THE THANKING Name That Chord BY MICK GOODRICK NE AFTERNOON A COUPLE OF ‘years ago, I got together with my friend Wolfgang Muthspiei, who showed me a chord sequence based on an interesting voicing. Ater going through the progres- sion a number of times, he played one of the last chorus by itself: c= eas o Then he asked, “What do you call hist"! replied that you could lookat it a number of ways, depending on structure and/or usage, and suggested ¢ couple of possi bilities. We both agreed that the names were ambiguous, so I asked whar he called it. Wolfgang's answer both sur prised and pleased me: “Back home in Austria, some of my friends cal it Fred” Twas in shock for a moment. Then my mind began co bask in the glory of this ‘new realization, Why not give a chord ‘name? How simple! No problemswith structure or usage, [tis what itisynothing more, nothing less. Simply, Fred! Perfect! "Why hadn't someone come up with this before?” I wondered. Then, as is my habit, [decided to move Fred through the C major scale to see what would come up. Here's what came up: (© Major Scale 1M admit the following analysis may “appear suspectto some people, but if you hhang with me for a while, you may be able to discern a fairly consistent, al~ though somewhat warped, logic behind ry thinking Here we w. Fred: Ll GUITARIST bass would give us Fred again, s0 rin the bass gives us Fred minor: { call this one Jane, because it’s difer- ent from the preceding two. Observe the obvious dominant quality: ‘Once more, Fred (popular fellow’) Another Fred minor = Jane minor. F¥ in the alto voice would teu ane aif proces Jane mi So, scale provides four dif- ferent chords: Fred, Fred minor, Jane, and Jane joccurs three times, Fred _ minor owe, Jane once, and Jane minor ‘ance, Notice how the nvo voici contain the tritone F-8 or B-F fare Jané and Jane minor. (Now PAPE pDIEGICD Play trough hep ceeding voicings to get a sense of how sound and move. Now, ler's work with the Ai minor seale, which produces + that can work for G7alt/ Dp {dian Ay Meloaic Minor Meet Jane diminished. Nox obvious This chord comes from the vim scale, 100: = Mick Gooirck aces at the New England Conserv tory of Mus. the auchor of Te Advancing Guar urton. Chae HaJ Meet Jane augmented, Almost obvious Gpce the chord is 725.1 decided co call it Jane augmented: So, melodic minor gives us vo Sed De Jane, one Jane minor, one F plasitwe new chords: Jane augmented and Jskedifbinished. Ler’s move on quick iefe Full 30-day return praleges. Huge selection of the ater gear, including top ‘ART. Digech, Marsh Ko ‘Tascam, Rockman, Hartke, Galen HeTHE THINKING GUITARIST Putting Fred And Jane To Work BY mick ¢ HAT WAS THE POINT OF LAST ‘months material? Simply that ls very interesting and could be very useful to anyone will ing to work with it. Also, it demonstrated a practical pro ess of exploration and analysis. And f. nally, it's fun (maybe even funny). ‘To recap, last month you discovered ‘hha eight diferent chords can be derived from Fred (in context of the mafor, ft & melodic minor, and harmonic minor scales): Fred, Fred minor, Jane, Jane mi- not, Jane augmented, Jane diminished, Fred augmented, and Fred diminished. Ex I presents them with Gin the bass. ‘ent uses for each chord type. In the ‘meantime, experiment with the Fred and Jane family of harmonic realities to your Dear’ content aipee Weve “Not Soon Forgotten” (for Emily) is a short offering that employs some of the material. Enjoy! » ck Gondeick mache at ‘the New England Conserme tery Maa tthe author of The Ravan satan (die by Pal Conard and Ihe reformed with Mary ‘Berton, arte Haden aad many her.yy MIcK Go0D > oe) 7 A VE STARTED requesting an audition tape from prospective students, From ime to time, {get one that contains in- coherent phrasing, no melods, and un defined rhythms, Time and space is simply filled with meaningless sounds—gibberish! ‘Atsuch times, im reminded ofa story {beard years ago. Supposedly, ia Hall placed « sign insce his guitar case so he ‘would