FOREU/ORD
My objective in writing this collection of studies is to outline some chordal techniquesthat have practical application in contemporary styles of guitar playing, value in fingerboardexploration and the development of a senseof musical coherence. I have chosen to do this through example rather than a discussionof harmonic theory with a view that a lot is to be learnedsimply by producing the soundsunder our fingersand in our ears. Many guitarists accumulatea large repertoire "guitar of chords" which, in themselves, are pleasant sounding and, perhaps, well suited to rhythm playing and variousaccompaniments.But a repertoire of "isolated" chords may remain in the players mind as disconnectedchunks of harmony, not easily applied to chord melody playing. The main academicpoint of this book is the resolution of this problem. One improves his musical and instrumental techniquesby acceptingthe challengeof more and more difficult material. Therefore,the examplesin this book have been developed, not for their simplicity, but for their direct usefulnessin contemporary music thereby representingsomeof the facets of advancedgtritar playing. ln view of this, I believe the reader is embarking on an adventure both musicallyand personallyrewarding.
My thanks to Mike Anthony for his contribution of Example38.
CONTEI\TS
FINGERINGS
,1
CHORDMELODYDEVICES
5
Example I
3 A t
.
6 1t
.
8 0
CloseBlock Voicings Open Voicings . ParallelMotion ContraryMotion . CounterLines CommorrTones Block Chords SustainedChord Background Short Chord Punctuations
. . . ,
. . . .
) 6 6 l
-7
8 8 9 l0
CHORDMELODYSTUDIES Example
l l
1 0 l, r , 1 2
l l l:
3,l4 5 ,l 6
l3 t 1 t a
1 8 ,1 9 20, 2 l 22 z5 1A
L-
)\ )'7 to 3l
26 28 30
33
l5 I (', lIE l9
5+
,c)
3 5 ,3 6 .3 7
3l -)_
38 PROJECT STUDIES Example 39,40,41. Instruction 42.43.44. Proiects 45. 46. Solution 4 7 , 4 8 , 4 9 . Projects 50,51 Solutions 5 2 , 5 3 ,5 4 . Projects 5 5 ,5 6 ,5 7 , 58 5 9 ,6 0 ,6 1 , Solutions 62,63,64 65 CHORDMELODYSOLO
36 338 ,19 39
.+0 +l 't l
+(r
FINGERINGS
While it is true that the same chord voicings can often be played on two or three dift'erentsets of strings,it is seldom possibleto do so without some change of the fingering. ln evaluating the feasibility of a change, first consider musical quality and mechanicalefficiency: a. As a rule. the musical quality can be etrhance d by choosrnga fingeringor a sct of strings in which the greater string lcrrgthis nraintained,thus permittingthe stringsto "sing" and sustainlonger. b, Meclianicalc-fficiencyis primarily a matter of' er,oicling unnecessary or awkward harrd or fingr.r movements.However,in developinua senseof mechanicaleffi_ clcncy. tlo not also develop a tear of radical jurltr-rsor large intcrvals on the fingerboard. for these techniques are frequcntll rcquired. For example,radical intcrval jLrrrps may supply a nice coutrastto srnoothscalc-wise line move_ ment. String numbers inciicetethe lower note of the chord and are in circlcsunder the staff. Fingering numbers are placed to thc lcft of the notes.The thumb is frequently usccl throughout the studies and is indicated(T).
CHORDMELODYDEVICES
Examples I through 9 demonstratesome structural devicesbasic to contemporary stylesof chord melody playing. As you become acquaintedwith these devicesyou will observetheir practical application through the studiesforming the main body of this book. Take plenty of time working through thesestudiesas the techniques are highly concentrated.In order to better retain what you learn here, you should make a direct effort to put these'devices'topracticaluseon a daily basis.
l l \ R ] I O N \ ' : \ E R ' l ' l (-,\ | . - H O I i I Z O N l ' \ t ,
Basicallythere are two conceptsof harmony: (1)
Its vertical structure which is nothing more than the stackingof notes into chords.Naturally, theseare played simultaneously.
(2)
Its horizontal movement which involvesthe way one chord progresses to another.
VERTICAL structuresare usually expressedin one of two basicvoicings: Example 1, CloseBlock Voicingsin which the notes are packedcloselytogether.
Ex. I
Thesevoicingscan also be played on the inside strings (5th, 4th, 3rd and secondstrings).
Example 2. Open Voicings in which the notes are spreadapart.
Ex.2
F m m flH HT
ffiGnal fl-HlA,"z
6n?
w
Gm1
Closed voiced chords can be opened up as far as your reach will permit, simply by movilg one or more chordal tones up or down an octave.
HORIZONTAL movement. The melody lines formed by each of the chordal tones is the most important single factor linking one chord to another. In four part harmony, for example, one is really dealing with four separatemelody lines' It naturally follows that there would be as many Inkage possibilitiesas melodies: a study of this question in its entire scope comes under the headingsof voice leading, harmony and linear counterpoint (see Shaping Forces o.f Music, Ernest Toch). The following example demonstratessome of the primary melodic aspectsof chord connections.
Example3' PARALLEL MorIoN, a chord progression in which each tone is movingthe samenumber of scalestepsand in the samedirection.
Ex. 3
m
ffifl
ffi eo Pu,c't
D'?
at3
w't crg
Example4. CONTRARY MOTION is, as the word implies,a situationin which the chordal tones are movingin oppositedirections.Example4 showsthe upper and lower linesin contrarymotion.
Ex. 4
E
TE
,rlzffi Gnn
bffl
Through experimentationwith paralleland contrary motion one can invent somepassages of considerable interest to both player and listener.Such passages are often quite useful as fingeringexercisesand for arrivine at a better understanding of the fingerboardin general. Example5. COUNTERLINES are usuallytreatedas a melodicaccompaniment to the main body of a tune. They are also usedas connectinglines from one chord to anotherand, on guitar,are frequentlyfound in the secondvoice from the top. When the main melody has little motion, the counterline can be more active.Example5 showsthe counterline (with stemsup) on the 3rd string.
Ex. 5
:r rSrln
ffi
H+++t I-H+H
ffi
(%A1
I
@ A counter line may be higher or lower in pitch than the main melody, or placed somewhereinside the chord as in Example5, or the bass line itself may sometimesbe treated as a counter line. Further, any choice of melodicintervalscan be used to develop a counter line.
