forGuitar €NCOUNT€RS CHORD Bookf .
$NffiKeffieKe$tffiff
II{TRODUCTIO}I This book is my approach to the basic blues pattern. It includesHalf Step and II minor 7 V Dominant 7 movements,Diminished and V chord substitutions,and varied ways of comping. It also includessomeextensions on the chords,which will improve your overall soundand approachto playing blueschanges. This book will be one of a seriesof books introducing the many common chord patterns that exist in most standard piecesof music. Accompanying this will be a series of melodies and improvised lines to these patternsso you can seehow melodic linesare built and fit the various chord patterns. I chosethe bluesto begin with becauseit is a very basicpattern that we all knoq so it will be easyto seethe substitutionsas they appear.Once you get the idea of how the patterns and substitutionswork, you can then use theseideasin other songs.With the tape you can hear how the progressions fit together.I hope to simplify and explain how harmoniesand chord forms work on the guitar. This should help you understandsubstitutionsand how theywork. You should take each substitution and practiceit in every key until it becomesautomatic in your fingering and thought process.Then go to the next substitution. It is important to be able to play and move thesechord forms and their ideasfreely in everykey. Becauseof certain chord fingerings, there are unwanted notes that will sound if you use a pick. I play all examplesin this book finger style. This enablesyou to play only the notesyou want. If you usea pick you may have to refingersomechords. I would like to thank my good friend and fellow guitarist Denny Hardwick for spendingmany hours formulating the material in this book. His help is deeplyappreciatedand I'm looking forward to working with him on r34r out next project.
CREDITS: Sound Editor: Dcnny Ha¡dwick TochnicalConsultanu Mark Hill Photos taken by Norman Jambson at Stanford Sicrra Carnp, Fallen Lcaf Lakc, Cdifornia.
) ) ) ) ) ) ) )
TABLEOF CONTENTS
) ) ) )
Drrrt'Clorú
)
b( U lcr Blrcs in F And Extensions f rrc{t¡¡ ?ü Chords . . .
2
) )
TLc Trn Around
4
) )
Trrr.{ro¡ndChordslnF. Dorirut Substitution - The Standard M
)
Hdf Stcp Substitution
)
SilkingB¡sslineTurnAround
)
fXninbhedSubstitution
)
Rcvicr'
) ) ) ) )
I
Forms
3 ......5
t'ChordSubstitution
U s c O f I I M i n o r T V T F o r H a r m o n i c l n t e r e .s.t
) )
. . .l7 .....18
II MinorT V7 And Voicings
Review The OneGrip Blues C o m p i n g W i tA hPianoAndBass 2 And 3 NoteChords pssVToGrab4NoteChords....:
)
.....13 . . 16
II Minor7v7 And Hatf Stept hsl Substirution .
)
...10
II MinorT V DominantT ProgressionsWith New Resolutions . II llinorr bsy DominantT bqProgression .
)
)
TraditionalRhythm And The CharlestonBeat(LayedBack) GroovingOn The Blues VsriationsOn The CharlestonBeat Find ReviewAnd Conclusion
. . 19 ......20
. . . .22 . .24 . .25 .....26 . . . . . .27 ....28 . . .29 . . . 30 . . . . 3l . . .32
) ) ) ) ) ) ) )
9
. .14
t b i c i n g E x a m p l e s. .
)
......
Il MinorT V DominantTsubstitution .
)
)
8
..ll
)
)
6
II V Chord Progression
Copyright O 1979 by Charles Hansen tI of California, Inc., West Los Angeles, Calif. 90025 Alt Rights Reserved International Copyright Secured Made in U.S.A.
a a a a
rx)ttrNANT 7th cHoRD FORITIS
I I
¡ : t D t
F-. t :> tqr of F, coasisrsof rhrecchordchanges.Th€yareFt, B b7,and c7. Thc blues .¡ rrr átfctd Fncrns. We arc, in this book, working from the familiar 12 bar blucs sr b* ¡:t tL bñic do&in¡nt ?th chord forms that are usedin the first cxamplcof the Basic c-b.F-orhqrp.tc. t> F . l;', Dd C?chord forms a¡ederivedfrom üe F scale.That is; F is üe I chord, Sb is Oe fr #. d C b r.bcV cüord. Seethediagran directlybelow. h E!
