Steve Khan - Contemporary Chord Khancepts

 

contemporaryChO d

KHANCEPTS I

x

- t

-r

tl

I

,

x

- t

tt

^tl

Chord

 

HANCEPTS RTgt|sHEDv Mnmnrrat Muslc, lNc.rM @79Xt MANHATTAN MUSIC, NC.rM

l^t

x

r t

All tughtsControlled nd Adminisre:ei r- Vamer Bros. ubl:cat;or.:s, nc . All tughrsRescn.ed. InternatronaI opnrght Secured. ;cie r: he U.S..{.

Distrlbuted by Warner Bros. Publkatbns

rsS(xtN.w. N .w.

48th Avenue Miami, Ft 3:l0l4 Anv ccpf ins of d:rs materia.l in n hole ul n pan r+rthout tne elpress l{nnen perrnlsston f \yamer Bros. Pub|cattons sa noiatron of copvnei:t la *-.

r^t

x

t l

Tfr

a e onten

 

Introduction Unit Superimposition f he imT nU ZChords

g

Unit Triads Unit

Guideones Guide oneserivation erivation

12

Unit Elues

14

Unit

21

RhythmndBlues/Gospel hordalApproach

q il 6 Harmonyuilt crossheStrings heStrings Unit

24

iimT-V7-17-Vl7 ver Pedal

Unit ModesnGhordseference

31

Unit

96

Chordaltudy t udy erivedrom erivedrom Linear xercise

Unit 0 Ghoosing Style

39

Unil 1 McGoyyner ynereft-Hand eft-HandUle iano oicings

40

Unit12 Unit 12 Ghord oness ones sMelodies

41

Unit 3 Gadencepproach p proach h roughppernd hroughpper ndower ower {eighborc 42 Unit 4 Gontemporary oicingseference oicings eference

U

Unit15 Major-Minor Unit15 Major-Minorrercise rercise

48

Unit 6 Ghord Ghordhanges hanges or orStandards Standards

53

Unit 7 Gm7-Smai7(il4) xercise Unit 8 0ctaves 0ctavesith ith hirdsnside Unit19 G7PedalGhordal eference Unit19 Unit20 About Unit20 Abouthe heGD GD

72

c r

 

CO RACK OESCRIPTIOl{/TITLE Tuningotes Tuning A=440) t1l otes Etmajor I2l riad iece E xample Example ) t3 t3ll Triadiece Triad w without ithout iece uitar) lbryiq GShuffte E xamptes Examptes t4 t41 1 t ues tues -10 r;d r;d2-19) 2-19) GShufflelues w ithout without t5 t51 1 uitar) t6l G,Gospel Examples luesExamples 8-19)or 8-19) or lay-along, se Drack5l t7l Blues/Rock use ith ny bluis)' use huffle GBlues/Latin use ith ny blues) t8 t81 1 E xampte Exampte GMinorlues te te1 1 i) GMinor Minorlues lues w ithout without uitar) t10l E xamples Examples FJazBlues l11l 4-15) without FJaz uitar) 112l JazBlues Blueswithout tl3l he triss lt.lqpsshe Exampta tri ssSmai)Exampta tr31 J:t.lI lt.lqpss i -V-l-Vl7Bhaj)wilhour 114l uitar) t15l verGedat evenrh-nores)(Examptes edat 2-36) ll-J- .Yl7 verG eventh-nota) GPedal t16l without uitar) Chordxercise^in Chord t1 l xercise^in equence ver pedilExampla1-441 eventh-notes) q Pedal t18l without uitar) tl el 3/4 rxamptes atin lZ)  ryF lampnG t20l 3/a atrl amp uitar) nG without ii-V-lC-adences Btmaj)Examples I21l 2A-0) Btmaj) ii-V-l without uitar) t22l Gm)Examptes t23l Examptes 3A-D)   L Cadences Gm)without iig-V-iGm) iig-V-i without uitar) I24l t25l xercise Exampta G  rQor./q. Pedal/tatin no1 nG r,g-62)or or lay-atong, seCD CDrack rack16l t26l

cD2

CO RACK DESCRIPTIOII/TITLE 'Mundo t1I Desmondo" Examples 3-65) 'Mundo t2l Desmondo" without uihr) "Some t3 t3ll Thingsou're Things ou'reot' ot' Exampla6A-C) 6A-C) 'Some t4 t4ll Thingsou?eot"without uitar) t51 Examptes Z+0) Qmf-fbm{zrlxercise GmT-EbmajTt4 without t6 t6ll uihr) xercise 'DonGrolnelius" Unit 9 improvised t7l iece) w without t8 t81 1 CPedalhuflle uitar) huflle ithout l0Lntura ity"At7-Sm7 atinamp) atin amp) te tell N-7-.VrtT t10l without a atinamp tin uihr) amp "Sliceville' (Bi atin t l1 l atinlues) lues) & Latin w ithout without t12l Latinlues uitar) lues F7+747-F7 t13l arinamp) arin amp) :{hqla mo' FI+747+7 Latin 114l Latinamp without ampwithout riihr) ii-V-l-Vl7 tl sl haj L LarinCmp) arin Cmp) _Ggclnngl ii-V-l-Vl7 tmajatinamp 11l atin ampwithoutuihr)

upega nan s

 

eople: erypecial hanks o heollowing heollowing My ery pecial enerosity, rlping ne ssemble alents,ndireless ndirelessffoGn rlpingne Al AlGorgoni . . foryourriendship, Gorgoni Dsnd aveeen part fmy linics nd hichracehese Ds ndwhich aveeen equences theplay-along grateful private past ears. 'mso nd ould OTnve lonehiswithout nd or he everal 'mso eaching eaching you, ryouramily. ndo: Wallis,aron arontang, omRoed, Roed,ob obSherwin,ike elverne, ndo:Rob RobWallis, tang,om ichael,scar elicia ichael, scar Fruko, hristineartin, alcolmndNina ollack, obMounsey,elicia hite,loria opez,lifford ynne hite, loria euben,lancaopez, lifford anoloadrena, anolo adrena,arc uifrones, Hernandez, an, anoohal, ivianaibelli, ed haw,avid haw,avidan, ohal,iviana ibelli, ike ationaluitarummer uitarummerorkshop, Carter,ational Carter, illand and ilibeth orillo, uny eyes,dRak, an eeff,ill Landy,olin Landy, olin chofield,nita adilla,ilibeth u ubenodriguez, ben odriguez, atrizio eller, nthony arris, an a ackson, ckson, ohn Kristin art, tan mith,ohn mith, Chioza,enny Chioza, ennynaoka, ndam aoka, abina abina ndSeth rnstein,scar rnstein, scar'Leon, 'Leon,ergio ergioernie eorge, obin ould, obin illiams, erek erek ernie inoso, inoso,ernie ayamo, ayamo, ulian orgoni, erbib,dam erbib, orgoni, Freddy heShapiros,onn onn llenndBarry irnbaum, ennishambers, uertoico ico ll-Stars,ennishambers, Jeter, uerto oncho eynaarpio, stelliaiaz, iaz, lare ischer,oncho arpio,stellia Guena,eyna on arter,uan uan uisGuena, Cunningham, olon, stherlores,nd nd nton,ean-Michel ean-Michel immynton, immy West, etty emont-Rahiou, West, oug Sanchez, ocke. Johnocke. John

Acknowledgm

adowskyuitarsRoger MarkleytringsRich riedrich),adowsky Gibson uitarsJimmy rchy), eanMarkleytrings Bob Walter oods),ustom oods), mps ustomudio lectronics Woodsmps Woods n nd dKen allon), alter Sadowsky Masaaki Mitch olby), Alex guilar),org/Marshall amaha o rg/Marshall olby),amaha lectronics guilarlectronics guilar Bradshaw), Carla J John ohn eyes), nd he atin uarter . Music ervices, omas),anny. a nny Naito), banez The oldrichamily). Manny's

Dedicatio mysister, mymother, mother, loriand loria nd o mysister, ove ndgratitude o my ithove n his s dedicatedith Thework workn hisbook books eath. my ear earon, on, . . s lways, o Laurie and, and,s

Corresponde

t'salwaysreatohearrom ou Please eelreeo eelree owrite,t'salways Writeo: Stevehan Stevehan P.0. oxY30 308 m81 1 N.Y.C., oumustnclude ncludeeturnostage. lf you'dike response,

Credit

arontang tang obertallis allisnd nd aron Edilorc: obert h elseausic ngraving ndBook Book ayouUllesign:helsea Engravingnd ilusicEngraving ilusic 0t6 6 Cover esign: 6l0ne0t Back overllustration: ed haw n lormalion: nlormalion: Recording CDRecording CD han n Steveha Steve Produced y: Al AlGorgoni ndMalcolmollack Gorgoni roducers: Associate Executive roducer: y: ndSequenced Programmed Recorded t: Mixedy: y: Recorded ndMixed Additional equencing: t: Sequenced s sistant: Flying onkeyssistant: Post-Production:

Rob W allis Wallis han,llGorgoni,n nd dAdam orgoni Stevehan, Steve and ,1996 Lightstream tudios,ctober c tober Malcolmollack Rob ounsey Flying onkeytudios ichael Feliciaichael Felicia oom m The eviewoo

 

Engineer:

Mike andy

lntroducti

geqmsStfange geqms Stfange hatwithur urnstrument, nstrument,

n hewortd wortdffpop nd ndock ock usic, here ft "rhythm c0ul0 xrstuch c0ul0xrst uch hing guitai' s a layer. guitarist ust lays h ho o he hords. hords.nd, nd, lead guitai' layer,ne n e ho nly laysolos,itis, i tis, ndlicts.find f indliis ld'tecause betieve ha hatt youmust mustry ry o play LL f he nstrument sbest ou an. bviously,ou'll ou'll ave avetrong trong ndweak points, ut utdon't don'tet etyour hortcomings et he hebest best fyou.You YouCntl Cntldevetop devetop ntoa well-rounded ntoa musician nd uitarist. 80s, Sincehe musicducation music ducation a as s dvanced asterhan h an ne an eepp eep pwith. uringhe 60s, whenwas when wasrying ryingo o earnow. earn ow.o playheguitar, guitar,ou ouhad rivatebaci'rers, b aci'rers, few ilots, ilots,no no exchanges f informationith riends, utmainly utmainly OUHADYOUR YOURARST ARST iyou couldn't'trear lIREAL $ qulqlly, o ou uwere ost. ebersold's oplay long JAZZ Ds, o videos, nstructionat ooksith ooks ith assettes, o 800K,"nd 800K," nd o amey ameyebersold's AIDS' ervice. As Asa a eacher 've een eenmazed mazedt heechnical he echnicaldvances n he nstrument.ever everas ashere here eeno many layersith uch uchncredible ncredible echnique. ften-times hat bility as ome omett he heexpense expenseta comprehensive nowledge fmusic: music:armony armonynd ndheory. heory.nmy myexperience, experience, hat asranslated asranslated nto students l lowing llowing heirhordal heir hordalnowledge o agar, ag ar,aiOenind. aiOenind. d, sa eacher. 'verieO 've rieOobring in he heextremes extremes nd hare y onceptsbouteing nd bout eingble bleo o put o use ll hepossibilities neguitai offersormore ormoreomplete x pression. xpression. Afterhad After hadmovedoNew orkCity Cityn nJanuaryf1970,beganoslowly slowlydd ddmore uitar ndmusic booksomy ibrary. urchasing ibrary.recall recallurchasing everalChord everal ubiications, ubiications, Dictionary" ome ith smany How as as80,000 80,000hords.remember r emember hinking, coutdhereosiibiyeTHAT anyhords?"s sii studiedhese heseooks ooksnd nd ontinued o earn bouth he eguitar,realizdd hatmost hat most f liese hordsust ust fulfillednumber fulfilled number n he hebook book utproved o bevirtually bevirtuallyseless selesshen hen aking usic ith ther -presented musicians. n his ook,'veried ' veriedmy mybest besto o make makeertain ertainhat h at verything hashe has he potential obeused beusednavarietyfsettings.would e he irst oadmithet het hai/;not not overedvery

singleosibility, single osibility,u ut,he t,hework workssembled ssembled ere ill ertainly erves erve san anexcellent excellent ource owhich efernytime. to efer nytime. . t. In Ina a sense,ormy ormybwn bwn qploSch, 'veried 've riedo oviewhings viewhingsn n a more ianistic anner. anner.he he ianist canaccompany heir ight-hand ineswith heir eft-hand.o, n part, 'veworked ines workedtt playi'ngh he e guitar ithhis ith hiskind kind f approach n mind, ut,he ut, he ey ifference or'me s NEVER iew tie bt-iranO aspects justa bunchf bunchfchords 'he 'he oncept s o ALWAYSear earhe he op opnote note fany hord hords s having elodicontent.his.is h is.isf crucialmportance. ourines our ines nd our hords hordsre re f equil importnd import nd anunction anunctioneautifully ogether nyour ands. Mymethodorsharing orsharinghis oncept sactuallycompleteontradiction ontradiction o heend esult ehopeo achieve.y hat mean,treat mean,treat hords hordss s otally otallyeparate eparate romhe rom he inear ork. t he hestart, start,he he wo are.nlyoined yharmonic heory.nd, heory. nd, s hework rogresses, he ines nd hords hordslowly lowlyegin egin to unctionogether.s here herere remany xcellentooksnd ooksnd ideos hich hichoncentrate oncentrate n h6 in6ar side f he nstrument nd ndmprovising, mprovising, havehosen ocusn o ocus na chordalpproach p proachhich hichan an joinhoseines. It'smy It's mysincere sincereope opehat hat ouwill willwork workhings lowlyhrough lowly hrough hismethod methodrom romhe hebuilding buildinglocks lockso he more moreophisticated ophisticated oncepts. pproach hingsn n smallhis tudynits tudy nits ymaking makingseries seriesfshort shorterm erm goalsoryourself oryourself somethiry9uCfttt Cftttaccomplish accomplish n a reasonable mountff ime. oumight mount find t difficulto place specificime imerameor he hemastery masteryf heseoncepts,utpatiencend steadyourse o urseill urely urelyii n utn ut n he nd. All he est,

N,k

ew orkCity,November November 996

 

lwas enible Slevghandmits Slevghan dmits hat, hen hat, hene ewas eenager, rummerith omusical raining. I had eveloped oveor he uitarnd, henwas 9, witched oveor nstiuments. was eterminfr thatwould that wouldot otmake makehe me memistakes mistakes hadmade madeith ithhe he rums,no no iioieo iioieoompoiitlon ompoiitlon no rivate UCLA, l long ong ith uitar e essons ssons rom Ron ntnony: nl-970re nl-970 removeo oHew  |tgU.?t York ity. Fromhispointonrvard, onrvard, omuch muchffSteve'sareer areer swelldocumented. n1g74, 1g74,e eperformed n az guitar uos ithLany oryell. uringhis one-ofhe heirstcontemporary hissam'e sam'eeriod,e b@amememberf heBrecker heBreckerrothers rothersand. is isirit irit recdrdings s-aeader s-a eadererb erb tri6 tri6oi oi Aryowf albums or olumbiaecords iiled:Tightrope" ('t927),TheBlue-lrtin;(igzg)and recter, {rtg9 RandyndMictra'et Davidanborn,on'Giotnici, ytike n.e:g,recordings n.e:g,recordings {1919) Mainieri, compilation illLee, illrawn Lee,teve teve add, nps diiled, thers. Tn The he 19g4,ony 19g4, onyMusic/columbia eleased'a D rom hese h reend hree psiiled, Coltection." ln1980, ln1980,teve teveecorded brilliantolo uitarlbum,Evidence,' olo cousticuitar wtrichaidributeohis az nspirations earliataz nd erved oestablish iim m sone l he reatnterpreters nterpreters f hemusic musicii Thelonious onk. etween onk.etween 98'l nd 985, 985,e eworkedndecorOeO iitn tn 'is uartet, yenitnesi, which..included nthonyackson, ackson,anolo a nolo adrena, nd Steveordan. Steve ordan. o ogettir gettir h hey ey made hrei recordings:-Eyewi-tnes" 198't),Modern Times"/"Blades' 19s2)ndc& toco' lg$j. sreve joinedoe awinul'seatherpdate pdate or t'sone t'sone nd nly ur ri gs6. is was wasoiroweo oiroweo iiin in u uetecording et ecording gnoq .ve, ith eyboardist ob Mounsei ne e mmmi-nominato o wasiftreO Local Color,'nd aseleased aseleased n1987.ggg aw awhe he dsunection tEywffressithDave eckl replacingteve teveordan o orr hePublic Access"D. incehat hatime, ime, t6i nalooeowo wotrabni trabni Lets Headliie' anad'pnecordings anad'pn ecordings hicheatured on arternd on nd lFoster. lFoster. Call is'anO wereeleased n1991 1991nd nd 992espectively. n1994,teve oundrimsat in rJcompinif ound Arthony acksonnd ndManolo Manoloadrena, adrena, OOing ennis hambers ndMicnaetrecker'for nd crossings,' whichas which asedicated edicated o hememory ihis hisate ateather, yricistamnyahn. amnyahn. Recently, teveraced as ontributed lo lo$ygla] $ygla] $ecialproiects.is $ecial proiects.isunique edte,f edte,f woGeorge woGeorge Harrison unes ikeMainieri's YC ecords'"Cbme ogefirer:AGuilarriUute riUuteoThi Batles."ere Batles." eree ewas wasccompanied ccompanied yMarc Marc-ohnson, -ohnson, eterrski'ne lrg tasconcsloi.peciai ndlrg nd Olympics. ndhe nd heHoliday Holiday roughttwe rought tweogether ogether g gain ain itr B Bra*erBrothers Brothers or leason balsil-styled nterprehtion f his athe/s nerue ne rue Christmas ong, he Chrbtnas alE,' hich qppeared nBlue ote'sJazto heWorld' D.n D.n1996, ted tedearned earned th Arg€ntint'vocaiiii Gabrielanders, nders,ob obMounsey ndNew ork alsa nd alsall-Stars: ll-Stars:uOenoOrlrp.rlarcOuinones Don't andPapo Papoepin epin contribute 'NoTepreocupes worry aby''No N€tn=iiotvoutdn,t lt Be Nice,'a r ibute ribute oBrian ilson. Got Menhl"rings ringsteveogetu ogetu r 0E u tirne itrJohn lecorddn$ptemberf1996, MyMenhl" Patituccind ack ejohnette. he.cD-ag-ain inds imusing usingis isuniqn uniqnguyngmo moananging ananging perspeclive o nterpret heworksfWaynehorter,rnette rnetteoleman, e trtoig;,t eOOn eOOnirrisj irrisj as rclls tandards yRodgers nd ammerstein, ndammy nd ammyahnmd.lenivil md.leni vil Ha6€n. Throughout isong nd istinguished areer,teve teveas asecorded ecorded iitr trcdl dawe daw e i6b a Miles Davis,.steely an,ames an, amesrown, rown,retha retharanklin,uincy uincyones, StepsAhead nd thers oo umerous oo o ist.He He as lsb roduced ddh rydntr nsr brrrao,e Hh guiuristi uouaio, larry.Coryell,lvlike tern,ireli tern, ireliagrene agrene nd illConnors nd Connors snetl spsrc ru eiir gn. rn"iOoition hehas he has ublished.three-other ightyegarded oota: ruc rirrpmay outtar lo nil [or, Pat Folio,' Martino: he ally ears," ndGuidr Wirrtshop eries Stn rCs,tt*id, eaify eries lunctionss.anyewitness s.an yewitness ongbook). naddition o ecording d p€firnrg-gd isaraitiv6 clinician ndeacher. ndeacher.