Example6. A COMMONTONE is a note that is relatedto, and sustainedthrough, a sequenceof chords playedin succession. Example6 showsthe common tone on too.
Ex. 6
rtr^ m m +]-+t] [Lu.] l-.t4+.t-l ulJj-] ffiffi ffi.D.r ffioUo ffioh"'r ffiE/bs
!t {TTTTI ffi
l t t r l l
rrrrn
ffi1-fi nffH # l r | |
*^a"
Example 7. BLOCK CHORDS. Here is a rudimentary, yct eft'ectiveway of producing melody and harmotry simultaneously.This is done by placing a full chord underneatheach melody note. The chordscan be either close or open voicings.You rnight experimentwith picking techniqueshere: For example,all dowl strokes,or alternatc down and up strokes,or plucking all stringssimultaneously with fingers.Note: The Gm7 in bar 3 is being usedas a substitute for Eb mai 9.
Ex. 7
Itr
u,
f f i f f i
Itr
rTln] ilaatl
ffi
l a tI t l r-t-Ffi-t
u-t-l-tl!. L+-t-Ll-.]
ilil|
ffi ffito ffiffi'ffi & e# ffi
lrr
ffin * , n ffi fr|t| H# rnflt tf||af
rtrrn t-+++.1-1 H+++{ H-t1+l ffrfl-l ffi nnn D2* EV^*q6oa) tine ?r{l ri
?oo R,ft
The block chord eff'ect is best achievedwhen thc chordal tones are made to move when the rnelocl-v1ro\'!'\. atrd preferably in the same direction as the melody. Often tlie melody can be fingered casily without hlripg to change the chord form, but this tends to destroy the block chord effect; therefore it is more clesirrrlrlc tir changethe voicing or inversionwith each new melody note. in order to createthe eff-ectof all lirresnro\lng at once.
Example B. SUSTAINED CHORD BACKGROUND is a modification of the block chord stylc. in rh.ir one chord is sustainedthroueh two or more melodv notes.
Ex. 8
g
ffi
$ffi
ffi
bvb
It [rrrn ffiTF |#
i t l ? t l ,l
, | | |
ffrrn
gII'
E-r |.T55n
m-n
f+++il ffi
t a t l fl
mx ffnn
l.+1++l nrrn ffi
rnrn
|'..{'...+ l | | l l
ngq
6hrn1
??w
?h"fc v @
NOTE Whett a chord is sustainedthroughout a long seqLrcnce of melody notes. tingr'ringrcquircnrcnt:tr.'t1.,m a k c i t n e c e s s a r tyo d r o p o n e o r m o r e o f t h c c h o r d a l t o n c s i n o r d e r t o r n a n i p u l l t et h c n r c i o c i r .I i , , . especiallytrue in improvisingwith the alorernentionedcommon guitar voicingswhen thc voiec ltltl iirr : not beett fully worked ottt. Howevcr.if each chordal tone is sustaincdfor as long as possiirle.tltc li\r..n..r', r"rstrally rememberthose lrotesthat havc been droltped.
Exarnple9. SHORT CHORD PUNCTUATIONS. Becauscof thc listcncr'sability to remember the sorrn of harmony. it is possible to outline tlic llow of harmony by short chorci pr-rr-rctuations. Thesc can be usc without sacrilicirrgharmoniccontinuity, whcn they are playcd with atrthority ancllppropriately placeclwitltir the bar. This cor-rtinuitycan be lurther rcinfbrced by choosrrrgmclocliesrvhich ernphasizechordal tones.
Ex. 9
Itr
NTTR rrffn l.H
a t t t l l nfrtl
trl=n l i t t l l
rtn-n ffi
H+iflF
rrrrn >
H+t+t nrrn
IA (l
Ea
It
t t I t a l Ffi-TH
a tt a t l
rirn
iHtft rfffl-1
ltfrn
It
fffffl
5-tTfl F+i-+-H
lTn] t t a a t l
|'.# l t t t a l
nrffl
Bb''-
l0
ffi 0'
t+++-l ++-l-+-.t
,
s0
l l l l l l
Ydr
CHORDN{ELODY STUDIES Exanlplesl0 through l2 dcal with variottsapplicationso1-the devicesor-rtliledi1 ExamplesI tlrotrgS .) The following studic'sare uot to be consideredas Llnaccolnpanied solos,but rather as eramplesof t6c *,r otre night pcrlorm iu a combo. For cxantple,the basslines arc oflen incompletein that most corlttos hrrr.' bass players filling this fiutction. lreeing the guitar playcr to work with rnelodies,ancl to clc'u,c6'r5-, harmonic color residentin the llpper extensionsof the chords.E,xamplesl0 thropgh l2 presclt a fer.vo1 rlr., (ll, V or Il. V, I) common to so many standarcltuncs. rnal1yways to treat thc root progressior-r
Ex. l0
#-
i l I t a l F+-t-+-Ft
ttalI
Frrrn ffTFH rrrrn ffnil
fr*vs
s,_ ?+t#l
g.-
nwl_
ttaf tl
[Hfl
F{-H
H-l-t+ t-fH+l
ffi
H.H-H
rnrn
fffff1
*5
er'n4
E)ort
?.I.t!J
I+]JN ffiil ffi-H-1 bvts St
Ex.l1
s.,,
'ffi
i l ?tIl l-# l a t ? t l
ffirn
rfi-fi-l
i t ? t t l
nffn itt?I L nTfn
ffftfl
lFfrct
ffi
i l l l t i v '
I
Ex.12
s_
? tft | l
l.Frfn l#
fu-1t-l / I I t a l
rFFFN
m]l4
E^ |-|-ITr] ffi
rrnTl ttt?|
eV'svq HJ+H
ffnn
l1
*frrffil
atItaa
ffi
ffil
ftbna'l
Gm1
tf+N.l
s-
fTlfFl
ffiT t-+-.t-.t-J-.1
Examplc 13 illustratesclosc voicings.very effectivebrrt uot too often used,on the guitar.Thesecan bc nsccl as tcxturc contrast to the big sor.tndof open voicings.Notc: T h c G 6 i n b a r 3 is lirnctioning as u dominant chord (Eb + 7b9).