I
t
a I D I I
a I
7--.
9: t3
F7 ¡s rrcferred to as the I chord.
lI
I ls
t Itx
n,t 1lja ?
2t3F++i+i
:F
f4
BbTisrcferedro¡srhervchofd.
t5 D I 2 3 4 5 ) ) )
Note:X = MutedString;O: OpenString.
C7 is referred to as the V chold.
BASICT2BAR BLTIESIN F
t¡
Bb? sIV
c7
2IV
1I
Bb?
F7
óIV
EI
(Bb?) c7
c7
EXTENSIONS By adding extensionsto thesebasic 7th chords, you can immediately changethe color of your playing. Someextensions,including 9th's, raised9th's A#\ l3th's and suspensions,are illustrated on the oppositepage.Below is an exampleof the l}bar bluesusing thesechords.
rI
Bbe sIV
c?#e
3I
2
Bbe 6tv
(Bhe) c?ile
1I
F13 7I
r.13
F13 8l
c7
) )
t )
EXTL\DED 7rhCTTORDS (BrIrES rN F)
t 2 3 4 5
4
THETTJRNAROUND The last two measuresof the blues is consideredthe turn around. The basic turn around as seenin the precedingtwo examplesis:
(c?*e) c?
(F13) FT
To add harmonic interest to this basic turn around, G7 preceedsC7.(To play G?, simply move the F7chord form up two frets)
To add more h'a¡monic interest, D7 would preceedG1 (To play D7, simply moye üe C7 chord form up two fretsl THE STA¡TI'ARI' I YI II Y TI.JRN AROUND
F7
G7
Now working from the standard I, VI, II, V Tt¡rn Around, extensionsof thesechords are used for color. A new form for G7 seenat the top of the opposite page, is usedin this turn around.
r13
(Csus)
ozüg
Csuspended
TrrRNAROUNDCHORDS(rN r)
C(srr)
DONfiNANT SI]BSTITUTION THE STANDARD I, YI, II, V CHORD PROGRESSION Now we haveseenhow the standard I, VI, II, V chordscan be substitutedin the I, V turn around. The sameprinciple is usedin the precedingF7and C7chords. Below is the l2bar blues - the upper line is the basic chord pattern. The lowerline illustrates zubstitutions and extensions.The subsütutions in bars 7 thru l0 use the sameprinciple as is used in bars ll and 12. Seeoppositepage.
BASIC PAITERN F7
,
A
rI NEWPAITERN F13
Bb? 2IV
F7
F7
4I
3I
Bbe
F13
F13
IV BASIC PAITERN
sIV
6 IV
8I
D7ile
BASICPATTERN
ev
l2V
u I
NE\WPATTERN
G7
F13
Uüg
c?
C?ilg
'a:.,q...W 7
Oo thc fcceding page is what is considerd to be the "Standard Changes" a Jatr. player would rt la tbc Hu¡. Tb.isis the "New Patternl'The "Basic Pattern" would be used in Rock, Folk, or dtr dndcr forms of music. Tbc "!icr Pattern" will now be referred to as "Standard Changesl' and will be used as a basis fc dl n¡h¡itutions to come.
In measures7 to 10, the Basicchordsare 8 beatsapiece,usingthe I, and V chords.
BASIC
HI
F7
C7
c7
l a 7
v
v
lo
The Standard Changes are 4 beats apiece, when used as substitution chords for the I, and V chords.
STANDARD
D7
F?
8VI
G7
c7 lov
The exact principle is used in the turn'around chords. The number of beatsper chord is cut in half; F? for 4 beats,and C7 for 4 beats. ?
: HALF STF,PSI]BSTITUTION The half step substitution preceedseach new measure by starting Yz step above or belorrythe chord in the new measur€.When proceeding from tbe Vzstep substin¡tion to the next chord it is best to keepthe samevoicing, or chord form, in your movement. The following is an extreme example of half step substitr¡üon. Let your ears guide you as to the proper time and place for this substitution. New chords are ilh¡strated below.
B9
F13
Bbe
F$fB F1s
2IV
B9
Bbe
3I
F$13
Fl3
813
Fl3
4I
Dü?il9 ü#g
7
sIV
6IV
C$7ü9c?*e
G?
