stand2nd fingers (ifyourpickisheldinyourright-hand). onyourleft-hand lf youwere notplaying thebass guide played the minor 7th your tones would be with 1st finger only, and att the dominant rytes, {l 7thguide tones would justtryplaying beplrye!withyour1stand3rdfingers. Asadiscipline, the baslines bythemselves player andgainafeeling forhowabass might approach sucn dtine.

Erample 16A:Blues Tumaround inF(Upper Invercions) F9

Eb7

tI 4-Jf UJJ

.I.J

D9

Ab7 X

rrlrrl

F9 i

l

Eb7 x

t*l*H

x

r

$tt.n I't+tH

tffiro

tr3

: l l

G7 x

T

213

ffi,* H++f,

x

t

r

x t x

(merr

.SIFH8fr 'tt I-f I

ETTED HFH

ffi'oo

tftfr|

2|]

| 2l

G7

Ab7

x

tlHH:lrr,

trFFF

x

Gb7 x

x

F9

x

x

HfiHnn Hfl+

t l

c7

x

x_

xx

lltlFl rr'

ME,lfr

tEn t ? 3

dp

I

Db7

x x t

'ffioo

c7

Db7 x

ffi

lim rrrr

D9

l

EtErp

l+-l+t{

liflHer' (tEtlE H+H'.fr 'ffi'"' ,ffi,'n FSf, :rl I tl r 2l

x g

T

Gb7 (frttE2r'

ffifJi 2rl

rftfrrn FIH-H

H{1+

FrfffJ

t2l

x

F9

x x x

|''H

I t t l r l

x

ffi'n l.#-ti

r :l

123

(?)

tpl I

168:Tumaround in Gilajor Erample n

GmalT

qftpfi'r'

d*if

ffi'o

ffi

rl-FFI,I

TFFFN

(r) I

n x

x

m

BbmT x x x l t t t t l

Ettttr

FtFIIl

ffi

rffien

l..#

FillFlsr,

Am7

Eb7

x x x ITTTT1

x

x x gFm ffi

(lFtl+l srl fEfE

l4*l-{ er.

2 55

D7 x

x

t

Cm7 x x x

tr1:mlT

Etr t{+++{

Sllsr' :r:l

tlhftHrr'

|'.l..l..l+

I

ll

,r,

(-) I

Bb7 x

ffi

2rl

E7 ffffirr'

I

I

ffi

I

tffior,

Eb7

Am7

,ffi,* H++f, 2 33

x

ffi

x

x

Ftr]]] hffi.n 2r3

Ab7 x x t

rTrm t'|-l..m ffi4li LLLLIJ

un[Fve I

rhythm andblues/

gospel chordal approach

.r

|

t-.

wOuldn't^pgp.qltqllpt,oposture myserr asacomprete Iltqlg.h.l historian on thegrowth ofgospel music's.ch.ordal style

andlti oeep plaieinAm6iil poputar iooted music, I amcertain thatlhave agood feeling forihismusic. Rnd, ahays lo,iiin rirj'ffi nomatter how far you out may aspire topray, thebrues shourd arways bepresenisomiwnri, rnvorir^i, Therelerence sheet whichjoilgw,q (Exampre 17)is offered simpry asaprace tobegin. Asyou,rl notice, ontheguitar (rikethe.right-hand dta piinistj,th,e stybij,ootro'iniiipremajor, minor, diminished, andaugmented triads. ll you'd tndtooiiveoeepei iniotnityi; ;;il apianisrs, p.int ofview, make theeffort towatch andlisten tothevideos airdrecordings'oi ii,, Charles, Richard Tee, andDr.John.

withtwoumpre choruses ofa 12-bar'G".brues (Exampres 1gandrg),r'vetriedtogiveyoumost orthebasics asI might ttplov-]hqT:0lviously dnecdu.to oevote an6hiiiJteiimtnisarea atone, butI hope thatthiswillinspire youtoexplore thiswonderfulgenirif gri.i;irr;gth.lvr atsooftered anatternate introduction, orpick-up, ii' rnestyre ;iw;;fi;;tsglrl,.y'b;ilil hedidsomany clevet things withhisblues oriented compositi6ns, especiatty in rriili{ilfi;ralet diminished 7thchords.