Ex. 13
ffirt fffifi
r-H[ ffrTtl
Hffi H+f+l |Trl-r
[H
ffi
Bb" q
'fr* rlTm
E,,,
ovw
][
t#++{ H+1{1 Fffi ffiH [ffi rt-nTl ffi
| | l t f l
ffi
Nnal
ht.b
[fli W"t
Itr,
mx Iil
ila
Hffi ffi 6to
In Examplc 14. cach line is deccndirtgitr cc'rnsccrrtive n holr-'-stc1-r. Iillf-step seqlleuces(symrnetrica diminishcdscales).One linc ntoving whole-step.halt'-stcp.rvhilc lnothcr iinc is nrgvilg lalt--step.whole-step producingthe chord changesas the symbolsincliclte.
Ex. 14
ffit
ffrrH |.i'.{+ ||tara
TTFFPI
ITTII
t i | l t l
€h^a1
tu
i t t t a a l-Hl
l-{+1-{.t if+-t+l ffi-rl Drl
gn4
f^o
r I
L
tffitso tf+]tru t+fifiu t-itt-H
H+
H]#€b,nr ffililAb,oo ffi
ll
xx
FFFfN
ffi
uJ-+-1..1 l t t t t ,
rfl-fh
f1ttfi nnF
Example 15. This is a simple harmonization of the C (diatonic) scalewith some isolatedchromaticisnr. The Eo and Dbo chords are both functioning as 1^7b9,and are being used to provide s o m ec h r o m r t i er c l i c l from the monotony of diatonic lines. It is good ear training to improvise this sort of t h i n g i n a l l k e y s .u i t h various diatonic melodies.
Ex. 15
rmm uJJl-.I t++l-H' g l f l = t+HJl t t a a t l l..+.{#
ffi ffi gto
D't
rtr
s. rnTn
ffi
MH ulJ-ll rrffE t-FFl-u u+l+-l Fnrn
ffi
{fifil
ffnn
Qnfl
||tlta ffi
| | l | l r
ga
Dma
loo
fr H-t-t+1
Dnn 0n1
Itr
,t a | | | F{**#
3m?
G'8.
ffi
t+-{-.t-.| t-t-ft-H fftffl LE 9vt
!rr
Example 16 illustrates(1) exaggeratedchromaticismand (2) the gradualaddition of notes (in eonrrurr motion) to expand the voicingswithout opening them. Note: the spellingof the chord symbolsin Errnrfl: l6 is lessimportant than the voice leadingwhich createsthem. Accordingly,symbol identificationof the.r "sounds") chords (more properly is awkward and unnecessary,Their functional or Roman NLrnrcr.identification(i.e. ll1, Vl. etc.) dependsupon analysisof thc entire phrasein which the chordsoccgr.
Ex. 16
l3
Example 17. A fingering exercisein short chord punctuations using a Cycle of 5ths with #9 chords. Ex. 17
e*q
dfi*q
Ab?*q
F?*1'--:\
Example 18. A fingering exercisefor running diminished chords acrossthe strings.Make a specialeffort to sustaineach chord for its full time value.
Ex. 18
X.
ffi Example 19 is a fingering exercisefor running augmentedtriads acrossthe strings.Play this in r \3rier! of keys up and down the fingerboard.Sustain each chordal tone for as long as possible.In generll. r6i. means to keep your fingers in place until it's absolutely necessaryto move them. This will contribur... measurablyto the continuity of your chord melodl, style.
Ex. 19
ffi
H# ffi
9+
]E
mm
Itr
ffi
ffi
drfi
l5
Example 20' Short Chord pttnctltatiotrswith chords clcscenclirrg paralkl iu ntinor thirds. This typc t, passagecan be very effectivc whctl playcclf'ast.Notc thc use o1'thc right hanclin ailclingthc buss1o1eut tlt. end. Ex. 20
eilq
Ot*q
,FF;. rrfiit
Frrffi Itttfl ffi
'
t++#
I t t ? | |
rrFrn
TIn
ffi l l l l l t |#-{-{-{
l..g
a
-+-fir
llftii
ffffn
i
l # tt
I
al
. l l l l l j l - \
Co-01/'-L--
@ E x a n t p l c 2 1 . A s t r e t c h i r l ge x e r c i s ew i t l i s t a t i c i n t c r i o l r o i t f
i l n r l ( ) r , l t . rv o i c c s i n c o n t l l r v r n o t i o n .
E x .2 l T'T f ll-
ltTrn rrFrn |..{.+-+.+-t t+.lJt-t t-l4l-l-t
Tt [rn-n m-fn rfl-tn il?ttl t-{-+-Fl-1 rrrrn tuu-j t-l++1"1 rrnTl | | l ll I
$tH6'q HtH
rrnF
ul-tl] L l l :r I
Itr [-|Ifr ffffl-] mrrFl
tlt_l1_i | | l
nn-h
ell
T''FN
itttt
|l-fffi
rfffi-1
$,,
t t t t t !
rTfn
IIIl i l
Fl-ITn Trn-n -Fr-FFt rr | | rr
gYh l
t -
wure
F;q
16
2 b t
-
Example 22. A type of threc n o t c v o i c i r . r gc o u l l o l t basedon 12 bar blues.
t o c c l t a i n s t y l e s o f r h - v t h n rp l a y i n g .T h i s ' t L r . . i ,t ,\
Ex.22
F .g
rmiiffiffiffi
m-J'n rrrrn n-rfl-1 t-flfn
[t111fTlil] n.ffi [1111 l-u-t+t-t-l-l+?il?ll ril tI
.r || rr f_l_.l+l.l +ll+ l_l_l_ll_.1 t t t t t l r r r r r r l t t t r l f f f m
F ev&"
ITITN
It W. TTN-N r-ffi-r rfl1f1 nrrn ffi l-.{-H rfftf]
[Ht rrmt fiffi IHT rrrrF rrFrn rrnn nm ffi w Ab r.#o bv t t l t t t
| l | t l
F{-# f t t ?I I
Itr
X.
IIi,
m
{TTTN
rrrrn H+N rrn'il ffi-rF H++].1 nm f{-.}-4-.f-t
ft11tl
F
i l | l l
bb
i a Yfi
I
S.nn
T
rJTilI ffiH u,l+u
[ItE
t l t t t l
t t t a t l
ffiil Frffi1
ffi ov Aob
gfro
I
3F Itr,
riTm aIatl
Frm-1
mil rffffi r
6V" F1
61
tl
Example 23. The use of two notes to create the overall effect o t ' h a r m o n y h a s b e e n r e l a t i v c l , . unexplored in guitar playing. particularly in inrprovisation,and could, w i t h p r a c t i c e .m a k e a v a l u a b l , contribution to the versatility of one's stylc..Example23 utilizesthis devicein the basic l 2 bar blues.