I
2 3 4 5
Et3
t 2 3 4 5
7I
F*13 F13
EVI
Cil?üec?ile
G$7
WALKII{G BASSLIh{E TUR¡I AROUhID Here is a good three note chord voicing as used in the turn around, taking advantage of tt¡: new haií srepsubstitution.Notice the "walking bassline" this substitution provides.
Dt7
IJ
a7
G$7
VI
G?
l2
c*7
F$7
C7
u
V
Uscüis form, or voicing for F7,F#7,G7,and G#7.
t 2 3 4 5
Usethis form, or voicing for C7,C#7, D7,and D#7.
t 2 3 4 5
Now, by adding extensions, you can change the color of the "walking bass line" turn around.
F13
Eb7$9
orf,g
Ab13
Gl3
Db7ilg c?#e
a
VI
t2
u
V
F$r3
DIIUINISHED SI]BSTITUTION The Bo (B diminished) chord (as shown below) connectsthe IV chorci Gb ) with the I chord (FI The Bois usedeither on the last, or next to last beat of the IV chord before it goesto the I chord.
Csus
Gl3
t 2 3 4 5
REVIEW So fer tbcre bevebcco ñve waysto changethe BasicI, IV V, bluespattern. t. AatS Elc¡sions a- 9th's b. Raiscd9th's A#e) c. l3th's d. Suspendedchords 2. Altering the turn around a. r7 I C;to F7/ cl C?;to F7D7 / G7C7 b. Adding extensionsto the altered turn around 3. Dominant Substituüon a. f, tr7 / e / C;toF7 /D7 / cl / c7 4. H¡lf StepSubstitution a. SubstitutingVzstepaboveor belowthe chord of eachnew measure 5. DiminishedSubstitution a. Replacingthe last I or 2 beats of the IV chord (Bb) with Bo as a connectingchord before returning to the I chord (FI Practiceeachof the abovesubstitutionsin all keysuntil you feel comfortablewith it. Then intermix all of the substitutions,taking advantageof everyextensionpossible.Let your earsdecidewhich ¿ueacceptable.
Below is an example of inter-mixing of substitutions,as played by Joe. Some chords in this examplehavenot yet beencovered.
rf,rs
Fl3
F13
813
Bb13
813
Bb13
BO
F/c
ebz#s
I
7
nrlf;gcf rs
c? De#5c$e c?bb rü rg
c#ts
c13 cüg ce F{13
omtbs c*mzbs
WCONTINTJED Below are some examples of adding different substitutions. We now leave the key of F, *l ,r. going to uscthe key of C. This is so you can get an idea of how substituiions are usedin other keys. Again, theseexamplescontain somechords not yet illustrated.
DbG,b
(addmaiT)
Gl3susnbZf,g
c6rb A?#bbeEb13
üt +.hJIl c13
cl1 ob$firrcmaje
I
a a a a a a a a a a
r3
Y CHORD SUBSTITUTIOI\ a-:r -r*'
o - - r !- i 3
;¡¡r-f_-E
*¡:l
a l Jtu1ído . r a l V c h o r d f o r l o r 2 m e a s u r e s ,y o u c a n s u b s t i t u t e t h e V l t o r ¿ o f :-._1¿¡lu.í I Or ] bcats.
-t e: cr-r-nnple oi substitutingthe V of the I chord for 2 beats.
Bbe
tl3
F13
F13
I
a a t t t I
Tlc nert erample shows the V of the IV chord for I beat. This also uses an extension of the sr*:iution chord. Again, try to extendyour chords wheneverpossible.
t t t t t t t t
F7$5$e
I I
t t t I I
t t t
F7i5i9 I 2 3 4 5
I
t ,
D t D I )
t t
e
II MINONÍ, V DOMINANTT SI]BSTITUTION Thp II Mino/ V DominantT progressionis usually referred to as a II V progression.The II rniil and V7 chords are derived from scaledegreesof a given major scale.That is, C7 is the V chord and Gmiil is the II chord in the F scale.
u '
A UI
Bb IV
c v
D VI
E
vtl
You may substitute the II chord along with the V chord. Here is an earlier example, using the V chord substitution,then adding the IIminT chord just before the V chord. Then the V chord resolves back to the I chord. This II V is in the key of F. Notice the Ceis just an extensiohof the C7chord.
