MEL BAY'S COMPLETE BOOK OF HARMONIC EXTENSIONS FOR GUITAR By Bret Willmott CD CONTENTS 6k [1:14] (2) Song es. 1a (45) Song Es. 4e mn228[:34) 4 mm 44 (36) Song Bs dant 72 (25) [songs (59 sia} {2a}. Song ts. te (47) Song Ex. 6b (2:26) 8 mmids (1:01) (2B) Song Es. temmi72 :25) Song Ex. 6 32 (1:34 9159) ‘Song Ex. 1:47] Song Ex. 7a [1:42] § mmi92 (28) (22). Song Bs. 1fmmt72 (25 Song Ex. Tamm [5] oEs7 Song Bx 25 1:49) Song Ex. Te (1:01 10 mmi44 (35) Song Bx. 2a mms (1:01) [5] Song ex. re mmi60 (42) 17 48) ee ta (BR) soos 1133) 18571 Song Bx. 28 mm26 1:08) [52]. Song Bx. 8 m1 76 1:19) Ex. 19a (48) [BB] Song Ex. 30:58) [53] Song Ex. 96 1:49) Ex. [Sammi (30) [BB]. Song bx 34 mn200 £27 [54]. Song Ex. 98 miso (1.01) Fx. 21 (46) [Song es. 20 (58) Song Ex. 9e (1:9) E2354) Seng Ex, 3 an200 27) (5B). Seag x, 9 mm160 (1:05) Song Ex. 4:58) Song Ex. 3e mm200[ Song Ex. 4a1:05} Song Fx. 4a mmi80 (44) Song Ex. 4e 1:51] ‘Song Ex. 4c mmi88 [2] Song Ex. e101} Song Ex. 10a (1:38) Song Fx. 10a mm168 [53] Song Ex. 106 (1:38) Song Ex. 106 mm! 44 (59) Song Ex. 104 [1:38] Song Ex. 10d mum 44 [46) 23 mmi44 (34) E16) Song Fx. ta (47) Song Ex. 1a mm172 (25) Song Bx. 16 :45) Song Bx. tb mm72 £26) Song Fx. te [47] Song Ex. le mmi721:25} SERIE ERS EEEe (© 1996 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 6ace9, ‘ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. Bil MADE AND PRINTED INU S.A Visit us on the Web at http:/www.melbay.com — E-mail us at email@melbay.comTable of Contents Tntroductionesc p75 Dhmajz E97 4 4 b Aqest.. Eg® C6 Cmaj9® co cadd9 C6 Arid) 7Gaits) a 7i5G9 479 Fmaj7 G74 cp D7 F-7°5 ales neoeie BPs Apst \ ° D9 p-7) pg) p.7an G7H3b9) G13"? Gols Equally important to enharmonic awareness is the connection of two or more chords smoothly by effective "yoice-leading". Voice-leading and line consideration over various chords can pull those chords together into a single sound or phrase and can be especially effective with fast tempos and/or busy chord changes. The following will offer a variety of line approaches through a basic chord progression. Some enharmonic realizations will be listed below the staves in parenthesis. While linear motion over various chords is easiest to hear in the outer voices (top and bottom voices), some of these examples will present line ideas in the more subtle inner voices. The first six examples will present the two most common and effective line motions involved in voice-leading: common-tones and chromatic motion. The last two examples offer creative and effective ways to break voice-leading. 8Exercise no. 3 © (E7) (Am) (C7) ® (Bb7) (eb) (G7) © a) Common-tones in lead co) EH a7 C79 maja Bl13 © Bhmaj7 G7#5 col (A7sus4) (A7sus4) | (Abmaj7>5) (ATsasa) b) Common-tones in second voice cmajo B79 Amdt cof 6) Bb7 IS) Bhaja = G7 Cmaj9 Es 1 (Em7) (Fe7) (E7b5) ©) Descending chromatic motion in lead cmaj7 E75¢) —A-6 C754 Emajo BiH) be) Gs? Cmaja 2 ° be (Bb13) | (Fm 7b5) | (Emaj7b5) d) Ascending chromatic motion in lead Cmaj7 E756) A-6D C79 adds Biv? ghtst 75d) Cay? o jo 2 (Bmaj7b5)e) Chromatic motion in bottom voice Cmaj7 E7694) Amado cpsbs Fe) BiASb) Be — Gyfaits) Cmaj7 2 2 2 2 2 fe a E (G6/9)_| (Abm6/9) (D7sus4) (Abm6/9) ‘f) Chromatic motion in 2nd and 3rd voices co e786 c7 F449 Blast? Bhmajz -G7#5. Cmaj7#t 8) Melodic pattern Cmajo E79) a6) — C79 Bo) BH? Ebay G7) Cmaj7! be e. ate 4) Arpeggios in top voice = e Bray EP ag CI FO Blo Ehmajo GPS co) 2 é Zz be (Cmaj7) | (Bbmaj75) | (m6) Additional line possibilities could include symmetrical intervals or different scales and many examples _ containing these ideas will be highlighted throughout this book (a good example of harmonizing the blues scale can be found in Section II under Song Example 1 (e), "II-V Blues"). uL‘Many other concepts will be applied to a single progression or song in this book as well, and as an example, the following will offer three different approaches to harmonizing the same progression just presented. The first example repeatedly uses the same structures to enharmonically satisfy different chords, commonly referred to as "constant structure harmonic motion". The next example presents "upper-structure triads" followed by an example of "approach chords" appearing on the weak half of each measure (beats 3, example, note the use of "constant structure" in the bottom three voices starting on the 4), In this last {5 chord and continuing through the C13(9) chord. Exercise no. 4 © (E7) (am (C7) ) (Bb7) (e) (Gn «© 4a) Constant Structures majo E79) 6) C13 Fmajo — Bb 6) = G13 C6?) eS S 1 2 2 ia be 5s ul 2 E7sust) | (abmaj7s) | (Cmaj7>s) | Bhnaj7s)| (A7sust) Grows) (Cysuss) | (majzs) || (A7sus4) 4 a i i * : Cmaj7 B70 ameddtt cg F6) BIg Ebmaj7 = G7) cg) = 2. 2 2 12. 