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Table ofContent Introduction Unit1 Superimposition oftheiimTonUZChords
g
Unit2 Triads Unit3 Guide Tones Derivation
12
Unit4 Elues
14
Unit5 Rhythm andBlues/Gospel ChordalApproach
21
q!il 6 Harmony BuiltAcross theStrings
24
Unit7 iimT-V7-17-Vl7 Over a Pedal UnitI Modes inGhords Reference
31
Unit9 Chordal Study Derived Froma Linear Exercise
96
Unit10 Ghoosing a Style
39
Unil11 McGoy Tyner Left-Hand SUlePiano Voicings
40
Unit12 Ghord Tones asMelodies
41
Unit13 Gadence Approach Through Upper andlowert{eighborc 42 Unit14 Gontemporary Voicings Reference
U
Unit15 Major-Minor Erercise
48
Unit16 Ghord Ghanges lorStandards
53
Unit17 Gm7-Smai7(il4) Exercise Unit18 0ctaves withThirds lnside Unit19 G7PedalGhordal Reference Unit20 AbouttheGD
72
cDr COTRACK OESCRIPTIOl{/TITLE Tuning t1l (A=440) Notes I2l Etmajor lriadPiece (Example 5) t3l (without Piece guitar) lbryiqTriad t41 GShuffte (Examptes Btues Z-10ar;d 12-19) t51 GShuffle (without guitar) Blues t6l G,Gospel (Examples Blues 18-19) Forplay-along, useCDtrack t5l t7l Blues/Rock (use Shuffle withanyGbluis)' t81 GBlues/Latin (use withanyGblues) (Exampte te1 GMinor Blues 1i) t10l GMinor (without Blues guitar) (Examples FJazBlues l11l 14-15) (without FJazBlues 112l guitar) tl3l nss(Smai) (Exampta 2tr31) J:t.lIglt.lqpsstheStri (Bhaj)(wilhour ii-V-l-Vl7 114l guitar) t15l overG (even Pedat 8rh-nores)(Examptes 32-36) ll-J-! .Yl7 (even GPedal t16l (without 8th-nota) guitar) t17l Chord Exercise^in Sequence over Cpedil(Exampla 41-441 (even q Pedal t18l (without 8th-notes) guitar) tlel +lZ) !ryF 3/4Latin lampinG(rxamptes t20l 3/aLatrlVamp guitar) inG(without ii-V-lC-adences (Btmaj) I21l (Examples S2A-0) ii-V-l(Btmaj) (without t22l guitar) t23l (Gm) (Examptes 53A-D) !!L! ! Cadences iig-V-i(Gm) (without I24l guitar) t25l Exercise inG(Exampta fr,g-62) Forplay-atong, useCDtrack !rQor./q.!no1 t16l t26l GPedal/tatin
cD2 COTRACK DESCRIPTIOII/TITLE 'Mundo t1I Desmondo" (Examples 63-65) 'Mundo t2l Desmondo" (without guihr) "Some t3l Things You're Not'(Exampla 66A-C) 'Some t4l Things You?e (without guitar) Not" t51 (Examptes Exercise 6Z+0) Qmf-fbm{zrl GmT-EbmajTt4 t6l (without guihr) Exercise 'DonGrolnelius" (Unit19- improvised t7l oiece) (without t81 CPedal guitar) Shuflle (At7-Sm7 tel City" Latin Vamp) l0Lntura N-7-.VrtT t10l (without Latin guihr) Vamp "Sliceville' (BiLatin tl1l Blues) & Latin (without t12l guitar) Blues (F7+747-F7Larin t13l Vamp) :{hqla!mo' FI+747+7 Latin 114l (without Vamp griihr) ' (ii-V-l-Vl7 tlsl Bhaj Larin VCmp) _Ggclnngl 6l ii-V-l-Vl7Btmaj 11 (without Latin guihr) Vamp
upegalInanKs people: Thanks tothelollowing Myvery Special generosity, . . . foryourfriendship, talents, andtireless AlGorgoni effoGinlrlpingrneassemble grace CDsandwhich have and which these been a partofmyclinics sequences theplay-along private years. tnveclone l'msograteful andcouldNOT thiswithout forthepastseveral teaching you,oryourfamily. MikeSelverne, Aaron TomRoed, BobSherwin, Andto:RobWallis, Stang, Michael, RobMounsey, Felicia 0scar Martin, Malcolm andNinaPollack, Fruko, Christine White, Reuben, Blanca Lopez, MarcQuifrones, Lynne Gloria Clifford Manolo Badrena, Hernandez, David Tan, Rano Viviana Mike Workshop, NedShaw, Johal, Gibelli, National Guitar Summer Carter, Morillo, YunyReyes, EdRak,DanSeeff, Billand AnitaPadilla, Lilibeth Landy, ColinSchofield, Ruben Rodriguez, Patrizio Anthony DanKeller, Jackson, JohnHarris, Kristin Hart,StanSmith, Robin D'Leon, Sergio George, Gould, Oscar Inaoka, andSeth0rnstein, Kenny Sabina Chioza, Bernie Williams, Derek Bernie Minoso, Bayamo, Julian Gorgoni, Zerbib, Adam Gorgoni, Freddy TheShapiros, Donn Birnbaum, Ellen andBarry Dennis Chambers, Puerto RicoAll-Stars, Jeter, Fischer, Poncho Reyna Astellia Diaz, Clare Carpio, RonCarter, JuanLuisGuena, Cunningham, Flores, Folon, Esther and Anton, Jean-Michel Demont-Rahiou, Jimmy West, Betty Doug Sanchez, Locke. John
Acknowledgme (Roger (Jimmy Guitars Sadowsky Archy), DeanMarkley Strings(RichFriedrich), Gibson Guitars (Bob AudioElectronics Woods), Amps(Walter Custom Walter Woods andKenFallon), Sadowsky (Masaaki (Mitch (Alex Yamaha Korg/Marshall Colby), Aguilar), Electronics Aguilar Bradshaw), (Carla (John Reyes), and TheLatinOuarter K.Music Services, Lomas), Danny Naito), lbanez (The Family). Manny's Goldrich
Dedicatio Gloriaandto mysister, to mymother, withloveandgratitude Theworkinthisbookis dedicated son,Heath. . . . and, asalways, tomydear Laurie
Corresponden great tohearfromyou! Please feelfreetowrite,it'salways Write to: Khan Steve P.0.Box1308 N.Y.C., NY1m11 postage. youmustinclude return lf you'dlikea response,
Credits Stang Wallis andAaron Edilorc:Robert Music Engraving Chelsea andBookLayouUllesign: ilusicEngraving C0t6 CoverDesign:H6l0ne NedShaw BackCoverlllustration: Inlormalion: CDRecording Khan Steve Produced by: Pollack AlGorgoni andMalcolm Producers: Associate RobWallis Producer: Executive AlGorgoni, Gorgoni Khan, andAdam by: Steve andSequenced Programmed 4 and7,1996 Lightstream Studios, October Recorded at: Pollack Malcolm by: Recorded andMixed RobMounsey Additional Sequencing: Monkey Studios Flying at: Sequenced Michael Felicia Monkey Assistant: Flying Room TheReview Post-Production: Mike Landy Engineer:
lntroductio ourinstrument, inthewortd ofpopandrock music, there ft geqms Stfangethatwith
c0ul0 exrst sucha thingasa "rhythm guitai'player. A guitarist whojustplays thechords. And,a "lead guitai'player, onewhoonlyplays solos, titis,andlicts. I findfliisold'tecause I betieve that youmusttryto playALLoftheinstrument asbestyoucan.0bviously, you'llhavestrong andweak points, butdon'tletyourshortcomings getthebestofyou.YouCntldevetop intoa well-rounded musician andguitarist. '80s, '60s, Since the music education hasadvanced faster thanonecankeep upwith.During the whenI wastryingto learnhow. youhadprivate to playtheguitar, tbaci'rers, a fewbilots,ino exchanges of information withfriends,butmainlyYOUHADYOUR EARST liyou couldn't'trear youwere qulqlly, lost.Noplayalong CDs, io instructionat books withcassettes, no lI!$ "REAL 'JAZZ videos, 800K," andnoJamey Aebersold's AIDS' service. Asa teacher I'vebeen amazed atthetechnical advances ontheinstrument. Never hastherebeenso manyplayers withsuchincredible technique. 0ften-times thatabilityhascomeattheexpense ota comprehensive knowledge ofmusic: harmony andtheory. Inmyexperience, thathastranslated into students allowing theirchordal knowledge tolagfar,taiOenind. Sd,asa teacher. t'vetrieO tobring intheextremes andshare myconcepts aboutbeingableto putto useallthepossibilities ineguitai offers formore complete expression. AfterI hadmoved toNewYorkCityinJanuary of1970,I began toslowlyaddmoreguitarandmusic "Chord books purchasing tomylibrary. I recall several pubiications, Dictionary" some withasmany 'How as80,000 chords. I remember thinking, posiibiy coutd there beTHAT many chords?" Asi studied these books andcontinued to learnabout theguitar, I realizdd thatmostoffliesechords lust fulfilled a number inthebookbutproved to bevirtually useless whenmaking music withother -presented musicians. Inthisbook, I'vetriedmybestto make certain thateverything hasthe potential tobeusedinavariety ofsettings. I wouldbethefirsttoadmitthetI hai/;notcovered every posibility, single but,thework assembled here willcertainly serve asanexcellent source towhich torefer anytime. . t. Ina sense, formybwnqqploSch, I'vetriedto viewthingsin a morepianistic manner. Thepianist canaccompany theirright-hand lineswiththeirleft-hand. So,in part,I'veworked at playi'ng the guitarwiththiskindofapproach in mind, but, the key difference for'me is NEVER view ttie tbt-iranO "just aspect as a bunch ofchords!' Theconcept is to ALWAYS hearthetopnoteofanychordas having melodic content. This.is of crucial importance. Yourlinesandyourchords areof equil import andcanlunction beautifully together inyourhands. Mymethod forsharing thisconcept isactually a complete contradiction totheendresultwehopeto achieve. 8ythatI mean, I treatchords astotallyseparate fromthelinearwork.Atthestart,thetwo are. onlyjoinedbyharmonic theory. And,astheworkprogresses, thelinesandchords slowlybegin tofunction together. Astherearemanyexcellent books andvideos whichconcentrate onth6tin6ar sideoftheinstrument andimprovising, I have chosen tofocus ona chordal approach which can jointhose lines. It'smysincere hopethatyouwillworkslowlythrough thismethod fromthebuilding blocks tothe moresophisticated concepts. Approach thingsinsmallstudyunitsbymaking a series ofshortterm - somethiry goalsforyourself y9uCftttaccomplish in a reasonable amount of time.youmight findit difficult to placea specific timeframe forthemastery oftheseconcepts, butpatience anda steady course willsurely winoutintheend. Allthebest,
N,k
NewYorkCity,November 1996
Htograpny "lwasatenible Slevg Khan admits that, when hewasateenager, drummer withnomusical training. I haddeveloped a lovefortheguitar and,when I was19,switched instiuments. I wasdeterminfr thatI would notmake theumemistakes I hadmade withtheorums, anosiioieocompoiitlon ano private UCLA, along with guitar lessons from Ronnntnony: lnl-970rremoveo toHew !|tgU.?t York City. From thispointfonrvard, somuch ofSteve's career iswelldocumented. In1g74, heperformed in jaz guitarduoswithLanycoryell.During one-of thefirstcontemporary period, thissam'e he b@ame a member oftheBrecker Brothers Band. Hislirit recdrdings as-aleader werb a tri6oi 'Tightrope" .TheBlue-lrtin;(igzg)and "Aryowf albums forcolumbia Records tiiled: ('t927), grecter, f{rtg9 Randy andMictra'et David Sanborn, Don'Giotnici, lytike ]n.e:g,recordings {1919) Mainieri, willLee, steve Gadd, andothers. In 19g4, sony Music/columbia released'a cD "The compilation drawn trom these three Lpstiiled, Coltection." "Evidence,' ln1980, Steve recorded abrilliant guitar soloacoustic album, paidtribute wtrich tohis earliatjazinspirations andserved toestablish himasoneolthegreat interpreters ofthemusic oi Thelonious Monk. Between 198'land1985, heworked andrecorOeO witnn'isquartet, iyenitnesi, which..included Anthony Jackson, Manolo Badrena, andSteve Jordan. Togettir theymade threi "Modern recordings:-Eyewi-tnes" (198't), Times"/"Blades' (19s2) and.c& toco'(lg$j. sreve joined JoeZawinul's Weather Update forit'soneandonly6uriri tgs6.nis wasroiroweo oiin duet recording gnoq!.ve, with keyboardist Rob Mounsei rne e mmmi-nominato Co wasiftreO 'Local Color,' andwasreleased in1987. lgggsawtherdsunection otEywffress withDave Weckl replacing Steve Jordan forthe'Public Access" CD.Since thattime, St6i nalooeo two itrabni 'LetsCallnis'anO.Headliie' anad'pnrecordings which featured RonCarter andAlFoster. were released in1991 and1992 respectively. In1994, Steve found trimsat W infrJcompini of Arthony Jackson and Manolo Badrena, iOOing Dennis Chambers and Micnaet Brecker'for 'crossings,' which wasdedicated tothememory oihislate father, lyricist samny cahn. Recently, stevehascontributed Hisunique medte, oftwoGeorge lo$ygla]$ecialproiects. graced Harrison tunes MikeMainieri's NYC Records'"Cbme Togefirer:AGuilar triUute toThi Batles." Here hewasaccompanied byMarc J-ohnson, Peter Erski'ne andllrg tasconcsloi. Speciai Olympics. andtheHoliday Stwetogether again witrrB Bra*erBrothers forI leasonbrought balsil-styled interprehtion of his fathe/s one true Christmas song, TheChrbtnas WalE,' which 'Jaz qppeared onBlueNote's totheWorld'CD.In1996, Stedtearned rth Arg€ntint'vocaiiii Gabriela Anders, RobMounsey and New York Salsa All-Stars: nuOen noOrlrp. irlarc Ouinones 'Don'tworryBaby'('No preocupes .tvoutdn,t andPapo Pepin h contribute Te N€tn=iio lt Be Nice,'a tribute toBrian Wilson. "GotMyMenhl" of1996, brings Steve togetukr 0Eru tirnewitrJohn lecorddin$ptember Patitucci andJackDejohnette. The.cD-ag-ain findshimusinghisuniqnguyngmoananging perspeclive lointerpret theworks ofWayne Shorter, Ornette Coleman, te trtoig;,it eOOn Uirrisj asurcll asstandards byRodgers andHammerstein, andsammy cahnmd.leni vil Ha6€n. Throughout hislonganddistinguished career, Steve hasrecorded witrcdl dawseri6b a Miles Davis,.steely Dan, James Brown, Aretha Franklin, Ouincy Jones, EddhHnsr rrao,exuouaio, StepsAhead andothers toonumerous tolist.Hehasalsbproduced rrydntr br Hh guiuristi larry.Coryell,lvlike Stern, Bireli Lagrene andBillConnors dsnetlaspsrc 'ru eiir gn. rn"iOoition hehaspublished.three-other highty regarded boota: ruc rirrpmay outtar lolnil [or, 'PatMartino: Folio,' - Stn rCs,tt*id, ieaify TheFally Years," and'Guidr Wirrtshop Series lunctions as.an Eyewitness songbook). Inaddition torecording p€firnrg-gd nd isar aitiv6 clinician andteacher.
rangeol theguitar
To thg eyes and ears 0f many, therange ofrheguitar, atitsouter reaches, canar
times likeit rivals seem thepiccolo. lf thefollowing diagram isstudied carefully, thetruthabout where ourinstrument really functions canbecome clear.lf we're tobehonest withourselves thenwe willreadily admit that,in ourlower register, we're operating in theterritory of mostbass instruments; and,inourmiddle to upper registers, we'reessentially operating inthecenter ofmost keyboards. Whether we're (thesoloist) theprincipal melodic instrument orsimplypartofa basic4piece (keyboard(s)/guitar/bass/drums), rhythm section it'sessential to gainanunderstanding of howourinstrument best functions. Throughout recent decades therehavebeena multitude of chordbooksoffering thousands upon thousands fortheguitar.lt is myexperience of chordshapes thatin thecontext 0f making music "E" withother instruments, mostofthechord voicings which employ the and"A"strings are essentially useless. Thereason being, thatwhen we're using these twostrings, we're likely tobein thewayofthebass, andpotentially clouding thelowerregister ofthekeyboard. lf oneexamines the styleofWesMontgomery, it'sobvious thatheusedfullsounding voicings asanactivepartof his styleandsounded tremendous. BUT,hewastheLEADFR, andthearrangements werebuiltaround whathewasplaying. Pianists knew, andorganists or learned, howto stayoutoftheway.ln many rock,heavy metal, country, andfolkmusics, it'sstylistically important fortheguitarto usethelower Inthelongrun, strings. always trytodowhat's right forthemusic asawhole! Asthisbook I hope unfolds, tomake a strong case forusing 2,3,and4-note voicings which lay yourD-G-B-Estrings. across Asyouworkatdeveloping anevolved sense ofharmony andtheory, I believe thatyou'llfindthisconcept extremely in,firstly,justplaying useful witha bassist, andlater youwithasmanyoptions withtheaddition ofa keyboard. I have triedtosupply aspossible. When youputthese concepts touse,it thenbecomes a mafter ofyourownsense ofharmony andtaste.