D D O D D D D
!ü¡l cúridcr rhe tV chord (B b I Here is the Bb scale.Notice the II and V chords.
Bb t
c n
D
ru
Eb IV
F V
G VI
A VII
Bb I
!b- üc Y cñord is F7, and the II chord is Cmin7. As before, the IIminT chord is placed just tL Y cüord- Thc¡ üe V resolvesto the I. H¡l
Fsus F7
TEMPORARY I
Bbe
L KeY of BbJ To undcrsta¡rdthe use of this substitution, you must realize the I chord TEMPORARILY bocs Bt . This is called a key center.The chordsprecedingthe temporary I chord are labeledin rd¡rioo to üat I chord, rather than to the original key. This subsütution should be handled with care. Again, let your ears be the final judge as to rtahcr rbesubstitutionis proper.
F(sus)
16
II MINONÍ Y DOIUII\ANT7 PROGRESSIONS WITH NEW RESOLUTIONS Sometimes,when a new key centerseemsto be established,the II V progressionin the new key doesnot resolveto the temporary I chord. In the eÍample below, the chordsprecedingthe Bb e in bar 2 seemto be establishingthe temporarykey of E. (F#min1 Beis in the key of E} But insteadof resolving to E, Bemovesa Vz stepto gb e.
FfmT
F$m789
-Key
of EJ
The II V progressionmay resolÉ directly into anotherII V asin the examplebelow. This is a very popular bluesprogression.Study it and transposeit into everykey. This will help you understandhow II V progressionswork.
Key of G
Gm7 7ttz,J
c9
Am7
D9
Gm7
C9
-
l0v
u
v
r2
V
tr ÜflNoil btv rloh'flNAhli'Tb'PR0GRESSION ro another II V can be madeinto a tlmiil bt *d yz be,tthen a II V that progress€s tn sooc czreg5 r3¡ohr3ro rbc ncrt chord. Thescchordsmay be usedin the turn around.
D7b9
Am7b6 ntr
V Key o f G
Am735
t 2 3 4 5
t 2 3 4 5
Gm?
c9
IV
V
I
Key of F ,
r8
USE OF IIMiNTV FOR HAR}IONIC INTEREST Considerthe first 6 bars of the blues. l
F13
2rv
rI
I
Bbe
Bbe
F13
The first logical placefor a IIminT V7 is in bar 4 asit progresses to B b .
Bbe rI
I
IV
Bbe
Bbe
Cm7
Key of Bb The next logical placefor a II V would preceedthe II V in bar 4. TEMPORARY I chord for IImiil v7 (Dminz 613¡is Cmiil.
Dm7 IV
Bbe
I
Keyof Bb
3 t
G13 Keyof C
Bbe
'
you haveto makethe chordyou aregoingto resolveto Remember, to find the II V progression, the TEMPORARYI chord. In the last exampleCmid(bar 4I and Bb e 5) arethe temporaryI
b' tr MINOil bt V DOIWNANf AND YOIüNGS bsyz beptogrtssion- Theseare gtod Fc üffcrcnr color, a II V precedingbar 3 will usea IIminT v(iintr h¡ rbcn placcdncxt to üe DminTthey don't sound proper. Seethe next pagefor voicings.
Em7b5
Fl3
Cm?
Em7'?5
F13
5 6 7 8 I
4 5 6 7
¡l4t
Bbe
A7b9
D'nt7
Bbe
cl3
20
VOIüNGEXAMPLES Th" The voicings on this page have the top note on the first string, in a descending-*n3. previous page had the top note jumping from the flrrst string to the second string, therefore the voicings.didnot soundright. I
A?be
G7#509 I
Dm9
G7*5be
o a a a a a a a a a a a a a a
Tlc -¡: II V rould s-orrlcin bar 6. This would connect the first and last 6 bars of the blues 'r¡:í-: I- '-\'r J¡.s.. ralher than resolving to a temporary I, the II V progression resolves down a Vz É+ - r.(:s ll \ ¡o¡rcssion.
rD I
a a t o a a a o o a a o I o
Tbc completel}bar bluesnow soundslike this, usingII V substitutions.