2 te eI i: : (aera | (abers) | (Cars) | (Bers) | crea) | (aber) | ero) (6/9) (C69) 4H ae ee b) Upper-structures ef GIc cyD E/C AVE cr GD BE» ce pis © (naj | 139) | maj) | cats) | Fmajy | ist) | lima | (cisb9) |] (Covfaraa) + ; + t $ = ¢ 3 ns c) Approach Voicings co F E7tsts) Ab-6) A-6 cots 13 ch® 4 e 2 o 2 2 rs i 7 4 # $ ip : : 4 . — 4 Fmajg F13 — Bb13 69) Ebmaj9 = ADI G7 Dbmaj7 Cmaj7 9 rs = = Se $ + ca 4 12As mentioned in both the Introduction and Conclusion of my first book, each four-note structure offers four three-note structures, Although some of these voicings might prove too incomplete to satisfy the harmony, ‘many offer a nice alternative to four-note structures and have the advantage of being physically easier at quicker tempos. You can also use more three-note voicings per chord with less chance than four or larger note voicings of being "busy” (two and five note structures will be more thoroughly examined in the following part of this section: "Voicing Sizes and String Combinations"). Using the same progression once again, the following will present another four-note harmonic rendition followed by all of its three-note permutations. The first three shree-note examples are considered "open" triads while the last three are considered "close" or "closed" triads. Exercise no. 5 © (E7) (Am) «cn ®) (Bb7) (Bb) (G7) © 4) Original four-note example; co) 7856) a6) c7ABES) maj BB oe 63 co °° 5 2 b) Omit 2nd voice; C6 E79 AG crs Blo Eb6 co C6 F e ¢) Omit 3rd voice; adds 7856 madd? — c7ASH9) Ema Bh3® ea 6B — cadaa o 14Alternate b) and c); cdo gh? Amado Omit bottom voice: co) E785) a6) Omit top voice; co) E75 A-6) fernate e) and); co E7#5 A-6®Continuing with this book's primary theme of supplying many different harmonic concepts to a single progression or song, the following is another small chord progression with a variety of concepts and voicing sizes applied. This progression is a bit more active harmonically (and less predictable) than the previous one. Itajso offers an interesting compositional technique of alternating between two different keys (in this case; F and Dp). Every other chord is in the same key; KeyofF: ()Fmaj7 (IDG-7 (VDD7 (V)Bbmi7y =F Key of Db: (VI) Bb-7 = Domai? bv BTV) Ghmaj7 Example k) on page 18 presents a small ABA song form combining a few of the concepts used in the earlier examples, This example is also presented on the accompanying CD with two different performance demonstrations: selection #1 (slow ex.) and selection #2 (up-tempo ex.). Exercise no. 6 a) Chromatic lead tone Fmaj7Bhe7—G-7_—Domaj7_p.7_-— By Bhmaj7_ Ghmaj7 a (pie esis eee a 2 === O. Es. 8 a = a Se = o ——o= S | ine! ee & + core ior t 3 tor) 91-3 orl 81 # 10rd ord $i Se £ b) Common lead tone Fmaj7_—Bb-7 G-7_ Dbhmaj7_—~‘D-7 B7 Bbmaj7 Gmaj7 E 2—— 9. ° = © © © 3 © — se io SS — oe aoe o fo too oa o $ $ ¢ + ¢ € ==: 4 4 + ¢) Constant Structures (Perfect 4th voicings) Fmaj Bez meee F 2 yo eo ror 2 2 ae Ss : © 5 o 2 ve a 2 ¢ —4 on-$t t00n-9 ¥en tt won 9 homo 9 Stor 8 Fro $1 to i $ d) "Modal" (Lyd. / Dor.) Fmaj7 B79 G7 Digaj7_—-7 B7 — Bomaj7_ Ghmaj7 F = 3 = : 2 © 2 ho =e S se sa 5 — 2 Ss = A + T = Sort BFF orf Pron tor Fe-Sronr 4p ror 2 Story 8 Story OFT : i ey astructure Triads Fmaj7_——-B)-7 ion lead tones Fmaj7 Bb-7 3s bs “Open” 3-note chords ; j7 <> Bb? eo be “Close” 3-note chords Fmaj7 Bb-7 falf-step voicings Fmaj7 Bb7Exercise no. 6 (continued) i) Five-note structures Fimaj7 Bh7 9 G-7 Dhmaj7_—«D-7,—B oS bs 'y Bhmaj7 Ghmaj7 E bo £) Combination of previous exs. in song form; *CD selection no. 1 (stow) /no. 2 (up-tempo) | Dbmaj7_—D. 2 nan (AS) Pmaj7 By-7 G-7 Dhmaj7_——D-7 B7 Bbmaj7_— Gbmaj7 2 Tritone le \patrerno =| eee Dimaj7_-D-7_ BZ ~——Bbmaj7_—sGmaj7 2.Exercise no. 7 (continued) ¢) "Open" 3-note structures Fmaj7 Bb-7 Gy Dbmaj7 oe 6 bg tbe fests a be ci % = = : Constant structures .. ag H 9 € -4 — = 8 — 8 8 + 6 Tt T in whole-steps... 4d) "Close" 3-note constant structures (inverted 4th voicings) Emaj7 Bb-7 G7 D>maj7 b b Whole-step motion ¢) Arpeggios in top voice; Fmaj7 Bb-7 G-7 Dbmaj7Bbmaj7 ‘arpeggio in top voige ----------» _ | Bb7 arpeggio in top inor-third intervals in top voice; Fmaj7 B)-7 Dbmaj7 E diminished arpeggio in top voice - - - F diminished .. ee arpeggio in top voice Sn , roach Voicings G-7 Dbmaj7 Fmaj7 (Chrom.) b (Chrom.) Enel, (Chromy G>MAj7 (chrom) (Chrom.)