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Table ofContent
Introduction
1 Superimposition Unit oftheiimT onUZ Chords Unit 2 Triads Unit 3 Guide Tones Derivation g

12
14 21 24

Unit 4 Elues
Unit 5 Rhythm and Blues/Gospel ChordalApproach q!il 6 Harmony Built Across theStrings Unit 7 iimT-V7-17-Vl7 Over a Pedal Unit I Modes inGhords Reference Unit 9 Chordal Study Derived From a Linear Exercise 10 Ghoosing Unit a Style 11 McGoy Unil Tyner Left-Hand SUle Piano Voicings Unit12 Ghord Tones asMelodies

31 96 39 40
41

13 Gadence Unit Approach Through Upper and lower t{eighborc 42 14 Gontemporary Unit Voicings Reference Unit15 Major-Minor Erercise 16 Ghord Unit Ghanges lorStandards Unit 17 Gm7-Smai7(il4) Exercise 18 0ctaves Unit with Thirds lnside Unit19 G7 Pedal Ghordal Reference Unit20 About theGD 72 U
48

53

cDr
CO TRACK OESCRIPTIOl{/TITLE =440) Tuning t1l (A Notes I2l Etmajor lriad (Example Piece 5) t3l (without Piece guitar) lbryiqTriad t41 GShuffte (Examptes Btues Z-10 ar;d 12-19) t51 GShuffle (without guitar) Blues t6l G,Gospel (Examples Blues play-along, 18-19) For use CD track t5l t7l Blues/Rock (use Shuffle with any Gbluis)' t81 GBlues/Latin (use with any Gblues) (Exampte te1 GMinor Blues 1i) t10l GMinor (without Blues guitar) (Examples FJaz l11l Blues 14-15) (without FJazBlues 112l guitar) tl3l (Smai) the glt.lqpss nss (Exampta Stri 2tr31 J:t.lI ) (Bhaj) ii-V-l-Vl7 114l (wilhour guitar) t15l overG (even Pedat 8rh-nores)(Examptes 32-36) ll-J-! .Yl7 (even GPedal t16l (without 8th-nota) guitar) 7l t1 Chord Exercise^in Sequence (Exampla over Cpedil 41-441 (even q Pedal t18l (without 8th-notes) guitar) tlel Latin inG(rxamptes +lZ) !ryF 3/4 lamp t20l 3/a Latrl Vamp guitar) inG(without ii-V-lC-adences (Bt I21l (Examples maj) S2A-0) (Btmaj) ii-V-l (without t22l guitar) t23l (Gm) (Examptes 53A-D) !!L! ! Cadences (Gm) iig-V-i (without I24l guitar) t25l Exercise inG(Exampta play-atong, fr,g-62) For use CD track !rQor./q.!no1 t16l t26l GPedal/tatin

cD2
CO TRACK DESCRIPTIOII/TITLE 'Mundo t1I Desmondo" (Examples 63-65) 'Mundo t2l Desmondo" (without guihr) "Some t3l Things (Exampla You're Not' 66A-C) 'Some t4l Things You?e (without guitar) Not" t51 (Examptes Exercise 6Z+0) Qmf-fbm{zrl GmT-EbmajTt4 t6l (without guihr) Exercise 'Don - improvised (Unit t7l Grolnelius" 19 oiece) (without t81 CPedal guitar) Shuflle (At7-Sm7 tel City" Latin Vamp) l0Lntura N-7-.VrtT t10l (without Latin guihr) Vamp "Sliceville' (Bi tl1l Latin Blues) & Latin (without t12l guitar) Blues (F7+747-F7 t13l Larin Vamp) :{hqla!mo' FI+747+7 Latin 114l (without Vamp griihr) ' (ii-V-l-Vl7 tlsl Bhaj Larin VCmp) _Ggclnngl 6l ii-V-l-Vl7 11 Btmaj (without Latin guihr) Vamp

upegalInanKs
people: lollowing very Thanks tothe My Special generosity, rne inlrlping . . . foryour friendship, talents, and tireless assemble AlGorgoni effoG grace play-along CDs which have and which these and been a part ofmyclinics sequences the private past years. tnve without l'msograteful and NOT clone this forthe several could teaching you, Mike Wallis, Aaron Tom Roed, Bob Selverne, family. And to:Rob Stang, Sherwin, oryour Michael, Nina Pollack, Rob Mounsey, Felicia 0scar Martin, Malcolm and Fruko, Christine White, Reuben, Blanca Lopez, Marc Lynne Gloria Clifford Manolo Badrena, Quifrones, Hernandez, David Tan, Rano Viviana Mike Workshop, Ned Shaw, Johal, Gibelli, National Guitar Summer Carter, Morillo, Yuny Reyes, EdRak, Dan Seeff, Billand Anita Padilla, Lilibeth Landy, Schofield, Colin Ruben Rodriguez, Patrizio Keller, Anthony Harris, Dan Jackson, John Kristin Hart, Stan Smith, Robin D'Leon, Sergio George, Gould, 0rnstein, Oscar Inaoka, and Seth Kenny Sabina Chioza, Bernie Williams, Derek Bernie Minoso, Bayamo, Julian Gorgoni, Zerbib, Adam Gorgoni, Freddy The Donn Barry Birnbaum, Shapiros, Ellen and Dennis Chambers, Puerto Rico All-Stars, Jeter, Fischer, Poncho Reyna Astellia Diaz, Clare Luis Carpio, Guena, Ron Carter, Juan Cunningham, Flores, Folon, Esther and Anton, Jean-Michel Demont-Rahiou, Jimmy West, Betty Doug Sanchez, Locke. John

Acknowledgme
(Roger (Rich (Jimmy Friedrich), Guitars Sadowsky Archy), Dean Markley Strings Gibson Guitars (Bob (Walter Audio Electronics Woods), Amps Custom Fallon), Walter Woods Ken and Sadowsky (Masaaki (Mitch (Alex Yamaha Korg/Marshall Colby), Aguilar), Electronics Aguilar Bradshaw), (Carla (John Reyes), and The Latin Ouarter K.Music Services, Lomas), Danny Naito), lbanez (The Family). Manny's Goldrich

Dedicatio
gratitude and to mysister, Gloria to mymother, withlove and inthisbook is dedicated The work Heath. dear son, . . . and, asalways, tomy Laurie

Corresponden
you! great from tohear it'salways free Please feel towrite, Write to: Khan Steve 1308 P.0. Box 1m11 N.Y.C., NY postage. you return must include lf you'd like a response,

Credits
Aaron Stang Robert Wallis and Edilorc: Music Engraving Chelsea LayouUllesign: andBook ilusicEngraving H6l0ne C0t6 Design: Cover Ned Shaw lllustration: Back Cover Inlormalion: Recording CD Khan Steve Produced by: Pollack Malcolm AlGorgoni and Producers: Associate Rob Wallis Producer: Executive Adam AlGorgoni, Gorgoni Khan, and by: Steve and Sequenced Programmed 7,1996 4 and Lightstream Studios, October Recorded at: Pollack Malcolm Mixed by: Recorded and Rob Mounsey Additional Sequencing: Monkey Studios Flying at: Sequenced Michael Felicia Monkey Assistant: Flying Review Room The Post-Production: Mike Landy Engineer:

lntroductio
"rhythm c0ul0 exrst such a thing guitai' asa player. just A guitarist plays who the chords. And, a "lead guitai' player, plays one who only solos, titis, andlicts. I find fliisold'tecause I betieve that youmust tryto play ALL oftheinstrument youcan. asbest you'll 0bviously, have strong and weak points, butdon't letyour getthebest shortcomings ofyou. You Cntldevetop intoa well-rounded guitarist. musician and '80s, '60s, Since the music education has advanced faster than one can keep upwith. During the when I was trying to learn how. youhad to play theguitar, private tbaci'rers, a few bilots, ino exchanges of information withfriends, butmainly YOU HAD YOUR EARST liyou couldn't'trear you were qulqlly, lost. Noplay along CDs, io instructionat books with cassettes, no lI!$ "REAL 'JAZZ videos, 800K," and noJamey Aebersold's AIDS' service. Asa teacher I've been amazed atthe technical advances ontheinstrument. Never has there been so players many with such incredible technique. 0ften-times that ability has come attheexpense ota comprehensive knowledge ofmusic: harmony and theory. Inmyexperience, that has translated into students allowing their chordal knowledge tolag far, taiOenind. Sd, asa teacher. t've trieO tobring intheextremes and share myconcepts about being able to putto use allthepossibilities ineguitai offers formore complete expression. After I had moved toNew York City inJanuary of1970, I began guitar toslowly add more and music "Chord books purchasing tomylibrary. I recall several pubiications, Dictionary" some with as many 'How as80,000 chords. I remember thinking, posiibiy coutd there beTHAT many chords?" Asi studied these books and continued guitar, to learn about the I realizdd that most offliese chords lust fulfilled a number inthebook butproved to bevirtually useless when making music with other -presented musicians. Inthisbook, I've tried mybest to make certain that everything has the potential tobeused inavariety ofsettings. I would bethe firsttoadmit thet I hai/; notcovered every posibility, single but, the work assembled here willcertainly serve asanexcellent source towhich torefer anytime. . t. Ina sense, formybwn I've tried qqploSch, to view pianistic things in a more pianist manner. The canaccompany their right-hand lines withtheirleft-hand. So,in part, I'veworked at playi'ng the guitar with thiskind of approach in mind, but, the key difference for'me is NEVER view ttie tbt-iranO "just aspect as a bunch ofchords!' The concept is to ALWAYS hear thetopnote ofany chord as having melodic content. This.is of crucial importance. your Your lines and chords are of equil import and can lunction beautifully together inyour hands. My method forsharing thisconcept isactually a complete contradiction tothe end result wehope to achieve. 8ythat I mean, I treat chords astotally separate from thelinear work. Atthestart, thetwo joined are. only byharmonic progresses, theory. And, asthe work thelines and chords slowly begin tofunction together. Asthere are many excellent books and videos which concentrate onth6tin6ar side oftheinstrument and improvising, I have chosen tofocus ona chordal approach which can join those lines. It'smysincere you hope that willwork slowly through thismethod from thebuilding blocks tothe more sophisticated concepts. Approach things insmall study units bymaking a series ofshort term - somethiry goals foryourself youmight y9uCftttaccomplish in a reasonable amount of time. findit difficult to place a specific time frame forthemastery ofthese concepts, butpatience and a steady course will surely win out inthe end. Allthe best,

our instrument, inthe wortd ofpop and rock music, there ft geqms Stfangethatwith

N,k

New York City, November 1996

Htograpny
"lwas Slevg Khan admits that, when he was ateenager, atenible drummer with nomusical training. I had developed guitar a love forthe and, when I was 19, switched instiuments. I was determinfr that I would not make the umemistakes I had made with the orums, ano siioieo compoiitlon ano private UCLA, along with guitar lessons from Ron nntnony: lnl-970 rre moveo toHew !|tgU.?t York City. point From this fonrvard, somuch ofSteve's career iswelldocumented. In1g74, heperformed in jaz guitar one-of the firstcontemporary duos withLany coryell. During period, thissam'e he b@ame a member oftheBrecker Brothers Band. His lirit recdrdings as-a leader werb a tri6oi 'Tightrope" .The "Aryowf albums forcolumbia Records tiiled: ('t927), Blue-lrtin;(igzg)and grecter, f{rtg9 Randy and Mictra'et David Sanborn, Don'Giotnici, lytike ]n.e:g,recordings {1919) Mainieri, willLee, steve Gadd, and others. In 19g4, sony Music/columbia released'a cD "The compilation drawn trom these three Lps tiiled, Coltection." "Evidence,' ln1980, Steve recorded abrilliant guitar solo acoustic album, paid wtrich tribute tohis jazinspirations earliat and served toestablish him great asone olthe interpreters ofthe music oi Thelonious Monk. Between 198'l and 1985, he worked and recorOeO quartet, witn n'is iyenitnesi, which..included Anthony Jackson, Manolo Badrena, and Steve Jordan. Togettir they made threi "Modern .c& recordings:-Eyewi-tnes" (198't), Times"/"Blades' (19s2) and (lg$j. sreve toco' joined Joe Zawinul's Weather Update forit'sone and only 6uriri tgs6. nis was roiroweo oiin duet recording gnoq!.ve, with keyboardist Rob Mounsei rne e mmmi-nominato Co wasiftreO 'Local Color,' and was released in1987. lggg saw the rdsunection otEywffress with Dave Weckl 'Public replacing Steve Jordan forthe Access" CD. Since that time, St6i nalooeo two itrabni 'Lets .Headliie' anad'pn recordings which featured Ron Carter and AlFoster. nis'anO Call were released in1991 and 1992 respectively. In1994, Steve found trimsat W infrJcompini of Arthony Jackson and Manolo Badrena, iOOing Dennis Chambers and Micnaet Brecker'for 'crossings,' which was dedicated tothe memory oihis late father, lyricist samny cahn. Recently, steve has contributed His unique medte, oftwoGeorge lo$ygla]$ecialproiects. graced Harrison tunes Mike Mainieri's NYC Records'"Cbme Togefirer:A Guilar triUute toThi Batles." Here he was accompanied byMarc J-ohnson, Peter Erski'ne llrg tasconcsloi. and Speciai Olympics. and theHoliday brought Stwe together again witrrB Bra*er Brothers forI leason balsil-styled interprehtion of his fathe/s one true Christmas song, TheChrbtnas WalE,' which 'Jaz qppeared onBlue Note's tothe World' CD. In1996, Stedtearned rth Argntint'vocaiiii Gabriela Anders, Rob Mounsey and New York Salsa All-Stars: nuOen noOrlrp. irlarc Ouinones 'Don't .tvoutdn,t and Papo Pepin h contribute ('NoTepreocupes worry Baby' Ntn=iio lt Be Nice,'a tribute toBrian Wilson. "Got in$ptember of1996, MyMenhl" brings Steve togetu kr 0Eru tirne witrJohn lecordd Patitucci and Jack Dejohnette. The.cD-ag-ain finds him using hisuniqnguyng moananging perspeclive lointerpret the works ofWayne Shorter, Ornette Coleman, te trtoig;,it eOOn Uirrisj urcll as as standards byRodgers and Hammerstein, and sammy cahn md.leni vil Ha6n. Throughout hislong and distinguished career, Steve has recorded witrcdl daw seri6b a Miles Davis,.steely Dan, James Brown, Aretha Franklin, Ouincy Jones, Eddh Hnsr rrao,exuouaio, StepsAhead and others too numerous tolist. produced He has alsb rrydntr br Hh guiuristi larry.Coryell,lvlike Stern, Bireli Lagrene and BillConnors ds netl aspsrc 'ru eiir gn. rn"iOoition published.three-other hehas highty regarded boota: ruc rirrpmay outtar lolnil [or, 'Pat 'Guidr Folio,' Fally Martino: - Stn rCs,tt*id, ieaify The Years," and Wirrtshop Series lunctions as.an Eyewitness songbook). Inaddition torecording pfirnrg-gd nd isar aitiv6 clinician and teacher.

range ol theguitar

To thg eyes and ears 0f many, the guitar, range ofrhe atitsouter reaches, can ar

piccolo. times like it rivals seem the lf the following diagram isstudied carefully, the truth about where ourinstrument really functions can become clear. lf we're tobehonest with ourselves then we willreadily admit that, in ourlower register, we're operating in theterritory of most bass instruments; and, inourmiddle to upper registers, we're essentially operating inthecenter ofmost keyboards. Whether we're (the theprincipal melodic part instrument soloist) orsimply 4ofa basic piece (keyboard(s)/guitar/bass/drums), rhythm section it'sessential to gain anunderstanding of how instrument our best functions. Throughout recent decades have there been a multitude of chord books offering thousands upon thousands fortheguitar. of chord shapes lt is myexperience thatin thecontext 0f making music "E" "A" with instruments, most other ofthe chord voicings which employ the and strings are essentially useless. The reason being, that when we're using these two strings, we're likely tobein potentially way the ofthebass, and clouding thelower register ofthekeyboard. lf one examines the style Montgomery, it'sobvious part ofWes heused fullsounding that voicings asanactive of his style and sounded tremendous. BUT, hewas theLEADFR, and thearrangements were builtaround playing. what hewas Pianists knew, and organists or learned, how to stay outoftheway. ln many rock, heavy metal, country, and folkmusics, it'sstylistically important fortheguitar to use thelower Inthe run, strings. long always try todowhat's right for the music asawhole! Asthis I hope book unfolds, tomake a strong case forusing 2,3,and 4-note voicings which lay your across D-G-B-E strings. Asyou work atdeveloping anevolved sense ofharmony and theory, justplaying you'll I believe that findthisconcept extremely in,firstly, useful with a bassist, later and you with theaddition ofa keyboard. I have tried tosupply with asmany options aspossible. When you put these concepts it then touse, becomes a mafter ofyour own sense ofharmony and taste.