 

range l theguitar

To thg eyes and ears 0f many, theange theangef he uitar,t tsoutereaches, eaches, an r

timeseemike timeseem ikett rivalsh e iccolo. f he ollowing i agram iagram sstudiedarefully, he ruth bout whereur where ur nstrument eallyunctionsan ecomelear.f we'reobe behonest honestith urselves henwe will eadily eadilydmit dmithat,n h at,n our ower oweregister, egister,e'reperating e 're perating n h e erritoryf most a s s instruments; nd,n nd, n ourmiddle ourmiddleo upper egisters,e'ressentially upperegisters, e're ssentially perating perating n he enter enterffmost principal keyboards.hether hethere'rehe the oloist)rsimply elodicnstrument nstrument rsimply art fa basic piecehythmectionkeyboard(s)/guitar/bass/drums), k eyboard(s)/guitar/bass/drums), t'sessential t'sessential o gain nunderstanding f how u rnstrument estunctions. u nctions. Throughout ecentecades ecent ecades here ave een multitudef chord chord ooks fferinghousandspon pon thousandsf chord hapesor or heguitar.t is myexperience myexperience hat n he hecontext contextff making usic E" with thernstruments, n struments, ost f he hordoicings hordoicingshich hichmploy mploy h he e and A"strings stringsre re essentially seless. he heeason easoneing,hat hen e'resing e'resinghesewo trings,e're trings,e'reikelyobe n theway f hebass,nd otentially loudinghe louding oweregister heower egisterff he eyboard. f one xamines he style fWesMontgomery, t'sobvious t'sobvioushat art heused eusedull ullsoundingoicings hath oicingss san anactive active f his style nd ounded remendous. remendous. UT, ewas ewashe heLEADFR, LEADFR, ndhearrangements hearrangements ere uiltaround around what ewas ewas laying.ianistsnd rganistsnew, new,rr earned,owo owo stay utof utof heway. heway.n n many rock, eavy etal, etal,ountry, ountry,n ndolk dolkmusics, musics,t'sstylistically t'sstylistically mportant or heguitaro use usehe ower heower n he un, lways strings. heong ongun, ry od od owhat's i ghto ight orr hemusic musics s whole As his ook nfolds, hopeomake makestrong strongaseo rusing using,,3 ,and -noteoicingshichay acrossourD-G-B-Etrings. D-G-B-E trings.syouwork tdeveloping nevolvedense enseffharmonynd ndheory, heory, ust playing I believe hat ou'llind hisconcept hat hisconceptxtremely xtremely n, irstly, sefuln, seful ith bassist,n ndater dater withheaddition headditionffa keyboard. haveried riedo osupplyouwithas asmany manyptions ptionss spossible. hen you ut hese heseoncepts oncepts ouse, use,tt hen ecomesmafterf mafterfyour wn ense enseffharmonynd ndaste. aste.

Sounds

MiddleC

0pen trings

fingerings

pick pick n d ingers lingen

G

I

B

HighD Top f he ange)

hichwas undamentally As workedt workedt amending amendingy ypersonalpproach, pproach,hich or groups ithout l layer, ayer, g gradually radually my ingerings. keyboard eganoadjust adjustllllmy his ecamespecially rueor rue or he2ormations. heseorms, hen layedspart fa voicing voicingmploying and -notehord -notehordormations. mployingbass ote E" "A" on he noan r ndividual stringsould strings oulde e ingered he raditional o inger ndividualay, ot otas voicings ay, as f I had nimplyifted imply ifted ff heanner. ingerwhich wchose hichwould avehese een playinghe n doing waso hebass bass ote.My easoning doinghis hiswas o ryand ryand moothut moothut makes makes egatos egatos possible the lowrom thelow rom ne oicingnto nother.feel onlident, hatff givenhe ime osink hat osinkn, n, give great ou ougreat you're ill esults,specially esults, usageff my ingerings usage ingeringsill specially f ot othappy happy ith hecunent hecunent ovements. stateffyour hordal state hordalovements. Nomatterow Nomatter ow roficientoubecome n playing ith itha a pick, syour bilities ith hords hordsroaden roaden pick ill'beimes henhe se feither thereill'be there feitherhe and law"echnique e chnique r ingerslone loneill ill rove more xpressive. he dvantage f heseechniques s heability heabilityo o bring ut he opvoice opvoice fany chordn chord n dnsure h attspeaks hatt l earlys melodic learly o ice. oice. uicklyou ou trike crosschord, By Byusing using pick nly, omatter omatterow ow uickly crosschord,h hehigher ehigheroices oices ill illalways always be bemilliseconds milliseconds ate. y singhe ick luswo r hreeingersr ingersnly, ou an luckl l the tringsimultaneously nd, erhaps ringut estffall, ring est uthe heop op oice iftle ore. So, f you're layingineswitha pick nd omehords ith ingersnly, So,f ingers nly, ow oes ne olvehis olvehis While earsgo, ta youwere laying, orth roblem? backnd back ndorth e veral everal ta clinic,omeone clinic,omeone sked, noticedvery noticed veryo ooften oftenour our ickwould isappearhenou henouplayed playedhords, hords, hereid hereid t go?" t hat moment, honestly now hat ewas i dnot N0." wasalking alkingbout. bout.tt irst askedf I'dput he i ck betweeny eeth. e aid, So, triedo triedo recreate he ircumstances nd, fter while, realized would lip he ick etween hatwould hat he st nd nd ingersf my ight andn he re a between he he2nd 2nd nucklendwherehe ingeroinshe heinger hehand. hand. o,when when laying4-note 4-notehord, hord,h he e D" G" st ingerh e string,n thumbtrikes he string,stinger ndinger dingerhe 8"string,n dhe rd ingers lreeo lree obring bringu u t h e op oicen oicen he E"string stringy yapplyingittle oreorce.t will ake otof otof

ractice, consistent ut ouCAN CANo o tl

n

 

superimposition l lhe imTon onV7 V7chords chords

n

It seems so simple that eyooarorayerourd o urd o ox ta chord oox chordoicing oicingtayedcr o twohands two handsnd ee eett as, orerample,omeorm omeorm fGi chord. ften nguitar. ecantayonly portionf he hord.voicing. or xample: xample:e emrght lay nlywhat whathe he lght-handf fr'e ilyboi is playing-a art f hatG7 G 7 hord. We mightiew might perhapsi iew ur oicings m7 ver verhe hebassis bassis G," o rany umberfother otherptions. ptions. ndiscusstons rere.n d ith ne'another, t'sine t's ine0 0 ook thingsn his athereparated e parated anner. ust o n lose ight fwhat whathe r ct he argerarmonic really s s.. In his ook ewill uildour hordal ocabulary rom, g uide guide a)a a)a2-note o nes)pproach, ones) p proach, b) hrough raditional nd xtended -noteoicings, c)and c)andinally inally o4-notehordsl lbuilt b uilt pon ponpper pperxtensions xtensions fbasic basichord. hord. Throughoutthe ook,''llll be elerring o imT ndVZ hords hordss sbeing elatednd beingelated ndnterchangea nterchangeat youbuild hord oicingsp romhe romhe5th D)youwoutd 5thdegree degreeff G7 D)you woutdonstruct onstructm,omi, m,omi, Dm nso etc.n etc. sodoing doing1og yogldeextending heharmonyfGi byadding byaddinghe9th A),he c),an he11th 11thc), the 3thE): 7: BD BDF C h o r do n e s3:5 b 7 9 1 3 Dm9:DFACE l ones:b3 bZ Chordones: Chord

Erample::G7 Erample G7Chord Chord ones Dm7(iim7):oot Dm7(iim7):oot

3rd

sth

7th

gr grh h

ll we mprovisesing minor oicingse'd oicingse'd onstantly reatehesextensions reate fG7 nd robab produce, hatwouldttempt w ouldttempt odescribe s very ajestic eeling n h emustc. G" hisactivitys s unctioning n he ey fCmajor,hen hen is heV7 dominantth) th) nd l[ve. e9 ll hisactivity "D" majestic" i s he im7, im7,n n ordero produce his o ou're u're harmonic ffect lwaysuperimp6 iimThord iimT hordoicings oicings v erhe ver h e 00t f he 7.

Erample:: Harmonizedajor cale Erample

CMajor cale: Root I Major]

5t h

tv4

I

G7

As Asmy myown own oncepta as s volved,find hat rarely lay guitaroicingtilizing y ow A"or "E" 'veoundhat strings.'veound hathis hiskeeps keeps eout outof of he hebass bass layer'say, nd, importantly, t expandsur mprovisational oundaries. hisbookwill eems owithhe re'es sboth. Mor willnot notdeal deal wre'e ith he radition guitarhords hordshich hichtilize tilizeoicingshere h eowestnote son he A "or E"strings. f youeelth needo shore-up hispart fyour nowledge, his herere here remany manyxcellentpublications xcellentpublications hichreat reathis his areandetail. oname oname ew f heauthors: authors:ickey ickeyaker, aker,o oe ePass, Pass,nd nd edGreene.sweexDa rogressively rogressively on his onceptn ndntroduce dntroduce orend ore ndmore morembiguous mbiguous -and -note -noteoicings, ou'll oicings,ou'll find hathebass hebass art nd hemusic rowreer nd hemusicrow reer ecause ndreer hepossibilities orspontane reharmonization f ny hordecome hordecome ndless. nd,o u nd our usic usicill ill enefit enefitost ost

UnitTwo Two

 

triads

Example: G Triads Top oice n E Sting

tqnq 2p VealSof eacirins, tstill mazes ehat hato omanyxceptionany ifred ll$ gullarlsts ould evel0preatechnical ouldevel0p echnical acility_

n he inearspectsf he nstrument nd6tatty nd 6tatty ignorehe hemost most asic asichordal hordalomponents. omponents. 'mspeaking 'mspeakingf he undamental -notentervallic relationships ndhe nd he imple,u utt ssential,ajor ajornd ndminoiriads.hough riads.hough his ook ookeals ealsith ithhe he advanced sesffharmony, ses eelhatt's hatt'smportant mportant hathe hat he sagesf riad'se nituoed. Notoo Not ooonggo ong gon nannterview, obbenordtatedow esalwaysskedbout boutis is oloing. oloing.e e tries.to mpres ponoungerlayers mpres hat,xcept hat, xcept ora ewmomentlfsoloing, he uitarist must function.as naccompanist ostff he ost heime. ime.couldn't couldn'tgree gree ore ith ithhisissessment. hisissessment. owe mustcknowledge must cknowledge hat ften ewill willbe beasked askedo unctionsasmall artn he reaterontext ontextf someone for lse's usic. usic.s saosupporting layer,e layer, emust mustperate perate a onicplacelhat onic placelhat eaves oom oom he eyboards nd ass movereely bviously, f apiece fnmusic sbuilt round he uitar, he the thernstruments nstruments usthenllow hen llows s he amedtituOe. hismeans means hatmostimes play imes ewiilplay 2-'3-, 2-'3-,and and -notehords hordsith ithhe he ighestoicesuallyn he 8 or E strings. strings.his hiss swhere thorough nowledge f he asic r iadsecomes riads ousefirl. It'sbeen y xperience hat singriadsnan anaccompaniment accompaniment iguresmost mostseful sefulnR&8, unk, andaz-Rock and az-Rockusion usionhere here he.underpinning he.underpinning sessentially asedponhewoormer woormertyles. tyles.he he guitarsgenerally alledponor tspercussive alledpon ualitiesnd ndt t is or his eason hatVeonfy hatVe 8 or E strings.'ve presented riads here h he e ighest o ote te s on he hosen o omitriads omit riads ith theop oice oicen n he D or G strings stringsecause ecause findhese heseoiiings oiiingsound ound uchodarko darkocut throughost through ostextures. extures. t s mportant oknowhem, hem,ut, ut,'m 'mgoingo eavehat ursuitp oyou.

Rooton op) ffi r xt

tttf,rn

Hfl ffil

: I I

3rd r|l-m

ffi,u

ffi IfFFFI t t l

Topvoice Top voice n 8 Sfiing

ffi ofr FFFFFI

ffi

FFm7fr tl2

ExampleA:G ExampleA: linorTriads G linor Triads

xn

xx x

F|-i-T-F

Top oice n'8 Stdng

Topvoice n 8 SEing Topvoice Rmt

5th

xx t

m3rd

xx x

lTrm

ffi,*

..

H+# 341

 

tilad upeilmposl$on

riadSuperimposition' hafls an mporhntnej nej nceornrt6frt ib rsage ]ne you9tlowing an ontinually efer acko t.What t.What've 've ones'to ake single ssnft, ssnft, [r rod nmost oses, nd sed.triads_(both.major ndminor)hich hichscend scendnromit*ilyd;fl* ,mt. ,mt.ns nsvou;re proydqwith onglc" pgj{.vamg. n,theecording triswoii i desen6ouei.e'-rreryr*i ib heoretically orrectaire)andthe ffiil;b llt't?lchord'function onemight mighteed eedo knowor mprovising. hen ll ssaid ssaid nd one,ou'li ctuailyruito n* thisnformation or the lsventheroots. oots. Let'sook t heint heintexample: example: anF riad ver Gbass /G /Gan bassote). ote).lthough his hordan erve sarcral undions, t's t'susually usually houghtfas hought asa adominant (gzit)tije n i fi0. gerause contains F" is it,7 nohird no hird h or orBl), Bl),tt could epart.ofhe ominant rminortr6ioamiiiis. he of G." ygq riadui[ ui[ rom romhe he T.degrqe ygrbass ygr bassote, ote,hatriad hatriaduppties [.tt lypttimposeriad uppties he7th, $h,and $h, andlth lthchord chord o neshichgives oneshichgives sG9(11) i'omg(jil.-i6iih'drg,;ffin rso rsoe e efened toas toas he th ras suspension: gsusrGmgsirs. 9jg'l,9fll 9yqllfg likgo likg oadd. ou illhear hearhese heseinds indsff stash" chords F/G)eterred F/G) eterred o, Inc0redly' poly-chord spoly*hords. efersoharmonyhere herewo wo rmore morehordsare hordsare c ctually tually hing playedimultaneously. duwill ind indhis hiskind kind f aniaitiini'ilrrv, ni'ilrrv, rlirt orten,n20th centurylasical lasical usic.uctt ucttarmony armony sextremely ifficult o associate ni,'mooe rchordcale slish"cnorOirese,nbO wih,.ards,youan ee, ithhe onventional rese,nbO rrr,nry nryal al readilyive w eifinr diahnic diahniccale/mode cale/mode r amiliarcaletype caletypeithwhibrL o mprouii'e. poty-btiord -truepoty-btiord -true wouldot would ot oSnt oasily.

Erample : trlrdsupcilmpcltlon trlrd supcilmpcltlonhail

ilalorTrlads ilalorTrlads

Iilrtfttrlrbb Frid/G BrieilG

G iad/G $riad/G A iad/G

Giold am {rct functionatf ilode1Scate Gioldam G7(e,11) GMixolydian, Btues Thisoundan anunction unction Gwhole-tone/half-tone likeV7(alt.)chord like V7(alt.)chord diminished

Driad/G

Gmaj FillG G7( 13,9,111) r GmajTf(6,9) Gm 7 GmalT(6) Cmaj6 his oundsusedn manyays, many ays,nd ndends endso help reate reateGospel GospelrBlues feeling G7(t9,5)

Driat/G FrH/G E iad/G

Gmd(9) CmTG G7(13,9)

Sriad/G

B iadre

c riid/G

illnorTrlads

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

Amiad/G Am iad/G

C66This C66 Thiss sasound soundsed sed a ot nGospel Gospelusic usic Gm7L5 GmajT Cm/G 15 ) G7(13,, 15)

DmiiadG DmiiadG Elmiad/G Elm iad/G Emiad/G Emiad/G

GhalttoneAvhole-tone diminished tGltAblBrBtDrlDEIFl GMayor, CDorianLydian G nlf-tone/whole-tone diminished

Bb8lDtD tcl GrlBb DtD ElF

FmiadrG FmiadrG Ffn iad/G Gm iad/G Al{nriad/G

Bknriad/G BmtriadE Cmiad6 Cm iad6 Dknhd/G Dkn hd/G

DlE Fl l tclA 8t1 ctlDlE BHarmonicinor i nor B fil DE Ftltcl At18 GM4or, Lydian GPhrygian GLydian 7 GLydian GDorian GLydianugmented CMajor, Blues, Lydian GMaior,Blues

c7(e)

Gbl3(19)/c b9nbas(raretysed) G6

GPhrygian GLydian GDorian GAlteredominant Superocrian Super ocrian GMajor,Mixolydian, GBlues GLocrian8lorian o rian GMalor,Lydian CDorian nlf-toneAvhole-tone G diminished GMixolydian, Btues Gl nlf-tone/nrhole-tone diminished GMajor,Mixolydian, GBlues

 

triadusage

I'veriedo I'veried opresentne omprehensive xample f usthow how oumight oabout aboutsing sing malorr malor minorriads riadsn he ontextfa common i-viz-iiz-V1. et's hordrogression hord et'sxam-ine xam-ine nat ust ssume mightlay, e'llust hathis hat hiswould wouldlend lendith ith eyboards ndhe nd heest est f he nangemJnt. heheoryehind heoryehindtiy tiy've 've etected n/ot n/ot hesJtriaoiir11 i lf vou aveproblemnderstanding figuret,outgyrselfybuildingpeach eachhord hordrom romhe he o6tn o6tn hirds hirdsnd ndhln hlnhbet hbet ach alo?r minorriad.f hat roves i fficult ifficult onsultithmusical i thmusical riendr oureacher. e acher. Theirst The irst hordsnamedtmajTut l yo can ee,ll 've hosen oplaysaG-minor riadG,Bb, Bb, he rd, th, nd mal th f El.There El. There reimes re imes henn hen n anan1jer ouldamehis'chord lndQ), lnd Q), Gm/Efecause Gm/Ef ecause e/sheantso makeure e/she urehatyou hatyou lay triad,wit-home ou'll omexperience, xperience, probably henext he next hordi Cm7, ptayingn r,triaO lust nowodo hat y nstinct. Cm7,ere ere'mustptaying (El,G, ),he3rd, th, nd Tthfc. 0verhe G,B ),he 0verheFm7,ptay nAt,triad, At,triad,itn itnde deeasoning easoning eing eing the ame.nbars and 2,he gb 2,he nversion f heAb Abriad riademains emainsut utsnow snow layedver Oasi notenaking note naking heeading he hordBbg(sus). hord Bbg(sus). n he heast ast armonic hordf f hosears, hose ars,ou'll ou'll otice hathe hat heop op oice urposes. moves o orr oice reater or ahord rmonic nterest ndo nd o create ension, ension, nbar on thehird the hird at, played/Bb hichives hichivessBt705,bg) nbar 6,withhe rincipte withhe einghe ame butto dd ariety, played iBbo ealize8b1309)and ereused usedescending escending hromatic oice leading.his hiswasmore moreasily asilyccomplished ccomplished s used slightly slightlyigher ighernversion nversionl theAblBl chord.

Erample:TrladUsage EbmajT

Cm7 Cm 7

m"

fi'fm

|'ru

II LIfI I I I T N

2l

.m." Fm7

Ebtnaf

m'

FFFf;Brr,

|]2

m.