Sounds
MiddleC
I Strings 0pen
fingerings
pick pickandfingers lingen
G
B
HighD(Topoftherange)
whichwasfundamentally AsI worked mypersonal approach, for groups withouta at amending player, I gradually keyboard began toadjust allmyfingerings. Thisbecame especially trueforthe2These forms, whenplayed and3-note chordformations. aspartofa voicing employing a bassnote "E" "A" would befingered inthetraditional onthe or strings manner. I chose to finger these voicings in anindividual way,notasif I hadsimplyliftedoffthefingerwhichwouldhavebeen playing in doingthiswastotryandsmooth thebassnote.Myreasoning out- make aslegato as possible theflowfromonevoicing intoanother. I feelconlident, thatif giventhetimetosinkin, will giveyougreatresults, usage of myfingerings especially if you'renothappy withthecunent movements. state ofyourchordal youbecome Nomatter howproficient in playing witha pick,asyourabilities withchords broaden will'be there times when the"pick theuseofeither andclaw" technique orfingers alone willprove moreexpressive. Theadvantage ofthese techniques is theabilityto bringoutthetopvoiceofany chord andinsure thatitspeaks clearly voice. asa melodic youstrikeacross Byusinga pickonly,nomatter howquickly a chord, thehigher voices willalways youcanpluck bemilliseconds late. Byusing thepickplustwoorthree fingers orfingers only, all perhaps thestrings simultaneously and, best ofall,bring outthetopvoice a liftle more. playing So,if you're lineswitha pickandsomechords withfingers only,howdoesonesolvethis "While years youwere playing, back andforthproblem? Several ago,ata clinic, someone asked, I noticed every sooftenyourpickwoulddisappear whenyouplayed chords, where didit go?"Atthat moment, I honestly whathewastalking didnotknow about. AtfirstI asked if I'dputthepick between myteeth. Hesaid,"N0."So,I triedto recreate thecircumstances and,after a while, I realized thatlwouldslipthepickbetween the1stand2ndfingers of myrighthand inthearea between the2ndknuckle andwhere thefingerjoinsthehand.So,whenplaying a 4-note chord, the "D" "8"string, 1stfinger thumb strikes the string, the"G"string, 2ndfinger the and the finger 3rd is "E" lreetobring outthetopvoice onthe string byapplying a littlemore force. lt willtake a lotof practice, consistent butyouCAN doitl
UnitOne superimposition ol lheiimTonV7chords
It seems so simple thata teyooaro wourd looxata chord Drayer ptayed voicing acro twohands andseeit as,forerample, someformofGi chord.0ftenonguitar.wecanitayonlya portion ofthechord.voicing. Forexample: Wemrghtplayonlywhattheflght-hand oftfr'ekilyboir isplaying-apartofthatG7chord. We might viewourvoicing asperhapsiDm7overthebassist "G," oranynumber ofother options. Indiscusstons trere. andwithone'another, it'sfinet0lookat things inthisrather separated manner. Justdont losesightofwhat prctu thetarger harmonic really is. Inthisbook your wewillbuild chordal vocabulary from, (guide a)a2-note tones) approach, b)through traditional andextended 3-note voicings, c)andfinally to4-note chords allbuilt upon upper extensions ofbasic chord.
Throughoutthe book,l'll berelerring to iimTandVZchords asbeingrelated andinterchangeab lt youbuildchordvoicings upfromthe5thdegree of G7(D)youwoutdconstruct om,omi, Dmg etc.Insodoing1ogryogld beextending theharmony ofGi byadding the9th(A),the11th(c),and (E):G7:GBDF the13th C h oT r do n e1s3:5 b 7 91 11 3 Dm9:DFACE 'l b3 bZ Tones: Chord 5 I
Erample 1:G7ChordTones Dm7(iim7): Root
3rd
sth
7th
grh
ll weimprovise usingDminorvoicings we'dconstantly create these extensions ofG7andprobabl produce, what I would attempt todescribe asavery majestic feeling inthemustc. asfunctioning inthekeyofCmajor, then"G"istheV7(dominant Zth)and l[ve.se9allthisactivity "D" "majestic" istheiim7,lnorder to produce this you're harmonic effect always superimp6 iimT chord voicings over ther00t 0ftheV7.
Erample 2: Harmonized MajorScale
CMajorScale: Root I Major]
5th
tv4
I
G7
Asmyownconcept playa guitarvoicing hasevolved, I findthatI rarely utilizing mylow"A"or "E" I'vefoundthatthiskeeps strings. player's meoutofthebass way,and,seems tofre'eusboth.More importantly, it expands ourimprovisational boundaries. Thisbookwill notdealwiththetradition guitar chords which utilize voicings where thelowestnote isonthe"A"or"E"strings. lf youfeelth part need your to shore-up this of knowledge, therearemanyexcellentpublications whichtreatthis areaindetail. Toname a fewoftheauthors: Mickey Baker, JoePass, andTedGreene. AsweexDan progressively onthisconcept andintroduce more andmore ambiguous 3-and4-note you'll voicings, findthatthebasspartandthemusicgrowfreerandfreerbecause thepossibilities forspontaneo reharmonization ofanychord youandyour become endless. And, music willbenefit most!
UnitTwo triads
Example 3: G Triads Topvoiceon"E"Sting
tqnq 2p VealSofteacirins, itstillamazes methat somany exceptionany gifred ll$ gullarlsts great could devel0p technical facility_
inthelinear aspects oftheinstrument andt6tatty ignore themostbasic chordal components. I'mspeaking ofihefundamental 2-note intervallic relationships andthesimple, butessential, major andminoi triads. Though thisbook deals withthe advanced uses ofharmony, I feelthatit'simportant thattheusages oftriad's nernituoed. Nottoolongagoinaninterview, Robben Ford stated howheisalways asked about hissoloing. He tries.to impresupon younger players that,except forafewmomentl ofsoloing, theguitarist"must function.as anaccompanist mostofthetime.I couldn't agree more withthisissessment. Sowe must acknowledge thatoften wewillbeasked tofunction asasmallpartinthegreater context of someone else's music. Asasupporting player, wemust operate inaionicplacelhat leaves room forthekeyboards andbass tomove freely0bviously, if apiece ofmusic isbuiltaround theguitar, theother instruments must then allow usthesame tdtituOe. Thismeans that most times we wiilplay 2-'3-,and4-note chords withthehighest voice usually onthe"8"or"E"strings. Thisiswhere a thorough knowledge ofthebasic triads becomes sousefirl. It'sbeen myexperience thatusing triads inanaccompaniment figure ismostuseful inR&8,Funk, andJaz-Rock Fusion where the.underpinning isessentially based upon thetwoformer styles. The guitar isgenerally called qualities uponforitspercussive and it is for this reason that iVe onfy "8" presented triads where thehighest noteisonthe or"E"strings. I'vechosen toomittriads with thetopvoice onthe"D"or"G"strings because I findthese voiiings sound much todarktocut through most textures. lt isimportant toknow them, but,l'mgoing toieave thatpursuit uptoyou.
Root(ontop)
3rd
xtr
xxt
tttf,rn
F|-i-T-F
ffi
Hfl ffil
: I I
ffi,u ffi IfFFFI t t l
Topvoiceon "8" Sfiing
ffi rofr FFFFFI
FFm7fr tl2
Example 3A:Gilinor Triads
xn
xxx
ffi
Topvoiceon'8" Stdng
Topvoiceon "8" SEing Rmt
5th
r|l-m
m3rd xxx
lTrm
ffi,*
..
H+# 341
tiladsupeilmposl$on
Erample f: trlrdsupcilmpcltlon chail
TriadSuperimposition' chaflis animporhnt onejonce yornrt6frt ib rsage ]ne !9tlowing youcan continually refer back toit.What I'vedone is'totakea single Ussnft, [r rodInmost oses,andused.triads_(both.major andminor) which ascend cnromit*ilyd;fl* ,mt.nsvou;re proydqwithalonglc" pgj{.vamg. on,the recording ttriswoiiii desen6o ouei.e.'-rre;ryr*i (ibtheoretically correct naire)andthe rffiil;b llt't?lchord'function onemight need to know lorimprovising. whenallissaiddnddone, you'liactuaily nruitorn* thisinformation for theelsven other roots. Let's lookatthefintexample: F/G(anFtriadovera Gbass note). Although thischord canserve sarcral fundions, it'susually thought ofasadominant nn(gzit)tije oiffi0. gerause it contains lF" isthet,7 nohird(h orBl),it could bepart.of thedominant orminor ctr6io ramiiiis. of.G." ygq bT.degrqe atriad6ui[fromthe oygr abass note, thattriadsuppties [.tt lypttimpose ther7th, $h,andtlthchord tones whichgives usG9(11) ti'omg(jil.-i6iiih'drg,;ffinarso be refened toasthe4thorasasuspension: Ggsus orGmgsirs. likgtoadd. Youwillhear these kinds of"stash" (F/G) chords reterred to, 9jg'l,9fll!9yqllfg Inc0redly' aspoly*hords. A poly-chord refers toharmony where twoormore chordsare actually hing played simultaneously. Yduwillfindthiskindofianiaitiini'ilrrv, rlirt orten, in 20th century clasical music. Suctt harmony isextremely difficult to associate oni,'mooe or chord scale 'slish"cnorOi wih,.ard as,you cansee, withtheconventional prese,nbO nrrr,inryal readily give w eifinra diahnic scale/mode orfamiliar scaletype withwhibrL io improuii'e. i-truepoty-btiord would notdoSntsoasily.
ilalorTrlads Iilrtfttrlrbb Frid/G BrieilG
Gioldfam {rct functionatf G7(e,11) Thissound canfunction likeaV7(alt.)chord
Griad/G $riad/G Ariad/G
Driad/G
Gmaj FillG G7(13,9,111) or GmajTf(6,9) Gm7 GmalT(6) Cmaj6Thissound isusedin many ways, andtends to helpcreate aGospel orBlues feeling t5) G7(t9,
Driat/G FrH/G Eriad/G
Gmd(9) CmTG L9) G7(13,
Sriad/G
Briadre c riid/G
FmfiadrG Ffnriad/G Gmbiad/G Al{ntriad/G
FrIyG GmalT(l4,9) Gm G7(6,b9)
Amfiad/G
C66Thisisasound used alotinGospel music Gm7L5 GmajT Cm/G G7(13, E, 15)
DmfiiadG Elmriad/G Emfiad/G
GMixolydian, GBtues Gwhole-tone/half-tone diminished tclAt8t1CtctlDlEtFll BHarmonic Minor Btfil DEIFtltcltAt18 GM4or,GLydian GPhrygian t7 GLydian GLydian GDorian GLydian Augmented CMajor, CBlues, CLydian GMaior, GBlues GhalttoneAvhole-tone diminished tGltAblBrBtDrlDEIFl GMayor, GLydian CDorian Glnlf-tone/whole-tone diminished
tcllGrlBbt8lDtDtElF
illnorTrlads
Bkntriad/G BmtriadE Cmtiad6 Dknrhd/G
ilode1Scate
c7(e) Gbl3(19)/c b9inbas(rarety rsed) G6
GPhrygian GLydian GDorian GAltered Dominant Super Locrian GMajor, GMixolydian, GBlues GLocrian8l Dorian GMalor, GLydian CDorian Gtnlf-toneAvhole-tone diminished GMixolydian, GBtues Gllnlf-tone/nrhole-tone diminished GMajor, GMixolydian, GBlues
triadusage
I'vetriedtopresent onecomprehensive example ofjusthowyoumight goabout usingmalor or minor triads inthecontext progression ofa common (i-viz-iiz-V1.Let'sexam-ine chord wnatt play, might we'lljustassume thatthiswould blend withkeyboards andtheiestoftheanangemJnt. problem have a understanding the theory vou behind wtiy I've setected an/otthesJtriaoiir11 ti lf figure it,outygyrself bybuilding upeach chord fromthero6tinthirds andthlnhbeteach malo? or proves minor lfthat triad. difficult consult withamusical friend oryour teacher. Thefirstchord isnamed EtmajT butal yo!cansee, allI'vechosen toplayisaG-minor triad(G,Bb, aretimes when ananan1jer would name this'chord lndQ),the3rd,5th,andmal7thofEl.There Gm/Ef because he/she wants playa triad,wit-h tomake surethatyou you'll some experience, probably todothatbyinstinct. Ihenextchord ii Cm7, lustknow hereI'mjustptaying anf r,triaO (El,G,B!),thel3rd,5th,andbTth ofc. 0vertheFm7, I ptayanAt,triad, witntdeieasoning being thesame. Inbars 4 and12,lheinversion oftheAbtriadremains butisnowplayed overagbOasi noternaking thechord aBbg(sus). 0nthelastchord you'llnotice ofthose bars, thatthetopvoice purposes. moves forvoice leading Forgreater harmonic interest andtocreate tension, inbar8on thethirdhat,I played gives E/Bb which usBt705,bg) Inbar16,withtheprincipte being thesame buttoaddvariety, lplayed GiBb torealize a8b1309)and here I used descending chromatic voice leading. Thiswasmore easily accomplished asI useda slightly higher inversion ol theAblBl chord.