Sounds

Middle C

I
Strings 0pen
G B High D(Top oftherange)

fingerings

pick pick and fingers lingen

which AsI worked mypersonal approach, was fundamentally for groups without at amending a player, I gradually keyboard began toadjust allmyfingerings. This became especially true forthe 2played formations. These forms, when and 3-note chord aspart ofa voicing employing a bass note "E" "A" would befingered inthe onthe or strings traditional manner. I chose to finger these notasif I had voicings in anindividual way, simply lifted offthefinger which would have been playing note. Myreasoning in doing thebass thiswas totryand smooth out- make aslegato as - theflow possible voicing into from one another. I feel if given conlident, that the time tosinkin, yougreat will give results, usage of myfingerings especially if you're nothappy withthecunent movements. state ofyour chordal proficient youbecome Nomatter how in playing witha pick, withchords asyour abilities broaden "pick will'be there times when use ofeither the the and claw" technique orfingers alone willprove more expressive. The advantage ofthese techniques is theability to bring outthetopvoice ofany insure chord and that itspeaks clearly voice. as a melodic quickly you Byusing a pick only, nomatter how strike across a chord, thehigher voices willalways pick plus you pluck bemilliseconds late. Byusing the two orthree fingers orfingers only, can all perhaps the strings simultaneously and, bring best ofall, out the top voice a liftle more. playing So,if you're lines with a pick with fingers and some chords only, how does one solve this "While problem? years you playing, forth back and Several ago, ata clinic, someone asked, were I your pick youplayed noticed every sooften would disappear when chords, where didit go?" Atthat moment, I honestly what hewas didnotknow talking about. Atfirst I asked if I'dput thepick "N0." between myteeth. He said, So, I tried to recreate the circumstances and, after a while, I pick realized lwould that slip the between the 1st and 2nd fingers of myright hand inthe area joins playing between the2nd knuckle and where thefinger thehand. when So, a 4-note chord, the "D" "G" "8"string, 1st finger thumb strikes the string, the 2nd finger string, the and the finger 3rd is "E" lree tobring out the top voice onthe string byapplying a little more force. lt willtake a lotof practice, you consistent but CAN doitl

Unit One
superimposition ol lheiimTonV7chords

It seems so simple that a teyooaro wourd loox Drayer ata chord ptayed voicing acro twohands and see it as,forerample, form some ofGi chord. 0ften onguitar. wecan only a itay portion ofthechord.voicing. For play example: We mrght only what theflght-hand kilyboir oftfr'e part isplaying-a ofthat G7 chord. We might view our voicing asperhapsi Dm7 over thebassist "G," orany number ofother options. Indiscusstons trere. and with one'another, it's fine t0look at things inthis rather separated manner. Just don t lose sight ofwhat prctu thetarger harmonic really is. Inthis your book we will build chordal vocabulary from, (guide a)a2-note tones) approach, b)through traditional and extended 3-note voicings, c)and finally to4-note chords allbuilt upon upper extensions ofbasic chord.

Throughoutthe book, l'll berelerring to iimT and VZchords asbeing related and interchangeab lt youbuild chord voicings upfrom the5thdegree of G7(D)youwoutd construct om,omi, Dmg Insodoing etc. beextending theharmony ofGi byadding the 9th(A), (c),and the11th 1og ryogld (E): the 13th G7: GBDF C h oT rd one 1s 3:5 b 7 9 11 13 Dm9:DFACE 'l b3 bZ Tones: Chord 5 I

Erample 1:G7Chord Tones


Dm7(iim7): Root 3rd sth 7th grh

ll weimprovise using Dminor voicings we'd constantly create these extensions probabl ofG7 and produce, what I would attempt todescribe as avery majestic feeling inthe mustc. "G" allthisactivity asfunctioning inthekey ofCmajor, then istheV7(dominant Zth) and l[ve.se9 "D" "majestic" isthe iim7, lnorder to produce this you're harmonic effect always superimp6 iimT chord voicings over the r00t 0fthe V7.

Erample 2: Harmonized Major Scale

CMajor Scale: Root I Major]

5th

tv4
G7

Asmyown play concept has evolved, I findthat I rarely a guitar voicing utilizing mylow"A"or "E" I've strings. found that player's thiskeeps me outofthebass way, and, seems tofre'e usboth. More importantly, it expands ourimprovisational boundaries. This book will notdeal with the tradition "A" "E" guitar chords which utilize voicings where the lowestnote isonthe or strings. lf you feelth part need your to shore-up this of knowledge, there are many excellentpublications which treat this area indetail. Toname a few ofthe authors: Mickey Baker, Joe Pass, and Ted Greene. AsweexDan progressively onthis concept and introduce more and more ambiguous 3-and 4-note you'll voicings, part findthat thebass grow and themusic freer freer and because thepossibilities forspontaneo reharmonization ofany you chord become your endless. And, and music will benefit most!

Unit Two
triads
inthelinear aspects oftheinstrument and t6tatty ignore themost basic chordal components. I'mspeaking ofihefundamental 2-note intervallic relationships and the simple, but essential, major and minoi triads. Though this book deals with the advanced uses ofharmony, I feel that it'simportant that the usages oftriad's nernituoed. Not too long ago inaninterview, Robben Ford stated how he isalways asked about hissoloing. He tries.to impres younger players upon that, except forafew momentl guitarist"must ofsoloing, the function.as anaccompanist most ofthe time. I couldn't agree more with thisissessment. Sowe must acknowledge that often we willbeasked tofunction part asasmall greater inthe context of someone else's music. Asasupporting player, we must operate inaionicplacelhat leaves room forthe keyboards and bass tomove freely 0bviously, if apiece ofmusic isbuilt guitar, around the the other instruments must then allow usthe same tdtituOe. This means that most play times we wiil "8"or"E" 2-'3-,and 4-note chords with the highest voice usually onthe strings. This iswhere a thorough knowledge ofthe basic triads becomes sousefirl. It's been my experience that using triads inanaccompaniment figure ismost useful inR&8, Funk, and Jaz-Rock Fusion where the.underpinning isessentially based upon the two former styles. The guitar isgenerally called qualities upon foritspercussive and it is for this reason that iVe onfy "8" presented triads where the highest note isonthe or"E" strings. I've chosen toomit triads with the topvoice onthe"D"or"G" strings because I find these voiiings sound much todark tocut through most textures. lt isimportant going toknow them, but, l'm pursuit toieave that uptoyou.

tqnq 2p VealSofteacirins, itstill amazes me that so many exceptionany gifred ll$ gullarlsts great could devel0p technical facility_

Example 3: G Triads Top voice on"E"Sting


(on Root top)
xtr
ffi

3rd
xxt
ffi

tttf,rn
Hfl ffil : I I

r|l-m
tl2 ..

5th
xxx

F|-i-T-F

FFm7fr

H+# 341

ffi rofr FFFFFI

Topvoice on'8" Stdng

Example 3A:Gilinor Triads


Topvoice on "8" SEing Rmt
xn

m3rd
xxx

ffi,u
ffi IfFFFI t t l

lTrm

ffi,*

Topvoice on "8" Sfiing

tiladsupeilmposl$on

Triad Superimposition' chafl is animporhnt onej yornrt6frt ib rsage once ]ne !9tlowing you can continually refer back toit.What I've done is'to take a single Ussnft, [r rodInmost oses, and used.triads_(both.major and minor) which ascend cnromit*ilyd;fl* ,mt.nsvou;re with along proydq pgj{.vamg. on,the recording ttris woiiii desen6o lc" ouei.e .'-rre ;ryr*i (ibtheoretically correct naire)andthe rffiil;b llt't?lchord'function one might need to know lorimprovising. when allissaid you'li dnd done, actuaily nruitorn* thisinformation for the elsven other roots. Let's look atthe fintexample: (an F/G Ftriad over a Gbass note). Although this chord can serve sarcral fundions, it'susually thought ofasadominant nn(gzit)tije oiffi0. gerause it contains lF" isthe nohird(h orBl),it could bepart.of the dominant orminor ctr6io ramiiiis. t,7of.G." ygq bT.degrqe atriad 6ui[from the oygr abass note, that r7th, triad [.tt lypttimpose suppties the $h,and tlthchord tones whichgives usG9(11) ti'omg(jil.-i6 iiih'drg,;ffin arso be refened toas the 4th oras asuspension: Ggsus orGmgsirs. likg toadd. You willhear these kinds of"stash" (F/G) chords reterred to, 9jg'l,9fll!9yqllfg Inc0redly' aspoly*hords. A poly-chord refers toharmony where two ormore chordsare actually hing played simultaneously. Ydu willfindthiskind ofianiaitiini'ilrrv, rlirt orten, in 20th century clasical music. Suctt harmony isextremely difficult to associate oni,'mooe or chord scale 'slish" wih,.ard as,you can see, with the conventional prese,nbO cnorOi nrrr,inryal readily give w eifinr a diahnic scale/mode orfamiliar scaletype with whibrL io improuii'e. i-truepoty-btiord would not do Snt soasily.

Erample f: trlrdsupcilmpcltlon chail

ilalorTrlads
Iilrtfttrlrbb Frid/G BrieilG Gioldfam {rct functionatf G7(e,11) This sound can function like aV7(alt.)chord ilode1Scate
GMixolydian, GBtues Gwhole-tone/half-tone diminished CtctlDlEtFll tclAt8t1 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

Griad/G $riad/G Ariad/G Sriad/G

Briadre
c riid/G

Driad/G Driat/G FrH/G Eriad/G

Gmaj FillG G7(13,9,111) or GmajTf(6,9) Gm7 GmalT(6) Cmaj6 This sound isused in many ways, and tends to help create aGospel orBlues feeling t5) G7(t9, Gmd(9) CmTG L9) G7(13,

illnorTrlads
Fm fiadrG Ffnriad/G Gm biad/G Al{n triad/G Am fiad/G Bkn triad/G BmtriadE Cm tiad6 Dkn rhd/G Dm fiiadG Elm riad/G Em fiad/G FrIyG GmalT(l4,9) Gm b9) G7(6, C66This isasound used alotinGospel music Gm7L5 GmajT Cm/G G7(13, E, 15)

Bb tcllGrl t8lDtDtElF

c7(e)
Gbl3(19)/c b9 inbas(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

Erample 5:Trlad Usage


EbmajT

I've tried topresent one comprehensive example you ofjusthow goabout might using malor or minor triads inthe context progression ofa common (i-viz-iiz-V1. chord Let's exam-ine wnat t just play, might we'll assume that this would blend with keyboards and the iest ofthe anangemJnt. have aproblem understanding the theory behind wtiy I've setected an/otthesJtriaoiir11 ti lf vou figure it,out bybuilding ygyrself upeach chord from the ro6t inthirds and thlnhbet each malo? or proves minor lfthat triad. difficult consult with amusical friend oryour teacher. The first chord isnamed EtmajT but al yo!can see, allI've chosen toplay isaG-minor (G, triad Bb, the 3rd, 5th, and mal 7th ofEl.There are times when ananan1jer would name this'chord lndQ), Gm/Ef because he/she wants play tomake sure thatyou a triad, wit-h you'll some experience, probably know todothat byinstinct. just Ihenext ii Cm7, ptaying chord lust here I'm anf r,triaO (El, l3rd, bTth G,B!), the 5th, and ofc. 0ver the Fm7, I ptay anAt,triad, witn tde ieasoning being the same. Inbars 4 and 12, lheinversion ofthe Ab triad remains played but isnow over agbOasi note rnaking the chord aBbg(sus). 0nthe last you'll chord ofthose bars, notice that the top voice purposes. moves forvoice leading greater For harmonic interest and tocreate tension, inbar 8on the third hat,I played gives E/Bb which usBt705,bg) Inbar principte 16, with the being the same butto add variety, lplayed GiBb torealize a8b1309)and here I used descending chromatic voice leading. This was more easily accomplished asI used a slightly higher inversion ol the AblBl chord.
Cm7
I||lX

fi'fm

m"

Bb9(sus)
xxx Ft-t'#

Etltbl3 fr
|'ru |]2

FFFf;Brr,
II LIfI I I I T N

2 lI

EbmaiT

m.
Cm7
ff

.m."
Fm7 Fm7
x

Bb9(sus) B b 7 ( b 5 , b 9 )
xxx

mtr
I I ttt

xxx

EFffiot
I

ffi

Fffiot'

Ebtnaf

m,'

bH*+a!rr
|..!4 @

F+fm Ftm+llfr
LLILIf

FNTN

Bb9(sus)
i+T+
ffi

f*ffi

FfH-il

l".l'.#

t32

t2l

ffina l2l

mnu l2rc

EbmaiT

m'

rs_ EImlrn

Cm7

Fn7
I

qFFl

E+]f,

FFFTH rr,
ru

Bb9(sus) Bb7(13,b9) ?+frr-' H+'ffi FFHfi

ffi'o 132

m7t

132

Inmost (ifthere cases, an arrangI isone) your willnotwrite what out top note should be, soit'sup your toyou and good sense ofharmony you?e and taste. The more called upon todothis, the bettdr your instincts willbecome as tojust what isthe right thing toplay. lf you wdre toturn the suggested half-notes orquarter-notes and sing them aloud witn tutt rhythmic value, theisiould lopnotainto form aniqlthough simple,.long melody. guitar Give itatryl This style of iccompaniment ii usually (rhythm found in R&8 and blues), Pop, varioud and forms oi 'dande" music. There's a lotmore t6 grace doing itwith improvised you and logic than might imagine.