8x.23
3
c1
"*" |..i++l i llil l
"*, l-.ffi u-lJ-J-.I
itfifi
Hffi
i+l-t# i]#fl ffi rfl-1-F Abts G's
l8
"Full"
Example 24.
block voicingsin a big band style. as m i g h t b e a p p l i e dt o a n e n d i n g .
Ex.24
E
IE
[I-rfr]
ffFFfl
MT ffnFl Cm?
d*t
4
ffi
l-l]-l-+..1 l l l l l l
P^n
ffi
ffi-rn l#
etrA'7
Fnel
Frffh
f-t'ftfl
l | | l | l
l||ilr
.Jto \f
Fnl
7 . 9
rffil
U"?
#^, 4
Itr fi-t-iTt
g. t-T-ITti
ffitr
ffiil Htiu ffnn
rrrrn
ff,
dq Aq A,e 2
mm
ffi
l+tfil
|# |# t t a l a l t a l a t l
Httr
t ? t a t l
MH
U]J]J
IItaaa
fffffi
Jtr,, mriTt rnTn
rrrml
ffiffi |#
t+.1+.1-.t
Dn'7
III,
TTITN FM ffffi
4'
II t-ft-fR
$^n
r
m
ffi ii++tl nnn
ftfff+
dq
IE
TFI-TN #H
:E II-TTN
[TI-N
ffi
l t t a a l l..#
I I taaI
t-t-t-ff1
H+i# ffffn
ffffn
Itr.
I-IFITI fllTfl t-ft-Fil
Htil1DbttH1#l nffn l-+-FtiH
rffffi
| | l l t l
lmT
flTTR
rrrfn }#
rlll?l
t-l-{-l+ l t t t l
nrn-l
19
4
H+1+l rrrrn
||tttl
Itr
?rn'l
Example 25 offers exercisesin three areas:Contrary motion, parallelmotion and expandedvoicinss. 8x.25
ffiffiffiffi
ffifu H#fr#ffiH# ffi#ffi# rn-ffi ffr-fflffffn f{+++-l l-++++l
ffiH
4
F+lt-+-j
Hff, Hltr
'*w
g$V5 4
b8*s BWl Am? Ab^q Grt' I
Itr
rt[.
m rTm ??1+{1 H-l-]-i{ rtfff1 ffi
ffi
nffi Hrr ffir HiH Hlt Hlil 4
wrf
rfI-TN Ittffl F,H
t-ftrfl
H++ll
Httll Hffi r l l
F+
e+tl L
) ^
s?gfi-: t / l
Example 26 is a study in parallel motion with the melody doubled on the bottom. This entire phrase could also be played over a G minor chord.
Ex.26
TI
ffi
|.l.#t laf| | |
ffi rnfi
) =qz G^
II qTl-fr
ffiffi u-j-.t+ [tffi
de' A"0b
It
[m fffi
H+H ffiff1
IIII,
m-rn rrffn
i.]=# I t a r aI
rfl-ffl
t-t-l-{-+-.]
rlilll
l i l | t
r
Dt
20
1\
.Yft'\
e bV Ar,
Example 27. Another version of the band type block chord style. -*-
ffiffiffi
Ex.27
t t a t a l }++\ar+]
t++++] t-fffH
ffiffiffi
ffig,o ffi ffi*o
rffrF1
ffffH
€^1-bbo
lE lrl-fn
II
l]Im gj+fl
|'.#
l t a t t t
fft-tt1
t a t , a l
fflfil rrrrn ffffF
rrffF
ffilt Fnff:
F1
]II
IE
:E
ffi
m ffi H++flffH+] F+H]
Htt enq
€m1
[ffi ffit|l
ffiil ffifl
eblh t l l
fFm ffi
FI+H ffrtn
FFFTN
rrrrn l#
t+Jl-u
t-ft-ffi
t+ljt-l
G6
d,
Hfifl
Htt
trFFF rrrFr
fiIf,
i l aatl
ITP111
rrnn
f
Example 28. Very close (tight) voicings in parallel motion. Note: the 9th of the chord voiced on tht bottom next to the 3rd. This voicing can also be played nicely on the inside strings. Ex. 28
ffi
ffiH H-t-Ht Cn?
1\O vfi'
ffnn €V*q
21
Example 29. Counter line accompaniment,The chords occllr aft 'r the initial melody note. Slrstainthe first note of each bar as long as possible.
Ex.29
gtr
][t
t-l-IT| rrHfl hffiff1
I|ITN
ffi
H+l]
ffHtl
H+1+l
l l l l i l
l i l t i l
t-fT]T] 4
Y;
ffi-ffi #
F?bq 4 ,t tJ1!
2
;!*
&'w € ml-lTl--
Example 30 has the same melody as E,xample7 ancl r l t t t t o r . t sn t t L : l r t o t l t e r . \\'av to approachthe final chord via chords voiccd in Fourths ascendingchrontaticallr,.
Ex. 30
v]]T
TtiTn
I'
Tr.
g
|?rrl I
l?..la
rrrlTl
M I I r.L]-r.r.r H f f *-ttl i
rFtiT] ffffn |-i-.{-.'l.N
l | i l t ffi t t t t t l
nm
H]+fl H]l.]i l++m rj ttft-t-l t-rft-tl t1ffi
Poco R r r
') -)
The following three pieces,Examples31, 32 and 33, are structurallyand harmonicallyfairly sintplci.ut dentonstratesome ways to gcneratecolor and variety without destroyingthe basic simplicity of th.'ttrnr Look for short chord punctuations,open and closedvoicings.
