Jazz Solo Guitar Method

(1)

ú

lEf;

:mrx

r:

Ex.

I

The

_rcü,:*ine

:

exa-c,pies

ue

:uncucna.l subsuruuccs acr

DmrnT AminT DminT Ex-2 Emtn//

Er3

_Emln/

E35

Am¡n7

vr

The fi¡st cxample is

üe

ubiquitous

I-VI-[-V

progressiou The subscqucnt ex¡rmples are all using functiond substiu¡üon to arrive at tbe ncry chord progressioos. Play thcm- Although thcy a¡e difrerent

ücy

rcuin

the s¿mc

basic souod. This is the ñ¡st stsp in learning how to re-harmonizc chord progressioos. This simple device lays thc groundwork for tbe advanccd re-ha¡roniz¡tioo's to follow.

Try thesc ideas out on your fevoritc urncs. A¡Eost all sta¡dard ¡s¡3s

so¡t¡in

üe I-VI-tr-V

progressiou. The only way to gct thesc idcss iD yor¡r playr¡g is

o

apply then to nlocs you play.

(2)

Chord

Inversions

The order of tones in a chord is known as

is

inversioo. Tbe root of

üe

chord docsn't have .o bc on

üe

bonom of the voic¡n8. voicing is anotber term uscd to dcscribc the ordcr of tones in a chord. Therc a¡e four main typcs

of

voicings.

1.

Closed Voice

2.

DroP-2

3.

DroP-3

4.

DroP-2 and 4

l¡t's

üscuss üesc in dePth'

A closcd voice contai¡s all

fo¡r

ooes of e chord

wiüin

ooc É:teve'

Fr

exemplc

G7

J

G,

Although rhesc voicings of G? have difiersnt oncs

i¡

tüc

mlody,

tbey a¡e

dl

clo§€d voiccd chords' since thc di§ancc f¡om thc lowcst ootc to the higüest oac is u¡irhin onc

etrrc.

Pl¡y thcsc voicings'

occd-voicc

cho¡ds a¡e

us,aly

diffrcult to pray sioce tüc

oo"T

*itio

tbc cbord

ür

3o

clcc

togethcr. Root pooitioa invcrsions of closcd voice chords gencrally work tbc best, but tberc e¡e otüc¡ siu¡rtions wbcre closcd voiccs work well, as yol¡

will

scc' since closcd voicc cbords afe so

difficult

to _{Pl¡y, gult¡fists}dcPcDd on othcr voTtrqs for comforr

orc

of thc fDo6t comtrIoo is tbc

drop2

voicing.

Tr¡ddüc'doá1* fu.'ü"

top of a cloecd voice chon4 and dropping

it

dowa an oct¡¡ve, creaEs a droP2 voicing' Example:

G7

m..

m'

m*

EIIEIt

ffi

Dmf2 Drop2 Dmp2 Dlop2 FAOJAZZ

(3)

Pla!

xes.:r¡¡ilies

ior

Gi

\!-here,tre

:iossd'"'otce;¡cÉ

¡3s

JnEassi¡ie.'-'ie:¡cO-'l:s','er'

¿'.u',¡¡:lelCu Since Jrop-1's are oo

{

ad.¡acent sungs. rhere wrll be th¡ee sets of these on-üe gurar. Look at'.lus ülustrauon:

smt

xxf-l

xrTlx

SET

2 lTlxx

SET 3

t e¿rn

a¡

the diaronic

d¡of2

chords on

all

threc scts

of

strings (Scc also

Dro72

Concept

_for

Guitar by Charlcs Chapman, 2001

Mcl

Bay Pubtications,Ioc., c¿talog

#MB98ltl.)

Tbcsc are used

quia

oftcn and

yor

¡¡¡6t66t¡nrling of the fretboa¡d

wilt

grow considcrably.

Drop3

chords a¡e formed in thc exact sa¡De tyrrnñer, cxcspt tbc

thid

notc

froE

thc top of thc cho,rd is droppcd

one oct¿ve Ooúrd Am7

ffi,*

ffi

Drop3 Clacd Am7

m-D¡p3

Am7

m-Drp3

Am7

ffi*

iiilü

Clcd

Drop.3

Look at tbc foüowi¡g exanples of

drop3

voicings forA'mia7'

These chord forms also work very

wcll

oo

üc

gt¡iter.

Drop3's

can only bc played on rwo seu of strings as demonstratcd

i¡

üc

following illrxtration.

(4)

As with rhe

drop2

voicings,

it

is esscntiat to learn thcsc on all

t]re chords

¡,

g¡¿ m"jor scale' Thesc vorongs

rnd

ro pur rhe

rowest';;irh;

cnord

faidil;;

;;;"

gurtar Tbe

danger of this is thar the rowesr tooes

red

ro sound like roo.. as yoo

p*,

bcrow

É

a¡d

p'oo

t¡"

e

string. To

demonsáe

this, look at ¿

smin,

drop-3 with the

scuenti, in

üe

melody

(op

of the cbord)'

al6

or GminT

m-DroP3

Tbe first chord is a cloccd voic¿ chord. Dropprng

q"

üird:ooe

dowu ¿n

ct¡ve

crearas a

drop3'

Play this chord;

it

sounds tiXe a Bii-cUo,rO

fa$sr

*J;ifi"?

si¡cc

Atgb

it

*

to*'

ftis

holds tn¡e on

eny

t¡pe

of

voicing. tf the rowest

;;il;ffiroiEt ñ

e"

r.;

toa"

*iu

tate

iorot-titc

qualities' At certain times

üis

cril

be a desirable cficct'

The

fi¡ar

voicing is tbc

drop2

_"od

4.Pi,

voicing is !¡e8Td in

tbc s¡mc menn.r as tbe otbcr voicings' From a ctoscd voiccd chord,

d;-;";;JeDd

for¡fü

ones. Here is an crample:

GM¡¡7

m-Drp2rod¡t

GminT

ffi

HtH

Cl€td

C

J

C

o7

J

eUeiT

m"

play _thischord. sincp this voicing is so widc'

it

is

us'd

in

mty

cartai¡ circumsa¡ccs'

**á-tn"-u.rt

whcn

üe

lowest

nacof

tbe chord is

6c root

Aswiütbedrop3,s'thcdrop2and4canonlybcplayedontwosctsofstriogs.

illustration:

S.ET2-xl x

l

Drop2

a¡d 4's tcod

o

Exami¡e tbc following

10

(5)

.:,

¡esc

.J.erj

,ut lo

_'.ne

icllo\Img

lncr:s.

LlsteÍt:c:low

i3c:

,,-.rcr¡B:.,re )cua,üj

:-ir.

_rt(tLl ^.cÉ .,

_{tu :rn}

rs€

üem

ror:omorng

¿s'*ell

as creauirg cnord melodv irr3¡gemeo§.

CMa¡7

Dmfl

F7 Drsp2

3

AM47 Dro'p,3 emzÉs) Drotr2

bo

ebminZ Drry2 F mln /r Drop2 DminT Drop,3 FMaiT Clo§€d cMa¡7 DrorFz rfl. BMa¡7 Drry3

Remember to

lart

with

e

clc€d

voice chord when crcettng the drop vr»iciryS

See page 37 for soluüons

PNqJA.Z

(6)

Extensions

Extcnsions are notes that exrcnd beyond the 7ü of tbe chord. ln order to kecp the chord voicing down to only four ootes, extensions replacc particular Ooes

in

a chord. This kecps

üe

chord very clean sounding' and vcry playable. Exa¡nine tbe following diagran:

czfg

m*

te

1¡ ¡Il thc¡c eüord tfOc+ rb 9tü

rill

rtPle

ü'ld ofü'ürd

fb.