EbmaiT

xx x Ft-t'#

Etltbl3 fr

EbmaiT

m,'

Bb9(sus)

I||lX

Cm7 ff

bH*+a rr |.. 4 @

t32

x

EImlrn

E+]f,

x

x

F+fm Ftm+llfr LLILIf t2l

Cm7 Cm 7

rs_

Fm 7

FNTN

Fn7 I

X

I

qFFl

FFFTH r,

ru

Bb9(sus) B b 7 ( b 5 , b 9 ) xx x

xx x

EFffiot I

Fffiot'

mtr

I I ttt

ffi

Bb9(sus) i+T+

f*-

ffina

mnu mn u l2rc

ffi

FfH-il

l2l

ffi

l".l'.#

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

ffi'o 132

m7t

132

In Inmost mostases, if heresone) illnotwrite ases,narrang€I notwriteutwhatour whatouropnote notehould houlde, e, o t'sup t'sup toyou nd our ensefharmony ou?e nd oodaste. aste.he hemore alledpon alled ponodo his,he his,he ettdr yournstinctsillbecome become s o ustwhat whats play. nota nto alf-notes r quarter-notes nding nd height he inghem ight hemloud h hingo ing loud o f utt youwdre o urn urnhe heheisiould uggested itn itnutt hythmic alue, alue, lop formniql form niql houghimple,.long elody.ive elody. guitar iveta rylThistyle This tyle f ccompaniment ccompaniment i usually foundn R&8rhythmnd lues), lues),op, op,nd nd arioud ormsi dande" ormsi music.here's music. here'sotmore otmore6 racend doingtwithmprovised ndogic ogichanoumightmagine.

n

 

guideones oneserivation erivation

re

understandable hatou ourde aser oskip skipishno ishnohemo It^Xplqinly m.0.dgrn armonic oncepts, utt utt willall

make ore make oreens_e, ens_e, nd ay realerivioerios, ivioerios, f webegi witharmore withar moreasic asic usical ormations. 'm peaking f2-noteguid'e tonei; impte imptentervitio ntervitio 4ths. ths, ths,nd il4thsrfSths)which, il4ths ndritones ritones henlacedbovitheootcteartybtine ne nor ne familynd family nd utlinehe armony nserving his unction his hey lso rovideoiJrc a1.monic hey ac drop ithoutaking a king prisoner he oloist f 0UR conceptsi The uideone onehart hartookst ookst hehree hehreeasic asichord hordamiliesnd iewshem hemn n he uitarromhe romhe perspective located f he oot ootlocated neitherhe he A or E string stringnd nd oiced unctionally unctionally iomhere). iom here).n ou ee ull4-note.chord, theeftside, the eftside,ou 4-note.chord, heno height, he ight, itfr itfrne ne oot nd ne theritchem6v The uideonesemain. emain.hen layed henlayed n he ontextta imz-vz-tt iimTpsiz iimTpsiz progiesii

it'sobvious it's obvious ow moothly heseimple hese implearmonic armonic ormslow nto ne nothei.s1lbu -progre -progre through resented resented hcan't he ematerials ere,he he uideones onesill ill nvariably ervesour ournuilOing nuilOingt oc Always, gowrong laceostart, wronglace start,specially specially heneading hroughuneorhe or heirstime,

Erample A:Am(ii) ErampleA: Am(ii) (key tG) Am7

x |# F'-tffi

Am 7

x

l.]ffi

trftr

ffi,o

ffi't't

Derivaton m3rd

Erample8: 8:D7(W) D7(W)

7th

n7

Erample C:GmajT C:GmajT nd ndG6 G6 lmaj7 nd 6) GmajT T I }}{**l I I - I I

rc

rrrrt I l.r:

G6

ffi

x

x

aTTTft | |

I a I

rrrf'F 2 t13

I

tfr

GmajT xx xx f-l-l-m

ffioo rrrrn I I

xx

uo

xx

Effi'n ffil lfFt't-t t 4

GmajT x

x

ffi

Lllru

.^ -

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

2134

maj7th 7th

ErampleD Erample D GmajT ffi FEEm Fffirt @f 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 HFFF r'

H+# :{ lM7

 

ExampleE :Am7(b)(iiu) Am7(b5)rA' 7 x

x

ffiF mrn lmmm_-

Am7(b5)r A67

tu

m'ou

l|..|)lr JrmmlTmm

ExampleF Am7b5 xx xx TNTI EI]]]l

Fffi:r, il

ilm/b5

Am 7b5 xx

xx

T[m ffi'on n-iln

iim 7b5

xx

xx

ffi'or'

H1#1

Fl-t-tfl

 

Clocluise rom op efl:John Clocluiserom efl:JohnScofield, Scofield, ill illConno's, Conno's,ohn ohnAbercrombie, Abercrombie,nd ndSteye. Steye. Iaken t John e.cmmbie'slanhattan e.cmmbie'slanhattano osrrl oft J a an n ua ua r th .1 4 . hoto:

guideone lues

n Fo to F

illiilisifri,i.,,o ,, i:t 'ill, il,3l, o.urse t'e ibis is yooui styre ririi rir llifilTifll#'jffifli|'bry,fll,fJf3,i,T:,"emins

rioust rio ust heck u ute'nnv t e'nnv uir on ny nyrr immy mith,, llll f^ijilxifjfrT |'rar,rco,oins,

'velried, plg,gllll rhe asics nrwo osirions l0werand ll..tL:f:r]lq-,l-s9rglpte, pp pp

Example:Lowernversions nversions struttte,i-]=J G7 Fm

m," rflT1 tl

Example:Uppernversions nversions struttte,rl=J.h G7

nT.n ffinu I-N+H

,iJiiii'il',i;,?ii,lTil,ly,ilil?iJ1}:ilXi,fi;TTfti

 

Aswemadlormoa moa mrmic qfiisticdion, i ih ol olUr Urephf ephf

hl b dt|hnirf.

ih sse vurom, aishoid ll64 ll64rr lg16 l$Ji',ll'i,l,1y*whenoumprovise

Example:Lowernversions nversions -J-

snumeJl=J Dm7/G(G7sus) t#t

ffi

m7/G

G7

EE:EE

ffil 4

tftfr1 tl

c7

Dm7/G

u/

m,o Htlf, tl

D7

Am7/DD7

FHS

FFM

r

tl

Gm7/C 7

G7

Dm7lG

ttrH -" tfr--

Example0:Upper Uppernversions nversions -J-

strutneJJ=J Dm7/G tm of, EEEIH u

tm tl

c7

GmZC

crr

H{4fl*

aTtTtl3ft l3

D7

l$t7lD D7

t m ton m EESE EIIEEon I-IFFH ll

t

FI-#iH ta

C7 Gm7/C 7

Dm7/G

G7

 

Example 1 Minor : inor lues M Gm 7

A'7

xt ri u-lJJ..l

D7

TT-g F#t

{$ff rr' ffi

il

suspended ounds bluesomping blues omping

xt

rrfm

ffi," GmTsus/C xx

T[m

Ffft-tl

H#f;lfor' l t : l

AnTlD

xx

ffi

ffi'on

rffttl Itt4

ffi

tl

cm7 cm 7

How anwe Howan webeg_1n beg_1n o breakway breakwayrom romraditional raditionalpproaches o blues armony4 fre olowingwo examples rreoflered eoflereds sa conceptual nd tylistic oint f departure.gin.att reexample-s re example-s re presented ver ne f hemost ver hemost asic 2-barlues 2-bar lues rogressions o allowhe allowhemaximum maximummount mountff timeo time o enioy earingach oicing.ou achoicing. oumay mayun un nto of ofharmonic harmonicpproachs oopretty ooprettyrr oo iazy" iazy"for n nd ingerslro ingers lro wil f nd hiskind his formusicians heirmusic. music. s fre fdsuch frecase case hen nkind hat o o re asic. oreasic. lob, backosomething ln lnExample Example 2 2,, 've pplied imT hordDm7)over he oot G.'(the asrc asrctrord trordound oundsGZ). roducesuspended Thiswill nvariablyroduce ind fsound soundnd ndmakehe nrmonrceerrng henrmonrc eerrngery pen,t times,ush nd omantic. ndomantic. Example 3adds littlemore moreepth epth hile eing einghythmically hythmically o re crh? rE rrcusrve. ore his s rrcusrve.hi approach s based basedpon pon guitarnierpretation nierpretation tMc0oy ynetsran ynets ran$? \s r ti'eprevious examples, llllchord chordounds oundsre re heproductf superimposing rml irc.:s rer e root l he dominant hord.

G0nlemp0rary

Example 2G : Blues @ DmTsus/G

G7

ffi,,,

ffi,u ffi.n

rT.FFFl

ffi"m, m,

m7

l.|-#

Dm/G

Dm7(9)/G x

|EE1ID | | r . r o-.r tlalrt

Gm7(9)/C x x t H1#Hr'

H'.-

ffi,o ffi

l#

4 t l

Gm7/C

ffi l-|-rfn

tlt4

Dm7(9,11)

Dm7(9,11)/G

H#t frtrt

ffi,n

x

H+# t34

2l r

xx

x

ffi,l FFftH 3fr

ffi ffi

x

x

x

SffHrr' ffi ffi

rfiJff1 4l

T_ -i-r G

hG

r--t =

Dm7(9,11 G T+-

l-

r+H

**i

ffi,"

D?:G I--r

5E'"

--

;,  

 

x ffi

x

x

x

F|t||trrr ffi

ffi

x Hl*l

u re

FftfH

r

Ll.l4til U Il T

FSI*lst'

Llx

Hl+fl

l

x

EEEtr

x

x

r

n-rrn

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

il l

lf

i+ffi' iH*

H#Ffdr'

|#

t-l-fft-t ilr

Am7(9,sus)/D

-^

Dm7(sus)/G

ifurr.fui Fffi-H 2ll.t

I a)

AbmT(sus)/G

I I I l T

Gm7(sus)/C ffi

m. m

Dm7(sus)/G ftm

t

2t

c7(13)

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

x x l...g

lt.r

l

x

x g

l

II r

il3

Eyoribassn Eyoribass nJapan,ott ott 0 right: aroloEadEna, aroloEadEna, nthonyackson, ackson,teve, teve,nd ndStsvo Stsvoordan. ordan.

il 21

Db/G Dm7/GG7(13)

i#

i+i+

f+rar+

ffiu,,m'-m' lr

ill

t24

Talen rbide he hePit Pit nn,Totyo, nn,Totyo,Hay198i1. Hay198i1.h0to:Tat$hilo Tat$hiloTanata Tanata  

hyer illusually romhe usuallyifferrom heormat ormat luesyapz orientedhyer The armonic reatment fa'12-barluesy V7, nd 7 hords. n hat e'veeen akingse fonly fonlyhe he 7,V7, basiclues, lues, we'veeen we've eensing singorabasic nterest n he pproach obars ,4, ,4,6, 6,8, 8,and and -12. fspecial o You illsee see nd earifferences earifferences laying revious 17or or he lreadyeen ver 17 hreears, hree ars, me re ars and . nbar nbar ,aswe've aswe'velready thM)to tB ]V hord.n he ey four xample, 7 he ominant swhereur onic ecomes thiss this uronic uz player Cm7) moment imTCm7) hismoment yadding addingimT he akesdvan@ akes dvan@ffhis isgoingoresolve oBb7. Bb7.he esolution.amiliar he ventual moreolor, ndemionowards in ront f heF7oadd oaddmore olor, otion,ndemion enerally i[tJohn oltraneould oulde e ouse usehe he n his rocess, sociatedi[tJohn substitution/alteration Frn7), b5 ubstitute nsedingimT imT hus reating ditferent 87,and andnseding or orF7, F7,which which ould e87, ou'repproaching esolution rom nehalt nehalttep tep bove. esolution. na sense,ou're inalesolution. approach o inal you rom eolution nefull tep elo#? elo#?aven't aven't f were o approach hat hought,hat Just nalternate

iaz-Upelues

leying youverdone rom7? 7?hat hat lyou ounow, lidir|0 0lotn r7 rom 0lo hords? hetwhile esolutionith esolution t?0r, o approach 0r, useSEt nodality lipa iimT hordn ront f t? wereo ryand wereo ryand lipa yorrrines yorrr inesThinking Thinkingbouthingsike hingsike his,prior his,prioro oactuallylay'ng actuallylay'ng:rrr cangrye gryeise iseo o musical h ich ightctually ightctually o undreatoyot. ba anynrm n rying ound orn f houg ht,hich creations,

mgE willgoa mg towardsetermining E s towardsetermining sedn bar , hatwill ponhe olor f he hord sedn ponhe Depending o ar can a Vl7 0n dord esolving sagreedpon, pon,ar how oumightreat r eat ar .Whatever rirupl€s Gm7). G7) harmonic be pplied o he indsll r abobe abo h eseame hese ameinds r imT eitherl7 e call,srp aGblts. so sobar bar was ewere,f you'llecall, e'veeen tilizing.e eentilizing. 3-chordind fblues e've (V7 fV7), ossible Ai rogression. V7) a,eeebd 8 a t's hat e ould oulda,e eebd as asa n hat o, o,t's D7 s rc rsrrga a bl d u, imagination employn nE7 Vl7). ere,owever,''rcrsrrg we ould ven venry oemploy bulwe bul verhe ver heD7 D7 o drt fE Ermony o ilhy ehave een uperimposing s a V7 V7of Am7which ehave E7s E7 ofAm7 'rt seenar hm implyhi his s n ranscribing olos ymany ymanyast asters. workoo? oo?n hiswork couldn't ot. gain,ivet a ry d sre €l fBppens. ereot. ere ass nd eyboards changeven henhe assnd

nF 4:Blues Bluesn Erample4: n ri ffi l# ffi

xx

FF;EF:fI H-rtfi

':

Bb7

xx

xx

tx

F7

ffi

ffi'o

H*tHrr.

FfFt-tl

On7

Gb7

ffiffi

rx xx |-{''{#

xx

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 fl tl t.l

riFFN , i

a

H,. FM

m

n

Hfrr' |ntx EIU tl

 

iaz blues ith ommon tone hordal unctuations

myWes WesMontgomery isteningnd istening tlmy nd themost owerfulessons've aken way-iromtl One f themost guitar. bigband Whetherewas oloingr ike) onception f he oloingr bandike) as isorchestral isorchestral transcribingas high3-note oicingsere houghishigh 3-noteoicings ere Rhynend immy mith,t seemeds houghis compingehind elRhynend 4-notehords 4-note ike -,3-, and hords ere ereike he hesaxophone saxophone mid-register ection. ismid-register ikea actingike a trumpetection.is ikerombones, ike rombones, hus ivinghe e'diflwith ctavesehindhe oloist,t sounded nd dwhen e'diflwith section,n have erbalized n he e would ot othave hisconcept his concept hesame same guitaremarkable erhaps olor, copend cope nd playing. hearnhis hatheardnd hatheard tillhear nd till findhis aneffective effectiveay fexpressing his obe obean manner,u utt find our uideones ith hord oicings our gripon hisconcept gettinggrip s opunctuate hisconcept or orgetting Onemethod E" great your ryandmaintain o orr eveloping arso ryand arso t's note nyour igh string.t's opnote utilizing op possible. hear t elps o o w eautifully your s also oftens often s oices oice s n o p onen one c6mmon uitar an e an o tionn he otion armonic harmonyoves,nd ow fficient nyourop octaveisplacement isplacement would e o use kind foctave oolwould ool Anadditional,nd aluable,ractice Anadditional, 8" D" "G" our l lay ay he n oten ote n he string ith as o p voicingith na blues, voicing voice.or voice. or xample, E" D" answer hat ith asD" he op ote fa heop fa chordn chordyou n h e igh string.s string. s hang he hordrogression hord rogression willbe will f t, you be hehang an. nce ouget he hordff eachhord opol oleach ry oget on op moveslong moves longry o ur ngers nderour ith ll hreeections oncept, andoncept, ith big and compith ableocomp

u Exampte @

F7(e)

xx

TN-TI

FFfi&fl.,,

l-].]T l.i-l.i

F7(s)

Bb7( 13)

Fn-m

I rr

c7(13,9) ;+-

ffi,'t ffi lli.l

F7(13) ?+.r1

e) D7(f,fe) D7(f,f

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

?+-

r3ll

ll.ll

EITItr H+fH FFfiEB.,i LILL

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

ffi'"

ffi'n n-rrF1

Gm 7

xx

D7( 9)

ffi

mo"

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

LiL]I'

xx

xx

ffi

IEtr:tr ++*rl FTfllN'I

F++IH

FMr o H l l t l e I:ml]mlTl

tx

xx

|...j...u

rflttl6ri

G7( 9, 13)

Cm7(9) F7(9)

F7(e)

Bb7(13,9)

I .l4

ffi

b, g ) G7(fi5,ile)C7( b, |ffi

Hllfluri Hlf,l {:t I I

-t-rrn h Ir flfaf f T I t a l IIII-II I_LLIIJ i t : l

F7(e) TITiI IlrTfl

i i a H I I Ltla TN I]

_. / [

 

turnaroun s

This rirqs rirqss s odisossirp disossirpan 2,n an11and 2, na erz-tyve luesN plaFrsii qi b re cltrr a luesN l7-vl7-ll7-v7 rograsion r 7-vl7iim7-v7 2 hats er hord). 'm bentrp'arpts n otin F and.'G,'ilyog.ere laying ith,t ith, ouwould t he ery east, basist, wouldsntty'na sntty'nase tn o_be notesivenn he ow E"andA"strings. strings.owever, owever, nmyattempt o covers coversmudtmaterial materials posible,wanted wanted omakeure urehat, orr hose hat,o hoseffyouwho aveeard aveearduitarists oundike ikehey're hey're bothhe both he uitar NDhebas,you aveainedsense senseffhow howhis his sdone. sdone. erhapsy avoiite example f his tyleesentially t'sguideonesith bass ote)as bassote) asecorded ecorded y imHail nd ill Evansn heir ersionf MyFunny Funnyalentine' alentine' tomJndercurrents tom Jndercurrents Blue ote/Solid tate).ach tate). ach parttheMssine nd ndhe he uideones)could ertainly ertainly unctionn ts tsown, own, ut uthere heret's'a ew clullenge o ry ryand and lay oth. herick, herick,ingering-wise, ingering-wise, s he onstant hiftingff he st nd nd hifting fingersnyoureft-hand if ifyour your icksheld your heldn n ight-hand). f youwereot laying he ass he uide played the minorth minor th our ones ould oulde e ith st stinger ingernly, nly, nd tt he ominant rytes,l 7th uideones oulde ouldeplryewith our st nd rdingers.sadiscipline, ust ryplaying he he bas inesy ines y hemselves nd ain eeling o orhow rhowbass basslayerightpproach ucn ine.

Erample6A: lues umaround nF Uppernvercions) F9

Eb7

tI 4-Jf UJJ

.I.J

D9

X

rrlrrl

F9 i

l

x

Eb7 x

r

t*l*H

$tt.n

tffiro

I't+tH tr3

: l l

D9

T

l+-l+t{

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

x g

Ab7

ffi,*

l

EtErp

lim rrrr 213

x

x

ffi

ffi'oo

t

'ffioo

x t x

(merr

.SIFH8fr tt I-f I

ETTED

HFH

2|]

x

tlHH:lrr, tEn

I

Db7 x

x

t l

ME,lfr

x

Gb7 x

x

HfiHnn Hfl+

c7

Gb7

lltlFl rr'

(frttE2r'

x _

Ittl rl

t ? 3

dp

tftfr|

| 2l

x x t

trFFF

c7

Db7 r

G7

Ab7

H++f,

G7

x

T

t2l

xx

123

x

F9 x

x

ffi'n

l.#-ti ffifJi 2rl

F9

x x x

rftfrrn H{1+ FIH-H

|''H

FrfffJ

r :l

(?)) (?

tpl I

Tumaround n Gilajor Erample68:Tumaround Erample68: n

GmalT

qftpfi'r'

d*if

ffi'o

ffi

rl-FFI,I

TFFFN

(r) n

m

x

x

I

x

ffi

l..#

FillFlsr, 2rl

E7 ffffirr'

BbmT x x x

l t t t t l

Ettttr

FtFIIl

ffi

rffien

Am7

x x x ITTTT1

x

Eb7

x

l4*l-{ e .

Sllsr' :r:l

ffi

(lFtl+l srl fEfE 2 55

D7

x x gFm

x

t

tr1 :m l T

Cm 7 x x x

Etr t{+++{ |'.l..l..l+ tlhftHrr' I

ll

,r,

-) I

Bb7 I

I

ffi

I

tffior,

Am7 Am 7

,ffi,* H++f, 2 33

x

Eb7

ffi

x

x

Ftr]]] hffi.n 2r3

Ab7 x x t

rTrm tffi 4li '|-l..m LLLLIJ

un[F v e

 

I

rhythmndblues/

gospelhordalpproach p proach

.r

|

t-.

wOuldn't^pgp.qltqllptoposture yserr yserr s comprete Iltqlg.h.l istorian n he rowthfgospel usic's.ch.ordal tyle

ndti nd ti oeepooted laienAm6iil poputarusic, ootedlaie m ertain hathavegood hathave goodeeling o orhis r hismusic.nd,hayso,iiin rirj'ffi nomatterow owar ut oumay mayspire spire opray, he rueshourd r ways rways e resenisomiwnri, n orir^i, Theelerence The elerence heethichjoilgw,q heet hichjoilgw,q Exampre 7) 7)s s offeredimprysapraceobegin. syou,rl notice,n he uitarrike rikehe.right-hand ta piinistj,h,etyb h,etybj,ootro'iniiipre j,ootro'iniiipremajor, inor, diminished, nd ugmented riads.l you'dnd ooiive eepei nionityi; ;;il apianisrs, .int ofview, ofview, akehe ffortowatchnd ndisten isteno he ideosird irdecordings'oi ecordings'oi i,, Charles, i ichard chard Tee,nd r. ohn.

withwo with mprehoruses mpre horuses fa 12-bar'G".brues Exampres gand andg), g), 've 'veried riedo ogive giveou oumost or hewo asics sI might tplov-]hqT:0lviously tplov-]hqT:0lviously ne du.toevote n6hiiiJ 6hiiiJeii eii m nis rea tone, but hopehat hathis hiswill willnspire nspireouoexplore hiswonderfulgenirif ri.i;irr;gth.vr atso ftered anatternate an atternate ntroduction, rpick-up, i' rne tyreiw;;fi;;tsglrl,.y'b;ilil he id omany clevethings hings ith isbluesriented ompositi6ns, ompositi6ns, speciatty n rriili{ilfi;ralet diminished 7th hords.