Example 17:Derivation ofGospel/ Rhythm & Blues chordalstyle G7ChordScale(Gltirotydian):

TriadShdrs: Cmaj

F maj

GBluesScale:

Ascendlryon Guthr: Fmaj Gm{ rt ffif ?ifTn HlIfl Hltlrr, l'.l-{.H l{..|+l FffiII 2ll

7th

I ||

-

Root

Ogdonal vohings: Dm Em nx l..I'.mlfi I I

I

t a l

t-f++ff t t

l

XIT

Fffi,u ITTTJ1 IJ-,I-LIJ 2tl

Fmaj

Bbmaj

Tffm

ffi'" ffi

# t+F{+l

FFFf;llsr' t12

2N

$'g"

Gmaj xxt F|***{

ffi'o tfrFl.l

Cmaj

xxx H***.1

tlrErr

u l t t l IJ.LLH ^. r r r r o u t r t I tal I

t32

3rd

Bbmaj

xxx

2tt

4th

Am

\

ffi'ou

ffi ffi,,n

5th

6il'

rffiFt t32

Dm

xxtl

xxx

u l t a l

ffi,on

|ft-t-Fl

I-I-FFH

lJ-FFFl sr. LIMlmln

Em xxx

l..l'.l..l!

t t l

;:'

Cmaj xxx

.o.

ffiH

g

FH#r:n 333

o

i[m," T55-

DnVG xrr

ffi,u m'n LTEIN

z5 |

H-FFH ffi 2l I

=^

Am/G

G

m,-m

?ii?n ?f+-tr

ffi,,m" 3tl

G.nC

AmC

Gn/C xxx

3"m'*

I r rmott II IIN t I I ial

rrrrh

2| |

Bb/c c7 t:+-

F+-t-{3.z.-

}-t-.I-lJ-.t

c

FHIJ

!il

t4t

ur--

xxx

xrx rrrFn

Em/G Dm/G

r!!-

x

x

ffit

L!.I-.t-u

Hitfl"" Etfllrr, ffirr, ffi

I+5-

x

t+t+i

FF|+*{

Lt.UU tr|mmln

2tl

x

x

l..J..J..l!-LLlal

Am/D

r

T[m

I ttf

/._ IJ+!E

ffi

l-#l

l-H*l

| | lfn l..]'.I'.E

FFFlll5f. FFf;trf,rr, ff.FFH

Ft-frtl 2r3

222

ill

*

AnVC

Bb/c

xtt

xxx Lu+l

{IIm.n I I I l T

|-lftf'

G7 xx r u-.I-.t-u

ffiunffi'n Fffr-n ffi|-|l 2tr

3t2

c/G

r x x frrl-n

xx ffi

LLTAIJ . I raratJtt tlm.lmln lmml..I.-m l."l..l.U t l l

EEltbir'

ffi

lltl

L, \:

:ltrifrn ::t r a

IJ xxx

FftlH'o l t l m r r r r r l rrm|mmmr2il

'Ar€n Perhaps themostoften-used cadence inGospel music ist|naoo ffi Cadence." lt can .,'rte *ouldbeused appear inavariety offorms, including: lv-|,lv7-1, lv7-17, iv-t ft as analternative tomore basic V-l cadence. InthekeyofG,it carro@ srrfy asc toGoreven overabtues ya rorsrdc! rrru; a o peoi orperhaps, 6ener 919lp 9 whenplaying 't've ltouii findthata back-and{orth motion between simple triads flil st- r'lr,-1abrces atieaOi menlioned Cto GandC/GtoG,another variation ofttnt*wu I s E tr.rc andbacktoG.you couldviewtheAmasa function of C6/G, so,it toogerreraes J tftr^ .retrngthesense bi momentary resotution couldatsobecreated withthisnrrrn Gb S,€ I I G nenbacktoBt/G, andfinally justletthebassdc lrs ct FrrE - uassnotes resting onG.Remember, andyou concentrate onlhecolors created s.re* Foughthiscreate! bythetriads. LettfEn g i dominant 7thoriented feeling, it's-very common tosbrrrr rt safi J lnG-moving to Em/G andthenreturning torestonDm/G. I hope thatsfnrirpE sl!tr! csrtcs ,nthetefrwitfnetp '18-19 your.own analysis ofExamples aswellasther*rrr crl FEted infxampfe 1i. iol willhear allofthese puttouseintheinprovr=c concepts atr tr 3rotnelius" located on CD#2,Track inthekevofC. [7]andperformed