13ü

¡

¡p.Eift b dooi¡¡r ctodr

Itvüdwrprpla

tb 5ü

czün

m-CrnaB 9's rephce I's l3's replacc 5's

Extension Chart

c9

IIIIOT

Hfü

_¡I¡IIJ

.o

czf rg

m*

CmiÉ

cág

m"

bo

m"

m-c13

m."

a

c6

6 i¡

a

¡rrihblc cxtrasioo oo orjcn od oircr cborús'

Cminll

Fffit

ffi

_3rd

_rqld

Cnrqzlll

m-6's rtplace 7s

ffi*

Htfl

Cmin11 L IiLLt.tói I..,J.LLIJ ?+++.i..1 L.U 5rh

rqlad

f

tl

t

n

rvrittte ccosi:o

o

MrjT'.úd D@7 cño(ü.

Cmiú

-¡-rla¡ r t?tl alJtit

Hfi

e

If you nphcr tbc 3rd YIü üc I lü thc chord techntc:ll¡ rs not a

or¡o¡ chord aay longer, s¡ncc ücrc ts oo ruoor irC

tl

(7)

3-rS:]jiCl'] JilSf pIC\ld,e{,. _l.hej-i-:l _{:x¡¡nc,e:aj :r:: lCrle}_,r-.eic _:?: ,'le rote ln ieiauon to üe chorci svmooi.

From'ire::..,.,..

=....Jro

Things to remember:

l.

A mrnor third on a domi¡ant7 chord is a

_f9

2.

The 6 ou a major chord replaces üe 7ü. On a domina¡rt chord the 66 or ( l3ü) rcplaccs the 5ü.

J!¿

demin¡n¡ retarns

üe

seventh degrec.

3.

Domin¿¡¡ 729 chords sound great anywherc, since

üey

cnd up bcing diminished 7ü chords.

All

other voicings need to be eveluatcd bas¿d on how they sound. Usc yor:r ears,

ücy

are

üe

most valuabte tool you have.

Scc pegp 31 lo¡ a

pcsltte

solution

Thcre 8re

E¡ny

düerent

r¡ys

to do thic

av¡mple

FNOJAZ:z

(8)

Ilarmonizing

a

MelodY

HercisasrmplemloavSl:,:?,:ffi

LiH:l["trn::J,ffil,ilil:::'*iI"iH'#:3ffi

;

Herc is a sinplc mgrodv

wiü

a.ve¡v

Tffi

,T:1['ff:il:J,ffiIríi'il";"tó;"nes

in this exampre

*.H,

i,.Ñiá*"r''g

üe

melodY ones

fit

on a1l ttre chords'

DminT

G7

CminT

F7

DminT

FminT

eh

Look st pege 3?

for

tbe correct

¡ñfreñ.

I)on,t

forgpt tbc

eremion

ch¡rü

cb¡pter

YfI

solution

A

-r-i,-:il;¡;d""iffi;ffi

#-§#ffi

:i-#Hu§¡ffi

láo,i"..

For insuncc:

u

r;;h"."r{ltectoov',.r-f_gr.k"ücvoicingor¿nuera¡dwars'

eoually q,sll

i¡

¡evef§c'

_"

::-::;;

_v(fti¡s.

Excosim

tgdl to ir is

soffirc

uicc to er,

il,Iso"

tu

vcircing'

Extcosim

td

to

;.;""r.*

closcd-

a.r2:.*'l^1'

H

ffi,#l:'o¡J

áp,,

*

i,sid'

tu

voHng'

EÁ..r¡¡rw

-

úoos. This

includes.".lffia*zi,Hf"1

#

rhe

sccond

*p

il."@s

tuc

cuf

1ffi

Jt*fi

Jüfr;;

oe

"

oici¡s

*

I#HTH""|:

*i"iñ";-ml;

H"rill

JI;".;l"Jri"

r".""*

IJir-

";.iÁ;

out as vou ner¡re

üem ou

eocouotgr' Have a prc§c

ur

a r u.r, bccooc Í,ore

acco'puso* ".'-^L']l¿,

Makccreati¡r':,H:Hg'ffi

"JiffHil-?*'iif

$;*Jffi

find Your abilitY rc ba

mclodies witb cború voicings

bclos

thso'

hoc

lstr

dooc for you. A

drop3

is uscd in thc

Hercisanotberoelody.p@ll}Tbefi¡stoclodytoocbasbcagdoocforyt

fr¡st cbo¡ü but you

cJnl¡É toy "oi"'ng

yor

likc'

q

t

I

(

( ( ( I eb

ffir

ffi

DminT leG 7 CminT F7_le G7 19-. CminT 9 Bb7 EbMa¡7 Ab13

Lr¡

Fnún7 R R-Root

I.ookatPaSe3tforapossibleha:r.monizatioosolu6on,Chapter\IIIsolutionB

14 CminT

(9)

Harmoniriog

\on-Chord

Tones

I¡

th-rs chapter we wrll deal with melody notes

_üat

don't belong to

üe

chord. There are several meüods ro discuss; ail of them

will

b€ looked at in depth. They are as foilows:

l.

Diatonic ha¡moniz¿rion

2.

Chromatic approach

3.

Domina¡t approach

1.

Diminished approach

Examine this exarnple of the diatooic mcthod: T..cf f3 DminT

tñf*

ffi

c6

-¡-a LJ.}t flr,

ffi

m-

m"

ffi'

(Emin4

eág

ctg

F7 Bhra¡7

o<H

totE

Tbe diatooic mcthod worts in

üis

way. On bcat 4 of thc first nreasurt &ere is a G oo a Dmin? chord. tnsrced sf [a¡Eonizing it as thc 1 lú of thc DEin7, trea¡ it ss an FrñinJ. This crr¿tcs thc fccling of mvemen¡

¡¡¡[6

th¡n a st¿$ratrt chord sou¡d. This is dooc by talcing a chord

di¡tonic

to

tlr

key

you'rr

iu

usually thc uext diatonic chord up from the originrl.

Drop2

voicings a¡e r¡scd exclusively to h¿¡monizc this mclody. Noüce the exrcnsioos on tbc G7 aod C6 chord- Refer to tbc extcnsioo chart

if yor

Ec.d to.

Herc is anothcr cxample of tbe diatoaic mcthod: Tr¡ck,ll

CminT GminT

m'm-ffi'm'

m''m-

m'mm'm-

m-m-m-(DE¡7)

(Ct!b7)

(AEb7b,

'4.,c.L

, úxr¿ tú

I¡

this example, thcre are th¡ec oon-chord tones. ln each inst¡nce, a chord diatonic to the key of Bb major was uscd. This gives this examplc e ¡nore sophisticated

soun(

ratber than the bland sor¡nd of repeariag

üe

s¿me chord over and over. Also notice that a chord diatonically above or bclow the cu¡rent chord usually works the besr

Drop

2's werc uscd for the cnti¡e g¡¡mplc.