Example7: 7:Derivation Derivation fGospel/ hythmBlueshordalstyle G7Chord cale G7Chord G tirotydian): caleG

TriadShdrs: Cmaj

F maj

GBlues cale:

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

7th

-

I |

Root

Fmaj

Tffm t+F{+l

FFFf;llsr' t12

2N

Bbmaj

ffi'" ffi $'g"

Gmaj

xx t F|***{

ffi'o tfrFl.l

xx x H***.1

tlrErr

u l t t l IJ.LLH ^. rrrro u tr t I t al I

t32

3rd

Bbmaj

Cmaj

xx x

2tt

4th

\

ffi'ou

rffiFt t32

Cmaj

xx x

ffi ffi,,n

6il'

5th

Ogdonalohings: ohings: Dm

nx l..I'.mlfi I I I t a l

t-f++ff t t

l

Em

XI T

Fffi,u

ITTTJ1 IJ-,I-LIJ 2tl

Am

xxtl

lJ-FFFlr. lJ-FFFl r. LIMlmln u l t a l

|ft-t-Fl

;:'

Dm

xx x

ffi,on

l..l.l..l

I-I-FFH t t l

.o.

Em

xx x

ffiH

g

FH#r:n 333

o

 

i[m,"

DnVG

T55-

xrr

LTEIN

H-FFH ffi 2l I

ffi,u m'n z5

=^

Am/G

G

?ii?n ?f+-tr

ffi,,m" tl

G.nC G.n C

AmC

xxx

Gn/C

3"m'*

I r rmott II IIN t I ial

rrrrh

2

Bb/c c7

t:+-

I+5-

F+-t-{3.z.-

}-t-.I-lJ-.t

ffi

FHIJ

m,-

c

Em/G Dm/G

r -

x

t4t

AnVC {IIm.n

I I I l T

|-lftf'

Bb/c

xxx Lu+l

xx r u-.I-.t-u

Lt.UU tr|mmln

2tl

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

3t2

G7

r x x frrl-n

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

x

t+t+i

FF|+*{

*

xt t

x

ffit

L .I-.t-u

Hitfl"" Etfllrr, ffirr,  il

ur--

c/G

xx ffi

EEltbir'

ffi

lltl

x

x

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

/._ IJ+ E

r

xx x

T[m

I ttf

fi

l-#l

Am/D

xr x rrrFn

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

FFFlll5f. FFf;trf,rr, ff.FFH

l-H*l

Ft-frtl 2r3

22 2

L, \:

:ltrifrn ::t r a

ill

IJ x xx

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

'Ar€n Perhaps hemost ften-used adence nGospel Gospelusic usics |n |naoo aoo fi Cadence." t ca can n appear navarietyf orms,ncluding: v-|, v7-1,v7-17, v 7-17, v-t ft .,'- rte *ould e seds an analternative alternative omore moreasic asic -lcadence. -l cadence. n he ey fG, t carro@ srrfy as to toG Gor oreven even laying when perhaps, ver btues btuesr r enera ror rdc rrru; a o peoi 919p 919 p9 t've ltoui find hat back-and{orth o etween imple riadslil lil st- r'lr,-1abrces atieaOi menlioned o GandC/G C/Go ootionetween G,tion G,another another ariation ariation friads tnt*wu I s E tr.rc andbackoG.you could iew iewhe heAm Amas asa a functionf C6/G,o, gerreraestftr^ tftr^ .retrngthe C6/G,o, t toogerreraes thesense senseii momentary esotution ould tso ecreatedith ithhis nrrrn Gb S,€ I I G nenback hisnrrrn backo oBt/G, andinally and ust et he ass c rs ct FrrE - uass otes inallyestingnG. G.Remember, Remember, otesnd nd ou concentrate n hecolors hecolorsreated reatedy he riads. et fEn g s.re* Foughhis reate dominant th riented eeling, t's-veryommon o mmon osbrr r rt safi J lnG-movingo Em/G andhen and heneturning eturning o est nDm/G.hope h ope hat fnrirp sl tr csrtcs ,n he efrwitf et etp p 18-19 your.own n alysisfExamples nalysis as aswell well s he *rrr crl FEted in xampfei. ol willhear will hear llof llof heseoncepts u utt ouse usen n he nprovr=ctr tr 3rotnelius" ocatedn CD 2, rack7]and erformed n he ev fC.

 

Example t @

Am/G

G

C/G

rfitn

FH{Hst #Esn

FFI-++{ ffi Frfl-h

231

An/C

ru

x

x

x

313

x

imi'" iffi'.

r

l..J..l..U

312

C7(9)

x

c x

x

G x

x

7

Bb/G G7(sus) G7

x

Eim*m*''m,

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

rfl-Fl-l t2l

2lr

n

o

G

xx x

|-rrrn

7

xx x

ffilr, Ff.H+ TrrrF

FFfffl3rr f++ul rrn-n

Hj*Flror,

H++# t4t

'

34t

241

m'',m,-

n

xxx

2t3

(Weslontgomery Altermtento. Altermte nto.(Wes lontgomerytyle)

m,-m

G Am/GG

x

Ff?FH ffi

GrIVc

F/G

xx x xxooox F{.*ttl 'rr +-{-*r-.,

2ll

t.. Go7, ?+-

GboT ff-

Go7 ?+-

TI.F|-FI l!24

ffFFH t324

F7(9,13)

fd ffi--ffi'*ffi'* m'u flt

I 2J

| 234

Ge(13)

a

llh Wosomlom8 Wosomlom8 el he Holltrood oulCo0cad,a. SlsY3llh SlsY3 C o0cad,a.1966. 1966.

 

harmony u ilt uilt acrosshe he lrings

UnitSi Si

we will nowbuifdGfiords,,rne .rr. esuide ones s shrri oint' ou'verreadv *^s ru*,,u eoun,by eoun,by ouiD; ano6 .r'ng singoui sing snprde snprde one onernes rnesexampres

0, 3,26and29). exivoriwil;dd;;di;;0, ouiie:sr,ipim,nd;"rf 2'i"it ano30). nce rnr rn r sunderstood, r"sr.sim;p ou i,iladd o iCein oin oiCei c,i,r""'g,ino oinc,i,r""'g,ino wbt 2s.28nd 1). 1) . Basicoice e ading eading r inciples rinciples s ou dd oicescr'ss c r'ssrE trings: 1. ry o eepcommon onenyourop op oices he hords h ift hift 2. 2.Try Tryo omovehe heop op oicehromaticaily pordown ordowns Ouhearhenrmony henrmonyhifting. hifting.

while ttending 'c'L'A., 'c'L'A., .felt wasso .feltwas so ror arbehind arbehind y.classmates irat sought soughtxtra xtraelp elpwith armony plf 9,piaT ndheory e ssons essons rrrisicirinsrnrcroisil'r;#;,y hard the o have e ndersland he onceotf ilill of he heone." one."i rre rreime, ime, rrioionrG ii p*r.,rp,because er rientation aso asocommunicate o c i, iiiiriirji'ia,monic angr.nge nd orwith with pop,Rock, rJaz ocaburary hich ightaveouno netteiionnection netteiionnection ithme. lfyou lf you bserve hemovemenl f h-euideoness he 7resolves o he heonic, onic,hentervals hentervalsf he rdand7,withinhedominant d noro, eemiirrougnheyMUSTesorve.he rd ,must,, resotve o he heoot oot f he heonic, onic,nd z mus;;reiorve.to-the ndhe hez iror iminoisrd.nrr, nrr,with nry wo oices, he armonv screarryefineo efineo nJ nJ noseo,cesow oseem0have "wiil,, of heir wn. layhe exl xambte. istenoinow oinowieiiO ].lif'rnn f he 7 hordpul"rowards heonic he onic nd rd l he b hord.

whenou dd rterations whenou hromatic assing Is,b5,fg,rg)as ones,ou ones, ou omakeure hathemovement tp6ll"mightwanr f he itches. s ettdcteoln ow'y-ou trooie o the'Choro. y his mean, singhapso ndicale s cending scending otilailii;['foroesiending fi;#;nr ;n choosing ne r he ther,ou oumiohtendicating-tha ,esorrreiominant or rreiominantill esolvep o he rd f heonic. he onic. uthe'13might-resolve owndthe lnoriheonir. rrsystem rrsystemfmusic musicotation otation snot nothat hat trictr hent comes o he heabeling.of abeling.of hords,utoilneiaie ut oilneiaie titearcorrun]"iil, t ssomething o qlecei;riic pr;yrd s ou eartas oon possibre [i 3oqut..nneril, ou ommunication n our ry1g ritingpeeds p nat natr6criss r6criss s nd rear

 

Example 0 I

m," m'- m'"

Bblna 7

Bbmai(d6)

G7(il}

3

Example" e

F/(e)

BbmajT

Bbmaj(ad6)

G7(be)

m'" m.' m. m."" m," 3a

Exampfe e

tl

m'"

F/(b9,13)

 3 2

m'"" m" m'

BbmajT

Bbm49(add )

g

m*

BbmaiT

n

r"r"1tfr EEEE tl

Erampfe e Gtn7 I

X

I

FFI;TI 8fi EEEE ill

Erample" e

l

m'"m," m,"m*

F/(ilg) -+

(b9)

Bbmaj9(add )  3

m'"

F/(bg,b13)

b;' b; '

G7(*5,b9)

 1 3 3

o.

Erample" e Cm7

32

m'-

G7(alt)

3

m"m'. m'.

bs ) G7(fs)---'bs) 24

t2l

m'"

G7(b9,b13)

l2t4

 

Example6 BbmajT xxo xr

ffi

rfl1-n n-ffr1

ffi

I

Exampte @

Bbmaj9(add6)

Cm7(9) x x x ffi HlH #

iFffii ffi

Ffi-t-H t34

Erample @

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

Bbmaj9(add ) xx ffi

ffffi,o H{H

FFI-I-H I 344

34ll

BbmajT(6,9)

G7($5)

H#Frr,

TTTm

42tl t-fJrtl

n-Frrt

FtrM

ffirti

Erample @

Erample* @ Cm7(9) x

ffi

t

x

Ht# Hl+fl ll4

Eramplett Cm7(sus.) @ tu

$ffi fff't-l

F7(b3) F7(b3) x

x

ffir]

x

ffi

-> (b9) G7(ts,ss)

ffi

xIJJJ+] |''m IIIILI

l3t3

 

UnitSeven Seven iimT-V7-l-V7 ver vera a pedal

a great music lessoncanome rommostnexpected rommost nexpected ource n -lp ltlinqs tne arryearsfmycareer, mycareer,accompanied accompanied pop tten

any m-usicingers. rn-suchsetting settinghe he basichythmection saugmented lromnones,5 y a ull ichesira s rumpdts, reedsll u s reeds strings)or hordal nstrume.nts..espdcially he uitar'can e J grert rrirrg ' -' experience ob e forced osee nd earhat h at LAylNG LESSan eSRytrue VOnft lvenerformance, Inany lven erformance, here.would lmostlways l waysea momenthen h enh e inger ouldell story ver L0NG L0NGamp, amp,ometimes hisvamp his vamp as ver peoat peoatointlone ointlonetaticpitchrom romhe he bassist)s wouldr t mongstthe rchestra n disten, could earh e hords hordsoving ovingv e n thoug,h.the,bass as nly layingsingle singleote. ote.h h e edalwas nvariably he oot f he Z hord and ll he armonies ounded eautiful verhis h is ne ote. ote.ruly rulyhis ir'rgiratirranger's evrce. l.n l.nhis his eriesfexamples 've resented verything n he ey fC major;therefore, ewill se G pedal nderh e ntire rogression. ntirerogression. e egin'with xaniptez,tl[;ing jrrth e uideones whichupply which upplyhe 5, *L uoo hrrd oice basicarmonic armonicovement n lieprogression. nExampte 8. hebasic string,ttempting t tempting o maintain c ommon-ione common-ione op oicesa neir-trarning 9l llt isciplrne. Adding ourth ourthoice oice n he E .string in inExamples Examples 4, he ommon one riniipren he one heop op oice remains.hen h enhis hiss snot ossible, he op oicehould ovena mannerirtutroywhereur earseem ears eemo eads. Examples 5and 6extend.the oncepty ntroducing scending n d escendrng hromatic movement n he op-voice. sa discipline, 've ttempted o makehis oice ove overrhalf-steps ossible.lwayseep wnene.ver lwayseepn mindhat 'veustchoser NE NEption. ption.ouhavemany manynotces notces and fter ime our wn tyle 0UR tyleffharmony iill ll ictate choices. ou eel Whenou When eelhat hat ou re omfortable iith th hese hesexercrses xercrses verhe ver he G pedal,ry ry o ranspose he C rdeas 0work ver pedalrovided verhe rovided he pedal n he ecordinginceh e ' C peOits he oot ta F, d o m r n ^ a n t _ c o h u o ' l r l d e . i n nh h e e y f a n d h em o v e m e notu l ba ba k e o u h r o u g h Gm7-C/-Fmaj7-D7(alt.). ou'reracticing, racticing, henou're hen ehearsing, r ammingittr oassistn c t drummer, ry his onceptas n xtended ntroductron erhipsne fyour wn oa staidard,'or original unes. Most f heexercises n hisbook re resented n he orm fwhole wholeotes. otes.feel feelhatt's mportant t0 grow ccustomed o hebeauty hebeautyf ongones oness s he heharmony harmonylowlymoveshroughhe hehords. hords. Long otesn he uitaran, t imes,-be ust seffective i ttre rrortercuisive trokesi th whiche which e uitarists remost mostssociated. ssociated.

 

fyewi|ness n 1989. lockwise romowef rom owefefl:Anlhony A nlhonyackson,anolo adrena,leve, l eve, nd ndDave Dave eckl. original ed haw encil ketchor ,pUBLlG hawencil ACCESS', D over.

g u e nes I

Example2:Key Example2: Key f GwithG(U G(Uas asa a Pedal Loruernvercions nvercions Dm7/G xx

xx

ITITN

bH++lrrrr lfm

G7

CmajT/G

Fl*++l3rr IJJJJ-J

l3

Uppernverslons Uppernverslons Dm7/G xx

xr

ffi

Hqtf,

ffi

Ff;ffi ron

Lorer nversims Dm7 Dm 7 xx

xx

ffi FFE+I]fr Hl# t4

Uppc nversions Dm7 Dm 7 u r x

Ffff+{

u-t+u FFffi ror, t l

G7

TX

II

Ffll'flcr

|..l.ru ll

7

ffi*

Cm4(add)/t0

CmajT/G

Cmaj(add )/G )/G

l-ilFlJ rn

tl

m,- ffi'ffi* m'',

Cm{T/G

xx xx tTrrn

xx xr Ent12fr FtFrl

Cmaj(add )/G )/G

ATtG

rx

xx

H.tfi Jfr

|ru t3

|...I...ru

l3

G7

CmajT/G

Cmaj(add /G /G

ATtG

m,,' m'"

x x s

u x x Ftl+ti

Hl+fl

rt-ft19ft |..ru t3

r fr

t3

o nes ones 3-note oicingsith ommon Keyof Cwith CwithGM GM asa asa Pedal Exampleil: Example il:Key

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

x

r

H* Hrr. H]#

Dm7(9yG

x

G7 x

l l l l l l

t

l*frl

I t l I,ILE

CmajT(9)/G

rr,

t l

l2l

al

G7(13)

CmajT/G

24

Dm7(sus/G

G7

ffi

Cmaj9(add /G /G

211

x

ITITN

x

ftt5

l l l

rofr

G7(e)

L|J+.I l-filtfl

134

AlbslG

8ft

l+t*+.{

r

A7(b9I

21

rfl1ifi

Dm7/G

A7(bsyc

t3

Cm47(13)

r||qtslG

gfr

l I

o m,"

 

4-noteoicings ithcommon ones ones Example4: 4:Key Key f CwithG(V) sa pedal Dm7(9,11/G

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

F?5fr

G7(b9,13)

G7(9,13) l(L

A7(i5,bgyc x:

rrl-talfr [lti

lt2l

Cmaj9(add )/G )/G XI utrrf

f ffilfr

FFFFF|5fr

III-LLI

| 344

34t



Gm7(sus) rlTT1 H +E ,."tft

lo

rrrrn

T' e

Gm,l3(sus)

ffi,,u Frtfti

I 2l

 

Publicityh0t0aken t David an'studio an's tudion Manhattan, a. 993-19g8.

Ten UnitTen style

ThOUgh it'S my feeling that nivingt nivingtyour wn tyte innotbe beat he xctusion f any lyour ptions, ptions,aking akingdeep deeptylistic tylisticommitment osometyle illbe be mportant. Soas.food or or hought, 've resented hreexamples hree xamples sed ithhe ithhe ominantth hordamily. s ime goes y, oumight antoweigh our ptions weighour ptionsithin ithinhemajor majornd ndminor minorhord hordamiliesswell. BassVamp

This xample f ferscommonnd impleuitarpproachhichs essentially fferscommon ootedn he inherent luesualityf henstrument: henstrument:

Example5:Simple Simple uitar tyb @

ffi"

ifffii'.I+ffii'. 32

3r2

Here eextend eextend heharmoryic he closedoiced closed erritoryith erritory ith mall lusters oicedhords) hords) n he tyle f pianist,ill illEvans. Evans.hergrb hergrbhose hoseho homightindhis indhis pproach orblues-based orblues-based ateriali "too pretty.'istennd ee hatouhink

Erample6: Erample 6:Bill BillEvans Evans tyleClosedoicing) @

This xample s n he tyle ffMcCoy McCoyyne/seft-hand eft-hand oncept. oncept. hese ypesf ingerings ypesf re alled "o-pen voicings." nasense, his tylehould tylehouldpen-up pen-up he armonic eeling,ut,find ut,findhat hat xample 46 an ccomplish his swell. hereill hereillbehose behoseho hoind indhe he ynerpproach obeoo FarEast" sounding ueo ue oall he thsn he hords.gain, istennd ecide or ourself. ouwillnot At Atany any tage tageffyour evelopment, ournfluences. our not e bleo otallyscape otallyscape houldou uckynough our wn our beucky be nough o ruly evelop oicend wnoice nd tyle, tyle,believe believe t willbe willbeaccomplished hen you?eot otrying ryingo.hard o.hard oconsciously ree lyournfluences. reakree t'smy t'smy eeling,nd nd specially whereour armonic oint,ou oumust ake oncept sconcerned, hat tsome tsomeoint, akecommitment commitment o h-e your shapesf inesnd ines ndhe he hordalnd armonic enseou ear earlong long ithhose ithhoseines. ines.his hiss rue evenf,as f,asguitarists, e on't on'tccompany ccompany urselves na rio ettingsapianistoes ithheir ithheirefteftlaying hand.ts mportant elore o emindourself hat,THIS tSTHE tSTHE AYPLAY, AY PLAY,NDHIS ND HISS THE WAYHEAR WAY personou aveoconvince HEARAKING AKINGUSIC he " irstperson f hiss hissyourself,nce you'veonehat, our eersnd hat,onvincing onvincing ndisteners isteners ngeneralon't on'te e uchditficult uchditficult ask.