Erample 5:TrladUsage EbmajT
Cm7
fi'fm
m"
|'ru
II LIfI I I I T N
2 lI
.m." Fm7
Ebtnaf
m'
FFFf;Brr,
|]2
m.
EbmaiT
xxx Ft-t'#
Etltbl3 fr
EbmaiT
m,'
Bb9(sus)
I||lX
Cm7
Fm7 x
ff
x
FNTN
bH*+a!rr |..!4 @
t32
F+fm Ftm+llfr LLILIf
t2l
Cm7
rs_ EImlrn
E+]f,
x
Fn7 I
X
I
qFFl
FFFTH rr, ru
Bb9(sus) B b 7 ( b 5 , b 9 ) xxx
xxx
mtr
EFffiot I I ttt
I
ffi
Fffiot'
Bb9(sus) i+T+
f*-
FfH-il
l".l'.#
ffi
ffina l2l
ffi
mnu l2rc
Bb9(sus) Bb7(13,b9) ?+frr-' H+'ffi FFHfi
ffi'o 132
m7t
132
Inmost (ifthere cases, anarrang€I isone) yourtopnote willnotwrite outwhat should be,soit'sup toyouandyoursense ofharmony you?e andgood taste. Themore called upon todothis,thebettdr yourinstincts willbecome astojustwhat istherightthingtoplay. lf youwdre toturnthesuggested quarter-notes nota into half-notes or andsingthem aloud witntuttrhythmic value, theisiould lop formaniqlthough simple,.long melody. guitar Give itatrylThisstyle of iccompaniment ii usually found in R&8(rhythm andblues), Pop, andvarioud forms oi 'dande" music. There's a lotmore t6 grace doing itwithimprovised youmight andlogic than imagine.
UnitThre guide tones derivation
understandablethat youwourd beeaser toskiprishno themos It^Xplqinly m.0.dgrn harmonic concepts, butit willallmake
more paygrealer sens_e, andlguid'e oivioerios, if webegin withfarmore basic musical formations. I'mspeaking of2-note tonei;iimpteintervitio 4ths. Sths, (il4ths andtritones orfSths)which, placed when abovithe rootctearty Obtine tnecnorO family andoutline theharmony Inserving thisfunction theyalsoprovide a oiJrcna1.monic back drop without making thesoloist aprisoner ofy0UR conceptsi Theguide tonechart looks atthethree basic chord families andviews them ontheguitar fromthe perspective oftheroot(located oneither the"A"or"E"string andvoiced functionally fiomthere). 0n youseeafull4-note.chord, theleftside, then totheright, witfrtnerootandoneother pitchrem6ve Theguide tones remain. played When inthecontext ota iimz-vz-t oti iimTpsi vz i progiesiio -progre it'sobvious howsmoothly these simple harmonic forms flowrntooneanothei. ns1lbu through presented thematerials here, theguide tones willinvariably serve asournuilOing Ot"oct Always, gowrong" a"can't place tostart, especially when reading through atune forthe{irsttime,
Erample 6A:Am(ii) (keyotG) Am7 x |# F'-tffi
Am7
x
l.]ffi
trftr
ffi,o
ffi't't Derivaton m3rd 7th
Erample 68:D7(W) n7
Erample6C:GmajTandG6(lmaj7andt6) GmajT T
G6
I ffi
}}{**l I I - I I
rc
rrrrt I l.r:
x
x
aTTTft | |
I a I
rrrf'F 2 t13
tfr I
GmajT xx xx f-l-l-m
ffioo rrrrn I I
uo xx
xx
Effi'n ffil lfFt't-t t 4
GmajT x
x
ffi
Lllru
.^ -
[l I | | tutr Ll lat I I r r r
2134
maj7th
Erample 6D GmajT ffi FEEm Fffirt @f t lM7
c6 ?#i Ehtm:fr ffi Hl+t 14
t6
Am7 ?#i H1+# ffi'0,, Fffi
D7 f+r:++ ttt-fl ffi,on
ii
v7
to
,,
Gma17 Tnn HFFFer'
H+# :{ lM7
Example 6E:Am7(b 5)(iiu) Am7(b5) orA'7 x
x
Am7(b5) or A67
tu
ffiF mrn lmmm_-
m'ou
l|..|)lr JrmmlTmm
Example 6F Am7b5 xx xx TNTI EI]]]l
Fffi:r, il
ilm/b5
Clocluisetromtop lefl:JohnScofield, Bill Conno's, JohnAbercrombie, andSteye. Iakenat John^!e.cmmbie'sllanhattanloft,January posrrl 5th.1gg4.photo:
Am7b5 xx
xx
T[m ffi'on n-iln
iim7b5
xx
xx
ffi'or'
H1#1
Fl-t-tfl
UnitFou guide toneblues
illiilisifri,i.,,o!,,!i:t!'ill,!!il,3l, to.urse tt'e iibisrisastyre iyooui *rirrit llifilTifll#'jffifli|'bry,fll,fJf3,i,T:,"emins
trioiustcheck outxe'nnv euir onany orJimmy smith,, rllllff^ijilxifjfrT s|'rar,rco,oins,
l'velried r, plg,gllll rhebasics inrwoposirions (l0werand ll..tL:f:r]lq-,l-s9rglpte, uppe
,iJiiii'il',i;,?ii,lTil,ly,ilil?iJ1}:ilXi,fi;TTfti Example 7:Lower Inversions struttte,i-]=J ) G7 Fm
m," rrflT1 tl
Example 8:Upper lnversions struttte,rl=J.h G7 nT.n ffinu I-N+H
Aswemadlormoahmrmicsqfiisticdion, [i ih olUr ephf
hl b dt|hnirf.
wihhsse mvurom,vaishoidsll64tr lg16 vouimprovise l$Ji',ll'i,l,1y*when
Example 9:Lower Inversions -J-
s n u m e J l =) J Dm7/G(G7sus) t#t
ffi
Dm7/G
G7
3' EE:EE
ffil 4
tftfr1 tl
c7
u/
Dm7/G
m,o Htlf, tl
D7
Am7/DD7
FHS
FFM
r!
tl
Gm7/CC7
G7
Dm7lG
ttrH -" tfr--
Example 10:Upper Inversions -J-
s t r u t n e J J =) J Dm7/G tm rof, EEEIH u
tm tl
c7
ut
GmZC
crr!
H{4fl*
aTtTtl3ft l3
D7
l$t7lD D7
t m ron t m ron EESE EIIEE I-IFFH ll
FI-#iH ta
C7 Gm7/C C7
Dm7/G
G7
Example 11:Minor Blues Gm7
A'7
D7
xt ri u-lJJ..l
TT-g F#t
rT.FFFl
ffi,u ffi.n
rr' {$ff ffi
il
suspended sounds
ffi,"
GmTsus/C xx
T[m
Ffft-tl
H#f;lfror' l t : l
Dm/G
x
ffi'on rffttl
EE1ID -.
Gm7(9)/C x x t rr' H1#H
Itt4
H'.-
4 t l
Gm7/C x
x
x
SffHrr' ffi ffi
rfiJff1 4lI
hG
T_ -i-r
ffi,o ffi
H#t frtrt!
tlt4
Dm7(9,G 11)
Dm7(9,11)/G
l#
ffi l-|-rfn
x
H+# t34
2l r
ffi,n
x
ffi,l FFftH 3fr
| | | r.ror tlalrt
xx
ffi
ffi
Dm7(9)/G
ffi ffi
AnTlD xx
cm7
ffi"m,
ffi,,,
tl
xt
rrfm
G7
Howcanwebeg_1n to break away fromtraditional approaches to bluesharmony4 lfrefolowing two examples areoflered asa conceptual andstylisticpointof departure. Agin. attrre example-s are presented overoneofthemostbasic12-bar bluesprogressions to allowthemaximum amount of timetoenioyhearing eachvoicing. Youmayrunintomusicians and wlro f singers wil ind this kind of harmonic approach astoopretty0rtoo"iazy"fortheirmusic.lf suchis fre casethen0nthat tosomething more basic. lob,goback ln Example 12,I'veapplied (Dm7)over a iimTchord theroot"G.'(thebasrc ctrord sound isGZ). produce Thiswillinvariably asuspended kindofsound andmake thetnrmonrc feerrng veryopen, it times, lushandromantic. Example 13addsa littlemoredepth whilebeing rhythmically moreacrh?arEtrrcusrve. This approach is based upona guitarinierpretation 0t Mc0oyTynetspran$? \s r ti'eprevious examples, allchord sounds aretheproduct of superimposing irml;irc.:s]rer re rootol the dominant chord.
G0nlemp0rary blues comping
Example 12:GBlues @ DmTsus/G
Gm7
l.|-#
r--t
G
=
Dm7(9,11!G
D?:G
T+-
l-
I--r
r+H
**i
5 E'" --
ffi,"
Exampre tt;,ff'Tjihutfre) (@ x ffi
x
x
x
F|t||trrr ffi
ffi
x Hl*l
Dm7(sus)/G ftm
t
FftfH r
Ll.l4til Llx UIlT
FSI*lst'
l
x
EEEtr
x
t-l-fft-t ilr
x
r
n-rrn
ffi"'Hffirr, t-ftFH H{t+{ {tll
i+ffi'"iH*
|#
Am7(9,sus)/D
il l
lf
Dm7(sus)/G
ifurr.fui rr' Hl+fl H#Ffd Fffi-H 2ll.t
m."m
-^
I I I l T
Gm7(sus)/C ffi
I a)
AbmT(sus)/G
|2t
c7(13)
Gm7/C x x x rn-m Hffirr'ffi si' ffi,,, l-Ft?&t F+it+l FFFIH
x x l...g
lt.r
l
x
x g
l
IIr
il3
Eyoribassin Japan,lottt0 right:naroloEadEna, Anthony Jackson, Steve, andStsvoJordan. ph0to:Tat$hiloTanata TalenorbidethePitlnn,Totyo,Hay198i1.
il 21
Db/G Dm7/GG7(13) i#
i+i+
f+rar+
ffiu,,m'-m'" flr
ill
t24
phyer fromtheformat willusually differ blues byapz oriented Theharmonic treatment ofa'12-bar making in we've been useofonlythe17,lV7,andV7chords. for basic blues, that we've been using a interest intheapproach tobars 2,4,6,8,and9-12.0fspecial to Youwillseeandhear differences playing already been overa 17fortheprevious three bars, mearebars4 and8.Inbar4,aswe've Inthekeyofourexample, 7thM)to tB ]Vchord. F7 thedominant thisiswhere ourtonicbecomes byadding a iimT(Cm7) Thejuz player takes advan@ ofhis moment isgoing toBb7. toresolve resolution. towards theeventual Afamiliar motion, andtemion infrontoftheF7toaddmore color, generally wi[tJohnColtrane would betousethe inthisprocess, asociated substitution/alteration b5substitute a ditferent a iimT(Frn7),thuscreating forF7,which would be87,andinseding you're resolution lrom onehalt step above. resolution. In a sense, approaching final approach to tromonefullstepbelo#? reolution Haven't ifyouwere toapproach what thought, Justanalternate
blues iaz-Upe
pleying you A7? what ilyou You know, ttntr7from slidir|0 u0lo ehords? thetwhile everdone resolution with to approach wereto tryandslipa iimTchordin frontof it?0r, useSEtrnodality play'ng yorrrlinesThinking aboutthingslikethis,priortoactually f:rrr cangryeriseto musical great toyot.lba anylnrmintrying! which might actually sound bornofthought, creations,
determining uponthecolorofthechordusedin bar9,thatwillgoa lmgE s towards Depending to you barI canb a Vl7(0n dordresolving isagreed upon, how might treatbar8.Whatever prirupl€s (Gm7). (G7) harmonic be applied to the kinds ol dr abo iimT These same ll7 or either if you'll recall, rsrp a Gblts. sobar9 wasa Wewere, we've utilizing. kindofblues been 3-chord ha,ereebdf 8 asa Ai (V7ofV7), thatwecould So,it'spossible D7(V7)inthatprogression. as however, m'rcrsrrga bl d u, imagination anE7(Vl7).Here, trytoemploy bulwecouldeven overtheD7todrt fE Ermonyso'ilhy E7is a V7ofAm7whichwehavebeensuperimposing pastmasters. l'rt seen far hm imply this solos bymany thisworktoo?Intranscribing couldn't giveit atryrd srer€l fBppens. not.Again, were andkeyboards when thebass change even
14:Bluesin F Erample n ri ffi l# ffi
xx
FF;EF:fI H-rtfi
':
F7
Bb7 xx
xx
tx
ffi
ffi'o
H*tHrr.
FfFt-tl
On7
Gb7 rx xx |-{''{#
xx
ffiffi
H Fl***l r I.r I rilr LLLT-IJ
ffi,'ffi'n
tl
(Eb7)
Bb7
xx
xl
ffi ffi,o t l
c7
tt t{r t+I]-l.t.,g-I+tl
H++fl
D7
xx xx lTrrFl
Hltfiar. n l a t l l r r r r l
t3
n
G7
xxi
Effi,' |..l'.l..u t l
D7 TF# H fltlt.l riFFN , i
a H,. FM
m
n Hfrr' |ntx EIU tl
withcommon iaz blues tonechordal Punctuations
listening I'vetakenaway-irom atl myWesMontgomery lessons and Oneof themostpowerful (bigbandlike)conception Whether hewassoloing of theguitar. or washisorchestral transcribing hishigh3-note voicings asthough were MelRhyne andJimmySmith,it seemed behind comping 2-,3-, and4-notechords werelikethesaxophone Hismid-register section. actinglikea trumpet liketrombones, thesoloist, it sounded thusgivingthe behind he'driflwithoctaves andwhen section, in thesame hewouldnothaveverbalized thisconcept guitarremarkable scope andcolor,Perhaps whatI heard wayofexpressing andstillhearinhisplaying. manner, butI findthistobeaneffective yourguidetoneswithchordvoicings istopunctuate forgetting a griponthisconcept Onemethod "E" earstotryandmaintain a a topnote0nyourhigh string.lt'sgreatforyourdeveloping utilizing lt alsohelps to hear howbeautifully asis possible. asoften toneinyourtopvoice c6mmon canbe motion ontheguitar harmonic moves, andhowefficient harmony inyourtop practice displacement a kindofoctave toolwouldbeto use andvaluable, Anadditional, "8" play Then onthe string with"D"asyour topnote a voicing ina "G"blues, voice. Forexample, "E" "D" thetopnote progression Asthechord onthehigh string. ofa chord answer thatwith as "D" moves alongtrytoget ontopol eachchordif youcan.0nceyougetthehangofit,youwillbe yourfingers under sections withallthree concept, witha bigband tocomp able
tu Exampte @
F7(e)
xx
xx
TN-TI rflttl6ri
F++IH
FFfi&fl.,, l-].]T
F7(s)
l'...!.''.I'...lT
ffi
Fn-m
I rr
ffi'"
ffi'n n-rrF1
mo"
tx
Gm7
c7(13,9) ;+-
ffi,'t ffi lli.l
LILL!