FFCUAZ

l5

(10)

FminT Í5m!t. ñfriñ i-,t-frfl

err¡cktr

m-m-

ffi"

The ch¡omauc approach is anothcr very cffcctive meüod

of harmonizing noo'chod tones' l-ook at this

exarylc:

abz ebua¡z

m-8

t,**6rn,

ffi*

ffi

m-

m'.

ffi'

ffi-

ffi"

m'-x

_G

c

C

J

t

f

I

i

ol

I

-(

(

¡

(

( ( (

q

Gsü7)

_r^-¡

_¡L¿

_nf

_.¡rsurr'

ooc, the otber on bcat thfcc

.JHH:*ár,:ffi

rilffi

TI#,rl,iH'*r'r:ffiffi

ffi

Hñ"rv1.'t'15"

no*s

af" Erovi¡e by

n.r?roti*

_"o."

ir;"i",J.r,ur;*;ñrr#Iil'u"

í-o'

in voicing and tvpc as

üc

one you a¡e

resolvi¡ril'-ñ't*''s

¡¡¡

l¡scd

exclusivety in this exanple'

Herc is a Eorc i¡volved examPlc:

Tbcre a¡e scveral ch¡omatic toges ,n, this mclody. Io

ü:

sccond measurg a C9 chord is uscd

on bcat

two,:nd

aooroached

ctmmuic¡ñ,

*a

a cüg.

¡:?:Fñ

is-us€d

,t

c7

_"i

üe

last threc

oics

oi me¿s"¡re r*'c' Tbis

"'"

diminished "uor¿s,

whicb sound

"ro*ifrr-rJ'hv

ttris

t;;;;;üñ

to

Ñ

efrecure 'jus meüod works.

(l'7)

c7

ffi'-

ffi- ffi-

m- m-

m*

ffi-

ffi.'

rÉa

_tóu¡¡a

FSO.JAZZ

a*a

fU,aí7 EIIEI¡¿

ffi

l6

(11)

-_-_---_--: i-)¡6 ¡rf ne m.csI pc)Dur¿r

l]enü:s,1r

ilJ-n:lcni¿ng

3ooincrd

iLloes:_{ jJ,r"tül _{ue JoEl.:¡ü¡i}_art"a:"a:.._,:_{¡,:r-x._}_:,,

rpproacnlng

:ny

:hord oy- it's dom.ma¡r. Fcr exampie. ihe domr¡a¡r of E7 would D€

B;.

since'B- rs ule

:o

:r

Ei.

L-ook at this srmple example:

S

rncl *r

-

BaMaiT GminT CminT F7

m'mm"m-m

de - b¡bott

I¡

this ex¡uuple, all thc dominant approach chords 66sr¡in

¡h

fUir

cr€ars¡ teasion in

üc

cho¡ü a¡d makes tbc chord want to rosolvc ¡norc strongly. lo measurc th¡rc, oo the for¡rth bcát tbe Bb could have becn harmonizcd as

¡

CminT si¡cc tbe notc is tbc scventh of

üc

chorü The dominant approach was r¡scd aa).way, to create morc intcrcst in thc harmoniz¿tioo. Try usiag a CminT hcre, listca to

üc

differcEcc onc chord can make.

Here is a tnore complex exaoplc:

HE-

ffi'"m*

m'"mBi^m-m'

m'

@*

ffi

m"

ffir

l-ff.i+i

Trrt

rt

DminT

m-

EI!¡¿

ffi

@

ffi

(AÉe) Cl¡le¡7 G7

ffic

Hfr

m" m*

m"

m*

ffi'm*

m'

[IEll¡¿

u#*l

l1-i-fñ '(AEi!7)

This eighth norc example contains scveral i¡stances of thc dominant approach. This is very effective since the domina¡t chords want !o rcsolve quirc sroogly. This dso propels tbc harrrony with forward momenrum. Notic¡

üa¡ in

measure rwo on the ead of

üe

first bc¿t, the

diaonic

meüod was uscd.

I

couldn't use the dominant

ap

proach sincc rhe ootc

"G"

is oot a chord tonc of D7. I could have harmoaizcd it as a G7 chord, but i didn't waat to repcar the G7 chord herc. The AminT is the perfect solution. Combining harsronizatioo methods is very effectivc as well as very commoo.

Try

scveral differcnt methods

until

you a¡e satisñed with úrc resuls. There is always more than one way to haruronizc a melody.

moJAzz

(12)

I

&,r"*rfi,n,

The last cornmon method

of

harn¡onizing non+hord tooes is the diminishcd approach. To accomplish

üis

aPProach, voic¡ a d'iminished chord bclow

üe

dcsi¡ed melody norc'

Here is an example showing how to usc

üe

diminisbed approach'

abz

eh(rgl

ehua¡z

---IÓ]' IIÉ

i+++i

m*m-

m"

m"ffi-

ffi"

This simple example dcmonstrates

üis

Ecdrod very well. Tbe ¿liminishcd barEoEizetion can be uscd

an¡ime'

Bccquse of rhis, i,

"*

;.t

ñ

out of a jam wbcn otbcr úarmoniz¿tion methods

uen't

very cfrective' Your ea¡ is thc moo imporrant toot yáu

Lre

for

dacrrrining

how weü e voicing wor*s' Tbc

6cory

witl

hetp

yur

explore the possibiüties, but your ear should bc tbc

&iding

factm'

Here is a nrorc complex exanple of

6e

dir¡inished ap'proach'

S

r,-r*,0

FminT

BlminT

ffi"

m'

m*

ffi'

m' m'

m*

m"m-Ahta¡?

ffi*

ffi

m'

m-

ffi"

ffi-trtEc

ffi

Tbe ¡timinished approach is very cffectivc bcre. Notice the use of the

diuonic

metbod in measurc fou¡' beat rwo. once again,

.o.üioing

rocooás woria great- It is ra¡e to usc onc oethod wheu harmonizing a melody'

ebz

F:oiAZZ

(13)

Exploring

the

Diminished Chord

Here is the C dimlrushed scale:

The diminished scaie is a symnctrical scalc. It is built oo a pa[ern of alternating whole srcps aad half srcpc.

It

also has the distinctioo of having cight norcs. In

üc

traditional

worl4

this is knowa as a¡ octatooic scalc. When you build tbi¡ds

off

of any tonc in

ttp

diminished scale, you get a rliminishcd chord. Whea you crearc diÉinished chords on the

l',

3"r, 5ü, a¡d 7Ü of thc scale, you end up having a whole srcp above each chord tonc. Look at this examplc:

EJH''

H#il

ffi*

HtH

ffi*

[üfl

m'-b Drq3 voiciag

¡sq,, tak¿ _anydimini(hed chord voicing end try ¿¡sh¡ngins a chord tooc

fu

a scale looc a wholc step above. Herc are somc examples:

ffi-

m*

citi¡¡l

d;n;¡¡.r¿¿

áoü

ibL

f.? rbor!

QD!!

rd4

JLErI'¡

¡ñrL

q

rnd sccod mtc

lEr

§lrr¡'¡ !¡vorit

This merhod can crpatc somc grcat cbord voicings. This works oñ any diminished chord. As always,lct your ea¡s determrne how effective a voicing is.