Ex.3l
--Eil tarl ffiH
l-+++.1-.1
ffiA"
9r9
9^Q-
rfrrn
: : oTrt-17
7 I
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l#
l.l-.{-.B t a aI | |
l+-l-ffl nftt1 t a a | |l
ffffn ,^ 'r Fffff1crn' FffiT nri-n nFrn
*"q
rr
f 1 a
Ex.3l (cont'dl
llt
TTTTFI l\]fr1
Frrrh rffffi rrrrn ffnl
bJs,x+
]E
ffi g
rl"r-ftl f+f1{
TFITN |#
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I | | I aa
ffl-t-H
|.]-{-#
t-ffi l-t-+-+-l-.] l | | t i t
Gb+t*q epkq
$t
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f , l t al
frTlt1
[Hl
ffi-rh
H.i1+1 rrn-l
x.
vTrr
itfrftg frF tli,l, t-uJ-I..t T* **1"
t ?I ? t I t-Ft-FFt
Ililll il- r T Llllr l-ll-ll-l lllrlLlil l,
tittfl rrrm
A o F.Yly
Yf,e:r*'!'l{+= >r a
"
\
:T:*
:rT-:
Am R_ J m :
Am
hn'?
o-r- ----
=
+ |
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rrm ?I
>
@rc
@ 0^'l
lL
.+!
ffiil 4++u
--:t-...-__...=g ?/ , oW\__
r
1/1 --
:A
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@
fr rrrrn m+ tffffl
-.s-
ataat I
+Hil
illftI
H+111 nnn
eV
**
s zYrl'Y--T' @r
H+++i
H4i+t tt |?| |
MT
ftf1t1
ev
1zzTTt= t./
3
3
I
L_l
Ab? EV
hV
f,c
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Ab1
q|.ffi7 L-J
@V
ffirFn r-FF+fl
,^A q
Ab,t
H-1]+ LLLLIJ
tu*
QItftl
H# Ab" Ab^*sAb"6
-:-'--t---t---q-t-
-
r r ft.f-_-Ta?--? -
-
r
b
t
l-s
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a
W e, b't
W1
qzg4TT LrJ
(
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T
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r-
TP Ab1
T- (zf.___._,f -
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f
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vfl
r f @
6/?
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wt,
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Ex. 33 (cont'd)
FFFffi
u
i-tt+u
uuu t-{-{-t+-l FFI-FH ?*q-
ffi! t+lu]
ll.t+f.l
ffi
Ab13
gbg4 A"p , f--
Abr i
-r---
rIl...l.'.l.'.U
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m
m" , 7 I
FTFffi |#
FFFFF |.lJ-l-JJ
l-HT+]l+{+# rrrrn fffffl
drtr-.e,s trtr-t t-ft-tgl
ttt+r5|(3)'
Dts
l-{-i.#
Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies.This i: d1.' to the addition of extensions.i.e. +5, +9, etc. You will also observethat notes other than the roor rr: frequently used to form the bass line. Thesehelp to produce harmonic textures presentin some of the mor: recent jazz forms. In this example, make a specialeffort to sustainas many of the chordal tones as possib,le
Ex. 34
fr
tat?ll
Llt-fil
,*ar7r-
l-l-FfH e?+a ffilTl
I
ffi
-f\. l
-
l
Ff
ffftt1 rfffh
f11+t1
sffil
ffirfi
t
\
*
ffiu"
As,
-
fi,,
ffiD'oo(e)
,T[,,
1#+N
a|.# t a i l l ta I I t(t,
mx
F+-t-+iF{
Itt??l rrrrn
HM
t-+-{-.I-+-l
wtrF
stl
9Y, '110t" at ^,:.'i
29
Ex. 34 (cont'd)
fRTT
t-t-l+lt Fffrfi
%ffi
trFFF |.#
t+{Jll
HH
*,o4D Ir r,-,.-, @
ffi [ffi
ffi
RTM
H{$+l
t+..|+.1
IJJ+#f) ,
ffiFfJ A \ O ( s t -
Example 35 shows the primary progressionconsistingof G6, Am7, Bm7, Cmaj 7 (one chorcl l.rcrl..,rr being connectedby the passingchordsG#m7+5, A m 7 + 5 . e t c . Ex. 35
trrm
FFFfN
a l t t a l
rrTTI
ffi
uJ]+
[ffi ffrffl
FFFFFT f-t-tffl
f | | i a l
,tfatl
t-fft-ti
ffffh t-FFt-t-j
fftlfi
rTFff1 _l
G6
-w'
ffiff1
6^c*
ffi I taa I
l-ftfH
ffi Aoa
ifttti
rrrm
Af",*S
bJ+s et"1Vr
(nn'7
4
Example 36 is the same chord progression being connected by passingtones (forming .r ir.rl1 c o u n t e rl i n e ) a n d a l t e r i n gthe chord symbols as indicated Gmaj7, 4*(maj 7), etc.
Ex. 36
FFM ffi
f+11-i.t
? I I I ' I
|rrtn
rFFTI ffffr
Gb
?'V
@
Gna1
At'f
(mrz) bn',? g.,
Ar(t^E
,&
Qne')
t+ @
2,7
@
Example 37 shows further developmentof a counter line resultingfrom the extensignol rftc 1..i..1... tones into a more melodic pattern.
Ex. 37
ob
$.'z
A^1
J I
Cnfi
E,xample38 is a chord melody solo embodyingthe structuraldevicesoutlined up to this point. Look f'or vertical textures,contrary motion. parallelmotion, connter lincs, block chords,sustainedchord backgrounds and short chord punctuations. Ex. 38
fffr" rrrrH
ffi
#
Ittt | |
mnTl
iT-ffi
g
; l t t t t , l t l t t |# Lt*-l-*.I
F+
rlt+flH#N
I
ffi d'rqus
to t{dttl
rrrr-n l
l
l
l
l
l
F + - t - + - F l I ll lll
nnn
ffiffi --b_.-dtq'
"frrr rrffn
|# I l a at I
mm
-+
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-a
.#"
t-ft-t-fi l-{-.H
I | | aa l
fft-Ffl
nffru
nnn Ab'r
G#vs 7
@ J ]
Ex. 38 (cont'd)
,ffi
m
ffi [ffi fffi-H ++ts
FFFF
ftfifl
'''H
(l
4l rr--:. -+
-
e
@
Ffft-
ff++il
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mffi
ffiffiH
ffiffi
ft'rffl
ffi ffffn
bs
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ar>,/F ; d : @ @@ z 16)
1 a JJ
rrm tuJu
tllilt rft+1.1.1
ffi-rF
mm
|# I t f ? I L
ffi
t t t t fl
rrnTl
| | | t l
rffifr
-G,6,
@ @1-'
*@ €,
nrm
H+1+1 ffifi1 HilI l'{'..H
Dn*Vs
g
UL
I I I I L mm$ffi ffiffi ftilf t-Ft-iH t+1.1+J H+1+1 r|rft1 ffi
ffifi-l mrrn HJtt-l ilftal
ffnF
fi1-rfi
tr,Tn45
5-o
Ex. 38 (cont'd)
Ix.