see it every time he took out his guitar, The sign said, “Make musical sense” This story made an important im- pression on me. ifJra Hall (whose playing always makes sense (0 me) had 0 remind himself to make sense, certainly the rest ‘of us would benefit from this advice. [Not long ago | called Jim to verity the story. He couldnt remember doing that, but said hed be willing o take eed fori (Obviously, he liked the idea, too.) The points, it makes a great story ‘Make museal sense! Remind yourself Of this before you start to play. Or least right after you've caught yourself dealing ‘out ahealthy heaping of gibberish. What is “musical sense"? This is sub- jective: What might be gibberish to me ‘could make musical sense fo you and vice versa. Il even say that sometimes ¢ litle bit of gibberish might be useful. (But only ‘litte and only sometimes) E Bach of us has tobe able to say openly | and honestly, “Yup. That's my gibberish.” Equally important, each of us has to be able to say, "That sounds like musi.” How do you cut down on the former while in- © creasing the latte? { have some ideas that | Tthink you wil find useful Pick a standard tune with harmonic ‘meat to it—“All The Things You Ate, Sela By Seatgh or Falling Grace for {nstance. Set your metronome to 72; these clicks will represent half-notes on two and four. Go for a medium swing fel. | Record yourself playing a walking bass “line through one chorus of the tune. Stay “ina low register and make sure the metronome is being recorded, too. On the second chorus switch to a single-line solo Inthe middle or high registers. Use mostly -quarter-notes, half-notes, and dotted ‘quarters followed by eighths. Never use ‘more than four eighth-notes in a row. At beginning of the next chorus, go back Playing a walking bass line. Repeat the nick “entire process a number of times. , 5 When you finish recording, the odd- numbered choruses on your tape willbe ‘walking basslines and the even-num- tered choruses wil be single-line solos 1 call his "dovetail recording,” ‘Now rewind the tape and play against ic im dovetail fashion. Solo tive against your taped bass lies and play lve bass Tinos against the ped solos. ‘Some observations and suggest ‘Experiment with anvipations,par= ticularly when soloing * For bas lines play quarternotes that are not quite full value. Pace tiny spaces before them; Think dootinstead of doo. «se a metronorne setting of 72 as your mild ground, bu try other settings | down to about $4 and up to about 108. | {The metronome is marking haif-notes:_ | your actual tempo is fice that ofthe set-_ | tings) On most metronomes this wil give | you approximately 17 tempos to work | ‘th Explore them ll! * Dovetail recording tends to make your solos much fess complicated and much * You'l tin gibberish by restricting yourself to no ‘more than four consecutive eighth-notes * By alternating bass and solo lines, thematic | fe huge amount of The finest selection | usin utes a names and aoastc ‘for he working musician + fo the vintage collector ‘or tha weekend player Call or writ or two inveminy ist prone is) seats ACA BON, AX Wie BUY. Sei, TRADE. + Insrurents § Pa Aceon L faa} + LPs Cases, aa et + Books & Videos cme {USE YOUR ROCKMAN" ONSTAGE ZA sity cisbors, steve Stevens. and A Rioipn Sc Surchased you'll be able to play for a longer time ‘without getting bored. * You'll probably become increasingly aware of time and swing feel. This will im prove your phrasing. + You'll begin to understand how bass Lines and solos are much more alike than, they are different. * Gradually expand the number of | consecutive eighth-notes that you alow | yourselfto play. But be strict at frst. | ‘+ Reverse the usual range of the two | parts (ce, play bass lines in the middle or "upper registers and play the solo low) * If you have access to a multitrack recorder, record two dovetail parts Listen to both tracks together; you'l really hear what works and wat doesnt. Dovetail recording gets you very fo cused on time, phrasing, swving