D7(9)
xx
xx
Fhlfl:i -T-H t t t l x ILLU
LiL]I'
l.i-l.i
Bb7(13)
G7(9,13)
xx
IEtr:tr EITItr ++*rl H+fH FTfllN'I FFfiEB.,i
|...j...u
FMroH l l t l e I:ml]mlTl
ffi
Cm7(9) F7(9)
F7(e)
Bb7(13,9)
F7(13) ?+.r1
D7(fs,fe)
tu F+1t+ ffit'tm"t ffi''i H++r ffi
?+-
r3ll
ll.ll
I l.l4
ffi
G7(fi5,ile)C7(b5,bg) |ffi
-t-rrn
Hllfluri Hlf,l
h Ir flfaf! f T I t a l IIII-II I_LLIIJ
{:t I I
i t : l
F7(e) TITiI IlrTfl i
i a H I I Ltla TNI]
_. / [
turnarounds
Thisbrirqsustodisossirp ban11and12,ina ierz-tyve nN plaFrs blues lii qi b re cltrr a l7-vl7-ll7-v7 prograsion or l7-vl7iim7-v7 (2 per pbentrp'arpts hats chord). t'm n otin "F and.'G,'ilyog playing w.ere with, you at the very least, a basist, would usntty'na rse ttn !o_be given notes onthelow"E"and'A"strings. However, inmyattempt io cover asmudtmaterial as posible, I wanted tomake surethat,forthose guitarists ofyouwhohave heard sound likethey're boththeguitar AND gained thebas,youhave a sense ofhowthisisdone. Perhaps myfavoiite (esentially example guide ofthisstyle it's tones with a note) bass was recorded by Jim Hail andBill Evans ontheirversion of'MyFunny Valentine' ftomlJndercurrents (Blue Note/Solid State). Each part(theMsslineandtheguide tones)could certainly function onitsown,buthereit's'anew clullenge totryandplayboth. Thetrick,fingering-wise, istheconstant shifting ofthe1stand2nd fingers (ifyourpickisheldinyourright-hand). onyourleft-hand lf youwere notplaying thebass guide played the minor 7th your tones would be with 1st finger only, and att the dominant rytes, {l 7thguide tones would justtryplaying beplrye!withyour1stand3rdfingers. Asadiscipline, the baslines bythemselves player andgainafeeling forhowabass might approach sucn dtine.
Erample 16A:Blues Tumaround inF(Upper Invercions) F9
Eb7
tI 4-Jf UJJ
.I.J
D9
Ab7 X
rrlrrl
F9 i
l
Eb7 x
t*l*H
x
r
$tt.n I't+tH
tffiro
tr3
: l l
G7 x
T
213
ffi,* H++f,
x
t
r
x t x
(merr
.SIFH8fr 'tt I-f I
ETTED HFH
ffi'oo
tftfr|
2|]
| 2l
G7
Ab7
x
tlHH:lrr,
trFFF
x
Gb7 x
x
F9
x
x
HfiHnn Hfl+
t l
c7
x
x_
xx
lltlFl rr'
ME,lfr
tEn t ? 3
dp
I
Db7
x x t
'ffioo
c7
Db7 x
ffi
lim rrrr
D9
l
EtErp
l+-l+t{
liflHer' (tEtlE H+H'.fr 'ffi'"' ,ffi,'n FSf, :rl I tl r 2l
x g
T
Gb7 (frttE2r'
ffifJi 2rl
rftfrrn FIH-H
H{1+
FrfffJ
t2l
x
F9
x x x
|''H
I t t l r l
x
ffi'n l.#-ti
r :l
123
(?)
tpl I
168:Tumaround in Gilajor Erample n
GmalT
qftpfi'r'
d*if
ffi'o
ffi
rl-FFI,I
TFFFN
(r) I
n x
x
m
BbmT x x x l t t t t l
Ettttr
FtFIIl
ffi
rffien
l..#
FillFlsr,
Am7
Eb7
x x x ITTTT1
x
x x gFm ffi
(lFtl+l srl fEfE
l4*l-{ er.
2 55
D7 x
x
t
Cm7 x x x
tr1:mlT
Etr t{+++{
Sllsr' :r:l
tlhftHrr'
|'.l..l..l+
I
ll
,r,
(-) I
Bb7 x
ffi
2rl
E7 ffffirr'
I
I
ffi
I
tffior,
Eb7
Am7
,ffi,* H++f, 2 33
x
ffi
x
x
Ftr]]] hffi.n 2r3
Ab7 x x t
rTrm t'|-l..m ffi4li LLLLIJ
un[Fve I
rhythm andblues/
gospel chordal approach
.r
|
t-.
wOuldn't^pgp.qltqllpt,oposture myserr asacomprete Iltqlg.h.l historian on thegrowth ofgospel music's.ch.ordal style
andlti oeep plaieinAm6iil poputar iooted music, I amcertain thatlhave agood feeling forihismusic. Rnd, ahays lo,iiin rirj'ffi nomatter how far you out may aspire topray, thebrues shourd arways bepresenisomiwnri, rnvorir^i, Therelerence sheet whichjoilgw,q (Exampre 17)is offered simpry asaprace tobegin. Asyou,rl notice, ontheguitar (rikethe.right-hand dta piinistj,th,e stybij,ootro'iniiipremajor, minor, diminished, andaugmented triads. ll you'd tndtooiiveoeepei iniotnityi; ;;il apianisrs, p.int ofview, make theeffort towatch andlisten tothevideos airdrecordings'oi ii,, Charles, Richard Tee, andDr.John.
withtwoumpre choruses ofa 12-bar'G".brues (Exampres 1gandrg),r'vetriedtogiveyoumost orthebasics asI might ttplov-]hqT:0lviously dnecdu.to oevote an6hiiiJteiimtnisarea atone, butI hope thatthiswillinspire youtoexplore thiswonderfulgenirif gri.i;irr;gth.lvr atsooftered anatternate introduction, orpick-up, ii' rnestyre ;iw;;fi;;tsglrl,.y'b;ilil hedidsomany clevet things withhisblues oriented compositi6ns, especiatty in rriili{ilfi;ralet diminished 7thchords.
Example 17:Derivation ofGospel/ Rhythm & Blues chordalstyle G7ChordScale(Gltirotydian):
TriadShdrs: Cmaj
F maj
GBluesScale:
Ascendlryon Guthr: Fmaj Gm{ rt ffif ?ifTn HlIfl Hltlrr, l'.l-{.H l{..|+l FffiII 2ll
7th
I ||
-
Root
Ogdonal vohings: Dm Em nx l..I'.mlfi I I
I
t a l
t-f++ff t t
l
XIT
Fffi,u ITTTJ1 IJ-,I-LIJ 2tl
Fmaj
Bbmaj
Tffm
ffi'" ffi
# t+F{+l
FFFf;llsr' t12
2N
$'g"
Gmaj xxt F|***{
ffi'o tfrFl.l
Cmaj
xxx H***.1
tlrErr
u l t t l IJ.LLH ^. r r r r o u t r t I tal I
t32
3rd
Bbmaj
xxx
2tt
4th
Am
\
ffi'ou
ffi ffi,,n
5th
6il'
rffiFt t32
Dm
xxtl
xxx
u l t a l
ffi,on
|ft-t-Fl
I-I-FFH
lJ-FFFl sr. LIMlmln
Em xxx
l..l'.l..l!
t t l
;:'
Cmaj xxx
.o.
ffiH
g
FH#r:n 333
o
i[m," T55-
DnVG xrr
ffi,u m'n LTEIN
z5 |
H-FFH ffi 2l I
=^
Am/G
G
m,-m
?ii?n ?f+-tr
ffi,,m" 3tl
G.nC
AmC
Gn/C xxx
3"m'*
I r rmott II IIN t I I ial
rrrrh
2| |
Bb/c c7 t:+-
F+-t-{3.z.-
}-t-.I-lJ-.t
c
FHIJ
!il
t4t
ur--
xxx
xrx rrrFn
Em/G Dm/G
r!!-
x
x
ffit
L!.I-.t-u
Hitfl"" Etfllrr, ffirr, ffi
I+5-
x
t+t+i
FF|+*{
Lt.UU tr|mmln
2tl
x
x
l..J..J..l!-LLlal
Am/D
r
T[m
I ttf
/._ IJ+!E
ffi
l-#l
l-H*l
| | lfn l..]'.I'.E
FFFlll5f. FFf;trf,rr, ff.FFH
Ft-frtl 2r3
222
ill
*
AnVC
Bb/c
xtt
xxx Lu+l
{IIm.n I I I l T
|-lftf'
G7 xx r u-.I-.t-u
ffiunffi'n Fffr-n ffi|-|l 2tr
3t2
c/G
r x x frrl-n
xx ffi
LLTAIJ . I raratJtt tlm.lmln lmml..I.-m l."l..l.U t l l
EEltbir'
ffi
lltl
L, \:
:ltrifrn ::t r a
IJ xxx
FftlH'o l t l m r r r r r l rrm|mmmr2il
'Ar€n Perhaps themostoften-used cadence inGospel music ist|naoo ffi Cadence." lt can .,'rte *ouldbeused appear inavariety offorms, including: lv-|,lv7-1, lv7-17, iv-t ft as analternative tomore basic V-l cadence. InthekeyofG,it carro@ srrfy asc toGoreven overabtues ya rorsrdc! rrru; a o peoi orperhaps, 6ener 919lp 9 whenplaying 't've ltouii findthata back-and{orth motion between simple triads flil st- r'lr,-1abrces atieaOi menlioned Cto GandC/GtoG,another variation ofttnt*wu I s E tr.rc andbacktoG.you couldviewtheAmasa function of C6/G, so,it toogerreraes J tftr^ .retrngthesense bi momentary resotution couldatsobecreated withthisnrrrn Gb S,€ I I G nenbacktoBt/G, andfinally justletthebassdc lrs ct FrrE - uassnotes resting onG.Remember, andyou concentrate onlhecolors created s.re* Foughthiscreate! bythetriads. LettfEn g i dominant 7thoriented feeling, it's-very common tosbrrrr rt safi J lnG-moving to Em/G andthenreturning torestonDm/G. I hope thatsfnrirpE sl!tr! csrtcs ,nthetefrwitfnetp '18-19 your.own analysis ofExamples aswellasther*rrr crl FEted infxampfe 1i. iol willhear allofthese puttouseintheinprovr=c concepts atr tr 3rotnelius" located on CD#2,Track inthekevofC. [7]andperformed
Example tt @
Am/G
G
C/G
x
rfitn
Frfl-h
FH{HstH#Esn
FFI-++{ ffi
ru
231
An/C
x
x
x
x
r
l..J..l..U
312
313
c
C7(9)
imi'" iiffi'.
x
x
G x
x
7 x
Bb/G G7(sus) G7
Eim*m*''m,*
x
H+fH Ff#hHrn l-l&*l -ra" l'**!FH FffT'fl 133
rfl-Fl-l t2l
2lr
n
o
xxx
ffilr, Ff.H+ TrrrF
FFfffl3rr f++ul rrn-n
AltermteInto. (Westlontgomery Style) G
7
xxx
|-rrrn
Hj*Flror,
H++# t4t
'
34t
t.. Go7, ?+-
241
m'',m,-
n
xxx
2t3
ullh Wostomlom8 t el he HolltroodBoulCo0cad, SlsY3 ca.1966.
m,-m,
G Am/GG
xxooox +-{-*r-.,
Ff?FH ffi
GrIVc
F/G
xx x F{.*ttl 'rr
2l l
GboT ff-
Go7 ?+-
TI.F|-FI l!24
ffFFH t324
F7(9,13)
fd
ffi--ffi'*ffi'*m'u rflt
I t2J
| 234
Ge(13)
a
UnitSix harmony built across theslrings
we will nowbuifdGfiords,,rne
v.rr. resuide rones asashrrin point'You've arreadv *^s ru*,,u beoun,by youi'D; ano;6 .r'ng using prde sn rone rrnes (exampres 20, 23,26and29). Nexivoriwil;dd;;di;;0, youiie:sr,ipim,nd;"rf2'i"it ano30). 0nce rrnr isunderstood, .r"sr.sim;p youwi,iladd uoiCei yc,i,r""'g,ino onooin wbt 2s.28 and31). Basic voice leading principles asyouaddvoices acr'ss trEstrings: 1.Irytokeep acommon your tone in topvoice asthechords shift 2.Trytomove thetopvoice chromaticaily upordown asyOuhear thernrmony shifting. whileattending u'c'L'A.,l.feltlwassofarbehind my.classmates firatI sought extra helpwith harmony plf!9,piaT and lheory ressons rror i rrrisicirinsrnrcroisil'r;#;,y hard "the to have me undersland lheconceot 0f ilill ofthetone." ni irretime,rirrioionrG ii p*r.,rp,because her orientation wastocommunicate torc i, iiiiriirji'ia,monicrangr.nge andnorwitha pop,Rock, orJazvocaburary which might have touno inetteiionnection withme. lf youobserve themovemenl guide ofth-e tones asthev7resolves tothetonic, theintervals ofthe 3rdandt7,within thedominant nd inoro,seem ,,must,, iiirrougn they MUST resorve. The 3rd 'mus;; resotve totherootofthetonic, andtherz reiorve.to-the miroroiminoisrd. rnrr, withonry twovoices, theharmonv iscrearry "wiil,, defineo inJ tnose vo,ces now do seem t0 have a oftheir own. Play thenexlexambte. "pul" tistentoinowtieiiO,].lif'rnnoftheF7chord rowards thetonic and3rdoltheBbchord.
whenyouaddarterations chromatic passing CIs,b5,fg,rg)as tones, youmightwanr tomake sure thatthemovement 'tp6ll"the'Choro. oftheoitches. isrettdcteoln now'y-ou ctrooie to By this I mean, using shaps toindicale ascending motilailii;['foroesiending ffi;#;nr ;nchoosing oneor theother, youmioht beindicating-tha u,ersorirreiominant will resolve uptothe3rdofthetonic. Butthel'13might-resolve gln down tdthe orihetonir.orrsystem ofmusic notation isnotthatstrictr when it comes tothelabeling.of chords, outroilneiaieotitearcorrun]"iil,it issomething to ail,vou oi;riic pr;yrdasyouhear qlece [i!3oqut..nner itassoon possibre as ry1g and crear communication inyour writing pr6criss speeds uptnat
Example 20 I
m," m'- m'"
Bblnai7
Bbmai(d6)
G7(il}
t3
Example" e
m'" m.' m." m," F/(e)
BbmajT
t3a
Exampfe " e
Bbmaj(ad6)
2tl
m'"
F/(b9,13)
|32
g
Bbm49(add 6)
m*
r"r"1tfr EEEE tl
Erampfe ^ e Gtn7 I
X
I
FFI;TI 8fi EEEE ill
Erample" e
tl
F/(ilg)--+
m'"m,"m* (b9)
Bbmaj9(add 6)
Ir3
m'"
F/(bg,b13)
b;'
G7(*5,b9)
| 133
BbmaiT
n
t32
m'" m"
BbmajT
o.
Erample" e Cm7
G7(be)
m'-
G7(alt)
t3
m"m'.