Erample7: Erample 7:ilcCoyTyner StyleOpen Style Open oicing)

ffi'" n

x

EttH

FFFTHft I tl

ffi'.

m'',m," l2l

il31

Elev UnitElev

 

Mc0oy ynereft-hand Mc0oyyner eft-hand s$lepianooicings

W.hgn arriveat at anapproach an approachrnrmony rnrmony nre itr. t was rying o arrive

endedp inding y reahst nspiration romhe rom he eyboard. did pend otof otof ime turlying uita/sreat uita/s reat chordaloncepls fmany manyff he asters eforeovingway.nmaking eforeoving his noict his noict simplyhose simply hosehe tyleo tyleowhich whichfelt felthe hemost mostmotionally motionally onnected. itnoutdoubt, doubt,hat tyl was M Mc0oyyne/s. c0oy yne/s. specially is onsistently entered eft-hand p pproach. proach. s we'verrived we've rrivedt ia '90s,there's there'sardlya-kgybo_ard ardlya-kgybo_ard mproviserho asn't asn'teen eenouched n some ay yMcco/ playing.long long ithMcCoyyner,he hendividuality ndividuality fHerbieancock, Herbieancock,hick orea,6e 6e awin and eithanettas as lsoouched his ork. In ryingopasalong y pproach n hemost mostirect irect anner, havesolated hehree he hreeasic asicho ho

families: families:ajor, ajor, inor, inor,nd nd ominant. or amily ou,n ou, nor your ractice, he dea ould e o devel laying fluencyypracticing eriods ver ne hord orextended extended f ime.n ime. ndoing his, u left-hand" our wn ensefhearing woulde eveloping hese voicingsoving voicings oving nametodic nd emotionalay. ay.What Whatmakeshiskind hiskindof of practicepproach eadily sables that, eadilysable n man that,n ou'reskedo mprovise/solo/jam contemporary ver ne hordusua az artl ock ettings, minorrrdominant).hether minor like rnott'sa t'sa initeength initeength bars r16 r16bars)or bars)oromething omething haf racticever pedal ill totallypennded,xtended xtended mprovising illhave haveouotallyrepaied u theseituations. Thoughountlessours ours ere erepent istening pentistening Mc0oy'sork o Mc0oy's ork ith ohnColtrane's egend quartet,isown ownecordings ecordings or orM0,Vlmpulse, M0,Vlmpulse, lue ote,nd ote,ndMilestone, nd iswork works sasidem oncountless on countless lue otelassics, lue otelassics, 'veound 've oundhat eft-hand hathe heeft-hand spectfhis tyle spect tyleemains emains onsist onsist andlassic. I'veried I've riedo ayoutwhate what emightikely o ayout ikely layusingG"as asa a onal enter)hen enter)henonfronted onfronted iitt dominant,-major, rminor minorhord hordounds. ounds.he he nly on-Mc0oy ontribution omes romisteni romisteni specially is ismid-sixties mid-sixties ork sa sidemannnumerous orks atin-jazecordi lq CllckCorea,specially (Caley) jader ndHerbie nd ann). minorhords, minor hords, naddition o he oicings n4ths, hick hickdds ddsin G"bass spelling ey)simpbBl this simpbBlriad riad vernhe verhe ut simple simplem7 m7hord), hord),ut utwhen whenhro intohe into hemix ithtiemore morepen penoicings, oicings, tadds addsomething omething onderful. Tryo Try oremember hat n hepiano,he eft-hand heeft-hand s usually usuallyot otplayedoo arabove oo ar abovehe rea l C.' middle 0nguitar,'veound 'veoundhat ou'll chieveconsistent one ykeeping ykeeping hese-not hese-not voicingslayedcrossheD-G-B our heD-G-B trings.o, trings.o, epending ponhe pon he oot, hoices o orwh rwh you'lllay you'll laynd hereou'lllay o u'lllaytbecome bvious.

Erample8:G7 Erample8: G7 r r x ttlttl

lfr

m* m,,

9:G Enmpte 9: Gminor

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

Exatnple0: Exatnple 0:G G lajor lajor7 7

n

x

Hflfi

l

m-

ffi"u H1+f,

 

Unit welve chordones oness smelodies

Example1A:Gminor Example1A:

In previous gxgrcis0s, you've o okedtsuch ooked suchimpte impteevices s ommon on e movement, hromatic op oice ovement, ctaveisplacement f he op oice,caleassages, and.harmonized caleequences cale equences orchords. orchords.ow, ow,ow ow bout boutarmonizinj armonizinj hordones onesnd ndmodal pitches smelodies. Togethemost layhe xamples lay mostut ut l his ind fexercise s ingle ingleotes otesirst. hening long withhe. with he. elody.o orhe rhemoment, llowourself obelieve hathitis yourmelody.hen-it hathitis melody.hen-it eeli expresive o ou,ry ry dding he hordal uggestions 'veupptied. 've upptied. Here'sperfectpportunity pportunity omake makese se fone, fone,rrall, all,of of he pplicable hordal eference heets. f youwere wereissatisfied issatisfied ith ithhe he oundf ound f any hord hordhape hape for xample, voicingith voicing ithA" A" as he heop op go o he eference voicen voice n heE'string), ook ownhe olumnnd heets, ndry rysome someff he ther options ncontext. ry o ouse useompletely ompletely ifferent oicings oran oranentire entirexample. xample. inally,ake inally, ake flso, up our wninewith ingle ingleotes otesnd ndhen henarelully arelullyarmonize armonize tas ouwould wouldear eart.The t.Thehoices you owmake ou n our ayo makere re endingou ayoaconcept hat'sllllydurs. owo layersill hat's illmake make the amehoices.

m,- ,,,  

I1 3

TTrin

ffi'* I 33

m,.

Example18

Erample1C Erample 1C Tlffil

T+-

T|_

ffi'-m'm'- m'ffi ffi'3f

t2

Erample1D Erample 1D

341

2t 4

 

UnitThirt Thirt Thenotionof playing outside"rhe rhearmonic armonic oundaries asecom l, l, r

cadences: hrough apploaches

uppor ndower ndower eighborc

0l sludy sludy0r 0rstudents studentsf hemusic hemusicff Ornetteoleman,iles i les avis,ohnColtrane, nd lt r

supporting alents hey'veuiluredverhe hey've he ears.

ls here ponystem pon ystem{.logichichppties o he ones, ones,nd nd onfigurations fpiht; fly.rurggd right outside h he e notes?"would w ouldike ikeo o offermy myperspective n tris, nd t g-;s back backo o an l idq' l?t ike ood rama,ood o od usic ust ustavetension avetension nd ndelease. elease.ithoutipptying i thoutipptying his otin and ll tspossibilities o harmony,e'd e'd e eft ocreateension ithont1l ynirjri6s 'rO efany. It'smy.belief hat irtuallyll passageshich h icho our ourears ears eem eemo o baoLitside he ccepta --- conceptsfharmony, an eexplained shaving havingome omeind ind f"dominant function,"7ri. l'd ike o offerhe offerhe ollowingxercise deass deas sa meanso explorehisworld h isworldhrough hroughhorr movement. he ssential dea.ishat ou ake chordwherehe heop opvoice voices sa melodyiteitltriO melodyiteitltriO has nemotionalonnection oryouandry o sunound t by Oiatonic/wifni byusing using onsonant :

chordcale calerrmode)nd/orhromatic ppernd pper ndower owereighbors ocreate createitile itileensions : harmony eleases nd omes o est. rovide The ivenxgmples deasorboth orbothmajorndminoronics.f you ee note, note,specialt specialt  top oicehich oice hicheems eems omake makeo o ense n elation o heonic, heonic,ook ook ick bar r wo nb ee eett n isa isa part f he lteredominant superocrian ode)cale caleff heV7 V7cnoiO. cnoiO.nmost mostases, ases, p alswerhouldie here, pLAylNG here,ut, ut,he he eal ecision ecisionaking aking actor ill actor illalways alwayse n WHA TRULY OUNDS OOD O OU

Eramplet* ) Cm7(9)

F/(13)

m,' m,' la

Bbmaj(6,9)

ii#i'.Eiffi'. 4t

Eramprc5zE G)

m,-

Cm7(sus)

Erample2C Erample2C Cm7

fu.o HH

33t

Eramfle"o @

r

BbmajT(6,9)

m'- m'"m'"

F/(b5,b9)

BbmajT(6,9)

2t

m'"m,,,

Cm7(9)

341

F/(be)

r#-- *E''"m,,ffi"uffi'ru ffi  

il33

Bbmaj9(6) g

#

fi

|..{+

il31

l l2l

il33

 

Exampte o C

m.- m. m*m'', fi,-

Am7(b5)

D7(be)

31

Example Am7(b5)e t

t2

m. m. 7(il5,b9)

3t1

2l4

Itr.-

l+l++{

ltl-

t:m

FEXfl..* mD5fr

Fffitt-

t+l++{

Gm7

xr

r

EIIF

EEnEsfr t{-t+jtl

Ed ffi -___--

t*'ff,ffe

m, 333

Examples3D e 2a

m,,

D70s,l9) -,oo ffi

I 3a

o.

l31

ffi

 

Fourte UnitFourte

OfChOrdal ChOrdaleferenCe aterialsS, nessence,ane ThiSSelieSOf oals provideut reateroal

contempolarY

o gain,he NCHORDS. M0DES n nititled ititledM0DES ot't-nrri*rrty prisented sPossible. with smanyptions hordamiliesre epresentd: asichord you'll oticehator his tudy, hreeasic hehree wo f he nlywo tudy,nly Wlr eat eat hordamily as eemingly th mixolydian) ne d'ominant Minordorian). iruoilni-i'iiMinor nd has een eentated tated s ollows: his sas hinkingdninohiss hehinking anohe oii'0,ano ;i'iii,;j. inir iJ ilrry oii'0, imT y,superimposin hordy,superimposin th hord rtenOne armoiyfany ominant anrtenO an ai gunarists'we iliabd,ai iliabd, e.FI l0 hapese. f eriesf eries heVZ oot. o,n his'contemporary .soundhapes verhe ver ri,iri'rigi/rhoiOi V7 hafs il;rd lil t-r*ony soften oftens spossiUie. yonly sing indriim7) iim7)oicings oicingsgainst he e ccomplishing. precisely ewould hate hat ogical eryogical eemery ill. eem oicings/chords -noteoicings/chords l 4 and -note hemannerl hispresentation At imes,he 've hose eference. equential not harmonically t'snot nall,t's imes,uiteandbm.ll nall, otnirimes, l'ndii otnir l'nd purely echnic echnic o hat, na exterity weli syour hordalexterity asweli ochalbngelori metiioo irrilmetiioo irril lorio as s ound oice melodic he [ nls tage.ike efore, et o comfortaUte level,ouringersever E' n he igh or'8" tring. ascending ithin row. oicingithin achoicing ongerm ermesultss o play ach ndong or nitial hebest xercise he I believe O;peoa our o orwha eeling wneeling rwha ac stablish wn ecording. ecording. n h--e veitne barsveitne nobars or orno noroinglt oicing nd ontempirary asicnd he asic usehe or'vou.s ou.eginouse otoiemotionirry ,ou-,iJ-:rriaie lay muc willhave will havemuc ou nd earnd ear ll hat i'iioniuniiion ith ne noin6r, ow relati6nshipio onnection. deeper irt erm racticeoalsndollowhemhroughver proiected shorterm ofshort Tryocreate ocreatertiitt of t. o oticing ticing ithout rogressing lmost ou;ltind ou're irjme. r*ivs e atientiinoursetiand

e felence uoicingsefelence

f-note Penoicing oicingYstems Ystems ode GLYdian f: f:G ErarelePen

m*

m47tl

l+ft5 ffi Ft-tl

314

{E>

il4rh

3rd

IX

sft

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

majTth

5th xx

tEftil

I l r r r l

Ffft{d,r.

ffit:r' 2314

ffi

2314

fll-u-r 2314

IT

*o

IJJJJ'

2lt4

*-

m,'" m" m'-m,,, m,." m,,m,." m,, m'.m" m" m,m'"m''" i m "m" m"m''' '" m'-m" B

-o {o

ffil

HfiN

;.' €  

penmHng mHngsyritcms syritcms 4-notepen 4-note Example5:G 5:G lolbn llode RootR)

7th

m3d

tu FFIIF r'

4th lttFmirr

2a a

2 la

H

#'1-l-

H*t*sr

ffi

ffi

'|1-

tu

ffi,,, ffi

fffirt ETEIT

ffi,"

ffi'o

Ejln

2tl1

.o.

HJlflet

H:m

ffiror' H#f,

ffi

ffi'o

ffi'"

Ht]{

FEFI6fr

EttEFltfi

tlm

EIE 3a2

t{l-}ll

' FTTTFIJ

HFFFFF ft

FtttFlE

ffi

ffi

ffi

2J1l

pen oicingystems oicingystems 3-notepen 3-note 6:GLydianilode Example6:G iFFfr2fr

Hflfi

EffII

r ft

H+ifi

6tl Fm FTFIEfr HM lal

flJJflrrr, HM

f*-

tfr,-n

ffi'ur,

lrttll

m47th m47th HflH ?r, HM 3rt

ffi''o

f+- 3 r FFFFFI FFFFF

be.

5Sl

ff--

Ht+f,

H]ifi

ttffi

HM

 l -

t{-

tfff |3 fr Ittl#

FTF FFIIFI 'i

,4r'

ln

l

oicings: Addnionaloicings: ffirt : ?lfin ffi H*tfirr FFFFH

H#

.e

bo )

'Itttfi

ffi

HltE

a

srh

R) RootR) t 2

FFFTF|2i titafl EEE

$"[''

 

m-m |-llrn-ll2

3-note pen oicingystems ode e GDorian od 7:G Example7:

R) RootR) tm I FTTFF

ffi

Firdsl

m' FIH ll I

 

o iclr| Glerence additionaloiclr| tode ydantode Erample7ArG ydan Erample7Ar majTth ffiIr, FM tffi

, '

{4rh

RoolB)

mro FFM ltt2

421I

ffi'o HTm

t!-

tr-

ffi'u HH

tfifi

ffi'o

m'o m' o

Ft#

Hl#

fiprr. ffi

IttEtts rr

tFFFl,2n EIT+F

ffi Im tlffi

a2l

STEVE KHAN TRIOLecrRrc

fuer. ffi

r EtEESl'

tt-

Hl#

m''"

ffi

21|

Anttotlyaclsor, t6Yr, d DtmlrChambors' Eurcleanlour r,]..y,1994. L6ft o igit Anttotlyaclsor,  

xercise maior/minor

Sten @ 8: 8:Sten Example

n

ee

a voilte xercisesd iketorcseil oneof mYperconalavoilte This s oneof

our-barattems f l nere hatrnoni his epeated tudyorni. ets nalyze onenanelongated onen ts hopedttld ld formysell, o t formysell, oroblemeneidedos6tue.ndoinghsworkory0u, s might ot pr0blem ou ny rocess itfi ave hen nalytical n nd d ame hought be bleo bleoapplvhis iou'llbe rocess HE HROUGH urpose l HEARING he s oaxpedite he song.he iiitrinsong. ieriesttctrorcsiiitrin ieries ossible. arlys arly s s CHANGES rscale scaleas€d as€d ndhenhe-mode he hordamily,ndhen and etermine ndry ryand ook t he hordsnd First,ook n peaking, or2 or 2 bars. enerally or2 or2barsnd Gm7 iaveGmalT GmalT n his ase eiave ootn uponhe heoot odeecaus ecaus ydian ode sehe heydian majorh0rd, h0rd,ou se omecross crossmajor henou ome ontext,hen ontext, a azoriented th th the natural hat f he henatural he earhan ear hanhat o armoreppealing ppealing tre ounCl he'14s armore mbstimes, suspensi0n). imes, ormost most inorhords, ou ouldpplyhe he orianode. orianode. ossibilities singwo he ime0 ime0 otdownhebasic entat0nic akehe tep,wouldake Forhe For henext tep,would entatonics he rd' th' pon p player layer ased inor apply anapply an maiorhords, hords, nmaior simoleormulas. entatoni player minor ay pplyminor minorhord, hord, cale.n nanyminor f he ajor cale. and th egrees thpentaton he ominant nd,he nd, Tth) nd, nd th; lie oot' pon uilt th, th, nd mgrd,th, iroot,mgrd, ro, ode orianode f he orian inooi,no, tn, nd Tth)uilt n he th egree iven.yourself you'veiven.yourself 0play he hance lelfortsyou've his ind his making y ustmaking What'sccomplished right ou.a ivesou.a ives uthe entatonics notes' ayinguthe nd tayhe his hordrodression his throuoh hichs such vital hebluesanguagehich somel yorirines loser0 heblues b iepsomel initiaiopportunity therhan gme gT ccomplished, hat'sgT popularusic. ut,n n dginghis'. hat's usic.ut, nallpopular Comporient speaking az nd' thertyle' ther tyle'nd' orany or any f et anguage" theanguage" the d hat ou?eot mprovising, basiimprovising, basii ext. eftor nother esteftor that'sdiscussi0n ursueife n hemusic ursue ouraz playingnd erhaps our o mprove h0sellvouwho o /vant Forh0se For hat ave imesave e een r0gressions hat oal? owmanyimes owards orkowards how oeshis xerciseork lookomething look omething ikehis: D7 AnlD7 Bb7EbnaiT i7 Fnl Bb7EbnaiT EbnlAbl DbnaiTAnl Ebnl Gm7 7'/Fmi7Fnl GmaiT ake n wo istinctl anake l he hordsan unctioning /vays, heunctioning he rioditterent ditterent he arsn rio lf we rouD ould e een 3-4;5-6; hismovement lrs1-2; 1-2;3-4;5-6; solatinglrs none iew,solating dois.n dois. -as-maj oittere"nt ou n ) he C7-cho bar ou example ith ayhat hat f0r ow an ay goingo -minor. maye skingiow &-7;and and -5;&-7; tbars -3ior -5; f we nto'play. iew omes he nd s where ust ook tbars inJ,rf nis c mixolydian); nd g-ri, omz,C7' nd majTre ll n he ey tF tFmaior' m7Gdorian);.c7 egrees o, caleegrees cale ditlerent nd ndingn nd otes, ameotes, havehe he ame imaiZf ionian)tthave uitbeginniirg gbserve.the 7because he ot 0 asonly avingmi Gdorian)nd h.ose.ot it wd iew ar asonly mlnor' mlor c cmlnor' rom -2 oulde oulde cenesmoving pitches ars-2 henars hen rrehe ehe ame, anner.gai diatonicanner. diatonic uch roglessions.in ornegotiating ornegotiating an ea preparation an This xercise righf he chgrdsaveshe hechgrds he lormations J oundhrough he he f usthearing theaccomplishment 7 reated n he 9, heension he ension 15' 5, nd 9) 0 hd he lterations he ddirig orevintually evintuallyddirig wayor way onic. hemaior maior s ou o 0 he chordesolves irmly elieve irmly hemos nordelo mprovise fharmony hemovement he whenrvino0 earnohear "establish iithhe thhe e eginning ginning uggest almys vouldalmys vould the hgrdounds.' hgrdounds.' int steos o imoortait he armon he hichutline utline gicingshich our uideones. -n0bgicings imple-n0b ones.imple uildinglocks,our turidamental art 0 accompaniment' appr@ch hll's ntegral fJim Jimhll's anntegral heieoicingssan heieoicings tendoasociate

 

H€c r€pns€fl eusaoef H€cr€ usaoeflonqqlq iDlyino mtody mtodyn n rt @ v(ria ya| nidr fi b, playing3-n0h 3-n0hhord hordcroas croas p ]GS $rirus 0lld by $rirus0lld bya a+mb OrorO OrorOi1|0 i1|0a a op oir oi lhe.'Fslrin0. lhe.'F slrin0.he.id€a s o raksourop, igtEroicsd igtEroicsdhord,undion undions sarFl6dicr€spofE8. t0 heourcrvoiced heourcrvoiced hord.eJe uihr oicinswhich dmight s€d oreaditioml oreaditiomluihr llye glposely reatlayors reat layors associate iith th ikeWes ontgomery, rnnyunell, rnny unell,iim mHall, Hall,nd nd oe ass.

Example5g:Step, O Gm47 IH

ll*

ttttfl 2tl

tt8

t-Ft ?t EIEE 5N

fflfi'o

Grnatl9)

m'"" m' 12 2

 3 1 3

It_

ffi'" Tfnn

m'o Grnalg

ffi'o flEtt tFt-fH | t.

}{r-,-n

ffi'o tttttt

Gm7 Gm 7 tt--r

ffito

m'"" m'

ft*

ffi  t

tt2a

Gm7

m'"

tf*

Gm7

&-

H-I+H n-Ftrl | | fr

ffito ffit l t a

2 3 t1

.o.

Gm7(sus)

ffi'oo H++tt ETITD I l2 a

ffir,ft tttEt

 

ou?e resentedithMccoy ynertyle In his ynertyle oicingspptied oicingspptiedo meguiw. o hisexample exampleou?eresented call he resentation, 've mployed and andesp0r6e' esp0r6e'pproach €tned| € loF, :]-m: condense voicings,ndhe ndhehigher higheregister egister-noteoicings. -noteoicings.sage sagef hisstyle hisstyle houldiw you more modern n d oenound. nd oenound.