Example tt @

Am/G

G

C/G

x

rfitn

Frfl-h

FH{HstH#Esn

FFI-++{ ffi

ru

231

An/C

x

x

x

x

r

l..J..l..U

312

313

c

C7(9)

imi'" iiffi'.

x

x

G x

x

7 x

Bb/G G7(sus) G7

Eim*m*''m,*

x

H+fH Ff#hHrn l-l&*l -ra" l'**!FH FffT'fl 133

rfl-Fl-l t2l

2lr

n

o

xxx

ffilr, Ff.H+ TrrrF

FFfffl3rr f++ul rrn-n

AltermteInto. (Westlontgomery Style) G

7

xxx

|-rrrn

Hj*Flror,

H++# t4t

'

34t

t.. Go7, ?+-

241

m'',m,-

n

xxx

2t3

ullh Wostomlom8 t el he HolltroodBoulCo0cad, SlsY3 ca.1966.

m,-m,

G Am/GG

xxooox +-{-*r-.,

Ff?FH ffi

GrIVc

F/G

xx x F{.*ttl 'rr

2l l

GboT ff-

Go7 ?+-

TI.F|-FI l!24

ffFFH t324

F7(9,13)

fd

ffi--ffi'*ffi'*m'u rflt

I t2J

| 234

Ge(13)

a

UnitSix harmony built across theslrings

we will nowbuifdGfiords,,rne

v.rr. resuide rones asashrrin point'You've arreadv *^s ru*,,u beoun,by youi'D; ano;6 .r'ng using prde sn rone rrnes (exampres 20, 23,26and29). Nexivoriwil;dd;;di;;0, youiie:sr,ipim,nd;"rf2'i"it ano30). 0nce rrnr isunderstood, .r"sr.sim;p youwi,iladd uoiCei yc,i,r""'g,ino onooin wbt 2s.28 and31). Basic voice leading principles asyouaddvoices acr'ss trEstrings: 1.Irytokeep acommon your tone in topvoice asthechords shift 2.Trytomove thetopvoice chromaticaily upordown asyOuhear thernrmony shifting. whileattending u'c'L'A.,l.feltlwassofarbehind my.classmates firatI sought extra helpwith harmony plf!9,piaT and lheory ressons rror i rrrisicirinsrnrcroisil'r;#;,y hard "the to have me undersland lheconceot 0f ilill ofthetone." ni irretime,rirrioionrG ii p*r.,rp,because her orientation wastocommunicate torc i, iiiiriirji'ia,monicrangr.nge andnorwitha pop,Rock, orJazvocaburary which might have touno inetteiionnection withme. lf youobserve themovemenl guide ofth-e tones asthev7resolves tothetonic, theintervals ofthe 3rdandt7,within thedominant nd inoro,seem ,,must,, iiirrougn they MUST resorve. The 3rd 'mus;; resotve totherootofthetonic, andtherz reiorve.to-the miroroiminoisrd. rnrr, withonry twovoices, theharmonv iscrearry "wiil,, defineo inJ tnose vo,ces now do seem t0 have a oftheir own. Play thenexlexambte. "pul" tistentoinowtieiiO,].lif'rnnoftheF7chord rowards thetonic and3rdoltheBbchord.