Unit Thre
guide tones derivation

more pay sens_e, grealer and oivioerios, if we begin lguid'e with farmore basic musical formations. I'm speaking of2-note tonei;iimpte intervitio 4ths. Sths, (il4ths and tritones orfSths)which, placed when abovithe rootctearty Obtine tne cnorO family and outline the harmony Inserving this function provide they also a oiJrc na1.monic back drop without making the soloist aprisoner ofy0UR conceptsi guide The tone chart looks atthe three basic chord families and views guitar them onthe from the "A" perspective (located ofthe root oneither the or"E" string and voiced functionally fiom there). 0n you the leftside, see afull4-note.chord, then tothe right, witfr tne root pitch and one other rem6ve guide The tones remain. played When inthe context ota iimz-vz-t oti iimTpsi vz i progiesiio -progre it'sobvious how smoothly these simple harmonic forms flow rnto one anothei. ns1lbu through presented the materials guide here, the tones willinvariably serve asournuilOing Ot"oct Always, go a"can't place wrong" tostart, especially when reading through atune forthe {irst time,

understandable you that wourd be easer toskip rishno the mos It^Xplqinly m.0.dgrn harmonic concepts, but it willall make

Erample 6A:Am(ii) (key otG)


Am7
x |# F'-tffi x

Am7 trftr
l.]ffi

ffi,o
Derivaton m3rd 7th

ffi't't

Erample 68:D7(W)
n7

Erample 6C:GmajT andG6(lmaj7 andt6)


GmajT
T }}{**l I I - I I I
ffi

G6
x
I a I

rc

aTTTft
| | I

tfr

GmajT xx xx f-l-l-m

uo
xx

GmajT
x
ffi

rrrrt I l.r:

rrrf'F 2 t13

ffioo rrrrn
I I

Effi'n ffil lfFt't-t


t 4

xx

Lllru

[l I | | tutr Ll lat I I r r r

.^ -

2134

maj7th

Erample 6D
GmajT ffi FEEm Fffirt @ ft
lM7

c6 ?#i Ehtm:fr ffi Hl+t


14

Am7 ?#i H1+# ffi'0,, Fffi


to

D7 f+r:++ ttt-fl ffi,on


,,

Gma17 Tnn
er' HFFF

t6

ii

v7

H+# :{
lM7

Example 6E:Am7(b 5)(iiu)


Am7(b5) orA'7
l|..|)lr JrmmlTmm

ffiF mrn lmmm_-

Am7(b5) or A67

tu

xx

xx

m'ou

Fl-t-tfl

H1#1

ffi'or'

Example 6F
Am7b5 xx xx TNTI
EI]]]l
il

Am7b5
xx

Fffi:r,
ilm/b5

T[m ffi'on n-iln

xx

iim7b5

Clocluise tromtop lefl:JohnScofield, Bill Conno's, JohnAbercrombie, andSteye. Iakenat John^!e.cmmbie's posrrl llanhattan loft,January 5th.1gg4.photo:

Unit Fou
guide tone blues

trio iust check out xe'nnv euir on any or Jimmy smith,, rllllff^ijilxifjfrT s|'rar,rco,oins,

illiilisifri,i.,,o!,,!i:t!'ill,!!il,3l, to.urse tt'e iibis ris iyooui astyre *rir rit llifilTifll#'jffifli|'bry,fll,fJf3,i,T:,"emins

,iJiiii'il',i;,?ii,lTil,ly,ilil?iJ1}:ilXi,fi;TTfti
Example 7:Lower Inversions struttte,i-]=J )
G7 Fm

l'velried r, plg,gllll rhe basics posirions inrwo (l0werand ll..tL:f:r]lq-,l-s9rglpte, uppe

m,"
rrflT1 tl

Example 8:Upper lnversions struttte,rl=J.h


G7
nT.n ffinu I-N+H

As we madlor moa hmrmic sqfiisticdion, [i ih olUr ephf

when improvise wih hsse mvurom, vou sll64 tr lg16 vaishoid l$Ji',ll'i,l,1y*

hl b dt|hnirf.

Example 9:Lower Inversions


-J-

snumeJl= )J
ffi
tftfr1 tl

Dm7/G(G7sus) t#t
3' EE:EE

Dm7/G

G7

ffi l4

c7

u/

Dm7/G

m,o
Htlf,
tl

D7
FHS
r!

Am7/D D7
FFM
tl

Gm7/C C7

G7

Dm7lG

ttrH -" tfr--

Example 10: Upper Inversions


-J-

strutneJJ= )J
tm
tl

Dm7/G tm rof, EEEIH u

ut

Dm7/G

G7

c7
crr!
aTtTtl3ft l3

GmZC

H{4fl*

D7
I-IFFH
ll

l$t7lD D7
FI-#iH
ta

C7 Gm7/C C7

t m ron t m ron EESE EIIEE

Example 11: Minor Blues


Gm7
xt ri u-lJJ..l

A'7
TT-g F#t
il

D7
l.|-#
tl

Gm7

rr' {$ff ffi


rT.FFFl

ffi,u ffi.n

ffi,,,
ffi

ffi" m,

G7

cm7

suspended sounds
G0nlemp0rary blues comping

How can webeg_1n to break away from traditional approaches to blues harmony4 lfrefolowing two examples point areoflered asa conceptual and stylistic of departure. Agin. attrre example-s are presented progressions over one ofthemost basic 12-bar blues to allow themaximum amount of time toenioy hearing voicing. each You may runintomusicians and wlro f singers wil ind this kind "iazy" of harmonic approach astoopretty 0rtoo fortheir music. is fre casethen lf such 0nthat goback tosomething more basic. lob, "G.'(the ln Example 12, (Dm7)over I've applied a iimT chord the root basrc ctrord sound isGZ). produce This willinvariably asuspended kind ofsound and make thetnrmonrc feerrng very open, it times, lush romantic. and Example 13adds a little more depth while being rhythmically more acrh? arEtrrcusrve. This approach is based upon a guitar inierpretation pran$? \s r ti'eprevious 0t Mc0oy Tynets examples, allchord sounds are theproduct of superimposing irml;irc.:s]rer re root ol the dominant chord.

Example 12: GBlues @ DmTsus/G


xt

Dm/G
ffi ffi

Dm7(9)/G
x

rrfm

ffi,"

| | | r.ror tlalrt 2l r

EE1ID -.

H+# t34

ffi,l FFftH 3fr

Dm7(9,G 11)

GmTsus/C
xx
Ffft-tl

T[m
l t : l

ror' H#f;lf

Gm7(9)/C x x t rr' H1#H


l#

Dm7(9,11)/G
H'.-

H#t frtrt!
4 t l

ffi,o ffi

T_ -i-r
G

r--t =

hG

AnTlD
xx

ffi
Itt4

xx

Gm7/C
x
ffi ffi

ffi'on rffttl

ffi,n
ffi l-|-rfn
tlt4

Dm7(9,11!G
T+-

D?:G
lI--r

SffHrr'
rfiJff1 4lI

ffi,"
r+H

* *i

5 E'" --

Exampre tt;,ff'Tjihutfre) (@
x ffi x x x

F|t||trrr ffi

ffi

FftfH r

x Hl*l

Dm7(sus)/G ftm
Ll.l4til Llx UIlT
I I I l T I a)

FSI*lst'

-^
lf

m."m
AbmT(sus)/G
il 21

Gm7(sus)/C

ifurr.fui rr' Hl+fl H#Ffd


ffi

Dm7(sus)/G

Fffi-H 2ll.t

|#

t-l-fft-t ilr

i+ffi'"iH*
|2t

Am7(9,sus)/D
l

c7(13)
x x l...g l x

EEEtr

n-rrn

ffi"'Hffirr, t-ftFH H{t+{


{tll il l

Gm7/C x x x rn-m Hffirr'ffi si' ffi,,, l-Ft?&t F+it+l FFFIH


x g l

Db/G Dm7/G G7(13)


i#

lt.r

IIr

il3

ffiu,,m'-m'"
flr ill t24

i+i+

f+rar+

Eyoribass in Japan, lottt0 right: naroloEadEna, Anthony Jackson, Steve, andStsvo Jordan. ph0to: Talen orbidethePitlnn,Totyo, Hay198i1. Tat$hiloTanata

blues iaz-Upe

phyer from willusually differ the format blues byapz oriented The harmonic treatment ofa'12-bar making 17, lV7, in we've been use ofonly the and V7 chords. for basic blues, that we've been using a interest inthe tobars 2,4,6,8,and 9-12. 0fspecial to approach You willsee and hear differences playing previous a 17 forthe 4,aswe've already been over three bars, me 4 and 8.Inbar are bars Inthe key 7th ofour example, F7 the dominant iswhere tonic becomes this our M)to tB ]Vchord. juz player (Cm7) byadding a iimT The takes advan@ ofhis moment isgoing toBb7. toresolve resolution. temion towards the eventual Afamiliar more motion, and infront F7 toadd color, ofthe process, generally wi[tJohn would Coltrane be touse the inthis asociated substitution/alteration (Frn7), b5substitute inseding thus creating a ditferent a iimT forF7, which would be87,and you're resolution lrom onehalt step above. resolution. Ina sense, approaching approach tofinal trom reolution onefull step belo#? Haven't ifyou were toapproach what thought, Just an alternate

pleying you A7? what ilyou You know, ttn tr7from slidir|0 u0lo ehords? thetwhile everdone
resolution with SEtrnodality to approach in front of it?0r, use slipa iimT chord were to tryand play'ng grye rise yorrr to musical linesThinking about things likethis,prior toactually f:rrr can great lnrmintrying! toyot.lba any which might actually sound born ofthought, creations,

willgoa lmgE s towards determining in bar 9,that used the color ofthechord upon Depending to you bar b a Vl7(0n dordresolving isagreed upon, I can 8.Whatever how might treat bar prirupls (Gm7). (G7) harmonic be applied to the kinds ol dr abo iimT These same ll7 or either if you'll recall, rsrp a Gblts. sobar 9 was a We were, we've utilizing. kind been ofblues 3-chord possible progression. ha,e ofV7), it's that we could reebd f 8 asa Ai (V7 inthat So, D7(V7) as Here, however, m'rcrsrrga bl d u, imagination anE7(Vl7). even trytoemploy bulwecould so'ilhy over theD7todrt fE Ermony which wehave been superimposing E7is a V7ofAm7 past l'rt seen far hm imply masters. this Intranscribing solos bymany work too? this couldn't give it atryrd srerl fBppens. not. Again, were and keyboards when the bass change even

in F 14:Blues Erample n
ri ffi l# ffi xx

Bb7
xx tx

F7
xx

Gb7
rx xx |-{''{#
H Fl***l r I.r I rilr LLLT-IJ

On7

FF;EF:fI
H-rtfi

ffi'o
FfFt-tl

ffi

xx

ffiffi

':

H*tHrr.

tl

ffi,'ffi'n

Bb7

(Eb7)
xx

D7
TF# H
fltlt.l riFFN , i

ffi ffi,o
t l

xl

tt t{r t+I]-l.t.,g-I+tl

c7

xx xx lTrrFl

D7

xxi

G7

a
H,. FM

n
Hfrr'
|ntx EIU tl

H++fl

Hltfiar. n l a t l
l r r r r l

Effi,'
|..l'.l..u t l

t3

with common iaz blues chordal tone Punctuations

powerful Montgomery listening I'vetaken atl myWes lessons away-irom and of themost One (bigband Whether hewas like) conception of theguitar. soloing or was hisorchestral transcribing hishigh voicings it seemed asthough 3-note were Smith, MelRhyne and Jimmy behind comping 4-note likethesaxophone 2-,3-, and chords were Hismid-register section. likea trumpet acting giving like the it sounded trombones, thus behind soloist, the riflwith octaves when he'd and section, verbalized in thesame hewould nothave thisconcept guitar Perhaps color, scope and remarkable what I heard stillhear inhisplaying. way and ofexpressing this tobeaneffective manner, butI find guide your tones with chord voicings istopunctuate forgetting a griponthisconcept method One "E" totryand maintain foryour developing ears a lt'sgreat high string. 0nyour a topnote utilizing lt also helps to hear how beautifully asis possible. asoften inyour topvoice tone c6mmon guitar can be motion onthe harmonic how efficient moves, and harmony inyour top practice ofoctave displacement beto use a kind toolwould valuable, and Anadditional, "8" "D" play Then note onthe string with asyour top a voicing ina "G" blues, voice. For example, "E" "D" progression Asthe chord high string. onthe note ofa chord top with asthe answer that "D" you get willbe ofit,you thehang 0nce if you can. chord trytoget ontopol each moves along your f ingers under sections with allthree concept, band with a big tocomp able

tu Exampte @

F7(e)

Bb7(13,9)
xx

F7(e)
|...j...u

Cm7(9) F7(9)
xx

TN-TI rflttl6ri
FMroH l l t l e I:ml]mlTl

F++IH
l.i-l.i

FFfi&fl.,, l-].]T

IEtr:tr EITItr ++*rl H+fH FTfllN'I FFfiEB.,i


LiL]I' LILL!

xx

Bb7(13)
xx

F7(s)
xx

D7(9)
l'...!.''.I'...lT

Fn-m

ffi

mo"

ffi'n n-rrF1

ffi'"
ffi

G7(9,13)
tx

Gm7

c7(13,9)
;+-

ffi
Fhlfl:i -T-H t t t l x ILLU

I rr

ffi,'t ffi
lli.l

?+-

tu F+1t+ ffit'tm"t ffi''i H++r ffi


r3ll ll.ll I l.l4

F7(13) ?+.r1

s,fe) D7(f

5,bg) G7(fi5,ile)C7(b
|ffi

F7(e)
TITiI
IlrTfl i
i a H I I Ltla TNI]

-t-rrn
h Ir flfaf! f T I t a l IIII-II I_LLIIJ i t : l

Hllfluri Hlf,l
{:t I I

_. / [

turnarounds

This brirqs us todisossirp 11and 12, ban 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 "E" 'A"strings. given notes onthe low and However, inmy attempt io cover asmudt material as posible, I wanted tomake sure forthose that, guitarists ofyou who have heard sound like they're guitar both the AND gained the bas,you have a sense ofhow thisisdone. Perhaps my favoiite (esentially example guide ofthis style it's tones with a note) bass was recorded by Jim Hail and Bill Evans ontheir version of'MyFunny Valentine' ftom lJndercurrents (Blue Note/Solid State). Each part (the guide Mss line and the tones)could certainly function onitsown, buthere it's'a new play clullenge totryand both. The trick, fingering-wise, isthe constant shifting ofthe 1st and 2nd fingers (ifyour pick onyour left-hand isheld inyour playing right-hand). lf you were not the bass guide played minor 7th your tones would be with 1st finger only, and att the dominant rytes, {l the guide 7th your tones would just beplrye! with 1st and 3rd fingers. Asadiscipline, tryplaying the gain baslines by themselves player and afeeling forhow abass might approach sucn dtine.