Example0: 0:Step Step Gm47(6,9)

Gm7(sus)

t+-

ffi'"

GmajT(6,9) tt#cr, Hjltr rul

tL-.J

t Elhr' FH++l n:l

1ffi2r,

ffi

I l

EEEEF

ffi'"

GmaiT(6,9)

m "" FFFTF

H#rt, Hllfl l l l

ffi

Gm7(sus) Hilfi

moo mo o I l

firilr

fu

ffi''o ffi'o I

3

Gm7(sus) ' ' m''o l rll

I 2l

FllEflror. I 2l

tf,..{

tf,,.{

HESron t-+{+l{ ffi'ro FI|FH

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

Gm7(sus)

II*

llll

tlttn

r{,,+

t+.+

ffira ffirr Efin tfin

This teps teps do/otedntirely do/otedntirely 3-noh o c nqsfleri0o a ryr6s bdwr dos*style ti$ Bill bars-12), nd p€r|.slyh hici nemight mightss0ciate ss0ciate BillEvans Evansbars u(6 assehH chords,hici chords, layers ikeMc0oy Mc0oyyner, yner,erbie erbieancock, ancock, hick orea,oe awinul,nd eih anetl.}Ese anetl.}Ese v{ilh 0r ie r0mhe xtended armony 0wonders 0open-up heexture he exture 0ryou nd nd0r chordolor chord oloronesr0mhe soloistoumight mighte e upporting.

 

Example6l:Step4 @ GmaF(6,9)

t*-*

ffi'o

lm

ffirt

FM

Gmaj7(6,e)

m'fr

FTFM h ffi

Hr;tf,

3al

Gm7(sus) Fffi

412

h,{

FFM

FFFH fr

m

ffia l 2

lal

Gm47(6,9)

Gm7(sus)

H+H12 i

H+#rr,

tffi

m ron FF}}}I

tlrE

t

GtttqT(6,9)

 *.-{

m{fr mrn Hffi

at2

tl-r

t+.-,f

tl--J

HM

at?

a

ffi Hm rtrEl lal

ffi

Hffi

112

Gm7(sus) ffiro Hm r.FFln  4t

 

elodicpvoir' [s elodic ith nascending nascending pen-voicings e?esing e?e singarqer arqerpen-voicings In his inal resentation, 4e eachhord hord4e nd earhe he ontentleach presented G0SLoWLY SLoWLY ones0 orceou0G0 singong ongones lrying p personal ersonal elore ou?e o eachound. each ound.elore tnchment iveloping oot.ndoinghis, bverhe oot.n roperly that oone roperly oone trings accidenhll hat achote hat achotes speaking akeertain any hord, akeertain muffled. utedr bein0uted bein0 ou an sehe EFERENCE EFERENCE HEEIShich eteaid 0ICINGS seheC0NTEMP0RARY As ou now,ou ightn ront f heseptions ptionsre.ightn hathese hey?e nplaceomakeurehat 6r 6rhis his xercise. out-precisely art your pproach s. l hear ounds owo ow o h heseounds ese you ndmade hen earning explore.hen madeasy asyoexplore. harmoni half ote s he heharmoni voice ownoawholeote r opvoice m6vemerit fyourop hem6vemerit iry okeep okeephe ill till e lear. movement

Example62:Step5 ) Gm47(6,91 ffi,o

Gm9(sus) riffit

2fr

H+mrft

tffi

FtnF HTfi-l

tIM]fi

ffi2 3 t 4

FITH ItTT]f

2ll4

to

Gmaig(6) H_ FEIF 5ft

Hm rrll llla

Gmaig

ffi,0 H]ffi 1t2

cmaj9(6)

ffi'o Hffi at

t{r,-n

ffJJfizr

H#

2314

Gm7(sus)

Tf* FttFFot

nrm ffi,o ff-lta

ffi

23 1 4

oifiz(sus) m

m'o 412

Gm7(sus) trsF

ffi'o 4t2

ffirt Itlt'

 

UnitSixteen Sixteen chordhanges lorstandads

One ould ertainlypend olumes resentin0,standard,,cho

movements/progressions f91oooutarong R-n-AjR nd -A') uf, crrose ongorms ormsR-n-AjR ustt o useus two xamples h ich ouldend hich endhemselves hemselves sexercises or hismat6riit.'goth resent unes harmonicovements o vements hichre hich re onstant nd eryogical. eryogical. Example 3 "Mundoesmondo'') sperformedith ith bossa bossaova ovaeeling eelinghich, hich,san aneven even th-note groove,.can an e loseo and atinaz,as aswell well s ighterormsfpop,Rock,ndR&8. ou're given .basichythmlong hythmlong ithhe ithhe ssentialass assotes.leaving otes.leaving our noroit norces ospeak speaklearly. learly. In,thisirst irstexample, ou're,asked example, oexplore h he eusagef both bothnvenions nvenionsi neguloeonis. J1tou;ie allowed mark markhe hechord chordhanges hangesithout ithoutny nyk-eyboard k-eyboard nterference, ou oufroutO froutOear earusi usi row clearly u ideones uide hoese hese w o-note wo-note onesufline ufline h e armonic he o vemenr. ovemenr. Example4offersomping nan.orchestralstyle. he.idea s hat,with with our uitar,ouhave big your il ands. h he e oncept.being, ou hat magine he op ote f'the f'theiord iord/oiclng; 9!F ih;; 8" d ih string)s string) s he axophone r rombone ection, nO n e dr dr+-note +-note oiclngs ithhd ith hd op ote on he E"string s he herumpets.. rumpets..ynamrcs remportantere,nd ere, nd oumrghtiy playing iy f'e o*et voicedhordstmezo ianond ndhe he igh-voiced hordst orte. Letter,of ofExample Example 4, san sanexample example fusing ctave e apsn youro p oice. eaps oice.emember emember t's melodicoicen o icen d noctavea n e very ipressive nterval.simple simpleuggestion, uggestion, ry his movement n everse. Theinal.section Theinal.section A3) resents he onceptfhaving h he e op oicelowly lowlyscending scending hrough h he e progression. nyour wn wnmprovising, mprovising, ry, nce ncegain, gain,o everse he r6cess r eatingnj reating n j ong descending inen ine nyourop oicehroughout h e rogression Exampl.e 5offers yown yown pproach a sedpon Tyner-influenced asedpon uitar familiarized ourselfithhe i thhe resentation l how howo oactuitizeis i s oicings uitarfnenni n tne tyle. nyou've enni i example hould ake ot otof ofsense. sense. 'd ike ikeo opoint ut ne peciala'imonic a 'imonic pproach h ich hich ith.McCoy ysociate yler ler 1d ou an bservend ndisten isteno frisasyou youplay playA AZ, ars anO; $ssssssssssssssssociate $sssssssssssssss B, B,bar bar ;andA3, A3,bar bar .Whatheoes oeso ooften ver imT-V7s o nimeO'iatery laytre treitn-t}lpe itn-t}lpe chordoicing chord oicingf he 7 venhough h e assistsuallybserves he ootstOotnie im7 ndihe ightave aveo orceourserf omake makese se f his pproach, sopposed oalwaysl;ting ti._Yqu ight iimT hord oicingirst, ut,f ut,f you indan anemotional emotionalonnbction o he ound,hen hen ouwi'll wi'lln n ime strikebalance strike balanceiithts thtsusage. usage. Example 6 A"Somehings hingsou're ou'reot") ot")egins eginsith ithhe uideone pproach. t smy irm elief thathis that good laceostart nd his salways salwaysgood ndhen hen xpandour oncept romnere. rom nere. ne neitile itile tiicl; to take otef ote f inbars bars,11,18,.22,27,and ,11,18,.22,27,and 4) s hatoverV7 V7 hordoften oftense seh h e uideonei o nei prevtous fromhe from he imTor imT or he irst wo wobeats, beats,ivinghe ound heightened eelingtiuspension eeling tiuspension and elease. ry laying h esears ith nly hesears nlyhe he ominantth "uide o nes nd isteno he onesnd difference, hen, akeour wn hoices.

Example 68employs 8employs Mc0oy yner/Chick ohis reapproach ormelody he heentire entire une.t t should shoulde enoted that thatf f you6 were o attempt o.playxactly o.play xactly i keoreapproach ikehis ehindhe hemelody raune. soloist woufOe e l ouwoufO lou guilty fsome someerious eriousverplaying. or he urposes f his ook ook;ve ;veried riedo o a m nas asmuch much information spossible,ut,n ut,na real layingontexto ou uwould aveoweed weedut uta a otof otof hiswhile hiswhile listening owhat'soingn roundou . I'moften I'm oftensked skedoapply applyom.e om.ef he 0penVoicing" Voicing"oncepts oncepts oa standard. nExample6C took sound one hord.al shape" romhe Open Voicings" agesnd ttempterito efeience pptyiiiio o _ar f possible.s his xample gvery_ar gvery t ands, tands, t sa s a composite itne pen penoicing oicingoncepi'and he 'Oecoming Tyner/Corea pproach n nd d hould houlddd ddo o your rowingensehat hathese heseoicirigs oicirigsre popular oundhapes-things o ueally eallyear. ear. Sincellll heplay:a.long Since xamples e reonstructed ere ith ithhe he id idof ofcomputer computer equencers, have choseno use nR&B rientedhuffleeel,with with ome atin ndertones, s a substitute o oii a azlikemediumounce.omyear eart's t's till ifficulto make achines eelike eel ike fvin fvinoneJ,'noy oneJ,'noy t]ayl9s,ack a ck eJohnette, lFoster,ony o ny W illiamsrPhilly Williams Phillyoe oe ones.t's lsomyeeting n it hL nit shuffle sa eel,n eel, n ttitude, hatmost usicians, rom llgenres, an anelate elate o. o.

 

GuideTone$@ Desmondo" 3: 3: Mundo Example

E

CmaiT

Cmaj6

t+,--l{

Dm7 G7 '$-+{ tH{

ffitor,

ffi'ooffiot' l

H{fior' ET

Hffi

D bmajT(6,9)

BbmajT

ffi'o

DbmajT l-Fl-{-H

FFFfHI. ffi

|

Dm7 r+.+{

Dbmaj6

ffi,o

H*hH r' Ft-t-t-H l l

BlmalT rITm ffitn

G7 l#{

ffi'o

m ffi'zr'

Cm47 FFfl{

2i

H++F

fid

ffi

ffi'o

rf-ftl9t EED

ll

D7(b ,b ,b9) ffrm

mo"

FEfl] Ellff

I ]

Cmai6

u m/

FSFtlzr,

E ,.

Elm:'i

Htlrl

ffi

f-H-t+l tfirrr

T+.-4I ffi ttfficri

m''r, f f i l t

Gm7

ffi,o Hi#

1 4

c7 mro FFM tl

Uppernversions Cm 7

FM

ffito

LowernveFlons Lower nveFlons

tt fitt1? tl

ft

rl

DmajT Dmaj6

r .,-if l..|-l-H tfllll

tl

ur

H]]fl

lr

14

|tfin

ffi"o ttttt

r#t

Etrrrt

FFffi

A7 EM

Em /

ttltfl

ffi,o

SffiII,

tbFtHar. +Har,

l

ta

t+..++ tfllll

t ----

m ' oEtttE m'o EllN

FFIFF i HM

II---$ TEEEEr,

DmajT Dmaj6

A7 Em7 rI', t ti-,+t

Bbm46 FFtrE

F7

Cm7

Am7 H,+{ ffi'or.

H+{f,

D7 trm

mroii ll

rrii-4f

mrf,

H1111 tl

Uppefnverslons

 

ubmau trFn ofi EFFIE

Dlmai6 Dm7

CmajT FSm

F-,iF i#t ElTEU8ft EIIID

ffi

ffiror.

m'"

A7

Lmt

ffi'u

ffi'u

Ht#

HSF'N

Frlfu uln

Cm 7

ffi'o Ht+ ETrlN

FFFFF

ffi'u

t3

Bbmal5

6tmal/

Cmaj6

Hr]fl l l

FM

ffi-' rrr-n

I ]

umalr

Dmaj6 D7(bs,bs)

Effior, Hflfi

lFrF_t

tl

_

t+at+1. t

I I

tl

Example4:Orchestral-Style Orchestral-Style omping @

m l Ubmq/ ^, Lj-J

DbmaiT(9)Dm7(9) DbmaiT(9) Dm7(9)

ffi

FFFFFfI

ffi

EIITE'O ffi lrl

l l 4

E ol'4, cIIm

Fm

ffioo ffi',n EITE Ttl6 tt

tr4

BbmajT ffito

tt t:. FFT+N lla

Cm7(9)

,m,,, ' " iiffi*+m,,"m'" 1   4

lll4

A7(bs) FtrE".. H+p'ffi

FF;TF 5 I

H]#

1324

It4

Dm7 trm Effi'0,, F+fl+

FH mnn EflSEr2rr ttEtt ffi l t2 4

A7(13)

EmajT(g)

ffi'to l4

tlJ4

ffito

trm 121

EE

tfffirr' I-FI-FH iflfn I 4

l[]

F7(9) Tl''''n

H{frl4r,

ffi

HTM

mr"" mr ritFF

D7(b5)

DmajT FM Ftmofi H]fl tr4

CmajT er. ffi lofi

G7(9,13)

tu

 

ITf,EE

tt

tll4

Em7(9) F+H

mun Htl+

rll:r

CmajT

CI]E

6rmalt

Effi'n H1fl d11n

G7(b,13) G7(b ,13)

cm7(9) H*Fldsr' FFI.FH

EfEtf

41

Entl

rrrin t

ll4

m,"im' F7(9,13)

124

t2 2 4

DmajT(9) FFFIE FFM EblEElar, EbftHarr tfi# H:fin ll2

I 12

ffi',,ffi.,, rx D |rtm tr4

 

la-l | - | Dm7(9)

G7(9,13)

tt-,4

moo ffil l l a

FFTTFr Hffi

l..|-H

.e

n(e)

Cm7(9) HM fiff'r H]+ r a

r-Fl   Dbmai(6,9)

Dm7(9)

ffi'o rtTI

FFITEfi ffi

Ed

ffi

ffi'r TTI1I I tl

rrltE

Bbm47(5) Bbm47(6,e) l-.+ t{,,+

ffiror. l l l l

tt-

tfrlb Elll.^._ t2l4

Fffi FttFfFfi

:at

lfi

Hffr|

Fl-hlh EELII 2l

EEEU l2 a

lH

ffi'oo Hffi

g--. t-|-+.t-H l-t-l-i-H

E m 6i tiG

'r ft

IH

m''r,

I lofr

I

lal

t't-tl-t

6li

2al

 41

DmajT(6)

1 3) A7(b9,

Em7(sus)

F7 FT1Tn

Cm7(sus)

Cm47 Frrm

G703)

lla

lll

ffi'o   l

t|.{+

D7(sus)

D7(e) Hi1# ffiru'i l2l4

Am7(sus)

D7(b5,b9) Er

m'"" m' 12

{{i: i:Gontemporary'S$fe Gontemporary'S$fe omnine Example @ Dlm47(s)

$.--*

ffirn tffrtr

ffi'o HTM

't{*{

ffit"

H-{-H.{

lll

Bbm47

*,,+

m'o   l

*..-{

A7

t{-

ffi,,, ffi'o lrl

lt2l

D7(alt)

llrm H#

m'"ffi'"

 

m," Drm4/

Dm7 lH t#

ffi1 2 4

[]

ffi'" H]tfl

'o

Il2t

Cm7

H)

ffi'"ffi," H]rl1 Hllf, ffi," li-t-FH

m'o | tl

I bmajT

CmaiT

G7

I l

124

I 2l

|m mto

m,"mi'* c7

Hffirn

ffil 2 a

Cm 7

CIIIE

If

EEEEE

Hi+{q fffirr' il-lfn rtl

iitfn ||]

Dbm47

IDl

ffi  t

(t ,

Ttnn I 2t

Em7

6bmal/

ffit l l

Am7 t*..{ ttfr.ir,

ffi..

FHro

tfrrr'

ltltfl

m'o lll

tu ffi'o

Dm7

Hll

#'o ltl

ffiro

ffit 2 1

  2l

Tfnn

m'o tlll

A7 Hl+fl

m'o I tl

ft.-+ Hli

ffi'o ||]

umaj/

Cm7

ffi," ffi'" F]]q FFFFF

fg-

m,o m, o Hflf,  

  2t

Dm47

Tirnr

ffi'n |l

tt4

D7(alt) Im

m'"" m'  4?

r-

3 ----;-,

 

ou're ol" Guideones)@ Thingsou're Things 6A:Some 6A: Example

m t,r|

BbmT

Fm/

FFM

Dbm47 r{-#t ffiro HM

t#f

ffi"o

ffi.n

ffi

H]lfl

I t

FFTTF' FFM l4

Fnlln

rf,,{f

ffirt Hl#

m1f. FFFH

ffi

la

FFFM t

GmaiT

IHI

#,.4f

ffito

ffito FFM

Hfifl

FlmT

ffi

ffito FFM la

m'o HlH

ffiro la

ll

ffi

ffi

FFM

H]ffi

tf*l{

r+,,{{

HlI{

I fr

GmajT

07 t+-,t{ ffiror, Hl#

tHf

I

ffioo Htm

Abma,7 r{-fl ffitn FFFTfl

r{,,{f

ffi'o

ffioo

Dm7

H#rr' FFFFfl

Abm47

Fffieo Ffifl

Ebm47 lHl

ffisn

FFTTF

 

m."" m.

E bm /

F1tfl

FM

fl{ffict ffi

ffi

la

I I

DlmaiT

UbMI crE

ffi'o

H{fl*

FFIHron.

ffi

ffi

BbmT

Cm 7

B 7

H{fisr,

mou

iffiot H]]fl  

H#6n Htl{

trFH I]

7 _I

ffi,"ffi,"ffi* 'r-tft-r

Dm7

ffiH

ll

Abn47

Eb7.

rrrrn

tIf,

Em

u-t-Lt-l

tl-t-l-l-.t

H-l-ljll H-l-ljll

HEH]ft HftHs..Lt+lrH HftHs.. H++fi f{lt+ hin

tl3

t24

@

l l l

 

AbmatT

F -''n

ll-

i+rirr

ffi'offi,offi'o tl2t

lt3l

2l

Am7 H#rt   l FFFTF

r+-

tilIg'"

ttftH 5 ,

r-++H btttIt

t1_Fin lll

nlt

ntl

tu

Hi-'-'

m'"m'"m'" fi'" muo t24

  l

CEE

mH,o nl

t 2,4

tu

2t

ool

  l

l

l

fufun

CrIE

EM

EEE

ltl

|:]:]E t-l+].].^._

ffi,o ffi

ltl

FttT

Cm7

x -r

l

tu

@

m?'i

Hltfl

. .l

CmajT

@

t l

FFFTFfi

l l

 

x_

fffth;r ffi1"'' ffi FFtsFfi

ffi lftfn

FtrM

H*tH r, F+l+l

Et

c7

m6r,ffisriHEH',,

' 5--.--a

ffi,n

HlUl

AbmajT

,

Dbm47

tJmt

l l

EDI

IIIE

CEE

tFFlfis,,H+FHrr. tFFlfis,,H+FHrr. H+F H]#

tl

tl

t l

GI

H1111

ffi

EflN

AbmajT

crt |:]:r--

D7

m

124

2t

ll2l

ll

l l z l

EbmajT

tu

EM

ul

 I 3

umq/

ffi," I 3

EEI

iiffi

I:]:]E

ffi'"

ffiror. dlln

I l ? l

 

 -

ll

;I--

H1+fi fffi,t' ltl

EEE lr2t

t:]::E l l

i:]:]r l t l

 

D7 clr l.l-rfn |l]

m 'u ttttE

m'Trr

ffi H#

mlrr

||

Emar/ *-; r,..+ SitH EllN tll

Bbm7 I + * H H

ffi,'

q-1-l-1-l

t+*

l+.Tn

ffi'" ffi,oo -r iin rr

t-l-l-l-ft lll

lll

||1]

Db mT '+,..{

Gb7 .' ?#

m'n ffi'o Ilrm t1lfi r24

4

I l

C7(alt)

F.,,+

ff,*

EIETII r r' r'Hit$r2 Hit$r2 fr frHFtHt HFtHt n ttttE l3l

tDl

ffiet ffirn

u-l-l.lt

Dbm47

Ef,EErr,

4

a

lll

H*

m"'om''o m"'o m''o TTTEE  t l

EIE llll

AbmaiT

m'"m'"' " ffi,tffi,t

6d

Hd

 

lll

Hd

121

Cm7

ffi

I l

tt-f

ffi'o rtttll  

AbmajT t+,,-,1

ffi,o rrrtt'   2l

EITEI]  

EIIIE ll3

Bo 7

tm

rflir|

-

EEIIJ

lla

G7(alt) l2a

C7(al0 fiffet Hffi at

 

ErdrpbGeAddingne ErdrpbGeAdding ne rn-Voiclnghape @

E

Fmt

l E-_

utm4/

BtmT

ffi" F]ln

rlall

lttlt 6i Fffi EEEEE

ttffi-HgHttIII]

EI*

ffi'"

FM

dft

0m7

ffil'" ffi

AbmajT FF ffi

Ed

H#," ffi

07 ffi

#

FM

8t7 Hflfi".

ffi'"

tu..