IItr
l.i++Tl t+1+1{ ,s,, $Hfl ffi H+] rrfffl FrFrn rttul
ffin ffiffi
/!-1mr
[ff;
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st
rlTrn Llll.ll
u, [Hil F+]++
ffi
Htf z.-r
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rrm
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6
r'Yh-7;,
zffs*'c ,s[
I t a a| | i I H ' I
ffffn
rnn TFTF
ffn-n
^euylos ^ fi;., aJ-.l-rt+ 'sfir*'r&, @ O @ O
@
%'=,e @
Itr, rfnr n-rfn
rrFrfl r r l- r n rf f 1r-rf lr- 1n
l r t t t l ,
rr*
*u||
tl*t-r-i|#
ila|l
:rn:
Hll r lllil rlllll
I aa rrrr:
f f i
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t' u& ) + , ,t a
s,,
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6)
4 3-
With few exceptiorrs,it is possible to find a common. garden variety chord voicing for the guitar (of the type found in many chord eucyclopedias) that can be fingered to include all possible notes that may appearin the melody. It is obvious that if the melody note is placedtoo low ou thc staff, you will not have enough strings left to form a satisfactory chord beneath it. Therefore. you will often find it both helpful and to transposethe melody up an octave r-leccssilry (this is callcd "jumping octaves") severaltimes throughout the courseof a solo. With experic'nce and finesse. this carl be done without losir,g nrelocliecontinlrity. lt is possiblchoweverto play a lon rcgisterscaleor melody (as low as the 4th string blrt no lower) with some fragment of the chorclbtncath. Erarnples39, 40 and 41 show a rnelodyline u'rittcn high enough to play full chord voicings bencath. and briefly explore the problem of fincling chord fingerings that will accommodate various melodic possibilities. These examples 'G' shou, a diatonic scaleharmonizedwith the II, V lnd I chords, the three basic chord types fotrnd in diatonic harmony. Note: the addition of etc., only t i r c c \ t ! ' n s i o n sM a j . J t h , 6 t h , 9 t h , affcct the color and texture of the chord and do not charrge its scale ftrnction or its role in the prOgrr-SSloll.
36
-*ffi t+++11 u++.1+ HH
ffiffi
t-H-.*{
t-H+tl nrfl-l 4+
ffi
,.8.,
-*-
tsr
'ffi..,
fl-fH+l f i f fH-++l.l i
rTNfi *-64
FFFi-H 1 r) , l r t l l r
Ex. 40
--s-
ililil
filfl ul+u [flt
--E-. l-uJl
ftilil u++t] $tt
H+#f u++N ffffft ffifn FFF++I
H++N l-H+u ffffn 3
Ex. 41
m
m
m
ffir ffiffi
ffi
ft
ffi',ffi ffi ffi ffiffi ffi ffi v -
@
@ 3 t
Example 42. Using the indicated chord, find a suitable fingering with which to harmonize the melodr Refer to Examples 3 9 , 4 0 a n d 4 1 .
8x.42
Example 43. Now, as in Example 42 above.harmonize the melody to fit the chord symbolsindicated. 'A' in bar l br.rtdo not changethe melody. making the necessarytranspositionto the key of
Ex. 43
n n
gr{
Hfn
Dq
Example 44. Any chromatic note within finger nlnge eln llrvays be harmonized with a given chord form, although it mav occasionallvbe dissonant.
Ex.44
Fnal
vflT
ffi
F{-.{.#
u+Ifl
H+1+t f-fl-ffl
3u
Example 45. Experiment finding chord voicings of Gm7 that can be chromatic tones.
Ex. 45
r
J*J -t*.1 -,1l
l
l
i
,
r
l
lbL1-
!
E,xample46 offers one possiblesolution to Example45.
Ex.46
ffirF
rrrrn F{-}-f*{
a t a l l l
ffffn ffffn
l l l l l l
6m slo
Frrm
m
FFFffi Fffrft
|".#
u-lJJl
ffn-F
H+{+1 H+$+l FffIfi fffff1 ilx! Hfi GJ+r
Gn1
) t a a t l
t-l-.t-l-t-l l l l l l l
ffr|fl ffrffl
G#+s
G^t?
rTHTl
,w, -* f f i m l+1+l-1
ffi
IIH
frffi
G^1 I L
ffitffi ffif, [+r rrffn trd
atafil
l..|-#
i l l | | l
f f i f f i
fFm
"ffT, ffffn ||l tft
r-*-{#
F}*{-Fl
|'.#
Hl# ffffn
H]+fl rflrn
ffffi nn-l-l
IJJJt-t
Llflll
'J+tl
(&ra)
4d
39
G.("n)
6;r* t U
r
rffi
nfifl tlnFl
+H illd e-q
fr :rr*
l e a
+F ti-i-* Grnl
Examples 47, 48 and 49 consist of the same melody with major, dominant and minor chordsdescenciin chromatically. ln each case the melody and the harmony have their own force and are independentof cu.l, SeeA maj. 7 in bar 3. ct. other. Note the interestine extensionsthat occur as a result of this independence.
F.x.47
Dmn?Sme?
Qnn't Brea
$},3 Ara
hbtr Gt7
gh,fi Amna hb^e'lG^e1
a
Gbne't
Ex. 48
f.]
Ghts ? t ?
Drs
F;x.49
hrt
hb,q
6*
Gbnn
G^1
+U
ds^q
Fhr erq
..)
6bn1
Example 50 consistsof the same melody as in Examples47, 48 and 49 and demonstratesone set of voicingsof ntajor 7 chords ascendingchormatically.
Ex. 50
,,s,,
ff ff ii f ff fi if ff fii r f ff if i
il lfal
NTFfi ffttf1 l#
t a t t l a
Itiltl l l l ! r tl
^tt
?Inet?
Gm1
d^^'?
h^e'l
4 d
t),,,nta h^a?) y'o-^a * ^^ Wa{?
r
Exantple51 showsalternativevoicingsand consistsof the samemelody as Example 50 above.
Ex.51
-$= *ff" -rffi fr uJ-t-ll H++N t+++t-l t+++11H++{] ffiil IHT H++H rffil +Hfl H+1fl i-H+fl t{++fl ul-lJ.l I-Fi-FH TFFN ffi-rl ffffn
,*,,
ffi
il ttal
Frffn t-+-l++.,1 tllllr t ft l t +
Ffl-TN
I a l | t |..+.4*
mm
l i | |
?i:t^h1
rft
Grt*'l
4a_
d^et
Amn?
n-ffil
f1t||l Hflil ffin Wnal o.naa Qnal d^0,
4l
l-fffft
tffi
VmA?