E m ?b 5
A?be
Dmg
czfisbg
Cm9
¡
I D I D:
t:
D , ) ) ) ) ): ): )
Gm7
c?f,e
cTbe
Am?
orfg
cTbe
:1
22
NVANDHALFSTEP( b 5) SUBSTITUTIOI{ Considerthe first 2 bars.
:q
:r
:4
Em?b5
¡fl
¡tl
Now addingthe half stepsubstitution,E beb5resolvesdown Vz stepto Dmine.This is alsoa bS substitution.(E b is the b S of e)
:# r1 :q ¡il 3il
3-l E m ?b 5
czilsbg
:q 3rl 3fl :É
rt i
EcgCs 4 5 ó
7 I
4 e-l 4 q 4 4 4 4 4j7
jl J-1
n
:1
3l 3l
Thecompletel2 bar bluesusingthe II V and half step( b5) substitutionnow sdundslike this.
Em?bb A?beEb9b5 Drie c?{sbgDbgb5cmg F?*sbgBgbS
Bbm?
c?#e
Noticethe Half stepturn around.
The additionof onemore II V usedas a half stepsubstitution,shouldmakeyou awareof mostof the usesof II V substitutions,as usedin the blues.Noticethe II V's in bars6 thru 9 resolvedown in half steps. Be sureto changekeys,and practiceall extensions of chords,whilebeingconsciousof connecting the top note ascloselyaspossiblefor good voicemovement.
obgbs Em?bbA?benbsbsDme c?ilsbg
F?#sbgsgbs
24 Jr
REYIEW 'Since page ll, we have addedfive new ways to alter the blues.Also includedare tips origooo voicings. l. Y Chord Substitution a. Substitutionthe V chord for one or two beats. 2. II Minof V Domin¡nt7Substitution a. Using the II Mino/ and V Dominant?and resolvingto the temporary I chord. 3. II V's ¡nd New Resolutions a. Using the II V and resolvingdown a Vz step b. Usingthe II V and resolvingto anotherII V. 4. II Mino/ bsyz bt subrtitution a. Replacinga II v with II Mino/ bs yz b, in the turn around. ", 5. lI V and Hatf Srept bSl Subsrirurion a. Using a II MinT bs yz bt artd for the last beat of yz be use a b5 substitution. After reviewingall substitutions,take the examplesbelow and study them in the original key. Thenchangekeysusingthe samealterations. Here are two of Joe'sversionsof the blues.
Fe rfig Ft3 B1s Bbls
Bbl
F?#e
C?f,sB?
3
rzf sfig
Flc
¡^bzbs
5
G?
obz*s
cls r#zfig rzfg nb ryfigeb
Db Csusrf zbs
rf ts F13
Flc
l
F13sus
'rzf sfg
Bbe c?#ecilz$soz#gnbz#g E?üerz*g sz sbg E? 5
enbs r,Tbe ezf sfig Ebe ulügfs Abl c13 rf,g
sz#s$g
6
Gl3
obg#s
1ú ¡Í ¡. ¡¡
7a -
a a a a,.--_
THE OI{EGRIPBLUES Compare rhe Frngerings of F7#eand É13. ----\.
-t-D-
-
-I^YI
v
f--t
I
- - t - J t
rD rt ¡D
a a t a t a
m >-/ El
a a a I a a o t t
a
a I
o
i
Tbc only differenceis in the bassnote. The rest of the chord remainsthe same.As in the followc¡'mple, the bluesmay be playedusing the half stepsubstitutionand these"One Grip" chord
fúDs-
I
Frtg
Gl3
I
F?#e
Bb13
813
Db13
c13 l0
rfzilg
F?#e u
c13
r#z*g
F?#e
F?#e t2
813
c?#e
26
COMPING - WITH A PIANO AND BASS Comping is a word used to describeaccompanying,or playing chords while another instrument or voice has the melody. When first confrontedwith accompanyrnga pianist, whetherhe is playing the melody,or soloing, much care must be taken to not get in his way. You may be playing too much rhythmically or harmonically. The piano player won't mind if you layout (not play) right at first. This will give you time to listen, and take in the following considerations. 1. LISTEN to the harmonic structurethe pianist uses.Below are somepossibilitiesto consider. a. b. c. d. e. f.
Doeshe useraised9th (7#) sounds? Doeshe usea lot of half stepmovement? Doeshe usel3th sounds? Doeshe useaugmented(7#5)sounds? Doeshe usedominant cycles(D7/ G7/C7 etc.)? Doeshe useII V substitutions?