FSOJAZ

Ndc¡

tüotae?.Do"G

c..i

Ddoút

ic ü¡

¡l¡Er!¡+.d cio¡¿

(14)

HereisaclassicjoePassexarnplebascdonthisidea: Tnck *l l DminT G7 ñTmrc

ffi

@¡t

i.+t+.{{ ü1111 l3

ehfe

ehr¡¡z

ofzfg

ahua¡z

rfim!i

ú1r

htü

Here rhe diminished chord is uscd oo thc G7 rDcssufe. This works si¡cc

üe

diminished cbord contains the L9' g, _S,

;a

? of the dominant chord' For instancc:

BDFAb=Bdim7

$lD

L¡t,s examine this in more dc¡ail. sipcc

6e

diminished

chord is madc up of minor ttrifds, tb€ root of the chord

*r,

be--V

tone in

tle

voicing' t'ook at this

cxaryle:

Th¡ c¡d'd co bc c¡lloÜ-F,

ABqDiE¡bi¡btlt

I¡

rhis cxarnple É¡e r{iminishcd cbord ce¡ be

o¡Ecd

n

t:

B. or

D.

Takiog

_§s

gne srcp

forw¡¡ü

since this

di'inisbcd

chord is arso a

Gdá,

tr*

ro5,:r

r, ,

b" ca,ed

;';r§,Bb¡ñ'ú'lb9'

or',Jw''This

is possible

Ñ¿r

the dominant chords a¡e a minor 3d apart' Herc is anoüer example to fu¡tbcr

ürstrarc

this:

G

r.-r*,,

ezfg

ezbs

ffi"

AMa¡7

ffin

_Fñ?f1 fflfñ

ffi-

m-

m*

ffi-CMa¡7

m-In

üis

example, the identicar voicing was uscd for every

Dom*g

chord in each mcasure. This exampre dem' onstrarcs how one

tr'"ti

_"Li"'g

can rcsolve to four difrercnt

roos'

Spendsomeumewiththeseideas'theycaDoPenawholeoewworldofpossibiüticsforyou!

69Jlz

(15)

An

Example

Tune

The best way lo demonsrate

üe

usage of

üe

methods discusscd is to apply rhem ro a rune. The tollowrng original rune resembles many of the st¿¡d¿¡d runes you know or should learn.

CIoudy

gbm¡nz

_Eh

Fnún7 Bh

elua¡z

Bh

BVT ehua¡z ebua¡z ,-J-BbminT

Éh

Ah{e¡7

)

lbm¡nz

oh

ebua¡z

cminT

FminT Bb7 EhrraiT

TRCUATT

2l

'l I

\

'--¡!__--l

(16)

rn the next exa.urple,

üe

rune has bccn harmonized using an the methods discusscd thus far.

Take your time learuing it_ you should have a firm undcrstanding of what basbecn

done before you proceed to the morc advanced chaptcn to follow.

Ttre voicing types h,ave bccn labered foryou m

rlorú/'berow

the stafi. chords werc rabered only whcn

É'e voicing rype ctranged- Tiris makes for less cruucr m-üe

page. Tbc nuntem correspona

o

thc expranations given you bclow üris

exarnpre.

If

rbcf"

o

no

iÁu",

given"

fu

urllotxi*

r'drod

has rurnai¡cd thc sanp. Notice üre exrcnsions in

óc

rrlody

as

well., i*r¿"

o"

choá voicrng. Finany,lcam üis úfafiggu,st,

it contains all thc marc¡ial discrssed thr¡s

fa'

gbm¡nz

m."

Eb7 Trrf. rt3

Db

Ebr*ta¡7

ffi"

m-CninT

ffitt

ffi

Ahla,7

FminT

Gl'7) AbminT

Bh

ebua¡z ebua¡z [IEI}G.

ffi

m-

m-Ebit¡¡7

c7

FminT gbm¡nZ

(Gdin) (EdiB) AhvtaiT

ebt

sh

m-

m"

m-

m*

m..m-

m-

m.m'

(1.)

abz

ffi'm"

EHc

ffi

(c-7)

ffi

m-m-m"

hua¡z

ffi'"

Eb7

ffi"

m*

m-m*m-

m-AhvraiT ñTñ'].É lt§tn

ffi

?

aa rr¡Tn rÉ

firfi]

HtH,

FiOJAZ

(17)

.-¡----&

-I

2A-ffi¡t

l-!-.,ltl

[tfl

ffi¡c ú,t

ffiffi

EItrll¿

H

m..

m*

m..

3.:t

a

la

FminT Fmrn/

>-.

2>l

--¡-'É

_{dtr --¡i'r.}

ai aa aa ---zi if.Iirij r:'tfñ

::3 í-rfi

ñf-

._--.-:-J-f7

*+l

ffi

EbiraiT ¡¿ aitt . at iJ 2O EÚ7

4

(4.) abz (5.) Ahn¡nZ

Dbe ebua¡z CminT

m*

m"

EE¡r

l¿llJ.J

sttr

Ei6 abz

m'm-

m'

m-

m'

m*

f[a¡uon

i z ation explanetlons

l.

This is an example of thc

ch¡oo¡tic

approach. The

_fu7

is

approrhing

tbc Fm7 chord chromatically oo the end of be¿t ooc.

Z.

Herc is an cxample of tbc

di¡onic

mcüod. A Cm7 was uscd aftcr thc BL'7 since Cm7 is üatonic to thc key

"f

Á

nlÁ""O

"Cl*rdf

is iD

É,

thc chord progression we a¡e dcating

wiü

at

ttp

momeot is a

II-V'

I iD Ab.

3.

This is an examplc of both the dominant

a¡d

dinioished ap,proacbcs. Otr the end of bcats tfuee and four, Diminished chords are uscd to harmonizc the melody.

§i¡s€

rliminished chords can

dso

funcaon as domina¡t chords, we can look

u

üis

as either mcthod. Both of tfresc diminishcd chords can bc called É7b9,

üe

V7 e¡

¡f¡'"

4.

This is anoócr example of tbc ckomatic approrch. Tbc

As7

is being approrhcd chronrauce.lly by r]re Bbm7.

5.

Here is yet anoüer exarnple of the chromatic approach. This d.m"

q*7

is uscd to approacb

üe

Gm7. Take time ¡6 sn¡dy ail thesc methods. Thc marcrial to follow dcpends on youf ability to undersund ever¡hing we've discussed.