H11* rf,

ffi'"

H

ffi'"

D7

ffi'"

GmajT FM

E#

ffi'"

Em47

B7

ffi

rbmal/

ffiffi

FqlT DN

ffi'"

F{m7 Ii

ffi'"ffi"ffi'" ffiffiffi

Cm47

ffi

FM

F]]N

ffi

tu,"

tu*

ffi"ffi."ffi*

H#."

G7

Alm47

tt$fi rei EM

'i

H#

Hd

C7(all)

t# Bffi'"

 

tr

bbm/ EEETtr

H#FEt H+fl  

majT Db DbmajT TfiN ffi^, Tr-r-Frl

tl b ml

H1frl^r' NE

t{,FFIll4a ffi

ED

FFFM6N,

ffi EETE

2l 4

r J

23la

AbmaiT

EDT

Bfr

FFtFllrn

ffi2 1 4

flh-l

ffi,o tt

  l

I

7r FFtFll Hffi

t+- tr, FTFFF Hrm

ffi'o ffi

Cm7

ubm/ ffiffi,*

'AlmajT

Eb7

8 7

t+'+

ffi'" lf* EEllfi 6a

Hrm 23ta

ffior. l2a

c7({s,{s)

m'o m' o 12231

 

tllblirit

ttotorlen

m en en l habasemenll m a a r llm Ma rc n habasemenl

UnitSeventee Seventee Gm7-EbmajT(t4)

It's the continuinggoal of lhis bookro ou ou bookronspire

our

ocome pwith wn simpleracticexercises nd eviceshich ouldccelerate process ouldccelerate he l .hearing through he he changes.he heollowing sone fmy avorites, ecause orhe or hemost art,many manyff he oicingsan an sustain hemselves hemselves hroughoth hords hough hough hesewo hordsight hese hords ighteem eemirelated. irelated. Againhemovement etween hrase, he hords ssimplend ndepetitive, epetitive, our-barhrase, wo arsoreach oreach chord.0 chord. 0why {ould hesehordsave hese aveo omuchncommon? et'sook t hemodalitches irst: itches Gdorian: dorian:G G Etlydian:G

A A

Bl, C Bt C

D t E l F D l-iLl F =I

Root As ou an ee,houghdorian houghdorians derived romhe ey fFmaior romhe maiornd ndEt ydianhe ey fBt, maior,hey nly ifferver iffer verheusagetEtor EtorEr. Er.S0,o S0,oputt simply, simply,s s ong syou voidhose pitches, ny hordoicingou lay ill ustain hrough he ntire our ars. our Example 7 ocusesn ongones. ongones.he hehords hordstay tayhe he meand nlyhe nlyhebass otemoves.et, the hange smadend illactually actuallyoundbvious. oundbvious.xample xample eatures 78eatures 78 nner-voice otionhile otionhile playing the op-voice emains ixed. ry heseswritten, heses n brokenhords,r nan anarpeggiated arpeggiated stylend style nd f oursese our wn wnhythmic hythmic deas. Example 8contains omeampdeas omeamp deastilizing tilizing riadsnconjunction riads iith th -note -notepen penoicings. oicings. oushotld The hortocus ocuss on oncommon-note common-note op 0icesith 0ices ithhe hemotionn he nner-voices. discover hlongside hilelaying ilelaying ndistening nd istening o hese ust ow owontemporary ontemporary impleriads riadsan an ound when whensed sedlongside oicings /hich /hichight ighte eamps onsidered odern. Example 9 eatures stationary stationary op nd ottom0ice ilh nly nlyhe hemiddle ovingackndorth ndorth A'andC. A'and C. In between Inbars bars,,12, nd 6,'ve hrase, 6,'ve ddedkind fchordalnswer 0 he gain beginning ith-n0te ith -n0teoicings nd uilding nd 04notes.

Erample'7AwithCommonone onVoice) @ --T--o

Gm7 Fm N FFFFF

ffi2 l l a

=T--o.

EbmajT ---=o

--T-o

 

Erample78 withCommonone opVoice)

' umt / u t u

m'" 1t1

EbmaiT

ffi." l rll

tsbm4/

m7

riads) Example 8 lncoreoratinS @

Ebmaj9(add )

ffffrr, ffi Hffi t4l

FIE

Bb/Eb F/Eb Bb/Eb F/Eb Bb/Eb

fi'o m'-ffi'-m'n m '"m'" m'"m'" t2

Gm7(sus) mro HTM

Gm7(sus) Gm7

m'o Fffi

1t2

FH t2 l

12t

3t2

l2l

3t2

Ebmajg(add ) Bb/Eb lmaj9(ath) t6t--J

m 'o ffi

l2l

Bb/Eb

ffi*ffi*

H{++l lirll'

2t

at2

l2l

6fi

r/E D tI]I]]

D D /E D EE

tbft rotbLbtH otr FFFFH FI}HII l

at2

 

exarqiib'trttrnner nneroice oiceovement; Cl Gm7

EbmajT({a)

ffi,offi,u H1TT1Hffi H1TT1 Hffi 1tx

l4l

EbmajT({a)

 

We.lier rlrhlsEumpean rlrhls Eumpeanorr, orr,P6rugta, P6rugta, t.ty,Joty t.ty, Joty 3,1986. lenb ighl:Joa ighl: Joa arin |.Pelar |.Pelar .sline, iclor ailey, ailey,tsva, tsva, nd nd oberlTlomas, r. ph0t0: Carlo ieroni

Eighte UnitEighte

aboEr sposslble, alellals smuch alellal o couer couers Inattemillng In attemillng give moc ulily mocsonson-

nslde hirdsnslde ithhirds oclavesith

F asa asa thord,'but thord,'but an fuinly ay arely toores€ntn'ootion-which as one l enson n his tea, eoroe rEt,n 'd 'dhave haveosay sayrEt, or tuderrblguihr istory, rariety.or rariety. ith ithhes€ hes€ormations' xploration roughmprovising deep€st D' and ighE sfins N and8" $rings $ringsrr he 0 closs0 orms s hat fan fanochv€ ochv€lay€dcloss Theorm The B' G' altet.td heomer, nd e strin0n lE altet.td nteflallla3rd ddedn tre strinon heomer, wih ie nteflal lupe,noth$ noth$n€ansfcoloringmelodic oundlupe, as u$anothetound l hae0tr6 hae 0tr6as trvand trv and onceive losented losented n ths nd xtensions hechordalundamentals t'sadditional oitch.t's oitch. additionalaterial0 hechordal Ireference' hor&l tEpes h€sehor&l ryand ryand pplyh€se seriesffmatetials.simpleBcticeuogestion: series witninrw l he witninrw rercises nd xampies resent€d n he electnocrcise/oGmple seF selE F iomlE rdiom ctavelus rd heook orresponding llen ubstitute ndllen nd oices s our oint lreference top oice nd ee ovtts0unds. amilynd samehordamily

Erample llA:GDodan Yotc. n E"Stslng lopYotc. lop 7fi

Efu

TFIFH,fr Hllfl l a l

i'-rioot tnl i *,r-

: ffi,*

Hrqil

:

I al

,

2nd

m'*

'|,h

 

TogVoloc l "8" Stillo TogVoloc sfi 4ft *{,,{ @1,-

I

ffi"u HM

3 al

tfi.nn 6f

EE{q

! : l

*f-

7tl t .t-,t

H*fH!ft

l+t+H

mSrd

! 2t

t l

4tr1

I'l-t-

tt}&Prfr Hffi ! 4l

l--no(R) : rdd

:ffi'o

stl

t*fItttDroft

ffi! a l

7th

6tr

t{#-

fH.t.l

I 2 l

a

I

FFttFr!rr HM

a

3 4l

2tt H#tot

m !

l l

708:G GLYdlan Erarple708: TopYolorm "E"Sulng majT$ i-iitt

:m m ETq' o : 51

To9Volcc To9 Volcc || {1f' rJ-r tttfrrt

"8"

Stlrlg 5l t+ H+

E i'ii f f i f f'5-i

ad

Srd

m'n n m'"" m' m'

t!.t-

8.I..

 a l

maj Ut i,+,,{

ffi'r m I

ll

llh

tt-rt-+.H+{

m'n I 2l

stt

6tl ttffi trEID r2n

ll.'{n Hlallr0tt

HH

l al

3 al

&

€

N

3td r-t -f Hi*H ru,

l{.Hl{ t 2r

106

m !

l l

m"

mai tt 2 l

l4tl

l+H

ffirrn

m

3 l l

 

EreFTttC:G MixolYdian on TopVoheon TopVohe

E String ' Rc

7th

iiripr', E

f

f if ril

f

i

'

E

F

tE

sth

3rd 3r d

2nd

F+p i,li Tflfl

FFEEg'5ft ffi''' H+IH I

tt

ffi

FfII-H I

2l

ToD oice n 8 String 4t h a.at-]-l # tllfi

5th

6th

f f i f f i f f i : f f i

ffi' -

ffi' 'f:i

Root R)

7th

ffi i=

im'' ,

,r'

6th HTm FFFERr|i

.1 .11

I

a

a

ll

3r 3rd d Ftttrt

HJ*H -'r,

itq++l

7th

Fnm

FFFFF t I

4l

a

21'1975 1975 heVillage ate nJlly 21' BEGkerrus. and t heVillage Witlrie BEGkerrus. Witlrie rika tioe nd levePholo: levePholo:rika tec*er,nd andytec*er, rccker,andy ichaeirccker, iglttoavia anbom, ichaei i'romehio iglttoavia  

Ninetee UnitNinetee eference C7pedal hordaleference

Yamp'oure verYamp' oure ked0play tfer SOIOSeCtiOn or ust ongam ver oftgn in a SOIOSeCtiOn le beenslcd beenslcd nd eminars clinicsnd nd tclinics ;irft-d;t6;rt nh httc.loryean tprilateeachi-in:g, ollowing heollowing indsttsituati'ns.he heseinds hese an oo,-ver he',an ilitr),il ti,; i,rt;n expaironarhe', rom. s basisoworkrom. rdlererice hartsre tfered 7.. th hord,n his ase-7 oundll hedominant heEound otionffestablishing asicotion ithhe he asic Beoin ith B' nd llats omerere ithin fien ffi;;i; il;kft.h,ilvoicinsi witt o-ntainnaturals irr imToicings.usuailv imT heseoundsyadding oicings.usuailv hese iil h,*ony ey;nd ;il;;ffid F's!ossociated ll

thatlmost thatlmost

ith r'oiitrt turals iJirittriiioui6isentiairiiipiiiin6 ir"riziii,iriii-'

the hordsavesuspended eeling. 0whenoule saplaceo.return s oserve oserves nes his ne his harts elerence hordal therhordal llour ther Aswith llour ertraps xamples. oilowing heoilowing he nsweriiilil iewithinhe uiv i,tlcrnrprootem. irri rjarluiv

Basicoicings) oicings) 1:lixolydianBasic Example1:lixolydian stt

Iiffi," m lll.

6th fiTm E!!GI

ffiro 2l 4

3rd FfTm

7th

nrm

ffi."

Fn'ln

l 2a

l2

bo

{}

ffi'"

Color ones molrColor Vddry wl$ molr ll''''n

FFFM

rl rlTE TE

ffi."

ffi,o

llob Volclngs 'fi,n{ Ba3lc Hllfl

2al

(R)

ffi

FFFTfl 134

(2nd)

tm rri Ftm Fffi

I l4

(3rd)

ffi

t0 ti

l!a

.-o

l+-11

#-n

Addtloml oicinos:

ffiJ'"

l0 tr

4th 'l'fi

ffi'o

Hm

m'"" m' m' m'""

FFI+f,' ffi]

Fm

ffi EETED l!2

(5f')

m'"

!r-+

IH

ffi

t!2

(7rh)

 

oorr* (Bastcotctngs)

er}} Rmt R) t{-

ffi'" tl

2nd

ll-

ffi'" l

a

m3rd

H-

ffi" ta22

4trr lfnn

m'o m' o tJ 2 a

Adddordvddry: m,"

no|€Color ones Volclus l$ no|€Color ra_

t+*

;l*

trnr

tttt m'u ffi'o f a u ft i H H4 l 2 l m f f I il l S

Addtlordvoldtqs: m,-

ffi'o

tu

ffiun

tu ffir,'' ETTTIJ u

ft-

ffi,o

ffira FFM

r-

ffitn ffi

ffi'"

rf*

ffiror,

rttttt|

?t-

| | ft

ffi'oo ETTTD

 

Modescends scendsn E"Stilng) 3:G GDorian 'lir;i,; pen oicingsMode Erample3: 7h

tIttfi

ffi

tot

23la

.o.

ftfr'r' r|?rn Firfl 14l

trE ' H++fl3 Fr+  al I

Er H1*n'r'

ft-

ffito |rlln

FM

lal I

?tl.l-n

l+'+ir

ffi

Hm

fififfrrt

tbnron

lrt | |

.e

I --

ffi,n HflN I tll

m'" ffi'"

 r -l

tf-

tr

;t-ttilli6ft

HIJfi

E;H

-T-r

n

l{-n Etfllf8ft

H11+

q?fl

l-

mrot HH

tl*

ffino qH

ll'-'-'r

ffi"o 5ffi

ffffi

FFFFFirrf'

FtrH EIE

ffi*m'." ""

 

Ern?b 74:GDorian Dorian-Note -Noteoicings oicingsModescendsn 8 String) i RootR) : FT+M

6th

' ffier,

TI FFFFH l4l

@

mi' 321

ffi

t]m

H#H,t  

t

3ll

3t2

ffi E:I 32

ffi'oo   t

ffi+

ffirrr. 3r2 bo.

- ':.

ffi Fl]fl I'll

(4rh)

ffi

ffi

H]+F

ffi

tfrl I l t

(5th)

Hffl

(6rh)

ffi t2l

(7rh)

Sffier,

FFffi l4t

/R \

FtrH 8 i FFIFF

Hr# t14

(2nd)

H+F

ffi

(3rd)

bo

 

UNIT 0 cd abouthe about hecd

ndor orhat hat atte aspect0f 0f his ndeavor, dilliCultaspect Plobably he most dilliCult

or hose worknspiring nspiringnd nd ducational hework clinic0 0a arge roup,s 0 makehe teachingrgiving clinic you g0 more own0 0 themore the dvanced havehe he arthest0 without oundingike are alking own whohave who eels players. l0nghe l0ng heway, 0meone omewhere t'san t'sanextremely extremely ine ine 0walk 0walk nd oubtlessly, you ine ine n nan anacceptable acceptable anner. most f 'vewalkedhat hatine now opinghat hator ormost slighted.am amnow 0 o offerCLARITY; CLARITY; emposesigned n heCD heCDwere one t emposesigned The xampleshich represented being00difiicult. difiicult. h hesame esamehingwithoutt being00 hatam am doing nd hen ractice that ou anhear hat h e erformed xamples n heCD CDwill willbe be ollowedy he amerack, rack,n n ly peaking Generally illbecases casesowever owever mptypaceo be illed yyou. here illbe e aving h henow enow mptypace minus yguitar,eaving feels' h ereou re fferedeveralilferent 0r bluesxamples xamples nd ariousedals,here such s heGblues 'grooves'with singhe ame rittenxamples. whichoexperirnent ou re ree0 nd alf-notes, reree G-31 herehewritten usics olferednwhole-notes lnExamDles feel' your ou wn by precisely ry 0 0w0rk w0rk n playhem 've lso uggested hat manner,ut,'ve ut, n hatmanner, hemn you f ikewhat did' xamples. hosexamples. hose hisswhatdid what did n performing implehythms.hiss imple improvising played. itchesillbe great he hythms o ranscribe he e earning arning xercise t can e a sometimes iust s hey ppear. nwh0le-notes. nitially heexerciseas resented willsee seehat hathe In InExamples Examples 3-36, nce gainouwill s nother nother practice ach oice oices speaking. makeertain ertainhat mannern nd dmake hemn hatmanner hemn it s mportant o n he na'brokenhord'style. amen n ds 0playhe hords h e ame methodhich hichan an ccomplish doingt t his ou what did. did.Please Please rydoing r y perlormance h hathis at his s swhat willhear, will hear, t imes, f hesexamples, hesexamples, way swe swe

"Don Grolneliu*" O

"sliceville" Gl

Thoughngineeralcolm Thoughngineer alcolmollack ollacknd nd have one urbest urbest0 0share ith ou he echnicaletails etails ou presentations utexactly exactlys s ot oteveMhing u urnedut rned eveMhing heCD most f hesounds hesounds ,vill ear n heCD of ofmost guitar ouwill hear ome istortionn he willhear x amples, xamples, ooed.n n a numbert he ecorded had ooed. our aultAttheime ime f our was ctually y aultAtthe t t is not tereo, CD, CD,t sound. onotworrylllt is not ealizexactly not ully ealizexactly n heamp heamp nddid nddidnot hecontr0ls contr0lsn ne f he ne the ecordingdidn't nderstand you, he m myapologies. y apologies. oing o all of w wewent e wento o mix t. So, ntil as 0 ape ind f s0und what ou ougreat great t will save uchhings. uch hings. extraime ime odouble-check o double-check akeheextra akehe lessoneres eres t0ALWAYS t0 ALWAYS aterl embarrassment n hebook, hebook,planned eaplay-alongD ncluded hathere here ould ea t was nownhat hemoment moment Fromhe xist ieces.ieces otnecessarily necessarily s ully ealize hich 0uld ot ieceshich mprovised e veral everal on ncluding a rmony an e w oulderve0demonstrate u twoulderve compositions ust o w ourines nd hordalarmony pieces laying. nspire ach f ou're vill t is hopedhathe presintedide-by-sidehile ctually ut, NY0UR WN n your wnmusic, ut,N you owork ard t puttingo use 0ncepts romhe rom hebook bookn ieces. f he boutachf wouldike ike0 0say ittle boutach WAYIIwould WAYII

over overhe he oursef ourse f hebo0k, he bo0k,eflections eflections n hetnfluence pianistsianist mywork my work constan ersonn inanist my ife, nd was one ery fignificant heabsence hismoment, moment, Therexists, There xists,p puntil untilhis personally ear1996), ear 1996),is n me n nd d assed is nfluence arlierhis his wayarlier way houghon DonGr0lnick.houghon ros. and' e heBrecker Breckerros. earliestff ourdays ourdayswith he uringhe heearliest musicallyanbe eit hroughout.uring o onived nivedn na ncredibly, n New ork City.ncredibly, City. n he Village partment n Don's Don'spartment usedo ehearse/jam wholehythm hythmection ection as . . so, he hewhole WillLee Lee ndChris arker hereis isneighbors neighborsereWill buildinghere building onworkedeally RAINans-and ans-andon llSOULRAIN ewere llSOUL early'70s,e residenceuringheearly'70s, righthere, right here,n residenceuring e rsonand ersona icture you on Grolnick's f an perfecting mpression. isDon isDonCornelius hard t get e workednd worked nd w0rkedtt w0rked . . but, mpression own own. 0 0rhim rhim o his hismpression igstretch stretch t'sa t'sa pretty ig stature, Love, gotpretty got inally,ne ne ay e pretty rom he how, inally, ndSoul dSoul " ood-bye he Peace,n mastering wantedo mpr0visene xampleulling Willcalled called imDon imDonGr0lnelius.nyway, 0 t andWill close0 close hufflerooveitself ributeo 0use ur urbasic basichuffle nUnit 9. decided togetherllll hats hatssuggested ndryand ryand vokesense vokesenseff Don'smmenseeyboardresenceaving ernarduidie) uidie)nd drummerernard myown own ears aking usic ithhim, is nfluencenhow play, nd ow tand smy spent0 spent 0many part, ue ueo oDon. mix fR&8, fR&8, az,and az,and atin is, n ostlymix hbdgepodge fstyles perhapsostly riends.e emiss im eeply. eingis is riends. We ll ovedim, ovedim, ismusic,n d eing