‘The following again uses a standard song form (AABA) with the same progression while continuing the two-voicings-per-chord format. A variety of harmonic ideas are again presented and of special note is the frequent use of a fifth interval in the top voice throughout the "A" section. Also note the chromatic approach chord (diminished) used on the third beat of measure "A11". This example is also presented on the accompanying CD with two different performance demonstrations: selection #3 (slow ex.) and selection #4 (up-tempo ex.). Exercise no. 8 Fmaj7 Dhmaj7 D-7 arpeggio in top voice Ebmaj7 arpeggio in top voice —--Bhmaj7 Ghmaj7 F7 arpeggio in top|voiceThis next example offers a variety of line and "constant structure” ideas over a very standard chord progression commonly used in "turnarounds" and/or "rhythm changes". Note how many four-bar phrases with common-tones in the top voice occur. Practically all of the constant structure examples occur in the bottom three voices and most of those move in chromatic motion while the top voice sustains. This example is also presented on the accompanying CD with two different performance demonstrations: selection #5 (slow ex.) and selection #¢ (up-tempo ex.). Exercise no. 9 (a7) a) (B7) (E7) (ct7) (FH7) (B7) (E7) A130) FH3 B79 £13) pad) Fis’? = B79) E39 49 5 3 B7isd9) chs F479 B13) E13! AL FP B1 Pe : fs. A1s#? sii) B13"? stt9) He y ef cyt Fas B7i8¢) Eg ke Al3 Al3 ripsd) — BIs*?—eAsé) cust? anal Bis! etstoy 8 B is ko bo. Le a sic o Blues scale inltop voice — .|. 24This last example presents another four-note harmonization of an original etude. Of particular interest is the use of "independent lines" in measures 4, 5, 6, 9, and 10. Measure 9 presents them in the inner voices while the others present them in the top voice (sometimes referred to as “independent lead"). Also note the octave doublings in the first and last voicings. This example is also presented on the accompanying CD with two different performance demonstrations: selection #7 (slow ex.) and selection #8 (up-tempo ex.). Exercise no. 10 Bbmaj7 1363 Abmaj7® Gass) —cagftt) Fug Fg ——_igtald bd bad bd B69) Fi Oe C9 B13 Biot Bbi3) Eliz Eh7?59) Abmajo® — G7i5 ct) cx) F130 B13) Bizet Bhas!9 6) = A7?? Abmajo 7st) «= g.7an oP? pan Bilbo) pladas b, b, b, by by b. bi ‘Common-tones in lead voiceVoicing Sizes and String Combinations ‘The majority of voicings presented in my original book are four-note structures and their placement is most often on the middle four strings of the guitar. ‘The advantages to staying on the same string set include elimination of confusion over which strings to use for a particular voicing, and most importantly, the direct visual and physical observation of harmonic motion and voice-leading. ‘This book will continue use of four-note structures ‘and their placement on the middle as well as the top four strings in addition to more voicing sizes and string combinations. The advantages to examining different string combinations could include easier fingerings, elimination of physical leaps from chord to chord, and a more desirable sound (top strings are thinner and brighter sounding while the bottom strings are thicker and darker sounding). I personally like placing a majority of my sustained voicings on the brighter strings and most of my shorter attacks on the darker strings. ‘This book will focus primarily on three and four note structures (probably the most common sizes used in comping) and occasionally on two and five note structures. String combinations will most frequently occur on the top five strings with the occasional use of the low E string. Three-note voicings An effective approach was previously discussed suggesting the removal of a single voice from an estab- lished four-note structure, producing four three-note structures (Exercise no. 5, page 14). A more detailed approach would determine all the physical voicing possibilities available to specific string sets. The following examples will examine this approach on three-note adjacent string voicings. String sets include (1, 2, and 3), (2, 3, and 4), and (3, 4, and 5). Additional string sets could be examined in the same manner. Be sure to deter- mine each voicing’s differeat harmonic uses (chordal enharmonic possibilities). Octave doublings and flatted- ninth intervals will be avoided. Exercise no. 11 Minor 2nds in top voice: 26Major 2nds in top voice; Minor 3rds in top voice; 27Major 3rds in top voice; ihs in top voice: Aug 4ths in top voice; 28| Shs in top voice; Aug Sths in top voice: Five-note voicings The most direct and easiest approach determines those already established four-note structures that could physically accept an additional note. A good example of this was presented earlier (Exercise no. 6), page 18). Although five- (and six-) note voicings run the risk of being too full for many comping situations and up- tempo pieces, they work well in ballads and can also be occasionally mixed with smaller voicings at medium tempos Another approach to building five-note structures would simply involve adding an open string to a four- note structure. Some examples of this technique can be found in the following section under "Open-string Voicings," page 36. The following will list just a few of the possible five-note