I

would also recommend trying thesc idcas out on some of your favonte runesl

Abm¡n7

ffi-Fno,JA2Z 23

(18)

The

Tti'Tone Substitution

one of ibe most commoo methods of chord substiu¡tion

is the tri+onc substitution' It is a substitution berweca dominant chords

t¡"t

**

tnt

same

tri-one'

l't's

exarnine this in dcptb'

Tbe fi¡st

üing

to understand is

tba11T-r*

is thc

intcrvar of a frat

ñfth'

If

we look at a G? chord' we sce that tbcre is a tri-tone

bet**t

Ot

7ü aDd 3É of the cbord'

Tri-TÉ bcttgEo F

dB

vuhcn aDL? chord and a G? cbord a¡e cooPare¿

¡n

intcresti¡t*ffi#.ffi";ttff#ñ:

botb cbords. Notice

'¡"t

tf*

io*'al

bctwcco tbc

t*o

of both cbsr samc ui-tone'

o"y

t"o-JiuUstiotc¿

for

each oócr' Exaruplc:

G7

ol'z

Hercisasimpleexampleoftbcui.oncsr¡b*ia¡tiooooatr.V.IProgEs§,oB.

e

rrrl*r4

ffi"

HiH

m-cni¡cbctsca

G? EdDb? obz

ffi*

l-iitl1 tT¡m¡r

_rífñ

Hic

CMaiT

ffi

Cll8i7

ffi

ui.@¡¡Ñb

PROJAZ

(19)

Chord

Movement

This chaprcr de¿ls with some intercsting motion within chord progrcssions. Thesc ca¡ bc used

as'ftll"

mate-rial, or tcchniques

of

gening from one placc to asotber. Thc

fint

mcthod discusscd

wiü

bc the passing

minor

cüord. I-ook at this following common chord progression.

amzüs)

By incorporuing a passing minor chord we crcatc Erore inrcrcst in

üe

bsss linc. This crcarcs the fecling

of

rnorDetro¡m

wiüin

tbc

progression-&r.*r,,

DminT Irt.Lr! rt

ffi

m'

m-D13 @.4. ItlÉt

utü

DninT/C 8m7P5) E/(09)

Am(mai7) AminT Amin6

Anún7

This can bc uscd

an¡imc

yóu have a

I

miac

chord

ooving

to

YI

chord

of

somc

ki¡d.

Thcrc 8rE Eany ex-amples of this

i¡

st¿¡da¡d

O¡G.

Try ücsc ol¡t oo soglc U¡It6 you

lnow.

M4jor

and

Minor

O¡ché§

A major or min€r cüché is formd quitc

oftm

h

bo6sa nov¡s aod othcr L-atin styles.This idca usually involves thc

rctioa

of ¿n inner voicc of a

cbq{

generally

fu

foot

c

frfih.

Here a¡e somc cl¡ssic examples:

Tbe Isr example is a

sinple

idca

b$cd

on a

oi¡o

clicbé. Tbc sccood example is a wonderfi¡l exanple of the minor cüché uscd oo

¡ tr-V

progression.

&,*,,,

ELt

Í.r-2

AminT

ffi,"

Htü

ffi"

[Hil

ffi''

frt,rñ

m*

rrrm

mmm-m*

FFOJAZZ

(20)

Here ts 3 more

&

ract rrs

EL

r

CMaiT

Lnrolved example usrng the tn-tooe subsuruoon

nzf,g ITiSm!É. Ff-!.tñ

ffi

_{t

b2

CMaiT

m"

Eha

ffi"

_<o CMaiT '-..}U.i _2r tr+++1 ñ-rfi

U

CMaiT

ffi-IJ.LLU

rT[Il-ffi

DminT

IEII},t

UJJU

HtH

DminT

ffi*

Hüü Bbnún7 eV7 DninT $m¡nZ

Dh

1E, CMa¡7

rtrn¡r

ffi

E¡.3

CMa¡7

m"

ffi'ffi-

ffi''

m'm-Tbe ñrst cxampre is the

ubig.itors

I-VI-tr-v

prog¡ession ia

c

major. Example 2 sbows tbc tri-tooc substitutim bcing uscd in thc sccood

a,d

fó,¡fth

.r.

rtol,"ro,iog

üis;

occof. The qrogressioo now b¡s chroo¡ric bass movemcor Thc otbcr intcresti¡g thing

hr*;

a

o"-oó*iool.

h

examprc

l,

th" A7 has

"üg in üe ocrody and the G7 has

btr

in the

rclody.

rrot

*ur,ñipp.ns

to tbcsc^artcratioos in thc sccond cxample' Tbc

p

bccom

rbc t3ü of

üc

ui-orcLUJ"JL

and

6ebt¡

tiom

thc

9¡

of

üc

tri-onc

substiu¡tioo'

[n examprc 3, this is takeo ooc strp furtbsr. rn e""h mcasuf. that tbc

tri-ooc

zubstinrtion was uscd' &c

u

th¡r

gocs with the

v

was

;d"d

;

crÉarc

"

ir-v

frg*..ioo.

Mcasr¡¡e

2io*

has e

II-v

in Ab' and measurc 4 hrs a

[I-v

in

cs

major.

oo

fast

**.-üt

doesn,r

*ort

aíweü

sincc

yor

dcal

wiü

so ¡Dany chords'

oo

bailads

Mgb"

üis

works bcautiñrllY.

FRGJAZZ

(21)

\¡cüer

rice

ú-7¡fi!

Track +13

;¡h ¡i

üe crcrc

C min6 iJ+.1,¿ :.,]ltu el_g.J

m'

. ir-lI.1U t C min 3É. C min{ 5

dE,"

LlrulJ LI-J.IJ lLlr¿lJ cMaf,s

m'

:hche rs baseo on

üe

:oo'"er,eci JI

te

- Y.lmñ . C mrnf 5 l-. 'tFlrt -i-- 1 I

rulu

Crcating a

&

r'."r*,,

"

l

lupe you'ru able to bond with this oru".

a major cl.iché is a mettcr of raising the thi¡d of the prcviors exarnple. Take a

look-ffi

ffi

All

of ücsc clichés can bc uscd on just abott any tunc. Thcy work very well whea

üc

melody of

üc

t¡nc is oot an issue, such iul long hcld

notcs,6

whca tbc mclody

_Providc

sooc specc.

Threc Notc Voicings

Thrcc Dotc voicings arc a very effecüve voicing tcchoiquc.

SiE fu

mst

i¡t¡portant toocs of a chord are tbc

3r

aod

f,

tbc

rmt

is us€d ooly to providc the b¡ss notc. TbÉ grcat rhythn guitar player, Freddic Grecn, usrd

fuc

voicings oB the lowe¡ sct of strings with

remndous

s¡cccss Take ¡ look at a very coorDoo rnoveErcnt from thc

fI'

cbord

o

üe

ry7

i¡

a 12 bar blucs.

&

r"-.-

G7

AminT

abz

BminT

c7

c6

cME*s

m..

m- m-

m'

m-

m'

This ocxr exaraple is a greet mcthod

sf

T,alking up a

rnqjc

sc¡le diaronicdly. Noticc the indepcodcut Eove-ment

fum

tbc 7Ü !o

üe

óÜ in

dl

of thesc threc Dot! voicings.

á&

r..,

cM.l,

m"

DminT Erilin7 FMr¡7

ffi'

[üfl

m-

m'

Experimcnt

wiü

this ide¿ on other scales. The basic idc¿ is to substitutc thc 7ü for üe 6Ó while playing diatooic 7ü chords eithcr ascending or descending.