(bs) G7(fs)---' t24
t2l
m'"
G7(b9,b13)
.l2t4
Example 26 BbmajT xxo xr
ffi
rfl1-n ffi n-ffr1 I
Exampte " @ Cm7(9) x x x ffi HlH
Bbmaj9(add6)
iFffii ffi
#
Ffi-t-H t34
Erample " @
F7(9,13) xx rT.TT'1 H-.1.|5.,-
Bbmaj9(add 6) xx ffi
ffffi,o H{H
FFI-I-H I344
34ll
BbmajT(6,9) H#Frr, FtrM t-fJrtl
G7($5)
TTTm ffirti n-Frrt
42tl
Erample " @
Erample* @ Cm7(9) x
t
x
ffi
Ht# Hl+fl ll4
Eramplett @
Cm7(sus.)
tu
$ffi ffff't-l
F7(b13) x
x
ffir]
x
ffi
-> (b9) G7(ts,ss)
ffi
x!IJJJ+] |''m IIIILI
l3t3
UnitSeven iimT-V7-l-V7overa pedal
a great music lessoncan from amost unexpected source In -lp"ltlinqs "pop" come tneearryyears ofmycareer, I accompanied gtten many
m-usic singers. rn-such a settingthe basic rhythm section isaugmented qlromnones,5 byafulloichesira (strumpdts, plus reeds strings) Forchordal instrume.nts..espdcially theguitar ['canoei grert irrirrg ' -' experience to J be forced toseeandhear thatpLAylNG LESS canneSRytrue fVOnft Inanyglven performance, there.would almost always bea moment when thesinger would tella storyovera L0NGvamp, sometimes thisvampwasovera peoatpointlonertaticpitchfromthe bassist) Aslwould srtamongstthe orchestra andlisten, lcouldhear thechords moving even thoug,h.the,bass wasonlyplaying a single note. Thepedalwas invariably therootoftheVZchord andalltheharmonies sounded beautiful over thisonenote. Truly this*ir'rgiratirranger's devrce. l.nthisseries of examples presented l've everything in thekeyofCmajor;therefore, wewillusea "G"pedal under progression. theentire We5egin'with fxanipte sz,tl[;ing"jrrt theguide tones whichsupply j5, *L uooathrrdvoice movement intlieprogression. InExampte "8. thebasicharmonic string, attempting to maintain a common-ione topvoice asaneir-trarning 9l llt disciplrne. Adding afourthvoiceonthe"E".string inExamples 34,thecommon tonepriniipre onthetopvoice remains. When thisisnotpossible, thetopvoice should move ina manner oirtutro bywhere our ears seem tolead us. Examples 35and36extend.the concept byintroducing ascending anddescendrng chromatic movement inthetop-voice. Asa discipline, I'veattempted to make ihisvoice move nrhalf-steps possible. wnene.ver Always keepin mindthatI'vejustchoserONE youhavemanycnotces option. andafter y0UR atimeyour ownstyle ofharmony willdictate choices. youfeelthatyouarecomfortable When withthese exercrses overthe"G"pedal, trytotranspose the "C" rdeas t0workover pedal provided the ontherecording Since the;'C"peOit istheiootota " F , " d o m r n ^ a n t _ycohuo' lrblde . i nt h ek e yo f a n dt h em o v e m ewnot u l tba k ey o ut h r o u g h Gm7-C/-Fmaj7-D7(alt.). you're practicing, When rehearsing, orjamming wittr a oassist anct drummer, trythisconceptas anextended introductron perhips toa staidard,'or oneofyourown original tunes. Mostoftheexercises inthisbookarepresented intheformofwholenotes. I feelthatit'simportant t0 growaccustomed tothebeauty of longtonesastheharmony slowlymoves through theihords. Long notes ontheguitar justaseffective can,attimes,-be percuisive ai ttresrrort strokes with which weguitarists aremost associated.
fyewi|ness in 1989.Clockwise fromloweflefl:Anlhony Jackson, Manolo Badrena, Sleve, andDave weckl. original pencil NedShaw sketch for,,pUBLlG ACCESS', CDcover.
guide tones I
Example 32:Keyof GwithG(Uasa Pedal Loruer Invercions Dm7/G xx
xx
ITITN
bH++l rrr lfm
G7
CmajT/G
Fl*++l3rr IJJJJ-J
l3
UpperInverslons Dm7/G xx
xr
ffi
G7 TX
Ff;ffi ron
LorerInversims Dm7 xx
xx
ffi FFE+I]fr Hl# t4
Uppclnversions Dm7 u r x
Ffff+{
u-t+u FFffi ror, t l
Ffll'flcr |..l.ru ll
G7
Cm{T/G
xx xx tTrrn
xx xr Ent12fr FtFrl tl
m,- ffi'ffi* m'', CmajT/G
II
Hqtf, ffi
ffi*
Cm4(add 6)/t0
Cmaj(add 6)/G
Cmaj(add 6)/G
ATtG
rx
l-ilFlJ rn
xx
Jfr H.tfi |...I...ru
|ru t3
l3
m,,' m'"
G7
CmajT/G
x x s
Cmaj(add 6/G
ATtG
u x x Ftl+ti
rt-ft19ft |..ru t3
r I fr
Hl+fl t3
withcommon tones Yoicings 3-note Example 3il:Keyof CwithGM asa Pedal
m''' m.. m," m'- m'" ffi" m'" m." ffi," m,, H,., Dm7/G x
x
r
G7
x
x
CmajT(9)/G
t
A7(bsyc
l l l l l l
H*!Hrr. H]#
Dm7(9yG
l*frl rr, I t l ! t l I,ILE
l2l
2al
G7(13)
CmajT/G
t24
Dm7(sus/G
A7(b9I 3
421
G7
ffi
rfl1ifi
Cmaj9(add 6/G
AlbslG
8ft
l+t*+.{ 211
Dm7/G r
x
ITITN
G7(e)
x
ftt5
l l l
rofr
L|J+.I l-filtfl
134
lt3
Cm47(13)
r||qtslG
gfr
ll I
o m,"
4-notevoicings withcommon tones Example 34:Keyof CwithG(V)asa pedal Dm7(9,11/G
Dm7(sus)/G ftE t t t r l l
G7(b9,13)
G7(9,13) l(L
A7(i5,bgyc x: rrl-talfr [lti
lt2l
Cmaj9(add 6)/G XI utrrf
f!ffilfr
FFFFF|5fr
F?5fr
III-LLI
| 344
3 4 tI
o
G7(13) xx
l-fl*ilror'
CmajT(6,9)/G T{-l**Hcrr
m'-
A7(*syc t342
A7(b5,bgyc
?frm
ffi,,n
ffi
u-t-Ltl
4t2l
n33
a
m"
G7(b9,13)
t2t4
e
o e
Cmaj9(add6)
ffi,oo HH
. , 33r4 +
r2tl I lDo DIf
m,,,,
A7(beyc | 324
e
.: i c i s m l;.lj*l,T:*':, Tff;,i,lT :TIa' @ Ascending Dm7(sus)/G
ffi,o Hi#
*iii- Eroken drord$yle
Dm7(srs)/G xx ffi
rrsrrr3 fr
ffi
Dm7(sus/G
tu
HiJ*ler
H# 14tl o
Dm7(sus,9)/G n |'.I-m
H#!l,zn ru
1l2l
a
G7(f5)
A7(fsyc
imi,''
x
m'. m'Cmaj9(add 6)/G
G7(b5,$9)
,1342 Il.
&
FII.FH
1 2314
t-o,
ffi"u
@
4l2l
m.ffim
btffiee ulat I
m,,"
A7(b5,b9)/G
A7(b5,bgyc
U(
G7($5,b9)
r
ffi'n t23
t23
G7(b9,13)
x
HJifi
1 l2lI
rpre D g
Cmaj9(add6) xx Lal
|
|
|
LI IMmm tlt|n FfFrE15fi"
e e
u
'rE> If 'e
Example 36:Keyot GwithGM asa pedalV
orffir,
CmaiT(6,9)/G |..m
ffi#,on
lff l.ml]ml::]T tm|mml.m-m
I
r-rrrF
t2t4
I l 1 1
rto.
CmajT(6,9)/G Trrm
r-ffrt
|ffi
FIIIH I 3 . 1|
ffi
FFFIf,5fr
l#
23t4
b* Dm7(sus)lG
G7(#5,b9,$9) xx
ffio'i irffi-t
ffi
l-hffi 4 tl l
o.
Cmaj9(add 6)/G
ffi,u STTF
Fr-iffj
/
A7(f5,b9)/G xx l..Iffi ffi
ffi'n n-Ffn t333 I DIl.
A7(fs,fgyc x
x
CmajT(9)/G
Fffirr. ffi
l# Ftffi 4 t l
Platingtorpass-the-hat al theFocus Gillorycott€€House i[st afleranivingin l{ewyorkciry,1920. Triodatesrere rith Johnmiller(bass),ani DavidFriedmin(yibes).
I..]...|.fr LIIru LTTIT]
rrrrn 132
r
fffior, FFH{-{ rTtftl 4 t l
{}
G7(f5,#e)
ffi'u,
o. {}
D E
G7(b9,13) funtr,
AIlbe)c
UnitEight modes in chords
In assembling my sludiesfor presentation, you'tl mysoat isthat
someday enioytheumeimproviutional fluency withchords asyounowdowithyourimprovised lines.I'vechosen to passalongthemanner inwhichI approached solving thisproblem formysell. Having offered thismethod many, many timestoprivate students, andinclinicsandseminars, I have seenit work,andI'msurethatyou'llseeitsparticular kindoflogicandfollowthrough withthework. (minor), Webeginbyseparating (dominant), thethreechordlamilies: dorian mixolydian andlydian (malor). When I didthisformyself, it wasmyhope thatif I couldrmprovise upononersolated family, andhearmelodies withchords, I wouldbeableto dothesame whenfaced withharmony in perhaps passing motion having lesstimetoobserve each chord. Thefollowing examples arepresented sothatthefirstrowcontains voicings; common asyouscan downthepage theoptions become moresophisticated. Each example is presented in "G"(Gdorian, Gmixolydian andGlydian). Thetopvoiceofeachchordis onthe"E"string,witheachnoteol the modebeingharmonized witha modalchordvoicing. Generally speaking, thefirsttworowsoffer pitches, chordformswhichguitarists areexpected toknow. Beneath certain twooptions canbeseen agbeing standard. I wantto takea moment anddiscuss themajorchordfamilyandwhythelydianmodewill bethe "G" scale ofchoice throughout thistext.lf wecontinue, forpurposes ofdiscussion, to use asour "G' "G" (G, root,thenyoushould know thatthe ionian mode isthe major scale A,B,C,D,E,Fil), (G,A,B,Cl,D,E,Fl) differonlyinthatthe4thdegree Thenotes inthe'G"lydian mode ofthescale is Ct instead ofC.So,whychoose oneovertheother? lt'spurely a choice ofsoundbyconvention. Forthemostpart,thischoice usually appears injaz andpop-standard songcontexts. Inmostrock, country, andfolkstylesthel4thofthemajorscale/ionian modeis mostappropriate. Whenyou're playing, yourchoice youhear should bebased what upon assounding forthemusic! best Asyougrowmorefamiliar w'rth thebasics, allyouwouldhave to do,whenputting anyofthe reference to use,is,look charts straight downthepage, followthecolumns connecting thevoicings witha common top-note andyoursonicoptionswouldbeginto grow.Whatshouldeventually "sound you is thatthese voicings familiar develop become shapes" andNOTjustsome chords know.YouwillendupHEARING howyouusethese soundshapes and,in beingableto hearthat, you'll findyourfreedom. Whenplaying in pop,rock,or R&Bcontexts, is involved, especially where a vocalist therewill be notewhichis sung.lf thenoteis in oneofthese timeswhenyoumustharmonize themelody three youhaveanat-hand reference for findingthesoundshapewhichmightfit the chordfamilies, harmonic style olyourgroup. youmaywantto addharmony ln aninstrumental setting, to a specific notein themelody ol an youwithmostof the original tuneor a standard. These threechordlamilychartsshouldprovide basic voicings andthose which offer more color tones. practice Thestandard method hereistochoose toemploy anyoneolthechordfamilies forworkat goupanddownthemodein a particular sittingandwhileplaying alongwiththeumple'G"pedal, playing chords, themin longtones(whole notesat least)untiltheyseem to falleasilyunderyour fingers. Avitalsecondary aspect toyourpractice regimen wouldbetosingalongwiththetopvoice ofeachchordsothatitsmelodic aspect begins to bea partofthewayyouHEAR thevoicing. Then, likewithyoursingle-note lines,you'llbethatmuchcloser toplaying whatyouhearandthat'swhere youwant tobe.
(GDorlan) Example 37:BasicVoicings
tu
H#H Htl+
rlr
iltl
Root(R
FFTII.I
FF;+H8fr
ffi
;il'
m,'"m','
-o.
Voicings: Additional
ftrm t t t a t t l t r l t I I I tat I ttt I I l..l...l..lJ 1 l 1 4
, 0
WE
withmoreColorTones: Voicings xx
ffii't ffi
Ft-H rtattl .{lti
Voicings: Additional
:El
,,..
I t a t I I Imml.u]Tt - J t l
.I
rO,
Ddr
ffi,u,, rin-hl I r:.1
to 'Ir
Example (Gllirolydian) 38:BasicVoicings HE ft#fiilrr' trlTl rrrrn t2tl
(R) Root
m'" m,," II
2314
2 lt a
||r2
5rh
6rh
7rh
Il'
o
-o.
Additional Voicings:
ffit 2 t a R
m,,"
withmorcGolorTones: Voicings
m,.m,,"
Additional xx TTEF lTl-1ll0fr T I I I T I |.ml..]..IT
|'ru 4t2l g
Loslin Amrricaonlourrilh thoBrsclerBrolhers. Photo later bt Ctarissc laylorin a hol6lroom,"Anywhere," U.S.A., 1976
E
ffi t?t?-
m,,,, m,,-
Example 39:BasicVoicings (GLydian)
m*i m," [fffi,''
xx IITIT|
H*Esri
ia32l
mai7fl
t1z2
I
,
Root(R)
lmml.mt.| | | rll
2]].t4
2nd
tl33
3rd
xx r r r r t l rT-"t19 fl II|rrlT
xx rrffi1 rTnTl I I I a I t I.IN
l0fr
1 2 4|
+li''
m,,,' ++--
I
EIIIIltlfr I l| il
t l t l
6th
3t2l
2th
m'-m,',m"m" :
Vohings wih morcColorTones: L
tu
H
ffi'n, ffi,u f f i ' H + H lil2t
ffi'-
il13
m* xx ffi
rrrTbl0fr
ffi'.n
| 133
o le
AddidonalVoicings: ffffirt
ffi: ill
I I
ffi,,, ffi
m"m'"m""
basic3-noteu*lqs (gdorian) (Gminor4 Family Example 39A:ilinor7Chord
fF f m i ft fu i i Hl+f, 34l (4th)
Hl+fl III (srh)
r
x
x
ffi ffi
r,iili
m.',m'-ffi''' m,,. (2nd)
(3rd)
bc
yoicings (cmirolydian) basic 3-note 7 ChordFamily(C7) Example 398:Dominant
AdditionalYoiciltgs:
(f lYdian) uoicings basic3-note 39C:llaior7 ChodFamily(FMaior7) Example t
x
x
ft&LHsn ITfm l-t-t1+l I l3
(R)
AdditiotdYttit$rys:
m'2il
(R)
tu
H#H rori FFFH il4
(f,4)
UnitNine I accelerates srorth, fegimellwhich vour a praCtiCe While deVelOping yo!.M playwhat
deilved studY chordal lroma linearerercise
youtoeventually youpractice willinable what tnatheariig iiueVoriiiinO Oef of linear the.simplest on.taking you count always can cndrOs, tofeelfreewitn Wnififeirning soto work)andapplyit athalf-speed' modal sialeand. piliiirJiOrii(i''gntlromyourearliest asthelinewould. inchords m'oving withtheiop-voice bpeak, and linein F maior(Gdorian 40is a sequential Example 40asanillustration. UseExample a goes down a 3rd and up which notes) same exact with the family in that moOes ,ri C'i'i*fyJiin 4'l-44. in Examples jtrp,i1fiigrO, voicings withthedifferent isth6nharmonized elc.Thismetody yousingthetop help.if really lt.can slowly. chord andplayeach ontherecording ffii#'-Gt peOat road). pay the off down good will this voice, you a naie if don't iltr;rt toud ieven
lt'sessentia colortones. withmore chords 42.adds andExample shapes 41usesbasic Example Gmaior(G families: chord basic two remaining the with wor( same t f,rtnetimetoOolne tna11b,j 7th(Gmixolydian). Gdominant lydian)and overan improvising asil we.were foruseovertheC pedal 43and44areintended Examples 'feeling' and 7th dominant the presented once how I've lrrre ulmp. 7th iiiririr-oC oomlnant the up ;rounO;-nirEen to open serves chords, of iimT(Gm7) inesuperlmposition estaUtisneO, tones color in the 44brings andExample forms chord basic 43uses fxamOfe sounO.