fel, the- matic development, and rhythmic dis placement. And because it drastically cuts down on gibberish, dovetail recording will hhelp you in your quest to make musical sense, x EPRe siET SS UML AMERICA’S #1 PROTECTIVE COVER ‘These curable, walar-repelen covers are custom-ft toall makes & models a professional equgment. ‘AMPS + PA CABINETS « MIXERS * KEYBOARDS VINTAGE AMPS ‘6 Year Warranty & Cordura Nylon ACCESSORIES BAG WITH ORDER 803-821-1664 FREECATALOG FESS TUR, Cat P.O ox 284, Sune, SS BKEASASTHE THINKING GUITARIST Grip-o-logy, Part 1 BY MICK GoopRICcK \NJAN. AND FEB. '91 | INTRODUCED You to Fred and Jane. Remember? The Noicings withthe names you ex plored this material, perhaps you real- ized that Fred and Jane could also have ‘other names, such as “slash chords in dis- guise.” or even the dreaded “hybrid 9th family” Its time for some related harmonic concepts. (No names today!) Im using hy. Did 11ths in the following examples. How: ‘ever, you can apply the principles to any woicings you desire. | chose this particular voicing because I've been working with it ‘on and off forthe last three or four yeas, 0 tstil seems fresh. (Maybe Im slow. No ratte, they dont call me Mr. Goodchord for nothing) The two-step program. Working out voicings isa two-fold process. Inthe sim- plest terms, itamounts to this: ‘Step 1: Take 2 voicing you like and ‘move ft diatonically (scalewise) through whatever scales you can think of (major ‘melodic minor, harmonic minor, symmet- sical diminished, etc) ‘Step 2 Take any (perhaps all) of these voicings and find as many inversions as possible. The Fred and Jane columns contained good examples of Step 1, but nothing about Step 2. The secret to Step 2 is to compress the notes of the desired voicing into 2 four-note scale within an octave (1 say four note scale because were dealing with four-note voicings. However, the con: ‘cept holds true for two, three» five, and six-note voicings as well.) Once you've compressed the voicing. ifs easy to arrive atthe correct inversions by simply moving each line (bass, tenor, alto, or soprano) up the four-note scale. ‘Write out the inversions béfore trying to pley them, particularly when working with hybrid voicings.iearbe wer confus- ing trying to think things through on gi tar “Lets see. This voicing is an Ab riad over D, except Dis in the alto woice. not the bass. What do I do now#" Get out the ‘manuscript paper—you'l save oodles of time. Rewving up. Ready to experiment with Step 2% Ex. I shows a familiar voicing Hees what you do + Compress the four notes into ane oc tave (Le., close position), and determine the four inversions. They are G-BS-D-F, BL-D-FG.D-F-G-Bh. and BG-B-D These are the ascending melodies for each chord voice. Okay so far jow, write out each ascending ‘melody horizontals: place the frst note of each melody in the octave comesponding to the origina voicing (Ex.2). ‘+ Next, stack these four melodies (ep: ing them in their current octave) so they form four vertieal inversions (Ex. 3) and play ‘em. There. You probably know these voicings already. (As Isai, well start eas Getting sweaty. Lets turn up the heat a tad. Begin with another voicing (&x 4) and move it through a major seale, say Cmmajo. ‘This fre step yields seven voicings (Ex 5 Step 2 dictates that we process each voic ing into its four inversions, making a total ‘of 28 voicings Ex. 6). Are they all diferent Nope. As soon 26 you play even the first seven voicings in Ex. 5, you'll encounter repetition, (Remember, were talking voic- ‘ngs, not pitches) Obriously, if some ofthe ‘original voicings repeat, then many inver sions wil also repeat. you work the har 0. ‘mony out youT realize thatthe woicings sets andS are idencicat Binse he wae. ings in sets 3. 