27

(22)

Quartal

Harrrony

-

Voicings

in Fourths

Au of

üe

chords we have discussed tbus

fu

have been built by stacking thi¡ds

-on scare ones. we

have dealt rvirh scveral i¡versions of thesc chords, but tbc

orign

of

aI

of the voicings comes from triadic harmony'

Quarral harmony rs bascd oo cbords built with fourths' Take

a look at the G Majol scale harmoniz€d with thrce notc fourth voicings:

ffi-

m.ü

l.H+t

I ll tu-J¿J

m*

m"

m*

m'"

m'*

when voicing chords in this rirntrcf,,, ürc haroooy can bc incompletc' si¡ce

th

voicing docs oot always coo-tain a 3É and 7ü. This c¿¡ bc vcry dcsirable

*br";l"yirg

modal tr¡Dc§ or crcsti,g Eor€

modcrn souading harmony'

creating inversioos from thc

prcüors

exa.mprc is eesy.Tüe the top notc of thc voicing and lower it an octave' Takc a look:

E&1

E@:r

u.]Jtl

Htü

m*

m'*

m'"

m''

EL2

E¡.3

ffitEr

t{+++{ It*i'fl

ffi*

|.li#..i

ñfrfl

m-

m"

ffirt

Hffi

Hm'''

m'"

m'*

ETIEl¿

ffi

EEEFrt

Hffi

m"

EII!

rt

ffi

€IIItl

ffiffi

r¡r fffirrt

§Ef[f¡rr¿

ffiffi

fffitrt

l¡

all

ütee

exartples, the top note was lowered an octave creating a total of four scts of inversions'

F*CJT{z

28

I

(23)

lle

lr.iic*

-^

3 :x rmn ie shows all thle€ inversloos on one sct of stn-ngs. From ü]€s€ ! otcings _:ou _{can --rc¿rc}

üc

other j€G cv

_-"'qt,ng

rtt

-":-üe

process of lowenng the top oore of each voicrng Írcross

üe

neck-+.itJ2¿

-i+l

]i.rfl

ffiprt

ffi

ffiFFf

ffi

r*

L¡ts look afqmh

voiciags buitt wirh for¡r tones. Here is

üe

D Dorian oode harmonizcd

i¡

fourths.

m'

_m-

_m'

_ffi*

_m'-

_ffi'*

ffi'-,-

_^Ifl'-t,lT§

sor,rd great whca coaping oo modal

tr¡m

likc Milcs Daüs' So

wlut.They

are very cfrcctivc 'o cnorÚ Eelooy n

i,i"g

ei

*eu.

Hcrc is

"

u-V-¡ cxample using

üis

idca'

Er"*-

DminT G7

CM¡I7

m,.

m-

m'

^^-

:lf].rt-}

uoi.a*

havc an incomplea sor¡o¿ thcy work very well in ccrtain sioatioos.

As always, let

yor

*

tur-13tioi*o.tr.Cbcck

"in

pi"ni"s

likc

McCoy'I]'g,

Hcrbic

Hancoc¡q caick corea'

Bill

Evans

am

r\elm J8¡rEt

Thcsc mr¡sicians are E¡strn¡

u

creating intcresting voicings usiag quartal barmooy.

P;AJAZ

(24)

r|l:'

t. .:.

Advanced

Methods of

Harmomization

I¡

üis

chapter we wiü look at scveral methods of advanced harmoniz¿tion techniques' They

1.

ContrarY mouon

7-

Chromuic

II'V's

.

Slash Cbord Harmonizatioo

4.

Constant stn¡cn¡rc' ContrarY motion

Coauary motioa is a mcthod

of

countcrpoinu

It

can bc dcscribed ¡s coDtrary motioo' I-ook at this examplc'

two

mlodies

Eoving in

oPPosite or

Er,**

É)

(F'l9)

m'

m-

m*

; -llir

.:

_{. ¿¡!r':L} arc as follows: Bb6

Er'2

Inexaoplcl.adesc¿ndingchromaric.lircisuscdcoouarytothcmclodyaboveit.Intbesccondexamplca

stcpwisc descending

ur";;-"r"¿

AddidJ

Do."s

*.nr.¿á"¿

bctweca thc

norcs on bcas ü¡ee and

fo¡r'

on

bcst thec a Bb Major triad was cresEd e,d

_"füñ;;-Fr,

_"h"rd

was crearcd. siDcc

rz

it

t"

dominant of Bb'

A¡.""

be coosidered

üe

domin¡nt app'roach as

well'

pray _{tbcsc examples.}

cootnry

motioa

is

a way

6 m¡kc.yo,'¡f¡r'ge,e'ts

sound very sophisticarcd' Yo.¡r sbitiry ¡s sh¡nge

o.,".a*

_"iyáu

music

ir

rory

i.por,-,

in ceeting musical and mmorable

arrangements'

Cbromatic

II'V's

whcn the merody of a tune cootai¡s the minor 3d or flat Süof a minor chord, you can substin¡te a

tr-v

a half srcp higber. Take a look:

FminT

d,t

ffi

,('

Ehraiz

-Ii iaatti

E¡

t.iJ..,i abz

m"m-m*m-ELI

30 P8CuA¿?

(25)

^:::x:¡ltie l.

¡e

:h.rd :oe¡siJ-re.oolarnj

_te

_:.:lcr

_-:t

_¡f

_F--

_{I su'osun¡rcj}

_¡

_[-'"

_,¡

_te

_i:.,

:i

].

E--

::

3-The.{:

ln

üe

melodl becomes rhe 90 of the iat¡or caord ¿nd

_üe

_13._{of üe}_domrn¿¡r_{;hcrd *iren}

u\e ;D¡cm¿lc subsdruron is appüed. Nonce how I condensed rhc onginal

[I-V

rnto

üe ñ¡ai

me¿sure of

,¡..i*pi". Tbj;;.

very efrective meüod

of

subsuruüon. The sta¡dffd ünes Srei¿a

_By

_Snrtight,and, There

Wl

_Never_Be_Anorh¿r You, ate pcrfect vehicles _for_this_method.

& r.".*

Ft

z

P*n¡nz

A7 FminT

abz

Ebrr/aj7

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

m-§l¡sh

Chord

Eeruoniz-

tion

Slash chords arc somctimes mistakea for pol¡onal harmooy. A tn¡c

pol¡onal

_{g¡árñple would bc CmajrDmaj,}

which i¡dic¿rcs the notcs f¡om a C major

riad

and a D major

riad

Slash chords are just major tiads

o"",

diff"r.ot

bass notcs.

g¡¡mplcs of

slash chords are: C¿? or D/G. This mcthod gives

yur

a very modcro, clean souading harmonization.

l¡t's

look

u

som

examples.

F/G Dr€

m-

m''

m-fiEIr

ffi

m-Er.3

C/D

Example

I

is a simplc

lmk

¿t slash chords. You can

¡6¡,¡lly

c¿ll tbc fi¡st chord a Dmin7, si¡c¿ an F triad wirh D

i¡

the bass contains thc tones of Elmi¡7. The F/G gives you tbc sound of a Gsus

úth

tbc 9ó added. The D/C gives you

a C lydian sound. Since ttre uppcr parts of

üc

chord are all major triads, tbe overall sound of üc chords is very clean. Example 2 is a slightly morc i¡volved exanple. Tbe same F/D chord is uscd for DminT bur we go to an

BG

chord

nexl

If

we

lmk

at this chord as a G7, it contai¡s thc 13ü a"d b9. Thc chord is lacking the 7ü of üe chord, so

it

has an incompletc sound. This is what gives üesc chords thcir personality. The G7 resolves to a

drlc,

which on closer inspecuon is just a Cmin7.

Db,G

ffi'

Tr-f

#25 Er.

I

FID L t_t-t,tJ-t

rt

ffi

FID E,G _Ehc

31

(26)

,*ffi

3l'";r;ff

Hi:"?:r#ffirSH#'ffi§UX¡,3Ut*Hf

*1

*;ii;ffi

#.-.Ji'1§Hi'i?'ff;Juvio'p:$tÜillgfi

;;;t;or7üBu"othc

,t,¡.vsoundgrea,:l,ff¿:fi

_I,ffi

ffii,iilJlq.§HH:;Li"if#"":H"J:;

bcner sounding range tbe arrcred scare, the

.ü,oI;;

_;;;"di.