Erample 16A: Blues Tumaround inF(Upper Invercions)


F9
tI 4-Jf UJJ

Eb7
.I.J

D9
rrlrrl
X

Ab7
T T

G7
x

Db7
x x t

c7
x t x

Gb7
x x x x

F9
x x

liflHer' (tEtlE H+H ,ffi,'n '.fr 'ffi'"' FSf, :rl I tl r 2l

l+-l+t{

EtErp
ffi

lim rrrr
213

ffi'oo
2|]

(merr
HFH

ETTED

.SIFH8fr 'tt I-f I


tftfr|
I t l

| 2l

HfiHnn Hfl+

ffi'n l.#-ti
ffifJi 2rl

F9
x g i l

Eb7
x x r

D9

Ab7

G7
x x t x

Db7
x x ME,lfr
I t t l r l

t*l*H

tffiro
: l l

$tt.n I't+tH
tr3

ffi,* H++f,

'ffioo
trFFF

x_

c7
xx

Gb7
(frttE2r'
|''H

x x x

tlHH:lrr,
tEn t ? 3

lltlFl rr'
123

rftfrrn
FIH-H

F9

FrfffJ

t2l

r :l

H{1+

dp
168: Tumaround in Gilajor Erample
GmalT n

tpl
I

(?)
Am7
x x x ITTTT1
x

ffi'o
rl-FFI,I

d*if

qftpfi'r'
TFFFN

ffi

E7 ffffirr'
Ettttr

BbmT
x x x
l t t t t l

Eb7
x x gFm ffi x

D7
x t tr1:mlT

Cm7
Etr t{+++{
|'.l..l..l+

x x x

ffi

FtFIIl

rffien

(lFtl+l srl fEfE


2 55

l4*l-{ er.

Sllsr' :r:l

tlhftHrr'
I ll

(r)
I

(-)
I

,r,
Bb7
Am7

n
x

Eb7
x

Ab7

m
ffi

l..#

FillFlsr,
2rl

tffior,

ffi

,ffi,* H++f,
2 33

ffi

Ftr]]] hffi.n
2r3

rTrm
t'|-l..m ffi4li LLLLIJ

x x t

un[Fve
I | .r t-.

gospel chordal approach

rhythm andblues/

and lti oeep plaie iooted inAm6iil poputar music, I am certain that lhave agood feeling forihis music. Rnd, ahays lo,iiin rirj'ffi no matter how far you out may aspire topray, the brues shourd presenisomiwnri, arways be rn vorir^i, The relerence sheet whichjoilgw,q (Exampre 17)is offered simpry prace as a tobegin. Asyou,rl notice, guitar onthe (rike the.right-hand dta piinistj, th,e stybij,ootro'iniiipremajor, minor, diminished, and augmented triads. ll you'd tndtooiive oeepei inio tnityi; ;;il apianisrs, p.int ofview, make the effort towatch and listen tothe videos aird recordings'oi ii,, Charles, Richard Tee, and Dr. John.

wOuldn't^pgp.qltqllpt ,oposture myserr as acomprete Iltqlg.h.l historian on growth the ofgospel music's.ch.ordal style

with two umpre choruses ofa 12-bar'G".brues (Exampres 1gand rg),r've tried togive you most orthe basics asI might ttplov-]hqT:0lviously dne cdu.to oevote an6hiiiJ teii m tnis area atone, but I hope that this willinspire you toexplore this wonderfulgenirif gri.i;irr;gth. lvr atso oftered anatternate introduction, orpick-up, ii' rne styre ;iw;;fi;;tsglrl,.y'b;ilil hedidsomany clevet things with hisblues oriented compositi6ns, especiatty in rriili{ilfi;ralet diminished 7th chords.

Example 17:Derivation ofGospel/ Rhythm & Blues chordalstyle


G7Chord (Gltirotydian): Scale

Triad Shdrs: Cmaj


F maj

GBlues Scale:

Ascendlryon Guthr: Fmaj Gm{ rt ffif ?ifTn HlIfl Hltlrr, l'.l-{.H l{..|+l
FffiII 2ll I ||

Fmaj

Bbmaj

Tffm
# t+F{+l

Gmaj
xxt F|***{

FFFf;llsr'
t12

ffi'" ffi
$'g"

Cmaj
xxx

Bbmaj
xxx H***.1

Cmaj
xxx

tlrErr

ffi'o tfrFl.l
t32

u l t t l IJ.LLH ^. r r r r o u t r t I tal I

7th

Root

2N

2tt

rffiFt t32

ffi'ou
5th

ffi ffi,,n

3rd

4th

6il'

Ogdonal vohings: Dm Em
nx l..I'.mlfi
I I I t a l

XIT

Am
xxtl

Dm
xxx

Em
xxx
g

Fffi,u
ITTTJ1 IJ-,I-LIJ 2tl

lJ-FFFl sr. LIMlmln


u l t a l

t-f++ff
t t l

ffi,on
l..l'.l..l!

ffiH
333

|ft-t-Fl

I-I-FFH
t t l

FH#r:n
o

;:'

.o.

i[m,"
T55LTEIN z5 |

DnVG
xrr
H-FFH ffi 2l I

ffi,u m'n
=^

Am/G

?ii?n ?f+-tr
3tl 2| |

ffi,,m"
Bb/c c7
t:+ffi
F+-t-{3.z.}-t-.I-lJ-.t

I+5-

m,-m
ur--

G.nC

AmC
xxx

Gn/C
I r rmott II IIN t I I ial

c
r!!L!.I-.t-u

Em/G Dm/G
x

3"m'*
*

Hitfl"" Etfllrr, ffirr,


FHIJ FF|+*{ !il t4t 2tl

ffit

x
l-H*l

r
I ttf

Am/D
xxx
ffi

l..J..J..l!-LLlal

rrrrh

t+t+i
Lt.UU tr|mmln

/._ IJ+!E

T[m
222

xrx rrrFn

l-#l

| | lfn l..]'.I'.E

Ft-frtl 2r3

FFFlll5f. FFf;trf,rr, ff.FFH


ill

AnVC
xtt {IIm.n
I I I l T

Bb/c
xxx Lu+l xx r u-.I-.t-u

G7
r x x frrl-n
LLTAIJ . I raratJtt tlm.lmln lmml..I.-m l."l..l.U t l l

c/G
xx ffi

L, \:

IJ xxx

|-lftf'

ffiunffi'n Fffr-n ffi|-|l


2tr 3t2

EEltbir'

ffi

:ltrifrn ::t
r a

FftlH'o l t l m
r r r r r l rrm|mmmr2il

lltl

'Arn Perhaps the most often-used cadence inGospel music ist|naoo ffi Cadence." lt can .,'rte *ould appear inavariety offorms, including: lv-|,lv7-1, lv7-17, iv-t ft beused as analternative tomore basic V-l cadence. Inthe key ofG,it carro @ srrfy asc toGoreven playing over abtues ya rorsrdc! rrru; a o peoi orperhaps, 6ener ii 919 lp 9 when 't've ltou findthat a back-and{orth motion between simple triads flil st- r'lr,-1abrces atieaOi menlioned Cto Gand C/G toG,another variation ofttnt*wu I s E tr.rc and back toG.you could view theAmasa function of C6/G, so,it toogerreraes J tftr^ .retrng thesense bi momentary resotution could atso becreated with thisnrrrn Gb S, I I G nenback toBt/G, and just finally resting onG.Remember, letthebass dc lrs ct FrrE - uass you notes and concentrate onlhecolors created s.re* Fough bythetriads. Let tfEn g thiscreate! i dominant 7th oriented feeling, it's-very common tosbrrrr rt safi J lnG-moving to Em/G and then returning torest onDm/G. I hope that sfnrirp E sl!tr! csrtcs ,nthe tefr witf netp '18-19 your.own analysis ofExamples aswell r*rrr crl FEted infxampfe asthe 1i. iol willhear allofthese put concepts touse inthe inprovr=c atr tr 3rotnelius" located on #2, performed CD Track inthe [7]and kev ofC.

Example tt @

Am/G
xx x F{.*ttl 'rr rfitn

G
xxooox +-{-*r-., Frfl-h x

F/G
x x x
ru

C/G
x r
l..J..l..U

G Am/G G

Ff?FH ffi
231

FFI-++{ ffi

FH{Hst H#Esn
312 313

m,-m,
241

GrIVc

imi'" iiffi'.

An/C

C7(9)

c
x x x

G
x x

7
x

H+fH Ff#hHrn l-l&*l ra " l'**!FH


FffT'fl 133 rfl-Fl-l t2l

Eim*m*''m,*
2lr 34t

Bb/G G7(sus) G7

n
xxx

n
xxx

ffilr, Ff.H+ TrrrF


2t3

FFfffl3rr f++ul rrn-n


2l l

m'',m,Go7 ?+ffFFH t324

Altermte Into. (Wes tlontgomery Style) G


xxx

'

|-rrrn

t.. Go7, ?+rflt I t2J

Hj*Flror,

H++#
t4t

ffi--ffi'*ffi'* m'u
TI.F|-FI l!24

GboT ff-

F7(9,13)

Ge(13)

fd

| 234

ullh Wos tomlom8 t el he Holltrood SlsY3 BoulCo0cad, ca.1966.

Unit Six
harmony built across the slrings
we will nowbuifdGfiords,,rne

rones as ashrrin 'D; v.rr. point' ;6 *^s *,,uresuide You've arreadv beoun,by youi using ano .r'ng ru prde sn rone rrnes (exampres 20, 23,26and29). Nexivoriwil;dd;;di;;0, youiie:sr,ipim,nd;"rf 2'i"it ano30). 0nce rrnr isunderstood, .r"sr.sim;p you wi,iladd uoiCei yc,i,r""'g,ino on ooin wbt 2s.28 and 31). Basic voice leading principles you as add voices acr'ss trE strings: 1.Irytokeep acommon your tone in top voice as the chords shift 2.Try tomove the top voice chromaticaily up ordown asyOu hear the rnrmony shifting. while attending u'c'L'A., l.feltlwassofarbehind my.classmates firat I sought extra help with harmony plf!9,piaT and lheory ressons rror i rrrisicirinsrnrcroisil'r;#;,y hard "the to have me undersland lhe conceot 0f ilill ofthe tone." ni irre p*r.,rp, time, rirrioionr ii because G her orientation was tocommunicate torc i, iiiiriirji'ia,monicrangr.nge and nor with a pop, Rock, orJaz vocaburary which might have touno inetteiionnection with me. lf you observe the movemenl guide ofth-e tones asthe v7resolves tothe tonic, the intervals ofthe t7,within 3rdand the dominant nd inoro, ,,must,, seem iiirrougn they MUST resorve. The 3rd 'mus;; resotve tothe root ofthe tonic, rz and the reiorve.to-the miror oiminoisrd. rnrr, with onry two voices, the harmonv iscrearry "wiil,, defineo inJ tnose vo,ces now do seem t0 have a of their own. Play the nexl "pul" exambte. tisten toinow tieiiO,].lif'rnn ofthe F7 chord rowards the tonic and 3rd olthe Bb chord.

you when add arterations chromatic passing CIs,b5,fg,rg)as tones, you mightwanr tomake sure that the movement 'tp6ll" ofthe oitches. isrettdcteoln now'y-ou ctrooie to the'Choro. By this I mean, using shaps toindicale ascending motilailii;['foroesiending ffi;#;nr ;nchoosing one or the you other, mioht beindicating-tha u,e orirreiominant rs will resolve uptothe 3rd of the tonic. l'13 But the gln might-resolve down tdthe orihe tonir. orrsystem ofmusic notation isnot that strictr when it comes tothe labeling.of chords, out roilneiaie otitearcorrun]"iil,it issomething to ail,vou oi;riic pr;yrd qlece asyou [i!3oqut..nner hear itassoon possibre as ry1g and crear communication inyour writing pr6criss speeds up tnat

Example 20 I

Bblnai7

m," m'- m'"


Bbmai(d6) G7(il}
t3

Example" e

m'" m.' m." m,"


F/(e)
t3a

BbmajT

Bbmaj(ad6)

G7(be)
t32

2tl

|32

Exampfe " e

F/(b9,13)

m'"
o.

BbmajT

Bbm49(add 6)

m'" m"
G7(*5,b9)
| 133

Erample" e Cm7
g n

BbmaiT
tl

r"r"1tfr EEEE tl

m*
Ir3

G7(alt)

m't3 t2l

Erampfe ^ e Gtn7
I X I

F/(ilg)--+

FFI;TI 8fi
EEEE ill

m'" m," m*
(b9) Bbmaj9(add 6) F/(bg,b13)

(bs) G7(fs)---'
t24

m" m'.
G7(b9,b13)

Erample" e

m'"
b;'

m'"
.l2t4

Example 26
BbmajT
xxo xr

rfl1-n ffi n-ffr1


I

ffi

Exampte " @
Cm7(9) x x x ffi HlH
#

Bb maj9(add6)

Ffi-t-H t34

iFffii ffi

Erample " @

F7(9,13)
xx rT.TT'1 H-.1.|5.,-

Bbmaj9(add 6)
xx
ffi

BbmajT(6,9) H#Frr,
FtrM t-fJrtl
42tl

G7($5)

FFI-I-H
I344

ffffi,o
H{H
34ll

TTTm
ffirti n-Frrt

Erample " @

Erample* @
Cm7(9)
x t x

F7(b 13)
x

ffi

Ht# Hl+fl
ll4

ffi

ffir]

Eramplett @
tu
ffff't-l

Cm7(sus.)