6, and 7 are identical The vovcingsaredifferentin sets 1 and 4 ‘To summarize: Our one origina! vic. tng—when run through @ur two-step Bro cess —pelds a toa! of 16 diferent new voicings four fom ses 2 and Sour foe: sets 3, & and 7 four fom set 1 and four from ser). Not bad Some final intrespection, {ce Se ne voicings all playable on she pumar' Good ‘question! This depends on the kex the or—- Ise, the intervals ofthe original woking, and the avatabiity of open sxing—= 537 nothing of your overall undescaning cf the size of sgh ‘But dont lec such considerasions ds. ‘courage you. They never seopped me—at least not for long. The point is. you never know (nor grow) unless you try E ‘many of the woicings are unplayable ask explore these ha Whenever you choose Next month: More time with non-majer scale,BY MICK GoovRicK F YOU SURVIVED LST MONTH'S harmonic workout, you should be knee-deep in chords by now. For those who've just tuned in, we're exploring a two-step process for generat- ing new chord voicings. Ir works like this: Step 1: Choose a voicing and move it daconically (scalewise) through a select. ‘ed scale (major, melodic minor. harmon. ie minor, symmetrical diminished, etc.) ‘Step 2:Take any (pethaps all) of these oicings and find as many inversions as THE THINKING GUITARIST rip-o-logy, Part 2 possible. In my previous column, we moved a volcing through the C major seale (read ‘the fuly 91 column for specifics). This time around, let’ explore harmonie mi- ot Mo minor feat. Move the voicing in Bx 1 through an 4 harmonic minor scale. ‘This results in seven chords (Ex. 2). Next Process each chord into its inversions— just as we did last time. Seven sets of four ‘oicings (root postion plus three inver- sons) yield a total of 28 chords Let's re- ew the process and work out the first set together, + First compress the voicing’s four notes into one octave (close position): A- E-D-Checomes A-C-D-E. + Next, determine the four new chords. They are: A-C-D-E, G-D-E-A, D-E- AG and BA-GD. * Write out these chords as four as- ‘cending melodies; place the fist note of each melody in the octave corresponding to the original voicing (Ex. 3). + Stack these four melodies (keeping them in their respective octaves) so they form a set of four vertical structures (Ex 4. Play. + Repeat the process for the remaining six of the seven original chords. Then take a break—you'll deserve it! Strip out duplicates. Many of the re- sulting voicings are duplicates of the pre- vious major scale experiments. (Don't forget, we're talking duplicate voieings— ie. a particular arrangement of intervals, ot necessarily duplicate pitches.) The harmonic minor inversions derived from the A (1st) voicing duplicate major sets 3, 6, and 7; the inversions from the 8 (2nd) voicing duplicate major set 4; E's (5th voicing) inversions duplicate major sets 2 and 5; F's (ch voicing) inversions dupi cate major set But we do get some fresh voicings {from all this. The inversions derived from. Care all new (Ex. 5). So are those from D (Ex, 6) and Ge (Ex. 7). These three sets Yield a total of 12 new harmonic minor generated voicings, As | mentioned last time, such factors as the length of your left-hand fingers, your fingerstyle chops, the key, the regis. ter. the intervals of the original voicing, the availability of open strings, and your fretboard acumen determine a voicing’s playability. Keep what you like, chuck the others, Meanwhile, intrepid fretboard expior- 8, get some rest; there's more grip-0- logy next month, x Mick Goodrick aches at the New England Conserv {ry ana the aur of ‘The Advancing Guitarist (Mat Laonand His new a: ‘bem, Bryhn. CMP ies 1128 5168 reac Germany,THE THINKING GUITARIST Grip-o-logy, Part 3 By Mick Goodrick RANK UP YOUR HARMONIC Benerator, let's get some new chords happening! First, we need to reconnoiter: In my July column, we created 16 grips by using the {infamous Goodrick two-step program to ‘move a voicing through the C major Scale. We followed the same process in ‘August to generate 12 new voicings from, the A harmo: _ What kind of voicings we can discover by generator, The basic procedure, in ease ‘you've forgotten, is this: Step I: Choose a voicing and move it diatonically Scalewise) through a select- ed scale. ‘Step 