whenyouaddarterations chromatic passing CIs,b5,fg,rg)as tones, youmightwanr tomake sure thatthemovement 'tp6ll"the'Choro. oftheoitches. isrettdcteoln now'y-ou ctrooie to By this I mean, using shaps toindicale ascending motilailii;['foroesiending ffi;#;nr ;nchoosing oneor theother, youmioht beindicating-tha u,ersorirreiominant will resolve uptothe3rdofthetonic. Butthel'13might-resolve gln down tdthe orihetonir.orrsystem ofmusic notation isnotthatstrictr when it comes tothelabeling.of chords, outroilneiaieotitearcorrun]"iil,it issomething to ail,vou oi;riic pr;yrdasyouhear qlece [i!3oqut..nner itassoon possibre as ry1g and crear communication inyour writing pr6criss speeds uptnat

Example 20 I

m," m'- m'"

Bblnai7

Bbmai(d6)

G7(il}

t3

Example" e

m'" m.' m." m," F/(e)

BbmajT

t3a

Exampfe " e

Bbmaj(ad6)

2tl

m'"

F/(b9,13)

|32

g

Bbm49(add 6)

m*

r"r"1tfr EEEE tl

Erampfe ^ e Gtn7 I

X

I

FFI;TI 8fi EEEE ill

Erample" e

tl

F/(ilg)--+

m'"m,"m* (b9)

Bbmaj9(add 6)

Ir3

m'"

F/(bg,b13)

b;'

G7(*5,b9)

| 133

BbmaiT

n

t32

m'" m"

BbmajT

o.

Erample" e Cm7

G7(be)

m'-

G7(alt)

t3

m"m'.

(bs) G7(fs)---' t24

t2l

m'"

G7(b9,b13)

.l2t4

Example 26 BbmajT xxo xr

ffi

rfl1-n ffi n-ffr1 I

Exampte " @ Cm7(9) x x x ffi HlH

Bbmaj9(add6)

iFffii ffi

#

Ffi-t-H t34

Erample " @

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

Bbmaj9(add 6) xx ffi

ffffi,o H{H

FFI-I-H I344

34ll

BbmajT(6,9) H#Frr, FtrM t-fJrtl

G7($5)

TTTm ffirti n-Frrt

42tl

Erample " @

Erample* @ Cm7(9) x

t

x

ffi

Ht# Hl+fl ll4

Eramplett @

Cm7(sus.)

tu

$ffi ffff't-l

F7(b13) x

x

ffir]

x

ffi

-> (b9) G7(ts,ss)

ffi

x!IJJJ+] |''m IIIILI

l3t3

UnitSeven iimT-V7-l-V7overa pedal

a great music lessoncan from amost unexpected source In -lp"ltlinqs "pop" come tneearryyears ofmycareer, I accompanied gtten many