-> (b9) G7(ts,ss)

$ffi

ffi

x!IJJJ+] |''m
IIIILI

l3t3

Unit Seven
iimT-V7-l-V7 overa pedal
m-usic singers. rn-such a setting the basic rhythm section isaugmented qlromnones,5 byafulloichesira (strumpdts, plus reeds strings) For chordal instrume.nts..espdcially guitar the ['can oei grert -- ' experience tobe J ' irrirrg pLAylNG forced tosee and hear that LESS can ne SRytrue fVOnft glven Inany performance, there.would almost always bea moment when the singer would tella story over a L0NG vamp, sometimes thisvamp was pointlone over a peoat rtaticpitch from the bassist) Aslwould srt amongstthe orchestra and listen, lcould hear the chords moving even thoug,h.the,bass playing was only a single pedalwas note. The invariably the root ofthe VZ chord and allthe harmonies sounded beautiful over this one note. Truly this *ir'rgiratirranger's devrce. l.n this series ofexamples presented l've everything inthe key ofCmajor;therefore, we willuse "G" a pedal under progression. the entire We 5egin'with fxanipte sz,tl[;ing"jrrt guide the tones which supply j5, *L uoo harmonic movement intlieprogression. InExampte athrrd voice "8. thebasic string, attempting to maintain a common-ione top voice asaneir-trarning 9l llt disciplrne. "E".string Adding afourth voice onthe inExamples 34,the common priniipre tone onthe topvoice remains. When possible, this isnot the top voice should move ina manner oirtutro bywhere our ears seem tolead us. Examples 35and 36extend.the concept byintroducing ascending and descendrng chromatic movement inthe top-voice. Asa discipline, I've attempted to make ihisvoice move nrhalf-steps possible. wnene.ver Always justchoser keep in mind youhave that I've ONE option. many cnotces and your after y0UR atime own style ofharmony will dictate choices. youfeel When you that are comfortable with these exercrses over the"G"pedal, trytotranspose the "C" rdeas t0work pedal over provided the onthe recording peOit Since the;'C" isthe ioot ota " F , " domrn^ant_ yc o h u o ' lr ld b e.in t h ek e y of and t h em o v e m e n tu l t w o ba k e you through Gm7-C/-Fmaj7-D7(alt.). you're practicing, When rehearsing, orjamming wittr a oassist anct drummer, trythis conceptas anextended introductron perhips toa staidard,'or one ofyour own original tunes. Most ofthe exercises inthisbook presented are inthe form ofwhole notes. I feel that it'simportant t0 grow accustomed tothebeauty of long tones astheharmony slowly moves through theihords. Long notes guitar onthe just can, attimes,-be aseffective percuisive ai ttre srrort strokes with guitarists which we are most associated.

a great music lessoncan from amost unexpected source In -lp"ltlinqs "pop" come years tne earry ofmycareer, I accompanied gtten many

fyewi|ness in 1989. Clockwise from lowef lefl: Anlhony Jackson, Manolo Badrena, Sleve, andDave weckl. original pencil Ned Shaw sketch for,,pUBLlG ACCESS', CD cover.

guide tones I
xx
ITITN

Example 32:Key of GwithG(Uasa Pedal


Loruer Invercions Dm7/G
xx

G7
Fl*++l3rr
IJJJJ-J

CmajT/G

bH++l rrr
lfm

l3

ffi*
CmajT/G

Cm4(add 6)/t0
xx xr Ent12fr FtFrl tl

Inverslons Upper Dm7/G


xx
ffi ffi

G7
TX II

xr

Hqtf,
Ff;ffi ron
Ffll'flcr
|..l.ru ll

LorerInversims Dm7
xx

G7
xx xx tTrrn

ffi FFE+I]fr Hl#


t4

xx

Cm{T/G

l-ilFlJ rn |ru t3

m,- ffi'ffi* m'',


Cmaj(add 6)/G Cmaj(add 6)/G
rx l3

ATtG
xx

Jfr H.tfi |...I...ru

Uppclnversions Dm7
u r x

G7
x x s rt-ft19ft |..ru t3

CmajT/G

Ffff+{
t l

u-t+u FFffi ror,

m,,' m'"
Cmaj(add 6/G CmajT(9)/G

ATtG
r I fr

u x x Ftl+ti

Hl+fl
t3

with tones Yoicings common 3-note


of CwithGM asa Pedal Example 3il:Key

Dm7(9yG

Dm7(sus/G

m''' m.. m," m'- m'" ffi" m'" m." ffi," m,, H,.,
Dm7/G
x x r

G7
x t

A7(bsyc
2al

l l l l l l

H*!Hrr. H]#

l*frl rr,
I t l ! t l I,ILE

l2l

G7(13)

CmajT/G

A7(b9I 3

t24

421

G7

Cmaj9(add 6/G

AlbslG

ffi

rfl1ifi

l+t*+.{
211

8ft

lt3

Dm7/G
r
ITITN

G7(e)
L|J+.I l-filtfl gfr 134

Cm47(13)

r||qtslG
ll I

ftt5

rofr

l l l

4-note voicings withcommon tones


Example 34:Key of CwithG(V) asa pedal
Dm7(9,11/G G7(b9,13)

o m,"
Cmaj9(add 6)/G
XI utrrf

A7(i5,bgyc
x: rrl-talfr
[lti

lt2l

Dm7(sus)/G ftE
t t t r l l

G7(9,13)
l(L

A7(*syc
t342

f!ffilfr
| 344

F?5fr

FFFFF|5fr
III-LLI

<e

3 4 tI

m'?frm

G7(13)
xx
ffi

l-fl*ilror'
4t2l

CmajT(6,9)/G T{-l**Hcrr
u-t-Ltl

A7(b5,bgyc
r2tl I lDo DIf

n33

ffi,,n

a
G7(b9,13)

o e

m"
t2t4

Cmaj9(add6)

A7(beyc
| 324

ffi,oo
. , 33r4 +

HH

m,,,,
e
x x r

.: i c i s m l;.lj*l,T:*':, Tff ;,i,lT :TIa' @


Ascending Dm7(sus)/G G7(f5)

ffi,o Hi#

*iii- Eroken drord $yle

imi,''
t23

A7(fsyc
HJifi

ffi'n t23
Cmaj9(add 6)/G A7(b5,b9)/G
FII.FH

Dm7(srs)/G
xx ffi

G7(b9,13)

rrsrrr3 fr

ffi

m'. m'U(

m.1 2314

t-o,

Dm7(sus/G

tu
o

G7(b5,$9)
btffiee ulat I
@

A7(b5,bgyc

HiJ*ler

H# 14tl

ffim
rpre D g
1 l2lI

,1342 Il.

ffi"u

Dm7(sus,9)/G
n |'.I-m

G7($5,b9)

H#!l,zn
ru 1l2l

m,,"
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Cmaj9(add6)
xx
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LI IMmm tlt|n FfFrE15fi"

&

e e

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Example 36:Keyot GwithGM asa pedalV

orffir,
lff l.ml]ml::]T tm|mml.m-m

CmaiT(6,9)/G
|..m

AIlbe)c

D E

rto.

t2t4

r-rrrF

ffi#,on
I l 1 1

ffi'u,
Fr-iffj /

o. {}

G7(b9,13) funtr,

CmajT(6,9)/G
|ffi

A7(f 5,b9)/G
xx
l..Iffi ffi

r-ffrt
l#

Trrm

FIIIH I3.1 |

ffi

FFFIf,5fr
23t4

ffi'n n-Ffn
t333 I DIl.

b*
Dm7(sus)lG G7(#5,b9,$9)
xx
ffi

o.

Cmaj9(add 6)/G

A7(f s,fgyc
x x r

ffio'i irffi-t
{}

l-hffi 4 tl l

ffi,u STTF

fffior,
FFH{-{ rTtftl
4 t l

G7(f5,#e) Fffirr.
l# Ftffi 4 t l
ffi

CmajT(9)/G
I..]...|.fr LIIru LTTIT]

rrrrn
132

Plating torpass-the-hat al theFocus Gillory cott House aniving in l{ewyorkciry,1920. i[st afler Triodates rere rith John miller(bass), ani David (yibes). Friedmin

Eight Unit
modes in chords
someday enioy theumeimproviutional fluency withchords asyounow dowithyourimprovised lines. I've chosen to pass along themanner inwhich I approached solving thisproblem formysell. Having offered thismethod many, many times toprivate students, and inclinics I have and seminars, you'll it work, seen and I'm sure that see itsparticular kind oflogic and follow through with the work. (minor), We begin byseparating lamilies: (dominant), the three chord dorian mixolydian andlydian (malor). When I didthis formyself, it was myhope that if I could rmprovise upon one rsolated family, hear melodies and with I would chords, beable to dothesame when faced withharmony in perhaps passing motion having less time toobserve each chord. presented The following examples are sothat thefirstrow contains voicings; common asyouscan down thepage theoptions become more sophisticated. Each example is presented in "G"(Gdorian, Gmixolydian and Glydian). The topvoice ofeach chord is onthe"E"string, witheach note ol the mode being harmonized witha modal chord voicing. Generally speaking, thefirsttworows offer guitarists pitches, chord forms which are expected toknow. Beneath certain twooptions can beseen agbeing standard. I want to take a moment and discuss themajor family chord and why mode thelydian will bethe "G" scale ofchoice throughout lf wecontinue, this text. forpurposes ofdiscussion, to use asour "G' "G" you (G, root, know then should that the ionian mode isthe major scale A, B, C, D, E, Fil), (G, The notes inthe'G"lydian mode A,B,Cl,D,E,Fl) differ inthat only the4thdegree ofthe scale is Ct instead ofC.So, why choose one over theother? lt'spurely a choice ofsound byconvention. part, pop-standard For themost thischoice usually appears injaz and song contexts. Inmost rock, you're country, and folkstyles thel4thofthemajor scale/ionian mode is most appropriate. When playing, your you choice should bebased what hear upon assounding forthe music! best putting Asyougrow more familiar w'rth thebasics, allyouwould have to do,when any ofthe reference to use, is,look charts straight down thepage, follow thecolumns connecting thevoicings witha common top-note andyoursonic would options begin to grow. What should eventually "sound justsome you is that voicings familiar develop these become shapes" and NOT chords youuse know. You willend upHEARING how these sound in being shapes and, able to hear that, you'll your find freedom. playing When in pop, rock, contexts, is involved, or R&B especially where a vocalist will be there youmust harmonize note which times when themelody is sung. lf thenote is in one ofthese three youhave families, anat-hand reference for finding chord thesound shape which might fit the group. harmonic style olyour youmay ln aninstrumental setting, want to addharmony to a specific note in themelody ol an provide youwithmost original tune or a standard. These three chord lamily charts should of the basic voicings and those which offer more color tones. practice The method here standard toemploy istochoose any one olthechord families forwork at playing goupand while a particular sitting and along with the umple'G"pedal, down themode in playing (whole your chords, them in long notes tones at least) untilthey seem to falleasily under practice fingers. Avital secondary aspect toyour regimen would betosing along with thetopvoice youHEAR ofeach chord sothat itsmelodic aspect begins to bea part ofthe way thevoicing. Then, your you'll youhear like with single-note lines, much bethat closer toplaying what and where that's you want tobe.

In assembling my sludies you'tl for presentation, my isthat soat

(GDorlan) Voicings Example 37:Basic

tu

H#H Htl+
iltl

FFTII.I

rlr

8fr FF;+H

ffi

(R Root

;il'
-o.

m,'" m','
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

Voicings: Additional

, 0

WE

Tones: withmore Color Voicings


xx

ffii't
ffi

Ft-H rtattl
.{lti

Voicings: Additional

:El
I t a t I I Imml.u]Tt - J t l

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Ddr

. I

rO,

ffi,u,,
rin-hl I r:.1

to 'Ir

Example (Gllirolydian) 38:Basic Voicings


HE ft#fiilrr' trlTl
rrrrn
t2tl

(R) Root

m'" m,,"
II

ffi t?t?o

2314

5rh
Il'

6rh

2 lt a

7rh
-o.

||r2

ffit 2 t a
<e

Additional Voicings:

m,," m,. m,,"


xx TTEF lTl-1ll0fr
T I I I T I |.ml..]..IT

withmorc Voicings Golor Tones:

Additional
|'ru 4t2l
g

m,,,, m,,-

in Amrrica Losl onlourrilh thoBrscler Brolhers. "Anywhere," Photo later bt Ctarissc laylorin a hol6l room, U.S.A., 1976

Example 39:Basic (GLydian) Voicings

i m," [fffi,'' m*
ia32l

xx IITIT|
lmml.mt.| | | rll

H*Esri
tl33

xx r r r r t l rT-"t19 fl
II|rrlT

xx rrffi1 rTnTl
I I I a I t I.IN I

l0fr

mai 7fl

t1z2

Root(R)

2]].t4

2nd

3rd

+li''

1 2 4|

m,,,'
++-I l| il

EIIIIltlfr

t l t l

3t2l

6th

2th

m'm,', m"m"
:

Vohings wih morc Color Tones:


L

ffi'n, ffi,u f f i ' H + H


lil2t il13

tu

ffi'-

m*
xx
ffi

rrrTbl0fr | 133

ffi'.n

o
le

AddidonalVoicings:

ffi:
ill I I

ffffirt

ffi,,, ffi

m"m'" m""

basic 3-noteu*lqs (gdorian)


(Gminor Family Example ilinor7Chord 39A: 4

f f i t u i F m f f i
Hl+f, 34l (4th)

Hl+fl III (srh)

ffi
ffi

r,iili

m'-ffi''' m,,. m.',


(2nd) (3rd)

bc

yoicings (cmirolydian) basic 3-note


(C7) 7 Chord Family Example 398:Dominant

Yoiciltgs: Additional

(f lYdian) uoicings 3-note basic


(FMaior 7) llaior7 ChodFamily 39C: Example
t x x

ft&LHsn ITfm
l-t-t1+l
I l3

tu

H#H rori FFFH


il4

(R)

(f,4)

AdditiotdYttit$rys:

m'2il

(R)

Nine Unit
deilved studY chordal erercise lroma linear
I accelerates srorth, fegimellwhich vour a praCtiCe While deVelOping yo!.M play what
you toeventually practice you willinable what tnatheariig iiueVoriiiinO Oef of linear the.simplest on.taking you count always can cndrOs, witn free tofeel Wnififeirning soto it athalf-speed' apply and work) modal and. your siale earliest lrom piliiirJiOrii(i''gnt would. line the as inchords m'oving iop-voice the with bpeak, (Gdorian and linein F maior 40is a sequential Example 40asanillustration. Example Use 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 the different with harmonized isth6n metody This elc. you top the sing help.if really lt.can play slowly. chord each and recording onthe ffii#'-Gt peOat road). pay the off down good will this voice, you a naie if don't iltr;rt toud ieven

lt'sessentia tones. color more with chords 42.adds Example and shapes basic 41uses Example (G Gmaior families: chord basic two remaining the with wor( same lne toOo time t f,rtne tna11b,j (Gmixolydian). 7th Gdominant lydian)and an over improvising asil we.were theC pedal over foruse intended 44are 43and Examples 'feeling' and 7th dominant the presented once how I've lrrre ulmp. 7th iiiririr-oC oomlnant upthe ;rounO;-nirEen to open serves (Gm7) chords, of iimT inesuperlmposition estaUtisneO, tones color in the 44brings Example and forms chord basic 43uses fxamOfe sounO.

Sequence Using Exercise Chordal 41: Erample @

tu

tu
:'

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over G Use
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G
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orCPedal
Gm7(sus) x x '
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Gm7(9,11)

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e

ph0t0 Publicity taken at David Tan's studio ln Manhattan, ca.1993-19g8.