2 Take these voicings and find as ‘many inversions as possible, Melodic minor grips. Walk the voicing in Ex.1 through the Ab melodic minor scale, You'll create seven chords (Ex. 2) Process each chord into lis inversions, as we've done previously. Each of the seven “parents” yields four “offspring” (root po- sition plus three inversions); you end up with 28 chords, Let's process the first parent top to get things off to a good start. * Compress four notes into a one. ave, close-position voicing: Ab Bb: Dy becomes Ab-Ch- Db ‘Work out the three inversions of th lose-position chord. Including the root position voicing. you get four chords (Cb- Dh-Eh, Ch-Dh-Eh-Ab, DheBh-Ab-Ch and £5 -A}-Ch-Ds, * Convert these chords into four ending melodies. Important: Locate th first note of each melody in the octa that corresponds to the original open-pa sition voicing (Ex. 3) * Scack these four melodies (keepin, ‘them in their respective octaves) 6 the form 2 set of four vertical structures (i 4), Start playing, + Repeat the process forthe reiainin «chord six Ak melodie minor pa shown in Bx.2. Nuke the dupes. Some of our melodia minor offspring voleings duplicate the major scale offepring we developed in Ju ty, Gust a reminder: Were talking dup cate interval structures, not duplicate Pitches.) The four melodic minor off spring generated from the Ab parent voicing in Ex. 4 duplicate the major off spring in sets 3,6, and 7, as do the str tures built from (2nd parent), The Di (4th parent offspring duplicate mojor sel 1; the BF (Sth parent) offspring duplicate major sets 2 and 6; the F (6th parent) off spring duplicate major set 4. Here's a twist: The G (7th parent) offspring dupl: cate set7 of our harmonic minor volcings (Aug. ’91), We do get some new stru tures, though—four of ‘em, derived from G (x. 5) Try moving these guys around! the fretboard. Well conclude our grip-o-logy studies next month, when we take what we'Vé Jearned so far and tei all together. Until then, try to keep a grip on th 4, Mick Geedrick teaches at the New Engand Conserv Tory ais the auto of TheAdvancing Gari fe Hl (Mal Leonard, Hs new a ‘bum Weshtms, ton CMP Bas 1125 5106 Krewza, Germany,| THE THINKING GUITARIST Get A Grip By Mick Goodrick IME TO TIE OUR GRIPS T0- ‘gether, dont you think? Let’ te- iew our journey thus far: Using the two-step process detailed in ‘my previous three columns, weve gener- ated 16 grips from the C major scale Only), 12 ftom A harmonic minor (Aug), and four from Ab melodie minor (Sept) ‘This makes a total of 32 new voicing. By giving these voicings a common root, we can better appreciate similarities ‘and differences in their structure. Les build all 32 chords from @ C bass nove Bx shows the major scale voicing. Our harmonic minor voicings are in Ex. 2. Ex. ‘3 contains the four voicngs derived from the melodie minor scale. Grip tips. These voicings sound best played fingerstyle. The top and bottom notes of each voicing fall on the first and siath stings, respectively. When working out a chords fingering. grab these notes first. The wild cards are the two inside notes: The alto voice may fll on the sec- ‘ond of third string, the tenor voice onthe fourth or fifth string If voicing seems tough to finger, shift one or both ofthese inside notes to different string ‘Once you've played each chord in C, chromatically move your favorites up and down the neck. Take your time ani oa 2 a oes 7 Mernan one ae ee oe Potable aes (Wal Leonard His mew ‘bum, orth. son (CMP Bar 1129 5166 Kreuz Germany,THE THINKING GUITARIST Improvisation: To Do Or Not To Do By Mick Goodkick HE FOLLOWING SUGGESTIONS, for improvisation are based on what I call the “what you do what you donit do principle” ‘which dictates that what you dois as ie portant as what you don’ do, Observe that most of these ideas involve limiting ‘or restricting a solo + Stay within one octave. + Suy within one position. * All eighth-note phrases must begin off the beat. * End cighth-note phrases on a prede- termined rhythmic “target point” (e.g the and of beat four; check out Bob Moses’ fine book Drum Wisdom: + Use only 1wo adjacent strings. + Use only nwo non-adjacent strings * Choose a beat to avoid (eg. never play on one) (Choose # melodic function to avoid (eg. never play the roo * Feature a melodic major seventh * Play melodies that mostly ascend and then descend. + Feature abrupt dynamic contrasts ‘only chord tones (1,3, 5,7) +Play only exeensions 9,11, 13 + Avoid melodic leaps larger than a predetermined interval (¢.g., a major third) * Avoid melodic a predetermined inte fourth Here's your chance i beat the high oat of high-tech by becoming a member ‘ot a unique cooperative. Put together bby ‘musicians, for musicians, ‘we're ‘Suthorized to Sell all he big names in MIDI keyboards, drum machines, soft ware and recording oquipment 919-286-9146 (© 1990, The Music Lon + Feature repented notes. Each restriction requires a certain ‘amount of discipline. I should be appar fent that what you do is as important as ‘what you don’ do; however, there’ a crv cial element that may not be $0 obvi ous—atttude Let's assume you've picked one of these restrictions to work with, Further nde is not okay, you'll end If your att up criticizing ourself and feeling incompetent. assume youre applying it to standard tune ata particular tempo. ceven say youre ready t The only thing to itn the proper spi game, Ass will be difi the game too seriously: Approach it as a ERS dont adjust your attitude. you'll expect {good musical results the very first time, fand that almost never happens Sticients often have terrible results when playing, ‘within the confines of these restrictions because they're reminded of what they ‘dont know and what they cant da. Play ng the guitar is hard enough without re strictions!) For example, if you were learning to oll, you could be very self critical for every stroke above par. But if you view the experience as banging ali tle white ball around a beautiful course ertainhy probably end while having a nice walk, you'l have more fu And you great deal. If wil end up. ber: You MOVING Allow 8 weeks for change. Send your ew address please print with your old ye rom Guitar Prayer to. Gutar Player& Thinking Guitarist Br Macc Gooonce ERE'S an interesting litte game: (Choose a chord—C7, say: Then determine the other dominant 7th chords that contain C. Of course. Cis the root of C7, the 3rd of Ab7, ‘the Sth of F7, and the b7th of D7. Now. use (Casa bass pedal and voice-lead from C7 through the other three. Ex 1 shows one possibile: You can expand this idea by starting ‘with C7 bur changing the order ofthe other chords. There's a total of six possibilities: nhs FimhS Om7S ABZ, C7-Ab7-D7-F7, C7-D7-A47-F7, and (C7-F7-A47-D7. You can also use other voic- ings. The latter two are shown in Ex. 2: ‘work out the other combinations on your own, ‘What next? Well, you might try some ‘other chord types, asin Ex. 3. You can also ‘move the voicings up or down by changing the bass notes. In Ex 4 notice how I shift the basses while basically retaining the root/3rd/Sth/7th scheme, By experimenting with different orders, voieings, and chord types, you can find Pedal-Tone Exercises some nice possibilities for tunet vvamps to solo over. (Get out the 41 ‘There's lots of work to do, so jump or} cmay7is Abmair#s Emai7#s Obmalris maiz maiz? Se a Ss 5 Exmaj7_ Bhmaj7 Om-may7 Emmai? Bm-maj7 Fm-mai7 [the macy warped, have oven had a fow hairdressing salons cnc Bea MaMUL derstand the importance of scales. ‘They provide a disciplined regimen for your fingers and expose your ears to melod: {c possibilities that you might otherwise ig- nore. Of all the chord types, dominant 7ths seem to support the greatest number of scales. Let's explore some of them. The lowdown. Play through the nine ex amples—slowly at firs. Gradually increase the tempo as you determine workable fin: gerings and you begin to hear each scale. Play the examples backward too, resolving I F YOU'RE INTO improvising, you un- Bet G7 Mixolydian (C major scale) = es G7 Phrygian 86 (F metocic minor) G7eus4ho (6 Pheygian- E}major) bo G7 (G wholo-tona) Scales For Dominant 7ths by Mick Gooorick omair 67 Phecian aor (harmon mine) Cnal7 eo eT el ait maiz to whatever Cnaj7 chord tone sounds best to-you. (Maybe then youtl see why I use so ‘many accidentals. When you play the exer- cises forward, the extra accidentals seem re dundant. But when you shift into reverse, the accidentals come in very handy.) Observations. As you work through the scales, keep these points in mind: ' Examples 1 through 7 are derived from seven-note scales, while Ex. B comes from ‘an eight-note scale and Ex. 9 from a six note scale + Ex, 6 is Ex. 5 transposed up @ minor kn red bea G7 Lyaian $7 (0 melodic minor) i _., sett i Ensass-= 37 Mixolydian $6 (C melodie minor) G7 (F symmetrical diminished) third. ‘+ Examples 5 and 7 work best against @ G7sust ‘These scales represent the typical “in- side” choices you're likely to encounter. Next time, welll examine some “outside” op- tions, and discuss what constitutes inside and outside playing, See you then. a Mice Condi aces at the ae eesti Conservatory ‘and isthe author of Toe ‘Ageancing Guta al ‘eonard, His ew alba Dioxitams, som CMP {Bor 1129 5156 Krew, ermary, mai? maiz maiz Mey 1992 GUITAR PLAYER 10)Got it? Connces areif youre not at eee your puter ‘Se make taking your gitar slong ovarian eve boron, We bet Sei ecu puter por ‘Sie combine fr witt the Lest [edpiooe amps mace, wad eck fed vcuom unvel ene Abnalate top gual io osm pene Macrae {Se gone sivas got. BT TU kc ig For brochure and pricing Cee eee Peace RE Ee aes Available only direct from: Gadden Musica! Instruments PO Box 230207, Portland, OR 97223 An INCREDIBLE selection of: + New Instruments & Accessories + LPs, Cassettes & Compact Discs + Books & Videos + Used & Vintage Fretted Instruments INSTRUMENTS: 1100. Washington P.O. Box 14210GP Lansing, Mi 42001 (517) 372-7890 CS 4Qutside” Scale Options sy Mick Gooprick feight-note series. The nine previous scales e new examples encompass some sual sources for melodic material, as ‘8 few atypical possibilities to keep “Bob Mare told me, Vey mon. yo sole t0 mach you thinking, so play you ‘Next time we'll exa inside and outside playing, See you the ‘New England Concert te authr of Tha Taneing Guitare (aAbout Face! 4 by Mick Gooprick NAGTLASTintin side k Jone scout plying We ed Gor Tot og dsc top nor sod fs png ta mcg mech be Se inet ja oD me des Wspege A Chromareapproseh Harmon nd Matty dvnce te, ee Fa P A o Gosuss Gran eS ms om7is e755 0A? NS Saas See FPF ‘book is jammed with information, examples, ‘and keen observations. Te never seen any- thing that even approaches its scope and content. Things Italian. | recerly gave 2 four-day clinic in italy. In quick succession students hythm changes,” triads over bass notes, and reharmonization. This asked about omAs G7 Ghmal7 FI3}9 A cin? FH mT PAA LA SPA PP SA IPP AP PP PAP AP PAP PAP APP PPAPPOP a7 BA mG EF fA Fm, 7 EN Amis EAP months music shows the changes, which fairly conventional. Next month Il rehar nize things with tlads over bass notes: then, get in the mood by eating plen pasta as fast as you can. Cla. Eoim7 o7is9 FAP 87 Bdien7 The best Classified ad section for serious guitar players GuitarPlayer CLASSIFIEDS Who knows what you'll fing?iy Rhythm Changes Over Easy By Mick GoooricK ‘UR LAST TIME out, you saw where teaching an Italian clinic can lead Let’ finish what we started by look- ‘ng at “rhythm changes" reharmontzed with ttinds over bass notes. ‘Notice the triads over a dominant pedal ‘Bb2indicates a Bs triad in which the 3ed (D) hhas be displaced by the 2nd (©) Experiment on your own by applying these concepts to a tune of your choice Thinking in terms of triads over bass notes can expand your harmonic horizons— maybe even improve your taste forExploring The Harmonic Major Scale BY MICK COODRICK 's promised last time, here's amore de- as well. However, that’s just my subjective tailed look at the harmonic major