2. Considerthe fact that he has 88 keysand l0 fingers.After you kno% more or less, what his harmonic designis, then build your chord voicingson top of his, using the top 3 or 4 strings. You can also play 2 and 3 note chordson the inside strings.Full chords,with the bassnote on the 6th string, often soundmuddy. This is why, when compingwith a piano and bass,the top stringsand voicingsare best.
3. Rhythm should be your next consideration.Most pianists are used to being the dominant player, and would prefer that you play a simple rhythmic figure or play sparingly. This is a good practice; you have more time to listen to what everyone elseis doing. Then if you needto comeon strong, you havethe room. 4. Dynamics (how loud you play), are ALWAYS a concern. This can either make or break the soloist. If you start out nice and eas¡ and build as the momentum builds, you can help, and actually be part of the climax of his solo. In review, the most important thing to do is LISTEN! Take the time to do so. The music will dictate what harmoniesand rhythms you should play.
TWO AI\D THREE NOTE CHORDS Wbcn compint, it is often a good idea to use fewer notesin your chords. It is evenpossibb to o(mp riü 6¡c Dotc.But to get the soundof the changingchords,you needtwo notes,the 3rd, and 7th of c -r¡ cüord. Noticc üat in the two and three note chord examplesbelow, you need only move Vz ¡¡rp ro ch.nSc cüords. The 3, and 7 aboveeachdiagram indicate which are the 3rd and 7th.
xx
xx
xx
xx
xx
xx
tI
xx
FFFF P,b?
F?
F?
F?
2
I
F7
Bb?
Bb?
F7
ü7
C7
G7
Now take the following raised9th and I
're) F7fre ;\ff
( Bpr3)
. l
-/
\---¿ x - xx
x
ó
7 I I
ffi#
r¡
#F -\rT-t
'4,
\L v
xx
11
2a
EASY TO GRAB 4 I\OTE CHORDS It is alwaysimportantwhencomping,to play easyto grab chord forms. Shouldyou hit a note that clashesin your chord, it will be easyto change. Here are someeasyto grab 4 note chord forms. Incorporatethesechordsinto your playing right away-They aregood comping,as well asgood melodychords.
XX 5 ó
BbI3{sdCa}
5 ó
7 8
ct3
q .1 .1 .1 ¡1 ¡1 .1 .1 f-a
A \\'ORD ON TRADITIONALRHYTHM \Aere available,the guitaristin big bands had to have as much volume as necessarl'for the guitar to usethe bottom stringsin their chord voicingsso be heardover the horns,strings,and the rest of the rhythm section.
a t
l -:.: -.\:tl::g sr¡'le$ as " four to the baC' or one strum to eachbeat. This is how the traditional .:. . . :' :..:i;ing uas developed.For good exposureto this style, listen to Django Reinhart, Charlie ( - . - . : . . : : : :a. i : dF r e d d i eG r e e n .
a
THE CHARTESTOI\ BEAT (I-AYED BACK) The Charleston beat is useful in helping develop a senseof rhythm. It is also good for settling dou'n the rh¡hm section, if there is a tendencyfor people to rush, or if the beat becomesunsteady. This beat will 9 out of 10 times get things into a groove. Try to feel this groove. The first beat is longer than an eighth note, but not quite a quarter note. The secondbeat is not played exactly on the up-beat;it is layed back, or delayed.
Bbe
30
GROOYING ON THE BLIIES Onceyou have"the groovef' play the bluesusingthis beat. At first usethe most basicchords,or ones you can grab easily, becauseyour only concern at this point should be to find the rh¡hmic groove.Remember,by usingextensionsyou may changethe color of your playing.
Note: Simile meanscontinuethe samerhythm.
It is beyond the scopeof this book to cover all the possibilitiesin rhythmic patterns.The following pagehas someexamplesmade from basic "grooves." You should learn them and usethem as a point of departure,or as a basisfor rhythmic improvisation. If you get only one pattern that you can feel and groove on, stay with it. Finding the groove dependsprimarily on how much you arelistening.Remember,Listen!