Sequence Using Exercise 41:Chordal Erample @
tu
ffi'" b';'
tu
ffisfr rrrtfl ro lrl-Ll,
:'
tu m'on
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ffi,. ffi
m''-o
Example* @ xx
iiffi*
ffirr' It'ft'fl |.ffi
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ffi'* HH
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xx
rrrm
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Exampre* e) PedalorCPedal UseoverG
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ftg,r FHH Hllfl 2ll4
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xx ffi
N T I I I t a t
I
t42:
bo
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TLilft FFi# trft ll n-fln
TI
c7
tu m''o 3''
bE
Exampte* @ Useover Pedal G
c7(9)
xx
orCPedal Gm7(sus) x x '
Gm7(9,11)
m'-
ffi
ffi H11+
|ffi
Fffi*lsn ll3l
bo
Gm7(sus) ffi
ffi'ou
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Gm7(sus)
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o {>
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T' e
ph0t0 Publicity taken at David Tan'sstudio ln Manhattan, ca.1993-19g8.
Gm,l3(sus)
ffi,,u Frtfti
Il2l
UnitTen style
ThOUgh it'S my feeling thataniving atyourownstyte winnotbeattheexctusion of any0lyouroptions, making adeep stylistic commitment tosome style willbeimportant. Soas.food forthought, I'vepresented three examples used withthedominant 7thchord family. Astime goesby,youmight youroptions wanttoweigh withinthemajor andminorchord families aswell. BassVamp
Thisexample guitar offers a common andsimple approach which is essentially rooted in the quality inherent blues oftheinstrument:
Example 45:Simple Guitar Styb @
ffi"
ifffii'.I+ffii'. 132
3r2
Here weextend theharmoryic (closed territory withsmallclusters voiced chords) inthestyleof pianist, BillEvans. Therg arbthose whomight findthisapproach forblues-based material ai "too pretty.' youthink! Listen andsee what
Erample 46:BillEvans Voicing) Style(Closed @
This example isinthestyle ofMcCoy Tyne/s left-hand concept. These types offingerings arecalled "o-pen voicings." lnasense, thisstyle should open-up theharmonic feeling, but,I findthat Example 46canaccomplish thisaswell.There willbethose whofindtheTyner approach tobetoo"FarEast" sounding due toallthe4ths inthechords. Again, listen anddecide foryourself. youwillnotbeabletototally Atanystage ofyourdevelopment, yourinfluences. you escape Should yourownvoice belucky enough totrulydevelop andstyle, I believe it willbeaccomplished when you?e nottrying so.hard toconsciously freeolyourinfluences. break lt'smyfeeling, andespecially yourharmonic where point, youmust concept isconcerned, thatatsome make acommitment toth-e shapes ofyourlines youhear andthechordal andharmonic sense along withthose lines. Thisistrue even if,asguitarists, wedon't accompany ourselves inatrio setting asapianist does withtheirleftplaying hand. yourself ltsimportant belore toremind that,"THIS tSTHE wAYI PLAY, AND THIS lS THE WAY I HEAR MAKING youhave MUSIC!" Thelirstperson toconvince ofthisisyourself, once you've yourpeers done that, convincing andlisteners ingeneral won't besuch aditficult task.
47:ilcCoyTyner Erample Voicing) Style(Open n
ffi'"
x
EttH
5ft FFFTH I tl
ffi'.
m'',m," ll2l
il31
UnitEleve Mc0oy Tynerleft-hand s$lepiano voicings
W.hgn b rnrmony onrresitr.I t wastryingto arriveat an approach
ended upfinding mygreahst inspiration fromthekeyboard. I didspend a lotoftimesturlying h great chordal concepls ofmany oftheguita/s masters before moving away. Inmaking t thisdnoice simply chose thestyletowhich I feltthemostemotionally connected. Witnout a doubt, thatstyl! was Mc0oy Tyne/s. Especially hisconsistently centered left-hand approach. Aswe've arrived atfia '90s, there's hardlya-kgybo_ard improviser whohasn't been touched in some waybyMcco/s playing. Along withMcCoy Tyner, theindividuality ofHerbie Hancock, Chick Corea, J6eZawini andKeith Janett hasalsotouched thiswork. Intrying topasalong myapproach inthemost direct manner, I have isolated thethree basic chor families: major, minor, anddominant. Foryou,in yourpractice, theideawouldbeto develo playing fluency bypracticing periods overonechord family for extended oftime.Indoing this,yu "left-hand" yourownsense would bedeveloping ofhearing these voicings moving inametodic lnd emotional way.Whatmakes thiskindof practice approach readily usable is that,in man you're contemporary asked to improvise/solo/jam (usual overonechord iaz artlrocksettings, minor ordominant). Whether (like8 barsor16bars)or ornotit'safinitelength something thafs practice totally open ended, extended improvising youtotally prepaied overa pedal willhave fu these situations. Though countless hours werespent listening to Mc0oy's workwithJohnColtrane's legenda quartet, hisownrecordings forM0,Vlmpulse, Blue Note, andMilestone, andhiswork asasidema oncountless BlueNote I'velound classics, thattheleft-hand aspect ofhisstyleremains consiste andclassic. "G"asa tonalcenter) I'vetriedto layoutwhathemightlikelyplay(using when confronted witr dominant,-major, orminor chord sounds. Theonlynon-Mc0oy contribution comes lromlistenin especially hismid-sixties workasa sideman onnumerous Latin-jaz recordin lq CllckCorea, (CalTjader andHerbie Mann). 0nminor (in chords, in addition to the voicings in 4ths, Chick adds (spelling thiskey)asimpbBltriadoverthe"G"bass outasimple Gm7 chord), butwhen throw intothemixwith ttiemore open voicings, itadds something wonderful. Trytoremember thatonthepiano, theleft-hand is usually notplayed toofarabove theareaol "C.'0nguitar, middle I'vefound thatyou'llachieve a consistent tonebykeeping these 3-not played voicings across theD-G-Bstrings. So,depending upontheroot,yourchoices forwha you'll play you'll play andwhere itbecome obvious.
48:G7 Erample r r x ttlttl
lfr
Enmpte49:Gminor7
m* m,,
Exatnple 50:Gilajor7
m'"m."m'-
n
x
Hflfi
l
m-
ffi"u H1+f,
UnitTwelve chord tones asmelodies
Example 51A:Gminor7
In previous gxgrcis0s, you've looked atsuch simpte devices ascommon tone movement, chromatic topvoice movement, octave displacement passages, ofthetopvoice, scale and.harmonized scale sequences forchords. Now, howabout harmonizinj chord tones andmodal pitches asmelodies. Togetthemost playtheexamples outolthiskindofexercise assingle notes first.Then singalong withthe. melody. Forthemoment, allowyourself tobelieve thatthitis yourmelody. When-it feeli expresive toyou, tryadding thechordal suggestions I've supptied. Here's aperfect opportunity tomake useofone,orall,oftheapplicable chordal reference sheets. lf youwere dissatisfied with the (forexample, sound ofanychord shape avoicing with"A"asthetop 'E'string), gotothereference voice onthe lookdown sheets, thecolumn andirysome oftheother options incontext. try to use completely different voicings for an entire example. Finally, make flso, upyourownlinewithsingle notes andthencarelully harmonize itasyouwould hear it.Thelhoices younowmake you0nyourwaytoaconcept aresending that's allydurs. Notwoplayers willmake thesame choices.
m,m,,, III
I13
Example 518
TTrin
ffi'* It33
m,.
Erample 51C
ffi ffi'- m'- m'Tlffil
T+-
T|_
3f!
4t2
Erample 51D
3 4 1|
2tt4
UnitThirt Thenotionof playing"outside"rhe harmonic boundaries has becom il,r 0l sludyl0r
cadences: through apploaches
students ofthemusic of Ornette Coleman, MilesDavis, JohnColtrane, andalttr
upporandlowerneighborc
supporting talents they've nuilured over theyears.
lsthere system which g{.logic appties tothetones, andconfigurations ofpiht; fly.rurggd "right upon outside the notes?" I wouldliketo offermyperspective onttris,andit g-;s backto anil idq' !l?tlikegood good drama, music must havetension andrelease. Withoutipptying thisnotin andall itspossibilities to harmony, we'dbelefttocreate tension withont1l Oynirjri6s i'rOrefany. It'smy.belief thatvirtually all passages whichto ourearsseem to baoLitside theacceptat --- concepts ofharmony, canbeexplained ashaving some kindof"dominant function," U7ri. l'd liketo offerthefollowing exercise ideas asa means to explore thisworldthrough chorrh movement. Theessential idea.is thatyoutakea chord(where thetopvoiceisa melody niteitltriO hasanemotional connection foryouandtryto sunound it byusingconsonant (Oiatonic/wifnin f:
chord scale ormode) and/or chromatic upper andlower neighbors tocreate a iitiletension asf: 1 harmony releases andcomes torest. provide Thegiven qxgmples ideas forbothmajor andminor tonics. lf youseea note, especialt ai topvoice which seems tomake nosense inrelation tothetonic, lookbickabarortwoanbseeit n isa partofthealtered (super dominant locrian mode) scale oftheV7cnoiO. rnmostcases, [p alswer should liethere, but,therealdecision making factor willalways bein pLAylNG WHAT TRULY SOUNDS GOOD TOYOU!
Eramplet*() Cm7(9)
m,' m,' ii#i'.Eiffi'. F/(13)
|la
Bbmaj(6,9)
34t
Eramprc5zE G)
m,-
Cm7(sus)
r
341
BbmajT(6,9)
Erample 52C Cm7
fu.o HH
3 3 tI
Eramfle"o @
m'- m'"m'"
F/(b5,b9)
BbmajT(6,9)
t 2 tI
m'"m,,,
Cm7(9)
F/(be)
r#-*-- *E''"m,,H
Bbmaj9(6) g
#
ffi"uffi'ru il33
ffi
il31
ffi |..{+
l l2l
il33
Exampte"o C
m.- m." m*m'', ffi,-
Am7(b5)
D7(be)
231
Example"t e Am7(b5)
tt2
m." m." D7(il5,b9)
23t1
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ltl-
l+l++{ t:m FEXfl..* mD5fr
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r
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Ed ffi -___--
t*'ff,ffe
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Examples3D e
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ffi il31
UnitFourtee
materialsiS, inessence,ane referenCe ThiSSelieSOfChOrdal yut goalistoprovide greater
contempolarY lefelence uoicings
sYstems uoicing f-noteoPen
Again, the lNCHORDS. pri*rrty prisented unittitledM0DES ot't-nr asPossible. options withasmany arerepresentd: lamilies chord basic you'llnotice onlytwoofthethree thatlorthisstudy, Wlr beat hasseemingly family (mixolydian) chord (dorian). 7th ine d'ominant iruoilni-i'iiMinor and has been stated As follows: is as this udnino thinking the ano roii'0, ;i'iii,;j. inir iJ tilrry iimT by,superimposing chord 7th any dominant of narmoiy tne gunarists'we irtenO can ai iliabd, we.FI l0 shapes of.sound series overtheVZroot.So,inthis'contemporary ri,iri'rigi/rhoiOi V7thafs the (iim7) against voicings mindr possiUie. using By only as il;rd lil t-r*onyasoften accomplishing. be precisely wewould what verylogical' will.seem voicings/chords ol 4 and3-note olthispresentation themanner Attimes, I'vechosen reference. sequential harmonically not a it's all, quite All in l'ndii otnirtimes, randbm. purely technica a on so that, your dexterity chordal as weli as "o tochalbnge irrilmetiioo 1lori islound voice melodic the before, Like tnls stage. a[ get bo comfortaUte your never lingers level, "E' onthehigh or'8"string. ascending withina row. voicing is to playeach initialandlongtermresults for"O; thebestexercise I believe your forwha! feeling gach own Establish recording. oveitne peoaonth--e fortnobars noroinglt voicings contempirary and basic the you. touse As begin tor'vou. notoiemotionirry ,ou-,iJ-:rriaie a much andplaywillhave allthatyouhear withoneanoin6r, i'iioniuniiion iow relati6nshipio connection. deeper tirt overa proiected through goals andfollowthem r rtiitt ofshorttermpractice Trytocreate it. noticing without progressing almost you're you;lt find wiinioursetiand irjme.Ar*ivsbepatient
Mode Erarele5f: GLYdian
m*
l+ft5 ffi
sft
Ft-tl
majTth
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xx
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7th
m3d
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r ft
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r FtttFlE
i' FTTTFIJ
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56:GLydianlilode Example 5Sl
tfr,-n
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H]ifi
openYoicing systems 3-note
EffII
f*-
m47th HflH ?r, HM 3rt I
ffi''o
f+- r3fr FFFFFI FFFFF
be.