structures available through previously presented four-note structures (labeled). Exercise no. 12 Ninth (n05): dd te ated te hheNinth (no3): Ast Inv, Drop 2: fae ed bal gba 7th width; 2 2 a J bd ba a The following is an eight-bar etude using five-note structures only. Exercise no. 13 E900) Gygees Amajol ae FED Fos E1384 5439 Amaj9 D138 = Gmaj9_—_FH7HSED) oe ee Amaj9 = 30Two-note voicings Certainly, the majority of voicings here would include the most important harmonic elements of a chord: the "guide-tones" (rd and 7th or 6th of chord). Additional voicings containing one or none of the guide-tones can be added with discretion. One major advantage to playing just the guide-tones is the freedom it gives an improviser or soloist in adding tensions or different scales over the basic harmony. Two-note voicings are also physically easy when playing very fast tempos; guide-tones will best state the harmonic progression at these kinds of tempos. The following lists the guide-tones of basic 7th and 6th chords: maj7; 3 &7 maj6; 3 & 6 min7; b3 &b7 min(maj7); b3 & 7 min6; 3 & 6 dom7; 3 &b7 dom7sus4; 4 & b7 min 75; 53 &b7 & bs* dim; b3 & bb7 & bs * When the fifth is altered it can often function much like a guide-tone. The most useful placement of guide-tones is probably on the middle four strings; (2 & 3) (3 & 4) (4 & 5), with (3 & 4) being my personal favorite for both sound and range. The following examples show the use of guide-tones over a fairly common chord progression. The first example merely presents the available guide-tones n the progression while the second example adds rhythm and melodic embellishment. Exercise no. 14 Gmaj7_G-7 C7. Fmaj7_—sF-7 B)7_—s Ebmaj7_ A-7 D7 Gmaj7 E7 A-7 D7 | 5) Ebmaj7 A-7 D7 Gmaj7_—E7 AT D7 Gmaj7 Although very few two-note voicings are used in this book, some of the three-note ideas are centered around the use of guide-tones with an additional note added. In Section If, the first example of Song Example 9 -"Latin Thing,” page 86, uses this approach and the suggested rhythm helps isolate the two-note voicings. Another example of two-note voicings can be found in Song Example 4e, page 68, 31Special Voicing Types This section will explore a variety of different voicing types, some of which are common or characteristic o specific styles. Several of these voicing types were introduced in my original book and include 4th voicings, oth (no 5) voicings, Upper-structure triads, and Pentatonic voicings. Additional voicing types only briefly ‘ddressed in my first book will be more thoroughly examined here and include 7th-width voicings, Open-string roicings, and Half-step voicings. Lwill aso offer some new approaches to those voicing types commonly used in he first book. All of the concepts presented here will be displayed in one or more musical etude or exercise and sl will appear frequently (often highlighted) throughout this book. 7th-width, 4-note voicings ‘The following structures will be placed on the top and/or middle four strings and broken down into two Jifferent groups: "Major" 7th widths and "Minor" 7th widths. The third voice moves chromatically in each ettered example while the second voice moves down one half-step when changing to the next example (remaining sationary while in any one example). ‘The outside voices remain stationary, dictating the width. This approach jetermines all the physically available 7th-width voicings on these string sets. Be sure to realize each vorcing's chordal enharmonic uses. Exercise no. 15 "Major" 7th width voicings; a) 32"Minor" 7th width voicings; a) 33The following presents four different examples of 7th-width voicings. The basic chords and progressions are written above the staves while the tensions produced by cach voicing on those chords are written below the staves. Notice the repeating voicing pattem in the first example which is used to harmonize a non-repeating chord progression. In the second example, note the same voicing used to satisfy cach dominant chord in the four separate II - V - I cadences presented. Finally, note the use of two open-string, 4-note voicings smaller than the width of a 7th in the last two examples; Ex.