opinion. Ifyou want to check them out. by all scale. This analysis includes the scaleés means doo! modes, triads, 7th chords, and triad-over- ‘Once you can play the bass-note structures. The modal vamps that as written, fel free to follow the analysis involve only the first five changing the modes: the other two just dont seem to work m Harmonic Major (lonian 56) nemenmmnnen DGC! EmD Fie GF AbauyG Samah CB Odmc GC AbaugD BémE CF OdmG EmvAh Fmt Bdmic CD OdmE EmF FG GA, Abas) itell us about it. Your comments, critics, ‘words of pralse can Get Into Gear! NAVAS Get yours now! Call today for prices on all major brands of musical gear, software and hardware. BANANAS AT LARGE Onven Live 1-800-786-7585 Fon iro on $F. Bay Avex: 1-415-457-7600 1504 Foun Sr. + Son Raratt CA 94901 KENDRICK MODEL 1000 You may have noticed that ever cocurs naturally In lage room and is seco byte oe of the ‘om (nel, what te foo is made for Gene). fra to Retnors placement inte relatonseip 1G the soure [ri The Kenrick Model 1000 Reve ste ony reverb unit produced today that fa cont! a hee parameters *"Eevches and Plckone one. + Enact vintage Westem Eleate cout lensed to Loo Fence the eaty 60's for rover * Dwell, Tone and Mi conto. Pointe pot antes Wan clot wire. inalabie in aged wend /eatheParcle, oF Totex (Benda, brown or Slack) wi apocrine face plates, teats ord aa hands, Footswichable Rewer kl * Werks well wh any aualty arp Kercch Tralrwnece, PlosiMarsnal, Tweed, et) ‘Sand $5.00 tor leur catalog and demo tae for KENDRICK AMPLIFIERS, PO BOx 160 PFLUGEAVILLE, TX 78680 FACTORY DIRECT Germany-American Center AREER ee omasco Majoring In Harmonic Minor By MICK COODRICK ERES A 24-bar vamp s Record the vamp many times on your 4 harmonic minor modes. T rack Then solo against the vamp using the 2 bars involve two Lyd! propriate harmonic minor scales. You'll modes (Lydian #2 is the sixth mode of th a bit tricky at firs harmonic 1 a rather exotic sound and take bridge include an $4 ‘ (heat, but you'll find the time mode of harmonic minor . cause you'l eventually be able Bian major (fifth mode of harm 2 ic minor scale’sTribute To Bill Leavitt BY MICK GOODRICK Ho derful man, Bill was very en- Couraging to me (as well as ‘many others), humoring my somewhat immature attempts at ‘Creating unusual harmonic dis- ect icoceds Tes dealeted to the themery of Bill Lei veo pase sa in Novae 150. filwasone of my matin Aue guar cacher ring ‘iy years at Berklee. A truly won: This piece demonstrates how ce G7suss (G7) Amal Gaim? diminished 7th chords ean, ‘used to make smooth but un- usual modulations. The chord symbols are only approxima: they should help you with all the accidentals and aptly por tray tve modulations. Mick Goodrick saches a the New Bngland Conserv {ory anc ish auahor of The Advancing Guar a Leonard Hs latest albu Wott, ison CMP Gdn? Bm | feel this offering would if ‘brought a smile to Ills face 4 nod of approval and sup, He will be missed but alway membered, New York, NY 10083, rive $e ee Fim? 8 =f igs St Ge eee Fain? cmtion based! on che chord progression that underlies the Rodgers and Hart Sandard “My Funny Valentine” i dows necessarily work withthe melody i in ‘ere fr soloing blowing changes teBEST GUITARISTTT The Harmonic Major Scale piece works best at a slower tempa. That ee fray youl have more time in each measure 7 ee rner 10 explore soloing with the suggested scales * and modes. Enjoy! a Jasiest way to think ofthe har- dealing with certain chords that are dieu imajoeseae is to imply ower to solo against—the B}/Ein measure 5, for he Gth degree of a major scale: CD, example. You'll also have new choices for the certain chords that can be handled with the the more conventional scales and modes. so hat is lowering the 6th start working with iton your own. F harmonic mi The notation of the background vamp looks a bit odd. The idea is to sustain as many notes as possible after each is at tacked, The notes that are filled in with (© metodic minor) (G-malodic minor Eades say von cumTan areR 2