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flJJflrrr, HM
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ffi'o
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tfff!|3 fr Ittl#
FTF FFIIFI 'i
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ln
l
Voicings: Addnional ffirt : ?lfin ffi H*tfirr FFFFH
'Itttfi
2!la
bo a
srh
4th lttFmirr
(R) Root t!2
fi FFFTF|2 titafl EEE
m-m |-llrn-ll2
3-noteopenvoicingsystems Mode 57:GDorian Example (R) Root tm ETI FTTFF
ffi
Firdsl
m'" FFIH ll I
l
Yoiclr|]Glerence additional 57ArGtydan tode Erample majTth ffiIr,
, '
{4rh
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mro
FM tffi
FFM ltt2
421I
tr-
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ffi'u
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tfifi
tt-
ffi'o
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Ft#
Hl#
fiprr.
ffi
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Im ffi tlffi
a 2 lI
STEVE KHAN TRIOLecrRrc
mr,]..y,1994. Eurcleanlour
Jaclsor,St6Yr,ad DtmlrChambors' L6ftto rigit Anttotly
fuer. ffi
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421|
UnitFifteen exercise maior/minor
58:Stenf @ Example
prcseilh ldliketo favoilteexercises! Thisis oneof mYperconal
pattem asif il nereahatrnonic lour-bar thisrepeated forni.Letsanalyze study oneinanelongated y0u, its hoped ttld it for mysell, I might do for as thswork Indoing tos6tue. weneided oroblem pr0blem you any process witfi have a when analytical and same thought this iou'llbeabletoapplv process THE THROUGH purpose ol HEARING the is to axpedite The song. uiiitrin a ot ctrorcs ieries aspossible. asearly CHANGES 0rscale bas€d family, andthenthe-mode thechord andtryanddetermine lookatthechords First, in speaking, for2bars. Generally tor2 bars andaGm7 weliave aGmalT upon therootInthiscase you mode because lydian you use the ch0rd, a major across when come context, a iaz oriented 4th(the totheearthanthatofthenatural isfarmore appealing ol the'14 ttresounC mbsttimes, you mode. the dorian would apply minor chords, For most suspensi0n). possibilities pentat0nic using two thebasic takethetimet0 jotdown Forthenextstep,I would pentatonics the 3rd' 6th' upon player based minor apply ian a maior chords, formulas. 0n simole mayapplyminorpentatonic a player chord, 0nanyminor ofthehajorscale. andTthdegrees 7thpentaton tlieroot'2nd,and5th;and,thedominant +th,5th,andtTth)builtupon iroot,mgrd, gro, mode dorian bTth) of the zno, stn,and builtonthe4thdegree inooi, given.yourself t0play thechance olelfortisyou've thiskind byjustmaking What's accomplished "right you.an pentatonics gives the ptay Laying out prodression notes' and the thischord throuoh is such a vital which language yorir blues t0 the lines aloser ol tbtiepsome initiaiopportunity sgme other than NgT accomplished, what's this'. popular But, in dging music. inall Comporient style'and' ofjaz oranyother thelanguage" notyet"speaking idthatyou?e basiiimprovising, text. leftforanother best that's adiscussi0n pursue a lifeinthemusic, youriaz playing andperhaps totmprove 0lvouwhodot/vant Forth0se pr0gressions that weseen have times Howmany thatooal? worktowards thisexercise howdoes this: like look something t AnlD7 ai7| Fnl Bb7 lEbnlAblI DbnaiT I EbnaiT GmaiT / Gm7 Q7'/Fm cantake0ntwodistinctly 0lthechords \/vays, thefunctioning thebarsintrioditterent lf weorouD couldbeseen movement this 3-4; 5-6; blrs 1-2; isolating view, In one tdois. -asl-maj oittere"nt youmay inbar2)theC7-chor howcanyousaythatwithif0rexample going beaskingi toi-minor. if weiustlookatbars2-3ior4-5;&-7;and the2ndviewiomesinto'play. inJ,rffnisiswhere (c mixolydian); and (Gdorian);.c7 g-ri, omz,C7'andFmajT F maior' Gm7 areallinthekeyot degrees So, scale ditlerent on and ending (f beginniirg notes, same have ihe att imaiZ ionian) iuit gbserve.the C7 because the not l0 (G ch.ose. and dorian) having Gmi only 2 as wd view nar it lrommlorrcmlnor' asmoving bescene 1-2could pitches bars then arethesame, Again manner. a diatonic suchproglessions.in fornegotiating canbea preparation Thisexercise paves the through thechgrds 0Jsound the'righflormations oflusthearing theaccomplishment v7 created on the 19, the lension (15'15, and19)s0thd thealterations addirig wayforevintually go you tonic. t0theI maior resolves as chord themost I lirmlybelieve inordel toimprovise ofharmony themovement tohear t0learn when trvino "establish withthe beginning suggest almys lvould sounds.' thechgrd tintsteoisto imoortait harmony I the which outline guide vgicings your 2-n0b Simple tones. blocks, building turidamental partofJimthll'sappr@ch t0accompaniment' asanintegral theievoicings toasociate tend
G
H€ctr€pns€flbeusaoe oflonqqlq iDlyinoa mtodyin trt @ v(ria ya| nidr fi b, playing a3-n0hchord acroas [p ]GS $rirusf0lld bya+mb OrorO Ui1|0atopvoir oi yourtop,higtEr lhe.'Fslrin0. lhe.id€a istorraks voicsd chord, fundion asarFl6dic;r€spofE8. t0thelourcrvoiced chord. HeJe guihrvoicinswhich us€d more haditioml wdmight llyepglposely playors associate withgreat likeWes Montgomery, Krnny Bunell, JimHall,andJoepass.
Example5g:Step, O Gm47 IH
ll*
t-Ft f?t EIEE 5N
fflfi'o ttttfl
tt8
2tl
|313
Grnatl9)
m'" 1122
Gm7 tt--r
m'"
ft*
ffito
ffi t
tt2a
Gm7 It_
tf*
m'"
ffi'" Gm7
Tfnn
m'o
&-
H-I+H n-Ftrl | | fr
ffito ffit l t a
23t1
.o.
Grnalg
ffi'o flEtt tFt-fH | !t.
Gm7(sus) }{r-,-n
ffi'o tttttt
ffi'oo H++tt ETITD I l2a
ffir,ft tttEt
presented you?e Inthisexample withMccoy Tyner stylevoicings apptied to meguiw.io thepresentation, l'veemployed a'callandresp0r6e' approach b€tned| [€ loF, :]-m: condense giwyoua more voicings. voicings, andthehigher register 4-note Usage ofthisstyleshould modern andooen sound.
Example 60:Step3 Gm7(sus)
Gm47(6,9)
t+-
H#rt, Hllfl
ffi'"
l l l
Gm7(sus)
GmajT(6,9) tL-.J
tt#cr, Hjltr rul
tlttn
ffi
t Elhr' FH++l n:l
1ffi2r,
ffi
Itl
Hilfi
moo Itl
firilr
ffi''o ffi'o It!3
Gm7(sus) EEEEF
ffi'"
GmaiT(6,9)
m"" FFFTF
' ' m''o l rll
FllEflror. Il2l
tf,,.{
HESron ffi'ro t-+{+l{ FI|FH
It2l
m,," m,." m,,"
Gm7(sus)
II*
llll
tf,..{
fu
r{,,+
t+.+
ffira ffirr Efin tfin
t0 3-nohvoicinqs Thisstepis do/oted entirely ofleri0o a h€al[ry cr6s bdwr dos*style iti$ BillEvans (bars whicionemight ass0ciate 9-12),andop€r|.slyh tu(6 assehH chords, T}Ese likeMc0oy Tyner, Herbie Hancock, Chick Corea, JoeZawinul, andKeihJanetl. v{ilhplayers tones lr0mtheextended harmony d0wonders t0open-up thelexture l0ryouandl0rtie chord color youmight soloist besupporting.
Example6l:Step4 @
Gm7(sus)
GmaF(6,9)
t*-*
ffi'o
lm ?h FTFM
ffirt
FM
Hr;tf,
3al
m'fr Fffi
ffi
412
Gmaj7(6,e) h,{
FFM
FFFH?fr
m
ffia l 2
lal
Gm7(sus)
Gm47(6,9)
tl-r
t+.-,f
tl--J
H+H12i
H+#rr,
m ron FF}}}I
tffi
tlrE
a
atI
GtttqT(6,9) !*.-{
m{fr mrn Hffi
at2
HM
at?
ffi Hm rtrEl lal
ffi
Hffi 112
Gm7(sus) ffiro Hm r.FFln !4t
melodic hpvoir' [s withanascending open-voicings we?e using larqer Inthisfinalpresentation, $4e yout0G0SLoWLY oleach chord andhear thecontent presented t0force using longtones plrying Belore toeach sound. atnchment diveloping a personal this,you?e theroot.tndoing bver - thatnoonestringisaccidenhlly properly noteisspeaking certain thateach make anychord, muted ormuffled. bein0 which wetelaid youcanusetheC0NTEMP0RARY REFERENCE SHEEIS V0ICINGS Asyouknow, place front0f are. right in these options to make sure that They?e in 16rthisexercise. out-precisely as.part0lyourapproach sounds howtohear these youandmade When learning toexplore. easy noteorhalfnoteaslheharmonic down to awhole ofyourtopvoice them6vemerit iryto keep willstillbeclear. movement
Example62:Step5 () Gm47(6,91 ffi,o
Gm9(sus) riffit
2fr
FITH
tffi tIM]fi
ffi2 3 t 4
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,,standard,,chor Onecouldcertainly spendvolumespresentin0
movements/progressions ff91oooutar (R-n-AjRandA-A')buf,I crrose songforms to usejust twoexamples which would lendthemselves asexercises forthismat6riit.'goth present tunes harmonic movements which areconstant andverylogical. Example 63("Mundo Desmondo'') isperformed witha bossa novafeeling which, asanevength-note groove,.can jaz,aswellaslighter beclose tojanandLatin forms ofpop,Rock, andR&8.you're given a.basic rhythm along withtheessential bassnotes.leaving yourcnoroitcnorces tospeak clearly. In,this lirstexample, you're,asked toexplore theusage of bothinvenions oiineguloe tonis.nJ1tou;ie allowed to markthechordchanges without anyk-eyboard interference, youifroutOnearlusifrow clearly guide these two-note tones oufline theharmonic movemenr. Example 64offers comping inan.orchestralstyle. The.idea isthat,withyourguitar, youhavea big your il hands. The concept.being, you that imagine the i/oiclng; top note of'the ciord 9!F "8" d ih; string) asthesaxophone ortrombone section, anO tne3-dr+-note voiclngs withthdtopnote "E" onthe stringasthetrumpets.. Dynamrcs areimportant here, andyoumrght tiy playing tf'eto*et voiced chords atmezopiano andthehigh-voiced chords atforte. Letter B,ofExample 64,isanexample ofusing octave leaps inyourtopvoice. Remember it'sa melodic voice andanoctave canbea veryeipressive interval. A simple suggestion, trythis movement inreverse.
Thefinal.section (A3)presents theconcept ofhaving thetopvoice slowly ascending through the progression. Inyourownimprovising, try,once again, to reverse thepr6cess creating onj rong descending lineinyour topvoice throughout theprogression Exampl.e 65offers myownapproach based upona Tyner-influenced guitar style. lf you've yourself familiarized withthepresentation ol howtoactuitize hisvoicings in tneguitar tneninii example should make a lotofsense. I'dliketopoint outonespecial ha'imonic approach which I with.McCoy Tylera1dyoucanobserve q; andlistentotfrisasyouplayA AZ,narsZ anO $ssssssssssssssssociate B,bar5;andA3,bar6.Whathe doessooftenovera iimT-V7isto inimeO'iatery playftretitn-t}lpe chord voicing oftheV7even though thebassist usually observes theroots otOotn tie iim7andihe might have yourserf toforce tomake useofthisapproach, asopposed pl;ting; toalways ti._Yqu iimTchordvoicing first,but,if youfindanemotional connbction tothesound, thenyouwi'llintime strike a balance withitsusage. Example 66A("Some Things You're Not") begins withtheguide tone approach. lt ismyfirmbelief thatthisisalways a goodplacetostartandthenexpand yourconcept tromtnere. Onelitile"tiicl; to take note of(inbars 3,11,18,.22,27,and 34)isthatover a V7chord I often usetheguide ionei fromtheprevtous iimTforthefirsttwobeats, givingthesounda heightened feeling otiuspension andrelease. Tryplaying these barswithonlythedominant Zthg"uide tones andlisten to the difference, your then, make ownchoices. Example 668employs a Mc0oyTyner/Chick Corea approach fortheentiretune.lt should benoted thatif youwere to attempt to.play exactly likethisbehind themelody ora soloist woufO Oe ilou guilty ofsome serious overplaying. Forthepurposes ofthisbookl;vetriedto jaminasmuch information aspossible, but,ina realplaying youwouldhave context toweed outa lotofthiswhile listening going towhat's you. onaround I'moftenasked toapplysom.e ofthe"0penVoicing" concepts toa standard. InExample 66CI took "sound onechord.al shape" fromthe"Open Voicings" pages refeience andattempterito appty iiio b_ar if possible. gvery Asthisexample stands, it isa composite oitneopen voicing concepi'and the 'Oecoming Tyner/Corea approach andshould addto yourgrowing sense thatthese voicirigs are popular sound youreally shapes-things hear. Since alltheplay:a.long examples were constructed withtheaidof computer sequencers, I have chosen to useanR&Boriented shuffle feel,withsomeLatinundertones, is a substitute foi a lazlikemedium bounce. Tomyearit'sstilldifficult to make machines ieellikeefvinloneJ,'noy t]ayl9s, Jack DeJohnette, AlFoster, Tony Williams orPhilly JoeJones. lt'salsomy teeting tnitthL shuffle isafeel, anattitude, thatmost musicians, fromallgenres, canrelate to.
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It's the continuinggoal of lhis book roinspire you your tocome upwith own
practice simple exercises anddevices which would accelerate theprocess ol .hearing through the changes." Thefollowing isoneofmyfavorites, part,many because forthemost ofthevoicings can sustain themselves through bothchords though these twochords might seem uirelated. Again themovement between phrase, thechords issimple andrepetitive, afour-bar twobars foreach chord. S0whyv{ould these chords have somuch incommon? lookatthemodal Let's first: oitches Gdorian: G
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forthose andeducational theworkinspiring teaching 0rgivinga clinict0a largegroup,ist0 make likeyouaretalkingdownt0 themoreadvanced t0 g0withoutsounding whohavethefarthest leels players. al0ngtheway,s0meone somewhere lt'sanextremely finelinet0walkanddoubtlessly, manner. thatfinelineinanacceptable thatformostofyouI'vewalked slighted. I amnowhoping
s0 to offerCLARITY; designed ontheCDweredoneattempos Theexamples whicharepresented thesamethingwithoutit beingt00difiicult. thatyoucanhearwhatlam doingandthenpractice track, only bythesame ontheCDwillbefollowed theperformed examples speaking Generally willbecases however, space to befilledbyyou.There myguitar, leaving thenowempty minus 'feels' youareoffered pedals, 0r several dilferent where examples andvarious suchastheGblues 'grooves'with written examples. using thesame which toexperirnent
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youarelreet0 andhalf-notes, inwhole-notes musicis olfered 2G-31 where thewritten ln ExamDles 'feel' playthemin precisely thatyoutryt0w0rk0nyourown by but,I'vealsosuggested thatmanner, lf youlikewhatI did' thoseexamples. Thisis whatI didin performing simple rhythms. improvising played. great I Thepitches willbe rhythms to transcribe the learning exercise it canbea sometimes iustastheyappear. youwillseethattheexercise inwh0le-notes. Initially waspresented InExamples 33-36,onceagain Another practice make certain thateachvoiceis speaking. and theminthatmanner it is important to Inlhe ina'broken chord'style. endist0playthechords thesame method which canaccomplish youwillhear, trydoingit this perlormance thatthisiswhatI did.Please attimes, examples, 0fthese wayaswe. withyouthetechnical details Pollack andI havedoneourbestt0share Malcolm Though engineer you\,villhear0ntheCDpresentations asI noteveMhing turnedoutexactly of mostofthesounds youwillhearsomedistortion 0ntheguitar examples, 0ttherecorded 0n a number hadhooed. myfaultAtthetimeof lt wasactually lt is notyourCD,it is notyourstereo, Donotworrylll sound. fullyrealize exactly did not on the amp and the contr0ls one0f I didn'tunderstand therecording The whatkindofs0undwasgoingt0 tapeuntilwewentto mixit. So,toall of you,myapologies. suchthings.lt will saveyougreat taketheextratimeto double-check lesson hereis t0 ALWAYS laterl embarrassment inthebook,I planned wouldbea play-along CDincluded thatthere it wasknown themoment From existasfullyrealized pieces. which w0uldnotnecessarily Pieces improvised several onincluding harmony canbe andchordal serve t0demonstrate butwould compositions iusthowyourlines pieces playing. inspire each of you're lvill lt is hoped that the presinted while actually side-by-side youtoworkhardatputting tromthebookin yourownmusic,but,lNY0URoWN to usec0ncepts 0fthepieces. each | would liket0saya littleabout WAYII!