¢) B-7 voicing in third measure (Sth-width). Ex.d) A-7 voicing in fifth measure (6th-width). Exercise no. 16 a) Bm Fim Cc G BE BD Gm A oo 79/7 0) maj add9 c/duis3) maj) | .7(9/11) gsm4 b) * (same voicing) Bb-7 EZ Ab G-?5 c7 Fm E-7 AZ * b ct7!S a7 Bm * oo (0) 7lalt9)| maj 781 ort) orn 79 | -6(%) °) B-7 FA B-7 E7 A E7 b a add9 —(alt5/9) ot — sd) 2709/11) 7astho) maj7’378 maj7 = G major Pentatonie scale in top voice ~~ —— Open-string Voicings Some of the most beautiful sounding chords unique to the guitar are open-string voicings. A detailed approach to building these chords would involve determining each open-string's relation to all twelve keys and then determine which chord types would support those relations. A much easier and very successful approach ‘would simply take an established fretted voicing and move it chromatically up the neck of the guitar while un- fretted notes (open-strings) are played, stopping when something finally sounds good. Another fairly easy approach would take yet another established voicing and find a fretted note that could be lifted to expose the open- siting to that voicing. The following examples and/or etudes will present a variety of these approaches.In this first example, some very common four-note structures on the middle four strings include an open high E string to produce some nice five-note structures. The second example (17) uses the top two open strings against a vaneety of fretted three-note structures. This second example is also presented in a performance demonstration on the accompanying CD (selection #9), Exercise no. 17 a) Voicings on middle four strings (whole notes) with top E string open (darkened note heads) E 7 D Ch7 c B7 b). Three note voicings (whole notes) with high E and B strings open (darkened note heads) A G F EZ A ci7 FY-7 Gi7 Ci-6 D ic B7 E AT D7 G7 Fe-7 A-7IB EIn this next example, a larger variety of open and fretted string combinations are used; there are also some examples of the same fried structure being used in two or more different positions. Note the E-7(11) in bar 6, Cd in bar 10, and CE-TbS(11) in bar 17 all use the same fretted voicing structure. ‘This example is also presented in a performance demonstration on the accompanying CD (selection #10). Exercise no. 18 Cmaj7t Em! Fmajg—D-9!)—Cmaj7#t E72 maja Dm) poky cps pm) G13)B C74 APICH De®!) Emaja/C cera crt) Bm) maja ci7ist) —ci7ts) Ag Dw Half-step Voicings Voicings containing one or more half-steps can be a source of harmonic "Beauty" or harmonic "Beast". Style along with personal taste determine the quality of the harmony. I'l be working here with three and four note sinictures containing one half-step. Open-strings can also be a good and physically easy source of half-steps, and several examples of voicings containing half-steps can be found in the previous "Open-string Voicings" exercises. Voicings containing two or more half-steps can be found but are generally a little harder to play. The following lists some of the more common half-steps available to basic 7th chords; maj7 ; (1 & 7) #4 & 5) minT ; (2 &b3) (6 &b7) min) ; (1 & b2) (2 & b3) (4 &b5) min(maj7) ; (1 & 7) (2 &b3) dimin7 ; (1 & 7) (2 &b3) (4 &bs) 5 & 6) dom7 ; "natural" (6 &b7) (3 & 4) “altered” (1 8 b2) df & 3) G4 & 5) (5 &b6) 37In the following examples some of the above half-steps are used on the chords in the given progression. In the first example the half-step is joined by an additional note which produces some nice three-note voicings. The second example is merely the first example with the root added to produce four-note structures. The first ‘example is easier to play and accommodates faster tempos but should probably be performed with a bass player to clearly establish the harmonic progression. Note the use of "constant structure motion” in the first five voicings of example (a); this one structure satisfies five different harmonic situations. This first example (19a) is also presented on the accompanying CD with two different performance demonstrations: selection #11 (slow ex.) and selection #12 (up-tempo ex.). Exercise no. 19 Original Basic Progression; Amaj7_ 7 Dmaj7_ G7 CL7 FA7—B-7_— EZ Amaj7_ A7_-Dmaj7_D-7 (CE 7-2 C7 B-74- Ch ee FF-7. D7, GE? Ci7_ FRG FIZ Bees E7, A a) Amaj7 Eb13 Dmaj7 G13 Cid? F456 Badd? Ea Amaj7 A13® Dmaj7 D-9 CEO C13 B.9 CHP? Fh 8429 D130 Gp-7)S0 cyst) Fy. 6°) F479 B.9 EVP) AOrEID 4) Amaj7_ £113 Dmaj7 G13 Chm244? FH7A56% Badd EASES —Amaj7 13 Dmaj7 D-9 = CES C13 B.9 Cir? Fim22® D130) GHP?) cy7tsdD) FEA FH7'? Bo E75 AOD sFourth Voicings In my original book only four-note "fourth voicings" were examined and these without the use of different inversions or octave doublings. Three and four note "4th voicings" will be presented here and will include appropriate inversions or doublings. The following example will display the particular 4th voicings and string sets to be examined. Exercise no. 20 Four-note structures Three-note structures The following "modal" etude will put to use some of the ahove voicings. Modal pieces or sections are certainly the best and easiest for the application of 4th voicings, but many 4th voicings will be used in harmonically active situations as well throughout this book. An additional concept of sustaining a voice while the remaining voices move chromatically or diatonically is presented in this particular exercise. In these examples the top voice or voices sustain while the remaining voices move (measures A4 - 8/ A15 - 16/B3-5). B3 - 5 use chromatic motion in the bottom two voices while the top two sustain. Ad -8 use diatonic motion in the bottom. voices with the fourth voicing being a "chromatic approach voicing" (B triad). Additional ideas could include sustaining middle or bottom voices. Finally, note the last two "open-string" voicings. This example is also presented in a performance demonstration on the accompanying CD (selection #13). 