;";r-

ff

vou look at beas 3

toolT"Zla."n¿

cborü tbe altcred scalc become a srear choicc

"?[uáJ*"r

r¡e

$

merodic minor

-1i"HlF

y::?:#*;tJrm;"'

G is the

T

desÉ";ol;-o-üi'

minor'*ñ"'üilmcrodic

htY:Hm"mm:o'"ffiff*

;;;5'*és,'

D

and Eb'

I

_d,

I

a

J

a

J

a

J

I

T

I

3:

I

t

(

I

(

( I

P;OJAZ

(27)

Constant Structu-¡=

f

¡¡15rrn¡ smlcrure rs a meüod of harmomzation where a metody is ha¡monrzed _{usrng ooe}chord form regard,iess of key or chord _{Progress¡on.}As strange as that may sound, it can result in some great sound"ing harmoaizauons.

Creating major triads off

üe

melody along with a dominant approach bass line is one very effective use of this technique. This proccss _willrcsult in a siash chord harmomzation. The big differencc is, no auenrion is givea to

üe

original chord progression. This appears quirc compücated;

it

would be much easier ro look ar some examples.

S

r"-**

Ex'

l

GminT

8.2

GminT

Er.3

E¡.

{

GminT FMa¡7 O

TrlrCGd

FMe¡7 Ab Gb Eb dminatrgorchb.s

lir

ADG

ctodYtm;+¿¡'¡6

EricEi¡dr

ú6.

tÉd

odi¡¡i<a

o{uiú

¡d

doui¡o

gorcührEr.

e*e Flrt

chc

m* m* m..m'

m'

T¡¡¡ACH

FMa,7 Tt$iCbdd FMa¡7

Exarnple

I

is just a simple

mlody

in tbc kcy of F oajor. Thc ñrst stcp to uke is to dccide what üe target chord should bc. The F oajor chord scems idc¿l since

it

is

üc

resolution point of this progressioo.

ln example 2, thc F Major bas becn l¡bcled thc target chord and a dominaat approach bass

li¡e

has becn placed in the preceding rncasure. Creating thc bass

linc

is just a mattcr of working backwa¡ds f¡om tlrc target chord

Ia example 3,

tb

mclody is bamronizrd with major riads built offtbc thi¡d. Th¡s b the constant sEucü¡re.The same major

riad

voicing is uscd rcgardless of kcy or harmony.

The 4ú and ñnat example is the combination

of

the bass line and triads. Notice how the bass

ll¡e

has been modiñed by incorporating thc tri-tooc substitutioo. Tbe 2ü and 4ó beats of thc triad mcasurc usc

tle

tri-tonc of tbc origlnal bass Line. This is pcrfectly fine. The bass

li¡e

was changed for thc simplc rcasor¡ tbat it created ch¡omati-cism. Rcmembcr, when d¿¡ling with harmonizatioo,

th

b¡ss movement

b

thc

mct

important

featr¡re of the progrcssion. This cre¿tcs powerful moverrcnt io both di¡ections; up

üe

cycle of fou¡ths or ckomacicaily doT o-ward. Other grcat bass mooon is diatonically up a scde or syms¡ctric¿l movemcnt in whole steps. As aiways.

ry

these ide¿s out on som€ slanda¡ds, it's thc only way to begin to undentend a¡d hea¡ them.

GminT

ffi,.

ütH

33

(28)

In this chapter you

will

sh¡dy a soog that utilizcs almost an of

the ideas discusscd in this

rcx.

l¡arn

it" ptay

it

for friends, rccord yoursclf prayrng

ir

Not

ortyit

oold you understand

thc material, you should be able to he¿¡ it as well. Good luckl

ebmingl¡b

ExamPle Tirne

#2

m-FMaiT

ffi"

ahúa¡z

m'

7 atm¡nZ

ebminz A7

Ell¡t Effic

ffiffi

_G/A)

tÉYrl E7 DminT

m*

o7

ffitt

_LTLLU

Hüfl

G

r,,'

_m'

ffi'm Em7ü5)

ffi*

HiH

J,

Fr.i¡3 5lt

o

o.l

dm-ffi

m'm'

m-

ffi-

m'

DhvraiT

oh

GfrraiT

m"

cmzüs)

F7 FminT Abm¡nz (AlA Ghúai7

m"

m*

m'

ffi,'ry

_ffi"

Fm

in7(b6)

@,.

ffi

Eb

o7

m*

_LLIJ'' u-Il-rJ

l

G7

ObminglOb

m-

m-GminT

ffi"

J)

c7

ffi'-

ffi'"

Hiü

uttü

I

t-GminT

C7

m-m-m-m-ffi"'w'

_tóu¡ia

FECJAZ

(29)

--f-- -r arai

rd

'¡r I n 3rE,

'-i-'

§É.

fr'1f

¡t--Ti' llil A)7 ,t/ DminT

ffilra

ffi

m"

_m''

BhHaiT

m'

GminT FMejT

ffi'

m-

m- m-

m'm'

ffi'

Emzüs)

DminT

m-

m'm'

m*m-m'ffi'

ffi-HTH*

Hffl

m-

m*

m'

FMa¡9

ffi

GhuajT

m"

(30)

Ha¡uron iz¡

tion

ExPlanations

A

descending chromatic line works very well

"gJr,

t¡rt

rl"fo¿v'

Notit'

the usc of unisoo as a starting

pomt-z.

straigbt forward

dror2

voicings. Tbe imporunt thing

to noticc is

üat

not every melody notc nccds to be harcroaiz¡d.

3.

A great closcd voicing for a O7$9bt3t

4.

Dia¡onic metbod of barmonization'

5.

Chromatic aPProacb mctbod'

6.

slasb cbords uscd on the A7. This is a gr"ar wey of harmoniziog

6c

p

end rg of a dominant chord!

1.

Chromatic aPProach'

g.

_{usc of}sixths as a

oclodic

dcvicc. Drffcrcot tcxü¡rcs ca¡ oakc

yot'an.Dge,Cnt

Euch morc inrcresting'

9.

Ct¡om¿tic aPProach' 10. Slssb cbord harmoniza¡ion'

I I . Diminishcd approacb. The

cfdinT

cen also bc lookcd

al 8s an

A*9'

üe

dominant of Dmi¡7 !