Examples 52,53,54, 55, 56,57 and 58 are short fragmentsconstructedto simulatestandardpop tunes. Here the examples are presentedin lead sheet form showing only the melody and chord symbols. Using the devices previously explored in this book, develop chord melody solos for each of these examples,keeping them as simple as possible.Concentrate mainly on finding chord voicings that sound good to you and still permit the melody to be played. You may then compare your choice of voicings to those found, respectively i n E x a m p l e s5 9 , 6 0 , 6 7 , 6 2 , 6 3 , 6 4 a n d 6 5 . S e eP a g e4 6 .
Ex.52
flbq
evq
6^'1
D"7a D;tbs
€na1
ht
Gbr$1
Ex. 53
tn
6v7
?1
42
D1
Ex. 54
D^'l
q
6*{? g
tx. 55
Ex. 56
Dha
Ex. 57
Gnel
g+rl
Gne?
,,,4- --.*I
@1
++
Ex. 58
evcw
D/'r>\
d+W
G'b lbra)eq
Eb-ar
Ab,^7 -
tF)
Bb-',: Ebr
a?\
GrotT
l
F'm?
p ^tbil
Abnnt
Abmrz
Cryn7
E x a m p l e s5 9 , 6 0 , 6 1 , 6 2 , 6 3 , 6 4 througli 58, respectively.See Page42.
a n d 6 5 o f f e r s o m e o f t h e p o s s i b i l i t i efso r h a r m o n i z i l gE x a m p l e s5 2
Ex. 59
"ff* rffil [Trn rffi{t +Hfl H++fl
ffiffi flw
ffiffi
HUl rllilt
nnfi Htl
f1ffi
I I I tat
Hlll-.t t-{+4.1-l FFFFH +++-l-.i H+Hl
u*"
.fr" ffitn H+++l fffff1 ffffi ffrrn ,F,. lll1l rrffH
H# ffiff tftfl ffifl rill?l ulJll nljlt illilt
t??l I I
M?TI1
HJ+|ltrtt1l H1#lr++f.+t i+i++l fftttl ftffi
fffi
G^1
-r-
,+,
t r I I t r E L g
-9--
lH | , I I
TfTTT] rlflil
l-+++ll
tutt.l
c c n
Ch
Wg
!-r bs
l l l l l l
ataa
ftIill
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l-l-#
G."1
(+1-iJ-+-.1
t]-uu itt | || ffi-ff1
[ttf] l | | r_l_l
GVr*o
/A \:/ ,(
46
HIFH t a t a t a
ffnn [Ifi lrft-l-l F,*a ?,*tc4D'? D? 4+ zlF^
III I+, ,s,, I-TTTI ffi t+*.I rrm l-u-.ll-l mm TT*F TFNT1 rlifll rrrrtl H+t+ J-.I-lJ.t u+lll ffi l_|H1.i itHt ffif,
? l t t t I
i ? t t l l
a, I
Ex. 60
u
.s,
g
|-ri-rfl
ITITI-I
H+FH Htft-j fffrn
mx ffn-F
lt??tl
il?atl ff-rr-
il?lll illt|l
t++ul ffi
ffi
I i I I aa
Frffi
rfl-Fn
+'b
L't
,s,,
F?*q
,F..
rlil II u-lj.l-l rllfil
ll+$t ll-u.t-t
tt+-.lj.l
ffl1-H
6b%av
mfr +flil ffi-rn fftr| $hq
@'e ,8,,
rfit rrFn
H+fti rrnn
l++{+1f+t+Jl
,,r:% ,v'%v
@ @
@
mmffi
nnTl TrTt-rl
rffifl
F'fu,
tillu I t fa I I
ffi+l
t+-.1-+-l-.1
rtfllt
H++l
H+11+ffnn H+111 rrnn
fnftl
hb',/ob ?''ty"
C'*V
+,d
ffi-rH
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6\ \:-/
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r'fo @
Ex.61 I I
T I
FFFffi
FFFffi
Fl-#
|-#
rl| l lt
ttt+i-.I
t+++l-t l++11.1 Ft-f#-t tft+H ffrfl-1
Itffi
&naz
A*
affi
FFF*
FFFffi
FFffi
ffi
ffrrf F{-**1
[ H f f i r i l f , f f i fft-rF irfi ftrt ifld hffii $ril $ri $ilt $fif +9
t l a | l |# I | | laa
f+-+-H l l l l l l
Dnq
GB $s) C,ne Gn19+s , I
T t r T
ftujl-l f i f frililll ffiil lillr
ffil
|||l
Frnlg
q,6f)
@
@
\
lv+ trVJ_
--rd-?g
o? @
@ FFFF t-FFt-1-l
$fifl
t+ljtl
Hflfl Cne'|
uE
mn Hi+l]
[tffi HffI Arll, (h) 4+ bL
z r 7
L
@'
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g [5[fn rFilTI ffffi ffffH ffi
HiH Dt I l+
2,+
I
FFffi
rrrn
ffi
f t t a t l
rnn rFTFN
nffil
6t+16t
FFFFF
Hl+*l
ffitr t"1++l-1 rnm **o
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t-l++4-l I t ft I I
[Fn-n
|TnTl l-t+ft-l nb
@
E x.62
ffi ffi nnn #*n
rnan4o
1*ffi+sa#+s
7+ .-* -4t
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ffi ffnfl [ffi ffnn u]2, | | t i t I
t ? a a l l
l]]?fl ffi-rn fffffl ffrrn F{#
ffffh ffffh
fffffl 'Fr^rl.z i' ttfr+
, l l l l l l
ovq A
q-
r>\
I
Rr{.