0nmyworkwasa constant 0f pianists 0ntheinfluence ofthebo0k,reflections overthecourse pianist in mylife, andperson 0toneverysignificant theabsence There exists, upuntilthismoment, onmepersonally and hisinfluence earlier thisyear(1996), Donpassed away Though DonGr0lnick. Bros.Band'we 0f ourdayswiththeBrecker During theearliest canbefeitthroughout. musically Donlivedin a in NewYorkCity.Incredibly, in theVillage in Don'sapartment usedto iehearse/jam section was . . . so,thewholerhythm wereWillLeeandChrisParker where hisneighbors building Donworked really TRAIN fans-and wewereallSOUL During theearly'70s, in residence! rightthere, persona and DonGrolnick's lf youcanpicture impression. hisDonCornelius hardatperfecting get he worked and w0rked at . . . but, pretty impression down l0r him to this big stretch it'sa "Love, stature, good-bye onedayhegotpretty lromtheshow,Finally, andSoul!" the Peace, mastering pulling oneexample Anyway, lwanted to impr0vise closet0 it andWillcalledhimDonGr0lnelius. groove (itself a tribute to shuffle t0useourbasic in Unit19.I decided together allthatissuggested presence Having keyboard Don's immense a sense of and try and evoke Bernard Puidie) drummer asmyown years onhowI play,andnowstand music withhim,hisinfluence making spent s0many - perhaps mostly a mixofR&8,Jaz,andLatin- is,in part,duetoDon. hbdgepodge ofstyles himdeeply. Wemiss histriends. him,hismusic, andbeing Weallloved 'MEDIANoCHE" jazz. Don's compositio (Warner Latin Bros.), heexplored Don's lastCD, 0n "Rainsville," question without my favorite tune feel, was blues with a cha-cha essentially asophisticated andjustkind0fputmyownspinonit.Asoulhastymixes theBtkey,theattitude, I simply extracted t0s0unding asI'dlike. asI'vegotten sound hereisasclose went, lhavet0saythatI nowfeeltheguitar il I liket0 employ reverb t0thedegree Donreally disliking I remember because Odd,inthiscontaxt, T h e t i t l e i s a n o d t "sliced" o D o n ' s t u n e . . . a l s o i n o "Sliceville." urownslang...whenyou you've to 0nthelasttrain andyou'te been work out,well,
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nowl\ilac's system, computer LatinfileinAlGorgoni's thetitleofmyplay-alono Thisisactually pr6gression by isinspired touseit asatitle.Thechgrd decitied sofuniry,'l sgunded Vision.it Studig ;SSUL sgme brilliant which features mid-'60s onCalTiadeis BURSfLPfromthe oneolthetunes vamp: lt'san8-bar toplayingl mywhole approach piano which changed v{ork . . . work Corea Chick lw7lF7l FTl lv7 lBtT 8 lt F7lF7tBrT ofiimTchords thesuperimposition loremploying terrific 7thworkout, dominant Itsagreat piece Bbturnaround: double-time, issimply an8bar, This lBrrailr l ,l G7(att)tl 8 ll,cnlI cn7lF7 lFi(att.\ them0sl Laporace-Mendes, l0rGracinha it isnamed music, it haslittletodowithBrasilian Thouoh "BRAS;LE1R9" pianisvarranger, last twg CDs, His Mendes. Sergio andwite0l vocatist, increiinG is voiceandphrasing In Grancinha's inO'OCtlNS,'havebeenin myCDtrayiconstantly. brilliant guitarists, teature the CDs these For inspirinq. and so uDiilting music mates evervttrino tnat lantastic Hesgunds thepriceoladmission. v'/orth Jr.,alsgeasily olpaulJackson, accomoaiiment recordingsl!! onlhese salsa alllhegreat outandhearing hanging ofyears otthelastcouple somuch Altersoendino queens, plustaking the Brgoklyn, and Br6nx. ol Manhattan, intheclubs ineirUands vocatisis anC 0t t0themovement lyricspaytribute whys0many I noviunderstand lessons, dance Salsa/Mambo when westwood, grew-up Angeles, specifically in Los I As (lacintura) dancing. ofwomen theltaists thisissort0t City. . , so,I guess Century wasbein!built-up, area busines iwasi litttbiiOanein repeated: 4 bars vamp, simple is also a This play . VERY sort ofllll . . a onwords / thnT,ll Q li A!7/ At7/ BknT (1)ThePuerto RicoAll-stars' ottwoinfluences: iskindofahybrid andfeel Thechord 0r00ressi0n "Africando" ;oe guitar diflerent ol two (2) the exchange track oflers Vol.i. This and co. nriore-sot my overdrive one of and tor 16 bars; presenting the chords {2) only iolnd iounas, nthv re0ular I used a'335'tgne lines. Forthgse otlines. ior16bars Tirbe Screamer thelbanez e,ir,,'ptoying iounOs inthemiddle selector it is:Putygurpick-up ago.Here meyears niossho$,ed iittino*ttliti barios 0n'10' pick-up contrgl the Vglume with set have thebridge areon.Thed iiiiti6n sonoitrpirt-ups 'trick' '8.t0'. control pick-up theVolume onlyuses isthatyourneck The ori inCini foni conirot playing heard.here the playing for 99o/" of live, and When at about'8'. it S'.tipinq ib fonec0ntrol '5' pick-up aslowas sometimesWhen withihetonecontrol iircin m'vcbi, t ontvusetheneck Farber begmet0 andJames Pgllack nirtslllBoth,Malcolm engineers tt'isOriuei iecorOin,i ;6iior'len:u'ptio*...S;lg0toabout'8'...Now,backt0thelbane-z.TubeScr andthefinalcontrgl 12g'clock; DRIVE: 110'clock; LEVEL: thiyaresetaslollows: corirofi.nO pedal.at.all.yyith chgrus the I N6T use this, d0 t0 In addition shut-offll! iiiiiriiils ini iev. . . 1ONE: '79. . . andI dgn'tthinkmy mine since 0f ANY CD this on tike a sound ngt uied iiiiiiiundiitriie isat withthissgund l00largund days thegnlytimeI even These waihalfthisgood. iiunOttren you it. I hope allenjoy checks. sound andduring clinics
Informatio Guitar Technical (lrom HerihpSeries) the1980s GibonES-335 pick-ups: (ca'1963)with EMG Strdoca$er Fender Spacing withGibson Bridge Diiihtzio 7 ExamPle merlonlyonSTfiad N0IE: walterwoodsstercoPrcampPo*erAmp lmlifiE: 'Sild: '1912' (Stock) withone12'speaker Spdeis- roh cabinet fwoUarstratt Board Pedal Etfecs EBL-S Pdil, lbarpz BatlVolunp Emie EificB, of'my' main source olthem.fhe pc&ilBmrd 99%of$ptime,lonlyuse_three fivep0dals, conhim are settings Thespecilic (Metallic Blueincolo0. Pedal OCf-tbCnonnnhnger ;orndEh0ibilEu cfollors:
llainGuihr: ffi GuiW:
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Notes Engineering 'live"asthey guitar emerged mixed were than Steve's All Ol thg inStlUmgnts other as thatrequired something being theonly thing theguitar equipment, AlGorgoni's sequencing from
model wasanOtari1' 16-track, Inthiscase, thetapemachine recorder. asa taDe old{ashioned was aTAC Scorpion. theconsole MX-70, and The u87s,onein frontof eachcabinet. witha pairof Neumann Theguitarwasrecorded a uis, using andslightly offthemainspeakel were afootorsofromthegrillecloth, microphones pads The on. signalwas pattern, 10 switched internal dB roll and with the no low-end off, cardioid usedwasa dbx166stereo Thecompressor compressed. butslightly senttotapeunequalized, project 2:1 inexistence), setata modest (ascanbefound, studio I believe inevery cgmpressor I can'tbesureol that,asI rarely exceeded 3 dB,although thegainreduction ratio.I imagine it. watching much ofthesession spend certainly didn't - tworeverbs, pitch-shifter, as andastereo adelay, setup withaverybasic wasdone Themixing follows: I which are thediffusion, I usually editinthispreset Plate. Theonlythings Vocal Rev-S: Yamaha "internal parameters'), parameter (one of the 5,andtheE.R./Reverb oftheusual likeat10instead reverb. Anice transparent I setto20%. which reverb thananyoftheYamaha anddarker, Rather denser, PCM-70: RichChamber. Lexicon ol the Herearethenewsettings rather extensively, editthispreset I customarily atgorithms. parameters I changed: Value Location Parameter kHz 9.02 High Cutoft t0.61 (Reverb Time) 2.05 s RT Low t1.01 1.25 s RT Mid t1 .1 1 kHz 5.75 RTHigh cutoff 11.31 99 Diffusion 12.01 I used without anyedits. harmonizer algorithm, stereo C.Asimple Pitch Change Yamaha SPX-90: ofitontheguitar. used also thedelay,but totreat itmostly iustalittle yamaha oneside.I butI onlyused output, astereo offers Thisprogram L,R. Adelay. Delay SPX-90: frompieceto.piece thedelaytime,whichvaried ofcourse here,except anything didn'tedit toar eighthconesponding it wassetataninterval andthefeel.Usually oninetempo depending generally millisecond in 2ffi-to-350 quarter-note was the and triplet, a or adoledeighth-note, noie, ways sttbtle toadd inma.ly which canbeused delay, about atlength todigress range. I amtempled Inthiscase, I shallrefrain. book andnotmine, However, asthisisSteve's t6mixes. depth lile-and directly tothe wasnotadded feedback, andsome roll-off abitofhigh-end after signal, thedelayed pitch-shifter. only tothe was sent mix, butinstead -Malcolm Pollack NY Brooklyn,
KhanDiscograp Steve feature: recordings These Mainieri, WllLee, Mike andStanGdd: Don Grolnick, David Sanborn, Brecker, Brecker, Micnaet Randy 'Tightrope" 'TheBlue Man' "Arrows' "The Khan' Best ofSteve 'The Collection' guitar: acoustic Solo "Evidence'
JC34857 Columbia.
Columbia. JC35539 JC36129 Columbia, JC36406 Columbia, CK57907 Columbia.
1977 1978 1979 1980 1994
1981 AN/3023 Arista/Novus, '1990 RCA/Novus,3074-2-N P0CJ-1892 Polydor, Uapanl
Badrena Jordan, andManolo Stew Anthony Jackson, featuring recordings KtnnandEyewitnas Steve 'Eyewitnes" 1981 422-848-821 Antilles, P0CJ-1893 Polydor, [Japan] "Blades' 1982 PJ88001 PassportJaz, P0CJ-1 894[Japanl Polydor, Times' As'Modern "Casa Antilles,422-848-822 1983 Loco" P0CJ-1895 Polydor, [Japanl 'Casa 'Blades," 'Bestof. . .i Selections plusthree new and"Evidence," Loco,' from'Eyewitness,' Parker: andChris NeilJason, Cafe, BillEvans, Carter, Clilford featuring: tracks 'Helping Hand'
P0CJ-1896 Polydor, lJapan]
1987
guitar: leaturing acoustic keyboards, withRobMounsey, Duet "Local Color'
33CY-1840 Denon,
1987
Badrena andManolo Weckl, Dave Anthony Jackson, featuring recording andEyo,rritnes Khan Steve 'Public 1989 GRD-9599 Records, GRP Acces" J00J-20364 Polydor, [Japanl
drums: bas,andAlFoster, acoustic TriowithRonCafter, 'Let's CallThis"
P0CJ-1060 Polydor, lJapanl R279163 Bluemoon.
1991 1991
bas; Jackson, and0tniletwithAnthony drums, AlFoster, bass, acoustic TriowithRonCarter, percusion: Badrena, Manolo drums; Dennis Chambers. Polydor, P0C,J-1115 [Japan] R279179 Bluemoon,
1992 1992
Manolo Chamhrs, Dennis Anthony Jackson, leaturing recording Khan andEyenritnes Steve
Brecker: andMichael Badrena, "Crosings' P0CJ-1217 Verve, lJapan] 52326V2 Verve,314
1994 1994
andCafe: Marc Ouiflones, Allende, Bobby DonAlias, Dalohnette, Jack Featuring JohnPatitucci, 'GotMyMental" 1997 Contemporary Dan Uapanl 1997 Evidence
Publications PatMartino Guitar Solos: The Early Years CPP Belwin The Wes Montgomery Guitar Folio Gopam Enterprises Steve Khan andEyewitness Songbook/Guitar Workshop Series Warner Bros. Publications
AsProducer "Two fortheRoad' Larry Coryell andSteve Khan Arista, AB4156 BMG 819D-47025 'Step lt' BillConnors Evidence EC}22080-2 "lnferno" Eireli Lagrene Blue Note, CDP-7-4801 6-2 "Foreign Affairs" Bireli Lagrene Blue Note, CDP-7-90967-2 'Time InPlace' Mike Stern Atlantic, 7-81840-2 "Jigsaw" Mike Stern Atlantic, 7-82027-2 "Fanhsia" Elias Blue Note, CDP 7-96146-2 "Paulistana" Eliane Eliane Elias Blue Note. CDP 7-89544-2
i'u
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0rlllnel Penand lnk by Jsan-ilichol Folon.
1977 1988 1985 1987 1988 1988 1989 1992 1993
Bros.Publication fromWarner AlsoAvailable Title
Book/Audio
Guitar Fusion JoeDiorio andBeYond TheBlues Ford Robben fortheCurious Just AllanHoldsworth Master Blues B.B.King Techniqu FrankGambale PlaY-Atong Ultimate MikeStern withtheGreats Eubanks' Lessons Keuin JohnAberctombie, ScottHenderson' FrankGambale, MikeStern Lukather, Steue Force Creative PatMartino Morse ofSteve StYles TheComplete Morse Steve Morse Steve TheEssential Guitar Jazz-Funk JohnScofield
Artists: these Videos'with AlDimeola AlbeilLde ScottHenderson B.B.King PatMartino JoePass JohnScofield DonMock
AllanHoldsworth Joelliorio HerbEllis Fotd Robben FrankGambale SteveMorse Santana Garlos
AlsoavailablebYSteveKhan PubliCations Bros. tromwarner
Years TheEarly Solos: Guitar PatMartino SteveKhan:EyewitnessSongbook/GuitarWor
of catalog Fora comPlete Video' REH Video, DGIMusic andManhattanMusicPublicationscont Publications Bros. Warner FL 33014 Miami, NW48thAvenue, 15800 620'1500 or(305) (800) 628'1528
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