0 n Don'sastCD,MEDIANoCHE" C D,MEDIANoCHE" (Warnerros.),e r os.),eexploredatin a tinazz. on's on'sompositi ompositi "Rainsville," une ithoutuestio une eel, asmy avorite eel, lues ith cha-cha sophisticated essentially mixes mixes Asoulhasty hasty myown own pin n t.Asoul key,he heattitude,n nd dustkind fputmy heBt Btkey, I simply xtracted xtracted otten 'd ike. uitar 0 s0unding s s s 've oundere ound ere as asclose closes noweel eelhe he sayhat hatnow went,have0 have0say hedegreelike 0 employl on eally islikingeverb0 hedegree remember

remember remember ecause Odd,n his ontaxt,ecause T h e t i t l e i s a n o d t o D o n ' s t u n e . . . a l s o i n o uSliceville." rownslang...whenyou sliced" heastrain raino and ou'ten heast work ut, ell,ou'veeen  

"Khalatmo" @

"Gracinha" @

"Cintura Ciry" e

ow\ilac's ystem,ow\ilac's omputer ile nAl nAlGorgoni's atinile atin itleofmyplay-alono heitle he Thissactually Thiss r6gression s nspiredy ouse usett as itle. he hgrd ecitied ecitied o uniry,'l gunded ision.itgunded Studigision.it Studig SSUL gmerilliant gme rilliant hich eatures mid-'60s romhe rom he nCal iadeis BURSf P heunesn one l heunes playingl amp: 8-baramp: t's n8-bar o wholepproach pproach hichhangedywhole oreaiano{ork. . work hichhanged Chickorea Chick 8 lt F 7F 7 BrTv7 lBtTw7 F7 FT f imThords imT hords he uperimposition oremploying remploying errifico thworkout, Its Itsa agreatominant burnaround: ssimplyn bar,ouble-time, This iece Brrair l ,l G7(att)tl 8 ll,cnl cn7 F7 Fi(att.\Brrair hem0sl aporace-Mendes, 0r 0rGracinha Gracinha ts snamed named with rasilianusic, odo dowith t hasittle hasittleo Thouoh

increiinGocatist,ndwite lpianisvarranger, l pianisvarranger, ergio endes. iisast sastwg wg CDs,BRAS;LE1R9" CDs, BRAS;LE1R9" phrasing s nd oice nGrancinha's rayiconstantly. constantly. myCDrayi inO OCtlNS,'have eenn myCD he rilliant Dseature heseDs hese nspirinq.or uitarists, ndnspirinq. ouDiiltingnd usico evervttrino natmates usic paul antastic rice e gunds ladmission. he he alsg asily'/orth asily'/orth r.,alsg ackson, l accomoaiiment onhese on heseecordingsl utand and earingll hegreatalsa ast ouplef ouplefyearsangingut heast omucht he Alter oendino ueens, heBr6nx.lusaking ndhe nd rgoklyn, n he lubsl lubs l Manhattan, Uands vocatisisnC nCneirUands t hy 0many 0manyyrics ayribute0 hemovement novi nderstand essons, essons, ance Salsa/Mambo hen estwood, pecifically nLos ngeles, taistsla la intura)fwomenancing.s grew-up thetaists hisssort t . , so, guesshiss ity ity. entury uilt-up,entury uilt-up, as ein usinesrea iOa anein usinesrea litttbiO iwas litttb epeated: b bars ars simpleamp, alsosimple ort fllll hissalso aplaynwords VERY Q i A 7 At7BknTthnT,ll 1)The uerto ico ll-stars' uertoico nfluences: wonfluences: hybridtt wo fahybrid eels skind fa ndeel nd Theoe hordr00ressi0n hordr00ressi0n Africando" uitar iflerent l wo Thisrackflershe xchange Vol... Thisrack Vol. nd2) co. nriore-sot iounas,thv iounas, thv re0ular olndpresenting olnd presenting nlyhe nly he hords or16 r16bars; bars;nd nd2) 2)one one fmy335' fmy verdrive used used tgne ines. orhgse hgse ines.or ines. 16bars to or or16 banezirbecreamer hebanez he iounOs,ir,,'ptoying middle ick-up n he elector s:Put gur bariosios ho$,ede earsgo. eret s:Put iittino ttliti bariosios ick-up ontrgln 10' he Vglume w withhe ith et irt-ups avehe ridge Thed n.Thedave re sonoitr iiiiti6n sonoitr trick'is hat our eckick-upnly sesheVolumeontrol ri8.t0'.The inCni inC ni foni conirotri 99o/"f5' f he layingeard.here ive, ndor ive, ndor99o/" it S'.ipinq S'. ipinq b fone 0ntroltabout'8'. henlaying oneontrols ow s sometimesWhen heone sehe eckick-upithhe bi, t ontv sehe iirc n m'v bi,t arbereg egme 0 nd amesarber gllacknd Malcolmgllack irtslllBoth,Malcolm irtslll ngineers Oriueingineers t'isOriuei t'is iecorOin,i ;6iior'len:u'ptio*...S;lg0toabout'8'...Now,backt0thelbane-z.TubeScr inal ontrgl heinal ndhe RIVE:2g'clock;nd 0'clock;RIVE: EVEL:10'clock; are et slollows:EVEL: hiyare corirofi.nOhiy he hgrusedal.at.all.yyith se79 d0N6T sehe 0 his, d0N6T iiiiiriiils ni ev . . 1ONE:hut-offllnaddition my hinkmy anddgn'think mineince ince . . . anddgn't his nANY nANY D fmine ikehis iiiiiiiundi triie ngt ied soundike his gundsat argundithhis even00largundith imeeven hisgood. heseayshegnlyime aihalfhis tren aihalf iiunOtren iiunO ou enjoytt.. hope llenjoy clinicsnd uringoundhecks.

 

Technicaluitarnformati llainGuihr: llainGuihr: ffi GuiW: lmlifiE: Sild: EificB,

lromhe 980s lrom erihp eries) 980serihp Gibon S-335 ca' MGick-ups: 963)with trdoca$er Fendertrdoca$er DiiihtzioridgeithGibsonpacing xamPle STfiadxamPle N0IE: erl nly nSTfiad walterwoodsstercoPrcampPo*erAmp 1912' Stock) speaker th ne 2'speaker cabinetiith rohcabinet Spdeis roh Uarstratt fwoUarstratt fwo oard edaloard tfecsedal barpzBL-S BL-Stfecs atlVolunpdil, barpz EmieatlVolunp Emie

ainource ourcef my' l hem.fhe ain pc&il mrd only se_three onhimive 0dals,9% f$p ime,only mrdonhim e pecilicettingsrre hepecilic colo0.he edalMetallicluencolo0. ;orndEh0ibilEu Cf-tb nonnnhnger cfollors: 3l 4-32 Vsec.) IODEDlAl-: Pooition DELAYIIME:110'clod 12o'clock SPEED: 2o'clodt WIDIH: D€IAY,EVEL: 2o'clod hut'off REGB{ERAII0I{: tled p Kdh (&np nd.Elgr$ $Ggniqs)tledp bnyKdh elry als in tre oard.bny diglhilelry uodiglhil Ihsnareuo Ihsnare heyave hey & RIGHT' ave LEff& outLEff tn igi bmd-with'irilro-mixe/o lnt lre io Oetanoout otheride ide ith areful ?lqlht ), other 'm ealry_[ling iOeaquarhrotelF 'mealry_[ling i[f.r rsti,tg . .'iine iOea ill illme ill owanls r llalcoim me owanls eto'put o'putut tVERY tr 're et q,nril FoirecorOing nilt[dd. gtqsQu.tlO inglegtqsQu.tlO r'reingle rissounds o raver're oac{ria,eih rissound 'mTRYING hd'm SdJiDC$lCEpT:hd s xists xist pl@, hould'open-up'and chorusing Srchorusing Sr s voicing rt,whenvoicing ;il [Eyars [Eyars ldronrsd,rt,when '.' sound r rgnsound gn ncrcdible 1rearryoung's arryoung's mhop 1git.sgYrin ;lufnnn.t 66rty. t-t-lmes, ttpr edal hich inglettpr ingle ne oundne ot otound ha,e &y, o-nis&y, o-nis il'hcilghl loil iti notercn'closeUi glb tr ily closero ltis ruM

 

otes otes Engineering liveas uitarere ixed uitar hey merged ashey han teve's All Ol thg inStlUmgnts otherhan uitar equired s hatequired hat omething e eing ing h he e nly hing he quipment, equencing fromllGorgoni's from Gorgoni's

16-track,odel n his ase,he he apemachineas nOtari ' 16-track,odel sa aDeecorder. old{ashioned asTAC asTACcorpion. corpion. he onsole MX-70,nd ndhe each abinet.he abinet.he frontofeach itha a pairofNeumann of Neumann87s, ne n frontof The uitarwasecorded was ecordedith mainpeakel peakelis, using nd lightlyff lightlyff hemain romhe he rillecloth, rso rom ere oot rso microphones The ignalwas n. n.Theignalwas nternal0dBpadswitched o olllloff, withhe henternal off, ndwith cardioidattern,o ow-end sento sent o ape nequalized, ut lightlyompressed. lightlyompressed. he ompressor sed as dbx166 tereo :1 ata modest:1 etata as an e ound, tudionexistence), neveryrojecttudio ound,believe believe cgmpressor s l that, gain can't e esure sure d dB, B, a although lthough arelyxceeded arely xceeded eduction he he ratio. imagine t. p enduchff he essionatching certainly idn'tpenduch s everbs, nd stereoitch-shifter, twoeverbs, delay,nd delay, asicetup two mixingas as one ith very asicetup Themixing follows: hich reinternal he iffusion,hich n hispresetrehe usuallydit ditn late.he he nlyhings nlyhingsusually ocallate. ev-S:ocal Yamahaev-S: parameters'), arameter one f he heE.R./Reverb andhe nsteadf he sual, sual,and like t10 10nstead everb. niceransparent o20%. 20%.nice whichset seto everb everb heYamaha nd arker,han nyof heYamaha atherenser, enser,nd CM-70:ich ichChamber.ather LexiconCM-70: preset new ettings ettingsl l the re he henew erere ere a atherxtensively, ther xtensively, dithis customarily atgorithms. parameters changed: Value Location Parameter t0.61 High utoft 9.02Hz 9.02 Reverb ime).05 ime) .05Hz RT ow t1.01 1.25 RT id t1.11 Hz 5.75Hz 5.75 RT ighutoff ighutoff 11.31 99 Diffusion 12.01 ny dits.used dits.used armonizer lgorithm,ithoutny tereoarmonizer itch hange.Asimpletereo Yamaha PX-90:itch PX-90: uitar. ittleff ton he sedust lsosed lso o reathe elay,but itmostly it mostly u st ittle yamahaPX-90:elay sedne ne ide. ut only sed stereoutput,ut ffersstereo ffers his rogram elay,R. delay.his iece rom o.piece aried w whicharied hich ime, hedelay delay xceptf coursehe nythingere, xceptf didn'teditnything didn'tedit oar eighthntervalonesponding t was et tan annterval heeel. eel. sually empondhe nne empond depending enerally illisecond n ffi-to-350 quarter-note as a s he nd riplet,nd riplet, a r doled ighth-note, noie,doled noie, ays ma.lyttbtle ma.ly ttbtleays oadd hichan an eusedn elay,hich boutelay, odigresst engthbout empled range.am amempled n his ase, efrain. mine,shallefrain. sSteve'sooknd otmine,shall hiss s his lile-andepth6mixes.owever, irectly o he as ot dded eedback, nd ome oll-offnd oll-off high-end bitof ofhigh-end ignal,fterbit ignal,fter the elayed nlyo he itch-shifter. a asent sentnly mix, utnstead utnstead -Malcolm ollack Y Brooklyn,

 

Steve hanDiscogra eature: ecordings ecordings These lLee, ike ainieri, nd tanGdd: on rolnick,lllLee, avidanborn, avid anborn, Randyrecker,icnaetrecker, 'Tightrope 'TheBlue an'  Arrows'  The BestffStevehan' Best 'The Collection' uitar: coustic Solocoustic Solo

C 4857 Columbia.

 Evidence'

1981 N/3023 Arista/Novus, '1990 RCA/Novus,3074-2-N 0CJ-1892 Polydor, apanl

Columbia. C 5539 C 6129 Columbia, C 6406 Columbia,

K 7907 Columbia.

1977 1978 1979 1980 1994

ordan,ndManoloadren tewordan, tew nthony nthony ackson, eaturing ecordings Stevetnn nd yewitnas Stevetnn 'Eyewitnes

1981 22-848-821 Antilles,22-848-821 0CJ-1893 Polydor, Japan] Blades' 1982 J 8001 PassportJaz, 0CJ-1 9 94 4 Polydor, Japanl As'Modernimes'  Casa Antilles,422-848-822 1983 Loco 0CJ-1895 Polydor, Japanl Blades,Casa 'Bestof . .i Selections plushree ew hreeew ndEvidence, Loco,'nd Loco,' romEyewitness,' arker: nd hris eilJason, afe,eilJason, E vans,afe, lilfordarter,illEvans, eaturing: tracks 'Helping Hand'

0CJ-1896 Polydor, Japan]

1987

uitar: eaturing cousticuitar: coustic eyboards, Mounsey, Duet ithRobMounsey,   Local Color'

Denon,3CY-1840

1987

ndManoloadrena nthony ackson,ave eckl,nd ackson, eaturingnthony ecording nd yo,rritnes hannd Stevehan 'Public 1989 RD-9599 ecords, GRPecords, GRP Acces 00J- 0364Japanl Polydor,

rums: as,and lFoster,rums: c ousticas,and TriowithRon after,coustic 'Let's Call his

0 CJ-1060 Polydor,0CJ-1060 Japanl 2 9163 Bluemoon.

1991 1991

tniletwithAnthonyackson,as; rums,nd tniletwith cousticass, lFoster,rums,nd TriowithRonCarter,coustic ercusion: adrena, anoloadrena, rums; anolo Dennishambers. Dennis hambers. Polydor,0C,J-1115 0 C,J-1115 Japan] 2 9179 Bluemoon,

1992 1992

hamhrs, anolo ennishamhrs, nthonyackson, ackson,ennis eaturingnthony eaturing ecording StevehanndEyenritnes

ndMichaelrecker: Badrena,   Crosings'

0 CJ-1217 Verve,0CJ-1217 Japan] 2326V2 Verve,314

1994 1994

nd afe: arc uiflones, llende,arc on lias,obby lias, obbyllende, ack alohnette, Featuring ohn atitucci, 'GotMyMental

Dan ontemporary apanl Evidence

1997 1997

 

Publication Pat artinouitarolos: o los:he he arly arlyears ears CPPelwin CPP elwin The W es ontgomery Wes uitarolio o lio Gopamnterprises Stevehan Steve hannd nd yewitness ongbook/Guitar orkshop eries Warnerros. ros. ublications

AsProduce AsProduce  Two forhe for heRoad' Larry oryellnd teve tevehan hanArista,B 156 BMG19D-47025 BMG 19D-47025 'Step lt' Bill onnors Evidence C}22080-2   lnferno Eireliagrene Eireli agrene Blue ote,DP-7-4801 ote, DP-7-4801 -2 Foreign Affairs Bireliagrene Bireli agrene Blue ote, DP-7-90967-2 'Time In InPlace' Place' Mike Miketern tern Atlantic, -81840-2  Jigsaw Miketern Mike tern Atlantic, -82027-2 Fanhsia Eliane lias Blue ote,DP ote, DP-96146-2 -96146-2 Paulistana Eliane lias Blue ote. ote.DP DP-89544-2 -89544-2

1977 1988 1985 1987 1988 1988 1989 1992 1993

i'u

 

-; ]-- vc-

0rlllnel Pen Penand and nk b Jsan-ili Jsan-ilichol chol

ublicatio ros. Warner rom AlsoAvailable Title

Book/Audio JoeDiorio ord d Robbenor Allan KHoldsworth ing B.B.King Frank ambale MikeStern euin ubanks John berctombie, H enderson c ottHenderson Frank ambale,cott Steue ukather, ikeStern

Martino PatMartino Steve orse

Scofield John

Fusionuitar The luesndBeYond Justo r h eCurious Blues aster Techniqu UltimatelaY-Aton LessonsithheGreats

orce orce Creative

tYlesfSteve orse tYles TheComplete teveorse The ssential uita Jazz-Funk

hese rtists: Videos with Al Dimeola Ld e AlbeilLde H enderson ScottHenderson B.B. i n g PatMartino JoePass John cofield

AllanHoldsworth Joe liorio Herb llis otd d Robbenot Frank ambale SteveMorse Garlos antana

DonMock

Alsoavailable YSteveKhan trom arner ros. ubliCation

PatMartino uitar olos: he arlyears SteveKhan:EyewitnessSongb SteveKhan:Eye witnessSongbook/GuitarWo ook/GuitarWo

atalogf For comPlete DGIMusic ideo, E H ideo andManhattanMusicPublicationscon Warnerros. ublications venue,iami, L33014

15800 W 8th 305)20 20 1500 (800)28 (800) 28 1528r 305)

ilitllirtffil rl

 

  tze r s76,,23s6

O N T E M P O R A RH Y O R D H A N C E p T Sr e s e n t s i n f o r m a t i o no r g u i t a r i s t s f a [ [ s t y t e s - f r o m R o c k , a t i n , n d F u n k o C o u n t r y ,a z z , a n o

A l t e r n a t i v e . t e v e h a r e s i s a p p r o a c ho c h o r d c o n s t r u c t i o n ,n a r e ah ah e h a s b e c o m e n o w n o r on guitar.

o l

v

K

I n t h i s b o o k ,h , h e h a s a k e na c o m p l e x u b j e c t and broken t down ntosimpte uilding tocks a n d s m a l l t u d yu n i t s . o u w i t t e a r n o e x t e n d y o u rs e n s e f h a r m o n y y t h e s u p e r i m p o s i t i o n o f c h o r d o r m sw h i c ha ha r e a m i l i a r , s w e t [ a s a world of new ones. yourabitity o express

 

y o u r s e l f n d c r e a t e e x t u r e s n d m u s i c a Im o o d s w i l I m p r o v em m e d i a t e t y .

q

T h e e x t s a c c o m p a n i e dy t w o C D ' s u l [ o f p e r _ f o r m e de x a m p l e s , t a y - a t o n gr a c k s , n d f i v e han hashadan expansive nd diverse career s a guitarist. s a solo a r t i s t ,S t e v eh eh a s r e l e a s e d i f t e e n solorecording rojects. ince

c o m p l e t e l y e w c o m p o s i t i o n sy S t e v e n l y a v a i l a b l en en t h i s p a c k a g e .

,

F o r g u i t a r i s t s ,h e K h a n c e p t sn t h i s b o o k w i I s e r v e a s a n u n l i m i t e d o u r c eo eo f r e f e r e n c e a t e _

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

r i a l sa sa n d d e a s o r a s l o n g a s y o u e n j o yp yp l a y i n g

R e c o r d sn r y 7 7 , S t e v eh eh a s

the nstrument.

e s t a b l i s h e di di m s e l f s a t r u l y i n d i v i d u a ln d m p o r t a n t o i c e o n g u i t a r . i su n i q u e p p r o a c h o n g u i t a r a nb e hear d n r e c o r d i n g sy s u c hd hd i v e r s e a r t i s t s s M i l e sD sD a v i s , t e e t y D a n , a m e s r o w n , u i n c y/ y/ o n e s , a n d h e B r e c k e r r o t h e r s ,o n a m ea ea f e w .

e