Ten Unit
style
ThOUgh it'S my feeling that aniving atyour own styte win not beatthe exctusion of any 0lyour options, making adeep stylistic commitment tosome style willbeimportant.
presented Soas.food forthought, I've three examples used with the dominant 7th family. chord Astime goes you your by, might want weigh to options within the major and minor chord families aswell. Bass Vamp

This example guitar offers a common and simple approach which is essentially rooted in the quality inherent blues ofthe instrument:

Example 45: Simple Guitar Styb @

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132 3r2

Here weextend theharmoryic (closed territory with small clusters voiced chords) inthestyle of pianist, BillEvans. Therg arb those who might find this approach forblues-based material ai "too pretty.' you Listen and see what think!

(Closed Erample 46:BillEvans Voicing) Style @

This example isinthe style ofMcCoy Tyne/s left-hand concept. These types offingerings are called "o-pen voicings." lnasense, this style should open-up the harmonic feeling, I find but, that Example "Far 46can accomplish this as well. There willbe who those find Tyner the approach tobe too East" sounding due toall the 4ths inthe yourself. chords. Again, listen and decide for you Atany stage ofyour your development, willnot be able tototally you escape influences. Should your belucky enough totruly develop voice own and style, I believe it willbeaccomplished when you?e not trying so.hard toconsciously free break olyour influences. lt'smy feeling, and especially your where point, harmonic you concept isconcerned, that atsome must make acommitment toth-e shapes ofyour lines you and the chordal harmonic and sense hear along with those lines. This istrue even if,asguitarists, we don't accompany ourselves inatrio setting asapianist does with their left"THIS playing hand. yourself ltsimportant belore toremind that, tSTHE wAY I PLAY, AND THIS lS THE WAY I HEAR MAKING you MUSIC!" The lirstperson have toconvince ofthis isyourself, once you've your peers done that, convincing and listeners ingeneral won't be such aditficult task.

(Open 47:ilcCoyTyner Erample Voicing) Style

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ffi'.

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Eleve Unit
Mc0oy Tyner left-hand s$lepiano voicings
W.hgn b rnrmony on rre t wastryingto arriveat an approach sitr.I

greahst ended upfinding my inspiration from the keyboard. I didspend a lotoftime sturlying h guita/s great chordal concepls ofmany ofthe masters before moving away. Inmaking t this dnoice simply chose the style towhich I felt the most emotionally connected. Witnout a doubt, that styl! was Mc0oy Tyne/s. Especially his consistently centered left-hand approach. Aswe've arrived atfia '90s, there's hardlya-kgybo_ard improviser who hasn't been touched in some way byMcco/s playing. Along with McCoy Tyner, the individuality ofHerbie Hancock, Chick Corea, J6e Zawini and Keith Janett has also touched work. this Intrying topasalong my approach inthe most direct manner, I have isolated the three basic chor families: you, major, practice, minor, and dominant. For in your theidea would beto develo playing fluency bypracticing periods over one chord family for yu extended oftime. Indoing this, "left-hand" your would be developing own sense ofhearing these voicings moving inametodic lnd emotional way. What makes thiskindof practice approach readily usable is that, in man you're contemporary settings, asked to improvise/solo/jam (usual over one chord iaz artlrock minor ordominant). Whether (like ornot it'safinite length 8 bars or16bars)or something thafs practice totally open ended, extended improvising you prepaied over a pedal willhave totally fu these situations. Though countless hours were listening spent to Mc0oy's work with John legenda Coltrane's quartet, his own recordings forM0,Vlmpulse, Blue Note, and Milestone, and his work asasidema oncountless Blue Note I've lound classics, left-hand that the aspect ofhisstyle remains consiste and classic. "G" play I've (using tried what to layout hemight likely asa tonal center) when confronted witr dominant,-major, orminor chord sounds. The only non-Mc0oy contribution comes lrom listenin Corea, especially hismid-sixties work asa sideman onnumerous Latin-jaz recordin lq Cllck (Cal Tjader and Herbie Mann). 0nminor (in chords, in addition to the voicings in 4ths, Chick adds "G" (spelling key) this asimpbBl triad over the bass out asimple Gm7 chord), but when throw into the mix with more ttie open voicings, itadds something wonderful. Try toremember that onthepiano, theleft-hand is usually notplayed toofarabove the area ol "C.'0nguitar, you'll middle I've found that achieve a consistent tone bykeeping these 3-not played voicings your across theD-G-B strings. So, depending upon theroot, choices forwha you'll play you'll play where and itbecome obvious.

48:G7 Erample
r r x ttlttl lfr

49:Gminor 7 Enmpte

m* m,,

Hflfi

Exatnple 50:Gilajor7

m'"m."m'-

m-

ffi"u H1+f,

Twelve Unit
chord tones asmelodies
In previous gxgrcis0s, you've looked atsuch simpte devices ascommon tone movement, chromatic top voice movement, octave displacement passages, ofthe topvoice, scale and.harmonized scale sequences forchords. Now, how about harmonizinj chord tones and modal pitches as melodies. get To the play most out olthis kind ofexercise the examples assingle notes first. Then sing along with the. melody. yourself For the moment, allow tobelieve that thitis your melody. When-it feeli expresive toyou, try adding the chordal suggestions I've supptied. Here's aperfect opportunity tomake use ofone, orall,ofthe applicable chordal reference sheets. lf "A" you were dissatisfied with the (for sound of any chord shape example, avoicing with asthe top 'E'string), gotothe voice onthe reference look sheets, down the column and irysome ofthe other options incontext. try to use completely different voicings for an entire example. Finally, make flso, upyour own line with single notes and then carelully harmonize itasyou would hear it.The lhoices you you now make are sending 0nyour way toaconcept players that's allydurs. No two willmake the same choices.

Example 51A: Gminor 7

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Example 518

m,.
ffi ffi'- m'- m'Tlffil T+T|_
3f!

Erample 51C

4t2

3 4 1|

2tt4

Erample 51D

Unit Thirt
cadences: through apploaches
lower uppor and neighborc
supporting talents they've nuilured years. over the

Thenotionof playing"outside"rhe harmonic boundaries has becom il,r 0l sludy l0r

students ofthemusic of Ornette Coleman, Miles Davis, John Coltrane, and alttr

chord scale ormode) and/or chromatic upper and lower neighbors tocreate a iitile tension asf: 1 harmony releases and comes torest. given provide The qxgmples ideas forboth major and minor tonics. lf you see a note, especialt ai top voice which seems tomake nosense inrelation tothe tonic, look bick abar ortwo anb it n see isa part (super ofthe altered dominant locrian mode) scale ofthe V7cnoiO. rnmost cases, [p alswer should liethere, but, thereal decision making factor willalways bein pLAylNG WHAT TRULY SOUNDS GOOD TO YOU!

lsthere system which g{.logic appties tothe tones, and configurations ofpiht; fly.rurggd "right upon outside the notes?" I would like to offer myperspective onttris, andit g-;s back to anil good idq' !l?tlike good drama, music must havetension and release. Withoutipptying this notin and all itspossibilities to harmony, we'd belefttocreate tension withont1l Oynirjri6s i'rOrefany. It'smy.belief that virtually all passages which to ourears seem to baoLitside theacceptat --- concepts ofharmony, can beexplained ashaving some kind of"dominant function," U7ri. l'd like to offer thefollowing exercise ideas asa means to explore thisworld through chorrh movement. The essential you idea.is that (where take a chord thetopvoice isa melody niteitltriO has anemotional connection foryou and tryto sunound it byusing (Oiatonic/wifnin consonant f:

Eramplet*()
Cm7(9)

m,' m,' ii#i'.Eiffi'.


F/(13) Bbmaj(6,9)
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Cm7(sus)

m,Cm7 F/(b5,b9)

BbmajT(6,9)

Erample 52C

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t 2 tI

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g #

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Am7(b5)
231

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Fourtee Unit
contempolarY
lefelence uoicings

iS, inessence,ane materials referenCe OfChOrdal SelieS ThiS yut goal greater istoprovide

sYstems uoicing oPen f-note


Mode 5f: GLYdian Erarele
m47tl

Again, the lNCHORDS. M0DES titled pri*rrty prisented unit ot't-nr as options many with as Possible. representd: are lamilies chord basic you'll three ofthe two only study, lorthis that Wlr notice beat has seemingly 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. shapes of.sound series inthis'contemporary So, VZroot. the over FI l0 ri,iri'rigi/rhoiOi V7 thafs the (iim7) against voicings mindr possiUie. using By only as asoften il;rd lil t-r*ony accomplishing. be would precisely we what logical' very seem will. voicings/chords 3-note ol 4 and olthispresentation manner the Attimes, I've chosen reference. sequential harmonically not a it's all, quite All in times, randbm. ii otnir l'nd purely technica a on so that, your dexterity chordal as weli as "o tochalbnge irrilmetiioo 1lori islound voice melodic the before, Like stage. a[tnls get bo comfortaUte your never lingers level, "E' string. high or'8" the on ascending within a row. voicing each is to play results long term initial and for"O; exercise best the I believe wha! your for feeling gach own Establish recording. onth--e oveitne peoa fortnobars noroinglt voicings contempirary and basic the you. touse As begin tor'vou. notoiemotionirry ,ou-,iJ-:rriaie play a much willhave you and hear allthat anoin6r, one with i'iioniuniiion iow relati6nshipio connection. deeper tirt a proiected over through goals them follow practice and term r rtiitt ofshort Try tocreate it. noticing without progressing almost you're you;lt find patient wiin be Ar*ivs irjme. ioursetiand
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Example 55:Gllolbn llode
7th (R) Root m3d
4th lttFmirr

tu FFIIF ! r'
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Voicings: Addnional ffirt : ?lfin ffi H*tfirr


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open Yoicing systems 3-note


lilode 56:GLydian Example
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systems voicing open 3-note


Mode 57:GDorian Example
(R) Root tm E TI
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ll I

Yoiclr| ]Glerence additional


57Ar Gtydan tode Erample
majTth ffiIr,
FM tffi
421I

, '

(B) Rool

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ltt2

l
tr-

t!-

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tfifi

tt-

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h

421|

STEVE KHAN TRIOLecrRrc

mr,]..y,1994. Eurcleanlour

St6Yr, ad DtmlrChambors' Jaclsor, L6ft to rigit Anttotly

Fifteen Unit
exercise maior/minor

prcseilh ldliketo exercises! favoilte Thisis oneof mYperconal

pattem asif il nere ahatrnonic lour-bar repeated this forni. Lets analyze study inan elongated one 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 able toapplv iou'llbe process THE THROUGH purpose ol HEARING the is to axpedite The song. uiiitrin a ot ctrorcs ieries possible. early as as CHANGES 0rscale basd the-mode family, and then chord the determine and tryand look atthe chords First, in speaking, for2bars. Generally aGm7 tor2 bars and we liave aGmalT case rootInthis upon the you mode because lydian you use the ch0rd, a major across when come context, a iaz oriented 4th(the that ofthenatural ear than tothe isfarmore appealing ol the'14 ttre sounC mbst times, you mode. the dorian would apply minor chords, For most suspensi0n). possibilities pentat0nic using two thebasic t0 jotdown the time I would take step, For thenext pentatonics the 3rd' 6th' upon player based minor apply ian a maior chords, formulas. 0n simole pentatonic minor may apply a player minor chord, scale. 0nany hajor ofthe Tth degrees and pentaton 7th the dominant and, tTth) 2nd, and 5th; tlieroot' upon built +th, 5th, and mgrd, iroot, gro, mode dorian bTth) of the 4th degree on the and built zno, stn, inooi, given.yourself chance t0play the isyou've kind olelfort this making byjust What's accomplished "right you.an pentatonics gives the ptay Laying out prodression notes' and the this chord 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 and' other style' ofjaz orany yet"speaking you?e thelanguage" not idthat improvising, basii text. left for another best that's adiscussi0n pursue perhaps music, a lifeinthe your and totmprove dot/vant who th0se 0lvou iaz playing For pr0gressions that weseen have many times How that towards work exercise does this how ooal? this: like look something t AnlD7 I DbnaiT ai7 lEbnlAbl I EbnaiT | Fnl Bb7 GmaiT / Gm7 Q7'/Fm distinctly take 0ntwo can 0lthe chords functioning \/vays, the bars intrioditterent the lf we orouD l-maj seen could be movement this 3-4; 5-6; blrs 1-2; isolating view, In one tdois. -as oittere"nt you inbar 2)the C7-chor you with say that how can askingi going may be if0rexample toi-minor. and 4-5;&-7; 2-3ior atbars if weiustlook into'play. view iomes the 2nd inJ,rffnisiswhere (c and (G mixolydian); g-ri, omz, dorian);.c7 F maior' Gm7 key ot allinthe FmajT are and C7' 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 mlor rcmlnor' lrom as moving be scene 1-2could pitches bars then the same, are Again proglessions.in manner. a diatonic such fornegotiating be a preparation can This exercise paves the through thechgrds 0Jsound the'righflormations oflusthearing the accomplishment v7 created on the 19, the lension (15' s0thd 19) the alterations 15, and addirig forevintually way go you tonic. I maior t0the resolves as chord most believe the I lirmly inordel toimprovise ofharmony the movement tohear t0learn when trvino "establish with the beginning suggest almys lvould sounds.' the chgrd isto tintsteo imoortait harmony I the which outline guide vgicings your 2-n0b Simple tones. blocks, building turidamental part t0accompaniment' thll'sappr@ch integral ofJim as an voicings theie toasociate tend

f@ Sten 58: Example

G
Example5g:Step, O
Gm47
IH
ll*

Hc trpnsfl beusaoe oflonqqlq iDlyino a mtody in trt @ v(ria ya| nidr fi b, playing a3-n0h chord acroas [p ]GS $rirus f0lld bya+mb OrorO Ui1|0atop voir oi ;rspofE8. your lhe.'Fslrin0. lhe.ida istorraks top, higtEr voicsd chord, fundion asarFl6dic pglposely t0the lourcrvoiced chord. HeJe guihr usd more haditioml voicins which wd might llye great playors pass. associate with like Wes Montgomery, Krnny Bunell, Jim Hall, and Joe
Gm7 tt--r

fflfi'o ttttfl
2tl

t-Ft f?t EIEE 5N

ffito

ft*

tt8

|313

ffi t

m'"
tt2a

Grnatl9)

Gm7
It_

m'"
1122

ffi'"
Gm7

tf*

m'"
ffito ffit l t a
.o.

Tfnn

m'o

H-I+H n-Ftrl | | fr 23t1

&-

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Gm7(sus)
}{r-,-n

ffi'o flEtt
tFt-fH | !t.

ffi'o tttttt

ffi'oo
H++tt ETITD
I l2a

ffir,ft
tttEt

presented you?e Inthisexample withMccoy Tyner style voicings apptied to meguiw.io presentation, the l've employed a'call and resp0r6e' approach btned| [ loF, :]-m: condense giwyou voicings. voicings, and thehigher register 4-note Usage ofthisstyle should a more modern and ooen sound.