m-usic singers. rn-such a settingthe basic rhythm section isaugmented qlromnones,5 byafulloichesira (strumpdts, plus reeds strings) Forchordal instrume.nts..espdcially theguitar ['canoei grert irrirrg ' -' experience to J be forced toseeandhear thatpLAylNG LESS canneSRytrue fVOnft Inanyglven performance, there.would almost always bea moment when thesinger would tella storyovera L0NGvamp, sometimes thisvampwasovera peoatpointlonertaticpitchfromthe bassist) Aslwould srtamongstthe orchestra andlisten, lcouldhear thechords moving even thoug,h.the,bass wasonlyplaying a single note. Thepedalwas invariably therootoftheVZchord andalltheharmonies sounded beautiful over thisonenote. Truly this*ir'rgiratirranger's devrce. l.nthisseries of examples presented l've everything in thekeyofCmajor;therefore, wewillusea "G"pedal under progression. theentire We5egin'with fxanipte sz,tl[;ing"jrrt theguide tones whichsupply j5, *L uooathrrdvoice movement intlieprogression. InExampte "8. thebasicharmonic string, attempting to maintain a common-ione topvoice asaneir-trarning 9l llt disciplrne. Adding afourthvoiceonthe"E".string inExamples 34,thecommon tonepriniipre onthetopvoice remains. When thisisnotpossible, thetopvoice should move ina manner oirtutro bywhere our ears seem tolead us. Examples 35and36extend.the concept byintroducing ascending anddescendrng chromatic movement inthetop-voice. Asa discipline, I'veattempted to make ihisvoice move nrhalf-steps possible. wnene.ver Always keepin mindthatI'vejustchoserONE youhavemanycnotces option. andafter y0UR atimeyour ownstyle ofharmony willdictate choices. youfeelthatyouarecomfortable When withthese exercrses overthe"G"pedal, trytotranspose the "C" rdeas t0workover pedal provided the ontherecording Since the;'C"peOit istheiootota " F , " d o m r n ^ a n t _ycohuo' lrblde . i nt h ek e yo f a n dt h em o v e m ewnot u l tba k ey o ut h r o u g h Gm7-C/-Fmaj7-D7(alt.). you're practicing, When rehearsing, orjamming wittr a oassist anct drummer, trythisconceptas anextended introductron perhips toa staidard,'or oneofyourown original tunes. Mostoftheexercises inthisbookarepresented intheformofwholenotes. I feelthatit'simportant t0 growaccustomed tothebeauty of longtonesastheharmony slowlymoves through theihords. Long notes ontheguitar justaseffective can,attimes,-be percuisive ai ttresrrort strokes with which weguitarists aremost associated.

fyewi|ness in 1989.Clockwise fromloweflefl:Anlhony Jackson, Manolo Badrena, Sleve, andDave weckl. original pencil NedShaw sketch for,,pUBLlG ACCESS', CDcover.

guide tones I

Example 32:Keyof GwithG(Uasa Pedal Loruer Invercions Dm7/G xx

xx

ITITN

bH++l rrr lfm

G7

CmajT/G

Fl*++l3rr IJJJJ-J

l3

UpperInverslons Dm7/G xx

xr

ffi

G7 TX

Ff;ffi ron

LorerInversims Dm7 xx

xx

ffi FFE+I]fr Hl# t4

Uppclnversions Dm7 u r x

Ffff+{

u-t+u FFffi ror, t l

Ffll'flcr |..l.ru ll

G7

Cm{T/G

xx xx tTrrn

xx xr Ent12fr FtFrl tl

m,- ffi'ffi* m'', CmajT/G

II

Hqtf, ffi

ffi*

Cm4(add 6)/t0

Cmaj(add 6)/G

Cmaj(add 6)/G

ATtG

rx

l-ilFlJ rn

xx

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

|ru t3

l3

m,,' m'"

G7

CmajT/G

x x s

Cmaj(add 6/G

ATtG

u x x Ftl+ti

rt-ft19ft |..ru t3

r I fr

Hl+fl t3

withcommon tones Yoicings 3-note Example 3il:Keyof CwithGM asa Pedal

m''' m.. m," m'- m'" ffi" m'" m." ffi," m,, H,., Dm7/G x

x

r

G7

x

x

CmajT(9)/G

t

A7(bsyc

l l l l l l

H*!Hrr. H]#

Dm7(9yG

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

l2l

2al

G7(13)

CmajT/G

t24

Dm7(sus/G

A7(b9I 3

421

G7

ffi

rfl1ifi

Cmaj9(add 6/G

AlbslG

8ft

l+t*+.{ 211

Dm7/G r

x

ITITN

G7(e)

x

ftt5

l l l

rofr

L|J+.I l-filtfl

134

lt3

Cm47(13)

r||qtslG

gfr

ll I

o m,"

4-notevoicings withcommon tones Example 34:Keyof CwithG(V)asa pedal Dm7(9,11/G

Dm7(sus)/G ftE t t t r l l

G7(b9,13)

G7(9,13) l(L

A7(i5,bgyc x: rrl-talfr [lti

lt2l

Cmaj9(add 6)/G XI utrrf

f!ffilfr

FFFFF|5fr

F?5fr

III-LLI

| 344

3 4 tI