39A] B-7(Dorian) Exercise no. 21 Bbmaj7 (Lydian) A9| B-7(Dorian) Bimaj7(Lydian) A7**4 (Mixolydian) Ebmaj7(Lydian) ay Ebmaj7 arpeggio in toy, voicePentatonic Voicings Again, introduced originally in my first book (as four-note pentatonic structures), this book will also ‘examine some three-note pentatonic structures. The general approach here is to take a voicing that uses any notes from the major pentatonic scale (1 2 3 5 6) and move it stepwise through the scale. ‘The following exercise starts with a four and three-note example of this through aC major pentatonic scale. Many additional voicing structures could be used in this manner as well. The remaining four examples use the four and three-note structures presented to harmonize the pentatonic lead-lines over the two given chord progressions. Another approach could keep the pentatonic lead-lines and harmonize them with any desirable voicings (pentatonic or not), although the harmonic-pentatonic sound could be lost. Note the repeated melodic and voicing patterns throughout these examples, Be sure to realize what the pentatonic voicings are doing to the original harmony: C pent = D-7(9/11) Db pent = G altered G pent = Cmaj7(9) Ab pent = Bb9sus4 Exercise no. 22 C Pentatonic; C Pentatonic; 41Exercise no. 22 (continued) a) (sg? Cmaj7 ye Db Pent... |G Pentre Eb Pettt sooo Eee Ebmaj7 ; crt Bh Pentru | F Pemtesssone F Pent/C Pent 42Cmaj7 Bho Ebmaj7, Ge c Ab Pent... Ninth (no 5) Voicings Also originally presented in my first book, these voicings still posses some of the most unique chordal enharmonic uses I've encountered and are worthy of continued study. ‘The following will offer a brief overview of some gf the more commop enharmonic possibilities. Realizations go one way only! ... Cmaj7(9) equals Fiaj7(6/1 1), but Fmaj7(6/#1 1) does not equal Cmaj7(9). ‘Cmaj7(9) {137 9} = Am(9/11) / Ab(alt) / D9(13) / FA-7b5(1 1413) / Fmaj7(@/f 11) €7(9) {1.357 9} = FR7(alt5) / Abo(ales) / DOS) / E7(altS) or E-7h5(b13) ©-7(9) {15367 9} = F13susd / Ab(o/t11) / D7H5(b9) C-maj7(9) (153 7 9} = Bealt9) /FI3ELD / A-7509/11) / D139) / Abdo#11) €6(9) {13.6 9} = Am(11) / Ab(alt) / D7) or D-7(9) / Fmaj7(6) / FA-7)5(b13) €-6(9) (13 6 9} = B7(alt9) /F7(13) / A-7h5(11) / D719) / Abort 1) C9sus4 (1.4579) = abcomfi 1/13) /D-745 / BIC / G-7(11) /E7(alt) / FR(ydian augmented) €7(49) (1 3b7 #9) = FRI3b5 / Db-maj7(6/9) The following etude will put to use a few of the above chordal enharmonics. Although some of these structures could be placed on the top four strings, most 9th (no 5) chords are a little more comfortable on the middle four strings. All 9th (no 5) voicings are in root position (except for measures 2 and 3). This example is also presented on the accompanying CD with two different performance demonstrations: selection #14 (slow ex.) and selection #15 (up-tempo ex.). 43Exercise no. 23 (9th no 5 chords below notated voicings) Em) 4785) 6 =— B73) Arla) Dmajg FEA - 9) Gmaj9 -G-9 B69) D6 — Dhmaja Bm/1D pj7/alt) Bm) — Brfalt) E13) Eye A13® = C13sus4 Dmaj9 = Dg*4 D6 B65 Abmaj9 Emajo 7450) Cm abages4 — Dhmaja AgdtD Dmaj9 Fmaj9 F-9 Ebmaj9 Bb-9 Dhmaj9 D}-9 E-9 © A78569) FEO B75) EmOID 7869) pot FEO Gmaj> Go FLO Upper-structure Triads Covered extensively in my first book, upper-structure triads will continue to be examined throughout this book with, perhaps, some different string combinations occasionally being offered. ‘The majority of upper- structures presented will be major and minor triads. Diminished and augmented upper-structure triads are worth examining but do not posses the strong duality of sound the major and minor upper-structures have. The sus4 triad presents an interesting upper-structure sound and several examples can be heard in the following original etude. By definition, many of these four-note structures would be more appropriately referred to as "Hybrid Chords", "Upper-structure” implies chord over chord and most of these examples are chord over bass. There are also several interesting examples of triad over triad and these are denoted by the fraction symbols (as opposed to the slash symbols). Although the lower triads in these examples are not complete, the two notes are enough to imply the complete triad. 