3 Example 60:Step
Gm47(6,9)
Gm7(sus)
t+-

ffi'"

H#rt, Hllfl
l l l

tlttn

ffi

GmajT(6,9)
tL-.J

Gm7(sus)
1ffi2r, Hilfi
Itl

firilr
It!3

fu
It2l

tf,..{ FI|FH

tf,,.{

tt#cr, Hjltr
rul

t Elhr' FH++l
n:l

ffi

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moo

ffi''o ffi'o

HESron ffi'ro t-+{+l{

Gm7(sus)
EEEEF

ffi'"

' ' m''o


l rll

m,," m,." m,,"


r{,,+ t+.+

GmaiT(6,9)
II*

Gm7(sus)
FllEflror.
Il2l

m"" FFFTF
llll

ffira ffirr Efin tfin

t0 3-noh voicinqs This step is do/oted entirely ofleri0o a hal[ry cr6s bdwr dos*style iti$ BillEvans (bars whici one might ass0ciate 9-12), and opr|.slyh tu(6 assehH chords, players T}Ese like Mc0oy Tyner, Herbie Hancock, Chick Corea, Joe Zawinul, and Keih Janetl. v{ilh l0rtie tones lr0m the harmony d0 wonders t0open-up the lexture l0ryou and chord color extended you soloist might be supporting.

Example6l:Step4 @
GmaF(6,9)

Gm7(sus) lm ?h FTFM
ffi

ffi'o
FM
3al

t*-*

ffirt

Hr;tf,

m'fr
Fffi
412

Gmaj7(6,e) ?fr FFFH


h,{

FFM

lal

ffi al2

Gm47(6,9)
tl--J

Gm7(sus)
tl-r

H+H12i
tffi
atI

t+.-,f

m ron FF}}}I
tlrE

H+#rr,
a

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 presentation, with anascending open-voicings we?e using larqer Inthis final $4e you content oleach chord and hear the presented t0G0SLoWLY tones t0force using long plrying Belore you?e toeach sound. atnchment diveloping a personal tndoing this, the root. bver - that properly string isaccidenhlly noone note isspeaking certain that each chord, make any muted ormuffled. bein0 which wete laid you REFERENCE SHEEIS you V0ICINGS C0NTEMP0RARY can use the As know, place front 0f are. right in these options to make sure that They?e in exercise. 16r this out-precisely part your approach as. 0l hear sounds how to these you When learning to explore. made easy and note aslheharmonic note orhalf down to awhole topvoice ofyour them6vemerit iryto keep will still be clear. movement

Example62:Step5 ()
Gm47(6,91 ffi,o
FITH
ItTT]f

Gm9(sus)
riffit 2fr

tffi
tIM]fi

H+m rft
FtnF HTfi-l
2ll4

ffi 23t4

to

Gmaig(6)
H_ FEIF 5ft t{r,-n

Gm7(sus)
ffJJfizr

nrm
ffi,o ff-lta
23 1 4

Tf* lot FttFF

Hm rrll!
llla

H#

2314

ffi

Gmaig

oifiz(sus)
m

ffi,0
H]ffi
1t2

m'o
412

cmaj9(6)

ffi'o
Hffi
at!

Gm7(sus) trsF

ffi'o
4t2

ffirt Itlt'

Unit Sixteen
chord changes lorstandads
movements/progressions ff91oooutar (R-n-AjR song forms just and A-A') buf, I crrose to use two examples which would lend themselves asexercises forthis mat6riit.'goth present tunes harmonic movements which are constant and very logical. Example 63("Mundo Desmondo'') isperformed gth-note with a bossa nova feeling which, asaneven groove,.can jaz,aswell beclose tojanand Latin you're aslighter forms ofpop, Rock, and R&8. given a.basic rhythm along with the essential bass notes.leaving your cnoroit cnorces tospeak clearly. In,this lirstexample, you're,asked toexplore the usage of both invenions oiineguloe tonis. nJ1tou;ie allowed to mark thechord changes without anyk-eyboard interference, youifroutO near lusifrow clearly guide these two-note tones oufline the harmonic movemenr. Example 64offers comping inan.orchestralstyle. The.idea isthat, your guitar, with youhave a big your il hands. The concept.being, you that imagine the i/oiclng; top note of'the ciord 9!F ih; "8" d string) asthe saxophone ortrombone section, anO tne 3-dr+-note voiclngs with thd topnote "E" onthe string asthe trumpets.. Dynamrcs are important youmrght here, and tiy playing tf'eto*et voiced piano chords atmezo and the high-voiced chords atforte. Letter B,ofExample 64,isanexample ofusing octave leaps inyour topvoice. Remember it's a melodic voice and anoctave can bea very eipressive interval. A simple suggestion, trythis movement inreverse.

,,standard,,chor Onecouldcertainly presentin0 spend volumes

The (A3) final.section presents the concept ofhaving the top voice slowly ascending through the progression. Inyour own improvising, try, once again, pr6cess to reverse the creating onj rong descending line inyour top voice progression throughout the Exampl.e 65offers myown approach based upon a Tyner-influenced guitar style. lf you've yourself familiarized presentation with the ol how toactuitize hisvoicings guitar in tne tnen inii example should make a lotofsense. I'dlike topoint out one special ha'imonic approach which I with.McCoy you Tyler a1d can observe q; and listen totfris asyouplay A AZ, nars Z anO $ssssssssssssssssociate B,bar 5;and A3,bar 6.Whathe does sooften over a iimT-V7 isto inimeO'iatery play ftre titn-t}lpe chord voicing ofthe V7even though the bassist usually observes the roots otOotn tie iim7 andihe might have yourserf toforce tomake use ofthis approach, asopposed pl;ting toalways ti._Yqu ; iimT chord voicing first, but, if you findanemotional connbction tothesound, you then wi'llintime strike a balance with itsusage. ("Some Example 66A Things You're Not") guide begins with the tone approach. lt ismyfirm belief that thisisalways place a good tostart and your then expand concept trom tnere. One litile"tiicl; to take note of(inbars 3,11,18,.22,27,and 34) isthatover a V7chord guide I often use the ionei from theprevtous iimT forthefirsttwobeats, giving thesound a heightened feeling otiuspension and release. Tryplaying these bars with only the g"uide dominant Zth tones and listen to the difference, your then, make own choices. Example 668employs a Mc0oy Tyner/Chick Corea approach fortheentire tune. lt should benoted that if you were to attempt to.play exactly like this behind themelody ora soloist woufO Oe ilou guilty ofsome serious overplaying. For thepurposes ofthis book l;ve tried to jaminasmuch information aspossible, playing but, ina real you context would have toweed outa lotofthiswhile listening going towhat's you. onaround I'moften asked toapply som.e ofthe"0pen Voicing" concepts toa standard. InExample 66C I took "sound "Open one chord.al shape" from the Voicings" pages refeience and attempterito appty iiio b_ar if possible. gvery Asthis example stands, it isa composite oitne open voicing concepi'and the 'Oecoming Tyner/Corea approach and should growing add to your sense that these voicirigs are popular sound you shapes-things really hear. Since alltheplay:a.long examples were constructed with theaidof computer sequencers, I have chosen to use anR&B oriented shuffle feel, with some Latin undertones, is a substitute foi a lazlike medium bounce. Tomyear it'sstilldifficult to make machines ieel like efvin loneJ,'noy t]ayl9s, Jack DeJohnette, AlFoster, Tony Williams orPhilly Joe Jones. lt's alsomy teeting tnitthL shuffle isafeel, anattitude, that most musicians, from allgenres, can relate to.

"Mundo (GuideTone$@ Desmondo" 63: Example

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Unit Seventeen
Gm7-EbmajT(t4)
practice simple exercises and process devices which would accelerate the ol .hearing through the changes." The following isone favorites, part, ofmy because forthe most many ofthe voicings can sustain themselves through both chords though these two chords might seem uirelated. Again the movement between phrase, the chords issimple and repetitive, afour-bar two bars foreach chord. S0 why v{ould these chords have somuch incommon? look Let's atthe modal first: oitches
Gdorian: G Etlydian: G A A Bl, C Bt C D t E l F D l-iLl F
=I

It's the continuinggoal of lhis book roinspire you your tocome up with own

Root you As can see, though Gdorian isderived from thekey ofFmaior and Etlydian thekey ofBt, maior, they only differ over the usage otEtorEr. it simply, S0, toput aslong asyou avoid those pitches, you play any chord voicing will sustain through the entire four bars. yet, Example 67focuses 0nlong tones. The chords stay the umeand only the bass note moves. the ismade change and willactually sound obvious. Example features 678 inner-voice motion while playing the top-voice remains fixed. Try these aswritten, in broken chords, 0r in anarpeggiated your style and ofcourse use own rhythmic ideas. Example 68contains some vamp ideas utilizing triads inconjunction with 3-note open voicings. youshotld The short focus is oncommon-note topv0ices with themotion in theinner-voices. playing discover while listening and tothese vamps how contemporary simple triads can sound iust when used alongside voicings u/hich might be considered modern. Example 69features astationary top and bottom v0ice wilh only the middle moving back and forth 'A'and 'C." between Inbars phrase, 8,12, and 16, l've added akind ofchordal answer t0the again beginning with 2-n0te voicings and building t04notes.

(with Erample 6'7A Common Tone Ton Voice) @

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Ninetee Unit
reference chordal C7pedal
otfer q t0play aYamp' over a long voure iam oftgn in a SOIOSeCtiOn oriust Fked lle been aslcd seminars and prilate at clinics yean and teachi-in:g, ot ;irft-d;t6;rt nh;httc.lor lollowing The otsituati'ns. kinds these doo,-ver can wnar rhe', ilitr),il ti,; i,rt;n expairo lrom. work to as a basis are otfered rdlererice charts c7. inthis case7th chord, dominant sound olthe the ofestablishing notion basic with the Beoin "B'llats 'E naturals within ofien here somer and witt co-ntain ffi;;i; il;kft.h,ilvoicinsi wirr associated voicings.usuailv iimT byadding sounds these iil h,*onybey;nd ;il;;ffid 'F's!o all almost

iith *turals ir'oiitrt iiJirittriiioui6isentiairiiipiiiin6 ir"riziii,iriii-'

that

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20 UNIT
about thecd
group, forthose inspiring and educational ist0 make thework a clinic t0a large teaching 0rgiving down t0 themore advanced sounding likeyouaretalking thefarthest t0 g0without whohave leels players. al0ng the way, s0meone and doubtlessly, somewhere lt'sanextremely fineline t0walk fine lineinanacceptable manner. ofyou I've walked that hoping that formost slighted. I amnow

matte endeavor, and for that Plobablythe most dilliCultaspect0fthis

presented s0 to offer CLARITY; were done attempos designed ontheCD The which are examples practice without it being t00difiicult. thesame thing what lam doing and then hear thatyoucan performed same track, only willbefollowed bythe onthe CD the examples speaking Generally There willbecases however, byyou. empty space to befilled myguitar, leaving thenow minus 'feels' you pedals, 0r several dilferent where are offered various examples and such asthe Gblues 'grooves'with written examples. using the same which toexperirnent

"Don Grolneliu*" O

you lree t0 and half-notes, are is olfered inwhole-notes written music 2G-31 where the ln ExamDles 'feel' you own by tryt0w0rk 0nyour play I've also suggested that manner, but, in precisely that them lf youlike what I did' examples. I didin performing those This is what simple rhythms. improvising played. pitches great I The willbe rhythms to transcribe the learning exercise it can bea sometimes asthey appear. iust presented you inwh0le-notes. Initially was the exercise willsee that once again InExamples 33-36, is speaking. Another practice each voice make certain that inthat manner and them it is important to Inlhe ina'broken chord'style. ist0play the chords same end the method which can accomplish I did.Please it this you trydoing perlormance that thisiswhat willhear, attimes, examples, 0fthese way aswe. youthetechnical with details t0share done ourbest Pollack andI have Malcolm Though engineer you outexactly asI noteveMhing turned \,vill hear 0ntheCDpresentations ofthesounds of most you 0ntheguitar some distortion willhear examples, 0ttherecorded hooed. 0n a number had myfaultAtthe time of actually lt was it is notyour stereo, lt is notyour CD, Donotworrylll sound. fully realize exactly did not on the amp and the contr0ls one 0f I didn't understand therecording The myapologies. going to mixit. So,toall of you, untilwewent was t0 tape kind ofs0und what yougreat lt will save such things. time to double-check take theextra lesson here is t0 ALWAYS laterl embarrassment inthebook, I planned included would bea play-along CD that there it was known themoment From exist asfully realized pieces. notnecessarily which w0uld Pieces improvised several onincluding your harmony can be lines and chordal how would serve t0demonstrate but compositions iust pieces playing. inspire each of you're lvill lt is hoped that the presinted while actually side-by-side your lN Y0UR music, but, oWN putting in own you trom the book to use c0ncepts work hard at to pieces. 0fthe a little about each | would like t0say WAYII!