VARIAIIONS OI'{ THE CHARLESTON BEAT Bdon are someexamplesof variationson the Charlestonbeat.Studythe rhythms.Then pickJust om bar üar -voulike, and pracriceit through the bluesuntil you have it. Then pick anottler and cr-eat¡¡all¡-add ücm together.
F9
813
F13
ril tr
F9
Bb13
t
Bbl3
G?
813
Bbe
go
Dbg Csus C11Ff maj? Fo
Flc ebz#s A?fi5Db ulilg c?
3
2
B.7b5
E9 Ebg E9
813 Bb? (add9)
F?fie Fe#sFe rüg*s
E
Bbl3
F 1 3 r # g # SF 1 3 8 1 3
Db13 C13 Fil13F13
Eb ry#g Ab c?
Bb13Ab13
Bb13
DbeDeDbeDg tk$? c13
F9
6o
obgüs
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FINALREVIEW Hereis a summaryof the variouswaysto changethe basicI, IV V bluespattern. l. 2. 3. 4. 5. 6. 7. 8. 9.
Page#2; Adding extensions. Page#4; Altering the turn around. Page#6; Dominantcyclesubstitution. Page#8; Half stepsubstitution. Page#10;Diminishedsubstitution. Page#13;V chordsubstitution. Page#14;II minorTV dominantTsubstitution. Page#17;IlminorTbi V dotninantTbesubstitution. Page#22;IlminorT bt V do*inantT bsand half step( b5) substitution.
Here is a summaryof thingsto considerwhencomping.(Pages26 thru 3l). l. 2. 3. 4. 5. 6.
Listen! Find the harmonicdesign. Voiceyour chordson top of the piano. Alwaysbe awareof dynamics. Useeasyto grab 2, 3, and 4 notechord voicings. Userh¡hmic figures,suchasthe Tiaditional, or the Charlestonbeats.
CONCLUSION Takethe abovewaysto alter the blues,and let your earsguideyou as to which of the substitutions and rhythms to use. Sometimesit is best to use the most basic approach. This dependson the situation, the atmosphere,and the players. Experienceis undoubtedlythe best teacheryou will find. Bear in mind that all good playershad to work hard to get wherethey are. I hope this book helpsyou understandsomeof the conceptsand harmonic approachesto playing the guitar.
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{ ;:::: i;r r¡hich a compositionis written or played.The first note of a seriesof : -':c: íorning an¡'givenmajor or minor scale.PageI ( Lord Chengesor Pattern- Refersto a seriesof chordsin a particularorder.PageI (Lord Form or Voicing - The way in which the notes or voicesare arrangedand ::::rbured in a chord.PageI I ('bord - Being the first chordof a major scale.PageI l\ Cbord - Beingrhe fourth chordof a major scale.PageI \ ('bord - Beingthe fifth chord of a major scale.PageI l-rtctsions - Adding higher scaledegreesto a basic chord. Example:making a 7th -'iord into a 9th, l lth or 13thchord.Page2 ('of or - The soundof a chord or chordpattern. Page2 Tr¡-nAround - The last two bars(l I and 12 of the blues)beforereturningto the beginning of the pattern.Page4 H¡rmonic Interest- That whichmakesthe chordsmore pleasingor interesting.Page4 sr¡nd¡rd Changes- The commonway to play a particularchord pattern.Page6 rrrlking BassLine - Movementof the bassnote of a chord.Page9 II Vinor 7 v Dominant 7- Beingthe secondand fifth chordsof a major scale.Page14 Temporarf'I- Temporarilymakingany chord a I chord.Page15 f,e¡ Center - When a chord progressiontemporarilychangeskeys.Page15 Tnnspose - To change keys. Poge 16 'r bs tl Vinor V Dominant 7 bg - Being the altered secondand fifth chords of a major scale.Page I7 Fl¡rrened Fifth ( bs) - The fifth degree of a major scale being lowered Vz step in a
chord; thus, the chord becomes'alterediPage22 Comping- Accompanyingor playingchordswhile anotherinstrumentor voicehasthe melody.Page26 and 29 Hrrmonic Design- The useof particularchordsin a particularorder.Page26 R.h¡lbmicFigure- A rhythmicpatternor motif . Page26 of intensityor loudness.Page26 h nemics- Varnng and contrastingdegrees Groove- A feel for a rhythmicpattern.Page29 t34t