44Exercise no. 24 G/A AID BIC CIE D»/E> BoA) Bic} CHEE AB F/B DIE G/EP Bm Bm cD BSUS/D DwD —EWD cypb BBUS/C DIB Eb/B> Crh EUS/B DIC B/D) DinvEb cieb Giab Wy GhA uh F/G> AYE GIBb FG S$Song Examples ‘A variety of the concepts explored up to this point will be presented here and put to use in ten different songs, Several to as many as six different harmonic examples of the same song will be featured for a total of thirty-two different song examples. The songs chosen represent a Variety of progressions and styles and include originals, standards, symmetrical progressions, and modal sections. Meters and rhythms presented in these ‘examples are arbitrary and rhythmic variation, tempo variation, different styles, and different meters should be applied. The accompanying CD will demonstrate some of these suggestions. Further experimentation is encouraged. Many examples will only write the basic chord progression and symbols (mostly 7th chords with little or no tensions) over the notated voicings. You must be aware of the effect each voicing has on it's basic chord and what tensions or alterations it produces on that basic chord. Song Example 1 "II-V Blues" This example is a typical "Jazz" or "II- V" Blues in the key of F. Consistent with this book's primary theme of applying many harmonic ideas to a single progression or song, there are six different harmonic examples here of the same blues progression. In the first example (a), the majority of voicings presented are Drop 2 type Voicings. Of special note is the use of the suspended 4th on the IV chord in bar 5 (Bp13sus4). This is a very popular sound today (placing the sus4 on the two strongest chords in the "Blues"; I and TV) and another example {s found in the last bar of the second example (b): (F13sus4). Both examples contain a lot of chromatic voice- leading in all voices and especially note the contrary chromatic motion of the top two voices in bars 11 and 12 of example (b). Both examples are presented on the accompanying CD with two different performance demonstrations for each: Song Ex. Ja - CD selection #16 (slow ex.) / selection #17 (up-tempo ex.) Song Ex. Ib - CD selection #18 (slow ex.) / selection #19 (up-tempo ex.). Song Example 1 "T1-V Blues" a ? Fmaj7 Fmaj9 B73 asd) = p.9 G7? c-9 FS 2 Bhigs=4 BIO hg Eb7?S a9 pels Ab9 bo be 4b by b 46G700 cls qa” Fo = p7tst = «g13, 75H) «og (chromatic motion in bottom voices) E730) 47859) p.g = Gis’? cg lt) pth B13 hist «= Bb.g Eby atta) A7% pg c7susdh9) Q Fe D7?) G13 CASH aginst (piaddo) (Bbm*449)"T]-V Blues" (continued) ‘The following example (c) makes enharmonic use of one particular chord (maj7b5) to satisfy many different harmonic situations. ‘The result isa lot of constant structure and chromatic motion and a "sameness" to the over all harmonic sound. Example (d) also makes enharmonic use of this chord but introduces some Additional ideas including a common lead voice while the bottom voices move (bars 10-11) and the repeating ‘Voicing pattern in bars 11-13. Both examples are presented on the accompanying CD with two different ieee ete demonstrations for each: Song Ex, Ic - CD selection #20 (slow ex.) / selection #21 (up-tempo ex.). Song Ex. Id - CD selection #22 (slow ex.) / selection #23 (up-tempo ex.). °) E-7P5t11) 7859) p-6 Gis) — cr3 7i5d9) F123 FT Ebmaj?5 Bemis Dimas Fmaj75 Bmaj?5 | Bbmaj*5 A maj75 Bb-7) Bb A9 p7isd» Ab-9 pb3) b ba Bb3® ~—Bbas ‘Abmaj7s Ghmaj?5 Bmaj75 c-9 7st) C13 c7#5t9 F130) p7isé) == «G13 c7#sd) F130) b Brmaj#5 | Bbmaje5 Emaj7's| Ebmaj?s Ghmaj7s Fmaj7?5_— Emaj75@ F130) E7h9 £.7°5) 78569) p.g 3) GyHsit9) 130 F7A5¢9) b b Ebmaj>5 Bbmaj75 Bmaj#5 | Bbmaj#5 = Amaj75 Bas pbs) = Bh B37) D7 Ab-7 — Dbo@1D Abmaj?5 — Dmaj75 cs 7st) cg C754) ~~ DASE? ~— GQ c7ABHD BO b b Bmaj75 Ghmaj 75 Emaj75 49This next example (e) uses an F blues scale in the top voice through the entire piece! Although voice- leading is compromised a bit to accommodate the blues melody, the effect is very satisfying. There stil exists some nice voice-leading ideas as well and bars 11-13 have most of their bottom Voices in chromatic motion. The last example (f) uses three-note structures exclusively — many of wich contain a half-step betyeen two of the three voices. There is also a good example of independent lines in bars 9-12 ending on the F7#11 chord, Both examples are presented on the accompanying CD with two different performance demonstrations for each: Song Ex. Ie - CD selection #24 (slow ex.) / selection #25 (up-tempo ex.). Song Ex. If - CD selection #26 (slow ex.) / selection #27 (up-tempo ex.). "TI-V Blues" (continued) e) Entire lead voice uses "F" blues scale; F7 aie AT Dea eZ C7 F7 Bb Bb7 B7 A-7 D7 Ab-7 bbBb7 Bb-7 B7 A-7 D7 Ab-7 Db G- Cz, Fmaj7_ D7 G=7=aaC7, F7 i: G7 bdbe 51Song Example 2 "In Dee" This example uses the chord progression from an original song of mine, There are