I 2.

rhis

is an i¡st¡sce of the ui-tooc

_Tb*dl1T

:Ykilr,J.Hk[

fr.fi

[H,il1;t7tx;:ffi;

o."l;#:;:l§ffi;S"*,ffi'Wñh:iffi

:"tffi

l":,t§ffi

ffiTJffi

H:

t'$I#tr,.áTrxm:;:ffi,E:üiÉ#xsxg*:Uffi

'*prcf

ercncc

[*,:ffi:

ffi}ffi;;Hf*Tñ;

*ro,"¿

ro-l'tiu,ti

wiü souod

grear

;;;r,;thesc

idc¿s oo trr'cs you rikc to ptay. Bellads arc espccially sr¡itable for ücsc

¡pghniques'

(31)

Chapter V Solution

ctÁ47 -!J-Jt¿ :]IIJ

tttfl

Drop3

Effi¡t

|l riól ¡iiaia

ürfff

AMajT

'ri+ll't

ffi

Drop3 Emzüs)

ffi''

ttN

rDrf2

D rO. A¡min7 ñTIl.¿

ffi

Drop2 F7 DminT

.L-t+lgc,

ffi

ftop3

FLle¡7 lJjlu,¿

ffi

Cl6Gd BMa¡7

m"

D¡oP3 FminT

ffi'

[f,t

Dro,pz Gira¡7

m*

Drop2

A13

C

13 G7d€)

e¡üel

m-

m'm'm'

DMa¡g

Glg

816

Cr?úrg

m'm-

m,.m'

Dr!F3

Drop2

Clos.d

Chapter

YI

Solution

cTds)

Fmirs

m-m'

Drop3

[}rop3

Drop3

Clo.d P{tp2

DmF3

Chapter

YII-A

Solution

G7

Cniln7 9

FninT

Bh

R r !rr

F7 DnInT

,

F7 ,* G7

b

CminT 5 3 Dnún7 G7 CminT

3¡.

brr _ot R-Rot 37

FTqJAA

(32)

Chapter !,"tr-B Solution

abua¡z

G7

cminT

üe* E¡t

EIEEIü

irL '!+

FF]-H-!

ffi

t ,-- .-_.-L!t

Drop3

DroF2 Drotr2

r*g

m'"

Drp2

ctg

m*

Drop2 DminT

m-Drop3

CminT

f*e

ffi''

m''

Hüü

Htü

D!q3

D!op2 Cnún7

ffi-D¡gr2

ehg

ffi"

DrF2

Dnún7

G7

m'"m*

1::2

Y

r¡$g

sh

abreügl

eh¡hi7

m*m-

m-Drop2

Cl6cd

Ctoctd

m*

Dtop2 FfrOJAZ

(33)

BarrJ- Greene

Barry Greene began ptayrng guitar

ir

197

i.

w'hen he was ten ye3rs

old.

Su'ongly influenced by \&'es _\f

onr¡om-ery, George Benson and Pat Mart¡¡o, Baqv has develo@ into a world class

guitarisl

arranger and composer. He has recorded or performed with such a¡tiss as Trm Hagens, D¡nny Goüieb, Geae Bertoncin¡ri. Scon \lbadbolt Kenny Drew Jr., A¿¡m Nussbaum, Wa¡ren Berndha¡dt, Russcll Malone, Roo A.ffif, and Colin Bailey.

Barry's fi¡st CD. Sojourner, has beeu well received by both the press and music industry. lust lazz Guitar magazirc says, "...his improvisatioos were creative with impeccable technique...." 20th Century

Guiur

wrcte, *...it _has_ail

_üe

_urgency_of_the_best_of_Pat_{Martino's worL..}_Sojourner_{is a}_mixrure_of_{original music}_and_sta¡dards in both trio aud quartet formats." The CD has also received positive web reviews from allabou¡j¡zz.ssq "...¿¡ excellent player, a supenor musician with power to spate..."

Preseatly, Barry is involved

in

scvcral projecs with

Mcl

Bay Pnbücatioos, and is writing compositioos fc aaotbcr relc¿sc

o

be recordcd

i¡

thc oear futr¡¡e. He cootinucs !o eudorse Thomastik-I¡feld strings aod Buscari Guitars a¡d has performcd at thc t,ong tsland Guitar Sbo{v bcld in Ncw Yort,

fc th

past threc years. In additi Barry has becn an rnstr¡ctor at tbc prestigior¡s National Guit¡r

Wortsbp

bcld eecb sumncr in Coonectict¡t

Barry is anAssc:r¡rc Pr,ofessor of

laz,Gr¡iar tttbc

Univcrsity of North Rorid¿ in Jacksowillc, wbcre I bcca au iostn ct6¡

si¡c¡

1995. Hc tcacbcs two guitar cnscmblcs, as well as applicd guiar, arranging a¡d

iq

s¿rioa. Barry has composed m arranged ocarty scventy pieccs of guit¡¡ cnscmblc music as well as scvcral

bi¡

coopositioos. Hc and wife Sara a¡d son Mitcbcll, fcsidc in SL Augttstirc'

R6id¡-Barry Grecae can bc rcached via thc web wwv.unf.edrr/-bgrecuc or emaü [email protected]'

(34)

r

I I t i

All Blues For

)aaGuitar

(9óS+¿BCD)

-booklCD set

Nl

Blues

kale

For

laz

Guitar

(98+gBCD)-booACD set

All Btues Soloing For

)ad6uitar

(98oo3BCD)-booACD set

All

5olos and Groorcs for Jaz Guitar Book (g9ó5+BCD)

-

bool</CD set Bas Une Basics (g8¡B¡BC '

-

bcrlk/CD set BebP Blues (g8¡g4BCD)

-

booACD set (omplete Book of Harmony, Theory &Vcicing

for Guitar

(gtrz)

-

áook

Complete

Bok

of Jaz Guit¡r Lines & Pñnses

(gsm)

-

áook

Complete Guitar 5<¡h Dictionary

(9+nO

-

tuk

Complete Jaz Guitar i'lcütod (gB8+)

-

tuk

Drop ¿ Corcept for Guitar

(g&8r)

-

fuk

EssentialJaz

Linc:Guiur

Ediüonflhe Style of Charlie Par*er (99ó+IBCD)

-

booACD set

Es*nüalJaz

Lines:Guitar Editioqfltrc Style of

Joe Pas(g9SóoBCD)

-

book/CD set Fingerstyle

laz

Guiurfeaching

Yor

Guitar to Waik(SSzCBCD)

-

bool/CD

xt

Jaz Blues SVes Book(9S¿3BCD)

-

booACD set Jaz S<¡les for Guitar (g89rBCD)

-

book/CD set Jaz Stru<tuns

forthc

New A{e

(9z3oBO)

-bolCD

set

láaking the Chan96 (99oó9BCD)

-

bool</CD set Master furürology

of

lazGuitac

Volume

t

(gS¡¡BCD)

-

bUPJCD set

Wes láontgomeryThe Ear{yYean (g$sBCD)

-tul<lCD

xt

loe Pus Guitar StYle

(Xroó)

-

tuk

Rffim

Guit¡r Chord System

(gPr+)-

book

3 o !_ü

t

_o 0 3 it t ! ! ít 6 ir 2 rt (¡ o o § o

t

u 3 l! I E

:(

I

_z ! o

¡

_i I

.t

*

t ¿

I

E

_,

,

_o F

IIEL

BAY

PItBL'CATrorYs, t$c., Ü4 lndustrial

Dr"

Pacifie',

llo

63069

visir

us

on

the

wortd

wtde

web

ior:

comptete

product ttstíng,

nonthry

Hot

Llst

NewReteases,Freeon.llneGultarSessíonsandCreativeKeyboardWebzines

and

llusic

Freebles

at

wvtu.melbay.com.-emall us

at

email@melbay'com

TottFreel.[oo.8.,tELBAY6.eoo.aog.522g),Fel(636)257.5062

NtMelBay@uasavaihbkfronplrfavu¡teMuskReÉihr

:::--

---

-,-=*

-=--=--rsBl¡ &786661&5

ffimlu[l

p;9.iAz

xB9+509BCD ¡1735