"sliceville" Gl

was a constant 0nmywork 0f pianists reflections 0ntheinfluence ofthebo0k, over thecourse person pianist in mylife, and very 0tone significant the absence thismoment, There exists, upuntil (1996), onmepersonally and passed hisinfluence earlier thisyear Don away Though Don Gr0lnick. Bros. Band' we withtheBrecker 0f ourdays During theearliest can befeitthroughout. musically Don lived in a Incredibly, in New York City. in the Village apartment in Don's to iehearse/jam used rhythm section was . . . so,thewhole Parker WillLee and Chris were where hisneighbors building Don worked really TRAIN fans-and allSOUL wewere During the early'70s, in residence! right there, persona picture and Don Grolnick's lf youcan impression. hisDon Cornelius hard atperfecting get he worked and w0rked at . . . but, pretty impression down l0r him to this big stretch it'sa "Love, stature, good-bye hegotpretty Finally, one day lrom theshow, and Soul!" the Peace, mastering pulling one example Anyway, lwanted to impr0vise Gr0lnelius. Willcalled himDon t0 it and close groove (itself a tribute to shuffle 19.I decided t0use ourbasic in Unit issuggested together allthat presence Having keyboard Don's immense a sense of and try and evoke Bernard Puidie) drummer now stand asmyown years I play, and him, hisinfluence onhow music with making spent s0many - is,in part, - perhaps due toDon. Latin ofR&8, Jaz,and mostly a mix hbdgepodge ofstyles him deeply. triends. We miss being his him, his music, and We allloved 'MEDIANoCHE" jazz. Don's compositio (Warner Latin Bros.), heexplored Don's last CD, 0n "Rainsville," question without my favorite tune feel, was blues with a cha-cha essentially asophisticated justkind mixes spin onit.Asoulhasty 0fputmyown the attitude, and the Btkey, I simply extracted gotten guitar t0s0unding asI'dlike. isasclose asI've sound here feel the that I now went, lhave t0say il I like t0 employ reverb t0thedegree Don really disliking I remember inthiscontaxt, because Odd, 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'te you've last to 0nthe train and well, been work out,

"Khalatmo" @

"Gracinha" @

l\ilac's now system, computer fileinAlGorgoni's Latin title ofmyplay-alono the This isactually pr6gression by isinspired The chgrd it as atitle. touse decitied sofuniry,'l sgunded Vision.it Studig ;SSUL sgme brilliant which features mid-'60s from the LP Tiadeis BURSf onCal olthe tunes one vamp: an 8-bar lt's toplayingl my whole approach piano which changed v{ork . . . work Corea Chick l lw7lF7l FT lv7 lBtT lF7tBrT 8 lt F7 chords ofiimT the superimposition loremploying workout, terrific 7th dominant Itsagreat piece Bb turnaround: double-time, issimply an 8bar, This lBrrai lr l ,l G7(att)tl lF7 lFi(att.\ 8 ll,cnlI cn7 m0sl the Laporace-Mendes, l0rGracinha it isnamed music, Brasilian todowith it has little Thouoh "BRAS;LE1R9" pianisvarranger, last twg CDs, His Mendes. Sergio wite 0l and vocatist, increiinG is andphrasing voice In Grancinha's trayiconstantly. in myCD have been inO'OCtlNS,' brilliant guitarists, teature the CDs these For inspirinq. and so uDiilting music mates evervttrino tnat lantastic price He sgunds oladmission. the v'/orth alsg easily Jr., Jackson, olpaul accomoaiiment recordingsl!! on lhese salsa alllhegreat hearing outand hanging couple ofyears otthelast somuch Alter soendino queens, plus taking the Brgoklyn, and Br6nx. ol Manhattan, inthe clubs Uands ineir vocatisis anC pay 0t movement t0the lyrics tribute why s0many understand I novi lessons, dance Salsa/Mambo when westwood, grew-up Angeles, specifically in Los I As ltaists (la dancing. ofwomen cintura) the issort 0t this I guess . . , so, City Century built-up, was bein! area busines iiOanein i litttb iwas repeated: 4 bars vamp, simple is also a This play . VERY sort ofllll . . words a on / thnT,ll / At7 / BknT Q li A!7 (1) Rico All-stars' Puerto The influences: ottwo ofahybrid feel iskind and The chord 0r00ressi0n "Africando" ;oe guitar diflerent ol two (2) the exchange track oflers i. This Vol. 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. For thgse bars otlines. ior16 lbanez Tirbe Screamer the e,ir,,'ptoying iounOs middle pick-up inthe ygur selector years it is:Put Here ago. me sho$,ed nios iittino*ttliti barios 0n'10' pick-up contrgl the Vglume with set pirt-ups have the bridge Thed on. are iiiiti6n sonoitr 'trick' '8.t0'. control pick-up Volume uses the your only neck isthat The ori inC ini foni conirot playing heard.here the playing for 99o/" of live, and When at about'8'. c0ntrol tipinq ib fone it S'. When as'5'sometimes pick-up aslow control with ihetone neck the use cbi, t ontv iircin m'v met0 Farber beg and James Pgllack Malcolm nirtslll Both, engineers tt'isOriuei iecorOin,i ;6iior'len:u'ptio*...S;lg0toabout'8'...Now,backt0thelbane-z.TubeScr final contrgl the and 12g'clock; DRIVE: 110'clock; LEVEL: aslollows: set thiyare corirofi.nO pedal.at.all.yyith chgrus the I N6T use this, d0 t0 In addition shut-offll! iiiiiriiils ini iev. . . 1ONE: '79 my I dgn't think since . . . and 0fmine CD this onANY tike asound uied iiiiiiiundiitriie ngt gnly isat this sgund with l00largund I even time good. days the These this waihalf ttren iiunO you it. allenjoy I hope checks. sound during and clinics

"Cintura Ciry" e

Informatio Guitar Technical


llainGuihr: ffi GuiW: Series) (lrom Herihp 1980s the ES-335 Gibon pick-ups: (ca' EMG 1963)with Strdoca$er Fender Spacing with Gibson Bridge Diiihtzio 7 ExamPle onSTfiad only merl N0IE: walterwoodsstercoPrcampPo*erAmp lmlifiE: 'Sild: '1912' - roh cabinet (Stock) 12'speaker one with Spdeis fwoUarstratt Board Pedal Etfecs EBL-S Pdil, lbarpz BatlVolunp Emie EificB, of'my' main source olthem.fhe pc&il use_three lonly p0dals, of$ptime, 99% five conhim Bmrd are settings specilic The (Metallic incolo0. Blue Pedal Cnonnnhnger OCf-tb ;orndEh0ibilEu cfollors: nVsec.) t3l(4-32 DlAl-: Pooition IODE DELAYIIME:110'clod 12 o'clock SPEED: 2o'clodt WIDIH: I,EVEL: 2o'clod DIAY Shut'off REGB{ERAII0I{: up wtled Ggniqs) and.Elgr$!$ tbnyKdh (&np board. delry tuodiglhil Ihsnare sals inttre have a They go RIGHT' & LEff tio Oetan out sotlnttlre a'irilro-mixe/ tn igi bmd-with with a other side (lF careful!!!), quarhr realry_[ling note I'm aa siOe . . .'iine i[f.r rsti,tg ?lqlht willkillme!!! illalcoim or lanls low VERY at out set to'put ttr!'re q,nril nilt[dd. FoirecorOing ngtqsQu.tlO single tr're istolrave wihtrissound toac{ria,e TRYING I'm Whd SdJiDC$lCEpT: as exist pl@, should'open-up'and chorusing Sr is avoicing hrt,when uldronrsd, ;il [Eyars ' '.' sound orgn incrcdible Young's t1re Larry hop!1git.sgYrin lm nt-t-lmes, ;lufnnn.t 66rty. pedal which ottpr single one found not ha,e I &y, fo-nis notercn'closeUi iti loil il'hcilghl toiltissruM! glb ttr ily closer

Notes Engineering
'live" guitar emerged mixed asthey were than Steve's All Ol thg inStlUmgnts other guitar required as that something being the only thing the equipment, AlGorgoni's sequencing from
model 1' 16-track, was machine anOtari Inthiscase, the tape recorder. asa taDe old{ashioned was aTAC Scorpion. the console MX-70, and The cabinet. onein frontof each guitar u87s, witha pairof Neumann recorded The was grillecloth, a main uis, using speakel and slightly offthe the orsofrom were afoot microphones pads The on. signalwas pattern, 10 switched internal dB roll and with the no low-end off, cardioid 166 stereo was a dbx used The compressor compressed. butslightly totape unequalized, sent project 2:1 ata modest inexistence), set (as studio I believe inevery can befound, cgmpressor asI ol that, I can't besure although rarely exceeded 3 dB, reduction thegain ratio. I imagine it. watching much ofthe session spend certainly didn't - two pitch-shifter, as reverbs, and astereo adelay, basic setup with avery mixing was done The follows: preset I which diffusion, are the inthis I usually edit Plate. The only things Vocal Rev-S: Yamaha "internal parameters'), parameter (one of the the E.R./Reverb 5,and ofthe usual like at10instead reverb. Anice transparent I set to20%. which reverb oftheYamaha than any and darker, Rather denser, PCM-70: Rich Chamber. Lexicon settings ol the are thenew Here rather extensively, edit thispreset 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 RT High cutoff 11.31 99 Diffusion 12.01 I used without any edits. harmonizer algorithm, stereo C.Asimple Pitch Change Yamaha SPX-90: guitar. ofiton the alittle used also the delay,but totreat itmostly iust yamaha I program I only used one side. but output, astereo offers This L,R. Adelay. Delay SPX-90: piece from to.piece varied which time, thedelay ofcourse here, except anything didn'tedit toar eighthconesponding it was set ataninterval the feel. Usually and inetempo on depending generally millisecond in 2ffi-to-350 quarter-note was the and triplet, a or eighth-note, adoled noie, ways sttbtle toadd inma.ly be used which can delay, about atlength todigress templed range. I am Inthis refrain. case, I shall not mine, book and However, asthisisSteve's t6mixes. depth lile-and directly tothe was not added feedback, and some roll-off abitofhigh-end after signal, the delayed pitch-shifter. only tothe was sent instead mix, but -Malcolm Pollack NY Brooklyn,

Discograp Khan Steve


feature: recordings These Mainieri, Gdd: WllLee, Mike and Stan Don Grolnick, David Sanborn, Brecker, Brecker, Micnaet Randy 'Tightrope" 'The Man' Blue "Arrows' "The Khan' Best ofSteve 'The Collection' guitar: acoustic Solo "Evidence'
JC34857 Columbia.

35539 Columbia. JC 36129 JC Columbia, JC 36406 Columbia,


CK 57907 Columbia.

1977 1978 1979 1980 1994

1981 AN/3023 Arista/Novus, '1990 RCA/Novus,3074-2-N P0CJ-1892 Polydor, Uapanl

Manolo Badrena Jordan, and Stew Anthony Jackson, featuring recordings Ktnn Eyewitnas and Steve 'Eyewitnes" 1981 422-848-821 Antilles, P0CJ-1893 Polydor, [Japan] "Blades' 1982 PJ 88001 PassportJaz, P0CJ-1 894 Polydor, [Japanl Times' As'Modern "Casa Antilles,422-848-822 1983 Loco" P0CJ-1895 Polydor, [Japanl "Evidence," 'Casa 'Blades," 'Eyewitness,' 'Best plus new three and Loco,' from of. . .i Selections Parker: Chris and NeilJason, Cafe, Bill Evans, Carter, Clilford featuring: tracks
'Helping Hand'

P0CJ-1896 Polydor, lJapan]

1987

guitar: leaturing acoustic keyboards, Mounsey, Rob with Duet


"Local Color'

33CY-1840 Denon,

1987

Manolo Badrena and Weckl, Dave Anthony Jackson, featuring recording Eyo,rritnes and Khan Steve 'Public 1989 GRD-9599 Records, GRP Acces"
20364 J00JPolydor, [Japanl drums: AlFoster, bas,and acoustic Ron with Cafter, Trio 'Let's This" Call P0CJ-1060 Polydor, lJapanl R2 79163 Bluemoon. 1991 1991

bas; Anthony Jackson, and 0tniletwith drums, AlFoster, bass, acoustic Ron Trio with Carter, percusion: Badrena, Manolo drums; Dennis Chambers. Polydor, P0C,J-1115 [Japan] 79179 R2 Bluemoon, 1992 1992

Manolo Chamhrs, Dennis Anthony Jackson, leaturing recording Eyenritnes Khan and Steve

Brecker: Michael and Badrena, "Crosings' P0CJ-1217 Verve, lJapan] 52326V2 Verve,314

1994 1994

and Cafe: Marc Ouiflones, Allende, Bobby Don Alias, Dalohnette, Patitucci, Jack Featuring John 'Got 1997 Contemporary Dan Uapanl My Mental" 1997 Evidence

Publications
Pat Martino Guitar Solos: The Early Years CPP Belwin The Wes Montgomery Guitar Folio Gopam Enterprises Steve Khan and Eyewitness Songbook/Guitar Workshop Series Warner Bros. Publications

AsProducer
"Two forthe Road' Larry Coryell and Steve Khan Arista, AB 4156 BMG 819D-47025 'Step lt' Bill Connors 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
1977 1988 1985 1987 1988 1988 1989 1992 1993

i'u

-; ]--"vc-

0rlllnel Penand lnk by Jsan-ilichol Folon.

Publication Bros. Warner from Available Also


Book/Audio Title

Guitar Fusion Diorio Joe BeYond and Blues The Ford Robben Curious the for Just Holdsworth Allan Master Blues King B.B. Techniqu Gambale Frank PlaY-Atong Ultimate MikeStern Greats the with Eubanks' Lessons Keuin Aberctombie, John Henderson' Scott Gambale, Frank MikeStern Lukather, Steue Force Creative Martino Pat Morse ofSteve StYles Complete The Morse Steve Morse Steve Essential The Guitar Jazz-Funk
Scofield John

Artists: these Videos'with


AlDimeola AlbeilLde Henderson Scott King B.B. PatMartino JoePass Scofield John Mock Don Holdsworth Allan Joelliorio Ellis Herb Fotd Robben Gambale Frank Morse Steve Santana Garlos

Khan Steve bY Alsoavailable PubliCations Bros. warner trom

Years Early The Solos: Guitar PatMartino SteveKhan:EyewitnessSongbook/GuitarWor

of catalog a comPlete For Video' REH Video, Music DGI andManhattanMusicPublicationscont Publications Bros. Warner FL 33014 Miami, Avenue, 48th NW 15800 620'1500 or(305) (800) 628'1528

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O N T E M P O R AC RH YO R D pS resents KHANCEpT i n f o r m a t i of no r g u i t a r i s t o s f a [ [s t y t e s - f r o m R o c k ,L a t i n , a n d F u n kt o C o u n t r y l, a z z ,a n o A l t e r n a t i v eS . t e v es h a r e sh i s a p p r o a c h to chord construction a, n a r e ah e h a s b e c o m e k n o w nf o r on guitar.

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I n t h i s b o o k ,h e h a s t a k e na c o m p l e x subject a n d b r o k e ni t d o w n i n t o s i m p t eb u i l d i n g btocks a n d s m a l ls t u d y u n i t s .y o u w i t t l e a r nt o e x t e n d y o u r s e n s eo f h a r m o n y by the superimposition o f c h o r df o r m sw h i c h a r e f a m i l i a r a , s w e t [a s a w o r l d o f n e w o n e s . y o u r a b i t i t yt o e x p r e s s yourself and create textures and musicaI moods wilIimprove immediatety. T h e t e x t i s a c c o m p a n i eb dy t w o C D ' sf u l [ o f p e r _ f o r m e de x a m p l e sp , t a y - a t o nt g r a c k s ,a n d f i v e c o m p l e t e ln y e w c o m p o s i t i o nb sy S t e v eo n l y
!

K
han hashadan expansive and diverse career . s a solo a s a g u i t a r i s tA a r t i s t ,S t e v e h a s r e l e a s e d fifteen solorecording p r o j e c t sS . ince h i s f i r s t r e c o r d i n gfs or Columbia Records i n r y 7 7 , S t e v eh a s e s t a b l i s h eh di m s e l a f sa truly individua al n d i m p o r t a nv to i c e . i su n i q u e on guitarH approach o n g u i t a rc a n b e h e a r do n r e c o r d i n gb s y s u c hd i v e r s e a r t i s t sa s M i l e sD a v i s , Steety D a n ,J a m e s B r o w nQ , uincy ,/ones, a n d t h e B r e c k eB r r o t h e r st,o n a m ea f e w .

e
q

available in thispackage.

F o r g u i t a r i s t st,h e K h a n c e p t s in this book wiI s e r v ea s a n u n l i m i t e ds o u r c eo f r e f e r e n c e mate_ r i a l sa n d i d e a sf o r a s l o n g a s y o u e n j o y p l a y i n g the instrument.

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