,H\,
H-+lJ] l t t t t a
( 5 J
ffi +t+i1 ffiHffi ffi HfN ffiH FFFffi
FFFFN
t'.Hl
t#]
t-tffH
Il
ffi |-]-{-+
Ffft-H
l f t f |
rfitF
Ab^aq 4 .
ptb6 N?
t.]i+ i1-nn
F-q
Fr\t
-s"ffi ffiffi 1t+#1 MT [ffi [ff| fffffl ffffi H++H t+++11 Fffft1 [ffil rffrn rFn-Fll-ttltl ffl-tfl S* hn dort Dhn 4+-
u #" rIilTI [H nrn-l tffl TFFN
nffi
ntTr ffi
| l t t l l
H++fl rrn-n l-f+#l i-rnrl fltlfl I
?!$
lflll
't@
(
@
4+- t W
ffi+ ffrT
I
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trFm r-l++N
cB&6boVq 3 t t
FFFN
rrrrn
|i"+...+
tffat I
rFP1tl rFFTN t-l-.l-++l
l i l | l
A
@
8x.64
trFFF
I
r-lTfll
RTM
H+1+{
ffitrffiH ffi ffi
ffi
a)l
Gme(l
6@b@e ![
ttaaaa iTt?l
Hi+l-t
IIt
tltatt rrrrn
lltr
ataaal rrFrr]
t-t+++] f+]{+
Hl# H+luH++11 HH ffilil H4
l r r r r
l l | 1 1
i l i l
II
ffi Hti H!+.FH
eq
@ @ '6 F,,
ffi{ "s" lll+ll l-lllJ.l
H{-{-11 l-t+fl-l Ffft-H rrrrFl
r-.r-r-r-Lr rrrrH fff,Fn Clnntl
'-ffi, HM ffiil ffn-n F+'l
Ex. 64 (cont'd)
,s . .
ffi
ffi
il ilft
[ffi rfttfl
ffi
rrffn
fftffl
s,
b'l | .3 -,;'3
Ao l
@ @ -** ilatt,
ffi
ffi
-IT.
ffi
t+++t{ ffffH
rrrrh
t-t-t-fH
tilt
eb.,lD s
+{--}.4+-
*u*r,
e^1
|
Ex. 65
JH u-lJ-l-] H+fl1 $ilfl ffi HilI Fn? &*t "*t rfiffl #
ffi
ffifi H++H
Abn*1
F{+H
,s, ffHTI ffi{
,$,,
H++u
t l a a t l
ffi ffiil
ffi
w
&^ort
ffi Hffi t-ftfH
ffrffr C1.g
Itr
,8,, n-rrn rrfn [T[n-]
I t?tt a
H{-t-+t | | I f f I
ffrrn
ffrrn
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IItaaa
TTFF
ffix rnrn [ffi
t-.t++-]-l ffnn l
l
l
l
l
L
drbq
rffi
(qq)
FFFfN
|..H
f1-l-l-tl
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r
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Ex. 65 (cont'd) FFFffi
-
ffi l t a
ffiil rrrrn
I l
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ftffi F,,'.'l
vlTt
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ffi ffi#ffi ffirr ftff| ffiil 42
eVr*rl
it+t+t
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fu ffiffi H+tf
rll'r nrffr t++++{ flrFfl'
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il llfa ffi
ffi
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r m FH+1{ rrnfi
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tl
fr
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ffiffi Ab^.
m
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ffin
ev
Example 66 is a chord melody solo basedon a standardcliord progressionand includesthe structural devicespresentedthroughout this book. Continne to explore other possibilitiesof the material presented here, in applicationto other tunes. The more of this you do, the more proficient you will becomeand you will then begin to acquire an instinct for finding the right chord voicings.jr.rmpingoctaves,etc.. thus bringing you within reachof extemporaneous improvisingin a chord melody style of your own.
Ex. 66
ffi irfff
|-#+.1 l ?| t t I
|-|FFN
rrnF rrnTl Ah,r
@O
I'
ffi uj-ll.l H+++{ ffi
ffftfl
nt
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TFTF ffrrF
ffit-nD*th
trrrF
Frrrn rfl-rn t--t-'t--f-+{
ttatII
Frrrn
rnn
Abq
52
FFffi t-ffil l-++lJ..l
t t a l t l
ffi
H#
rrnTl n'rrn ffi-ffi ! | a l
Gtl
fu"1
Ex. 66 (cont'd)
tu u++fl
,,S,,
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tttf|
++-++.t
l-t^ff1'1
iltttl
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H#
l l l l a l
ttattt I | | tal
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f++-{-t-.]
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l l l l l l
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l l l l l l
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Ex. 66 (cont'd)
rE,
rFffi
t t ? t a l
rrrtrn rrn-n
ffi
H-t1+l nffn
l-{-'t-{-{-{
u-t-llt t t t t t l
ffi
nnn
T*1fi^,
Mbq
A'7*1
-*-
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ffi IHX nrm
H{
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a t r l t l |# ilt??l
rffi rr|n
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rrn-n
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ffi l t t t t t c a 4
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rffn-] \
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l+-t++l Htrl-t-t-ttl F
n-n'n 11++N rffffl rrrrr1 ffftft ffnt1
frt+
ath
r|nn ftttfl Artn
Ab+tl
Grl
clv1
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6fi
l l
rnrl i | | t
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l-fmn
t a t | | l
ert D^q W
Ft+-t+{
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#
F,r,'lr.
ffi
rFmll ftt-tft l-fH.H
6 @uo
ffi
ffirn
il||ti
Ff,',h 8*q @
ot--.
Ex. 66 (c
(x)
m
i l t t l l ffi Iilill
ITTII] I t r t l l
en't
r
ffi -+"
l-tiFt+i
LT'IU
ffi t{+u.l
HJ+N
t++t# ffitl
ffi
4-
a - l
@
.>
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ffi
ffi 4.
fr
U]JJ]
ffitr u-l+1..1
F-9ru
m
It FFFFF
liltr ataill I]T1Tl
c't-
t-tfti-t m ffit Hffll
l l l l l l #
| - . # l l l l l l
l i l i l l l-t-ltlt+i t. gt t t t l
llllll i l l | l
Cnq FneT
g
ffiffiffi ,,ffff,0b'-......_..... t3t*zE^ '
Ex. 66 (cont'd) !Lr flTTN
l-I-n]t Ia aI at !
ffi
l ? t t | l
H+]+l |#
rHffl
FFF**I
% tl 4
Amf>f1 ( o . ' 1 f f 1t
;l.at \\-/-f
ffi
t+++# H+f+l
Htffi l | | t ghbs
fi"tl ' l F .
arT?d
3
Itr.
[f]Tn
ffi rll?ll H++l H+u.] nrfl-l Gt?
IIt TTITN FRTT
#rn rrfn ftffij
ffffn '#
ffit
Cn;7
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H-i-i-F ffnn [fi|
@ @@ ' 6
Fffi ff,Tf1
flm ffi 9ttl
t t t t e a
t-ft-l-F1
rrnTl
| | t l
nnn c6/q