three different renditions of this 32-bar song form packed with a variety of harmonic information. In this first example (a), note the common lead,tone while the bottom voices move in bars 2-5. Also, note the use of "Drop 3" chords in bars 7- 8 (A7, G7, and FR7). Be sure to realize the tensions these voicings produce on the basic chords ~ first voicing is, Bm(maj7) with tension 9 -- as well as the unique voicings used: A12's B7 altered is produced by two 9(no 5) chords (F9 and Ebmaj9). Finally, note the blues scale (A13-15) and the ending voicing pattern (C5-8) and the “reird" dominant voicing in C4 BYpS with ensions®9 and8! This example is also presented on the accompanying CD with two different performance demonstrations: selection #28 (slow ex.) / selection #29 (up- tempo ex.). Song Example 2 (a) "In Dee" [a] Bm E-7 AT D C7, B7 E-7 e FA7 Bm AT G7 FH7 ‘A9| Bree) | Ene AT) D G Brialt) E-7 © #7 Bm Bb-7 A-7 D7 "B" blues scale in top voiceG7 Constant Structure Hai FET mic Motion B7 53 AZ‘This next example (b) uses three-note "close" voicings ("close" - voicings within an octave). Most of these voicings contain a half-step (the first nine voicings all contain half-steps). Note, in B1-2, the common lead tone while the bottom 4th intervals descend chromatically. Also, note the blues melody in the lead on the last four bars (C5-7). Song Example 2 (b) "In Dee" Bm E-7 AZ D cr B7 (As) Bm (87) E-7 AT D c7 B7 E-7 FW? Bm B-7 A-7 D7 54B7 F-7 BY7 E-7 AZ FLT G7This last example (c) starts off with a mix of four and five note “open-string voicings". Note the use of "guide-tones" under the top two open-strings in A9-11. This example then breaks into "open" three-note structures (A10 - B3) finishing with "close" voicings (B3-7). Also, note the G blues scale in the lead (A13 - BS). The example ends with five-note structures (C4-7). This example is also presented on the accompanying CD with ‘two different performance demonstrations: selection #30 (slow ex.) / selection #31 (up-tempo ex.). Song Example 2 (c) "In Dee" Bm E-7 AZ D C7; B7 t be E-7 FA7 Bm AZ G7 FI7 E-7 FI7 B-7 Bb-7 A-7 D7 56G7 FLT B7 F-7 BLT E-7 AZ 87Song Example 3 "Third Tune" This example is a very popular "jazz. standard" that many jazz musicians hone their improvising skills on. It presents three different keys a major third from each other (symmetrically): G - B - E>. In the first example (a), a majority of which are drop 2 type voicings, many phrases can be seen that are produced by common lead tones over bottom voices in motion, Also, note hose voicngs that se diatonic extensions of the chords immedjately fefore them: bar3-F-7(11) and bar 7~Gp9, Finally, note the octave doubling in maj? (bar 13) and CF-7(11) (bar 16). This example is also presented on the accompanying CD with two different performance demonstrations: selection #32 (slow ex.) / selection #33 (up-tempo ex.). Song Example 3 (a) "Third Tune" “(Approach Voicing) B6®) D7 Gmaj7_ Bh3®) Ebmaj7* A-7 D759) Gmaj7_ Bb13 Ebmaj9 FA7 Bmaj7 * F9 Bb7"? b, B69) Ebmaj7 AT D9 Gmaj7 ceo FH7?? Bmaj9 B6°) F-9 BH13® —Ebmaj7 (6/9) CLT) Ri7ald Be)This next example (b) uses 4th voicings through the entire piece, producing a "modal" effect. Chromatic “approach chords" are used to link the modulations and keep the 4th sound alive. Note the voicing pattern in bars 15 and 16. This example is also presented on the accompanying CD with two different performance demonstrations: selection #34 (slow ex.) / selection #35 (up-tempo ex.). Song Example 3 (b) "Third Tune" *(Chromatic Approach) B D7 G Eb a A-7 D7 G BIT Eb #7 B . F-7 BT El fl A-7 D7 G o Ch7 F7 B F7 Bb7 sb ch? FI7 B 59This last example (c) uses "close" three-note voicings on adjacent strings. A good example of contrary ‘motion in the outside voices can be seen in the first three voicings. Also, a good example of "constant structure motion" (using an inversion of a perfect 4th voicing) can be found in bars 10 - 16, This example is also presented on the accompanying CD with two different performance demonstrations: selection #36 (slow ex.) / selection #37 (up-tempo ex.). Song Example 3 (c) "Third Tune" B D7 G Bb7 E> A-7 D7 G B7 Eb F7 B F-7 By BE A-7 D7 G Ce FH7 Inverted 4ths in whole4step motion Eb ce7 FI7 B 60Song Example 4 "Standard Thing" This example is a very popular "standard" with a unique 36 bar song form. There are five different examples, again, "packed" with harmonic information. The first example (a) incorporates a majority of four- note/7th-width voicings mixed with some drop 2 voicings and quite a few hybrid (triad over bass) voicings. Note how often the voicing first introduced in bar A12 is used throughout the piece. This voicing appears in a nice “constant structure" example in bars B1 - BS. Also, note the interesting structure used in B6 and B8: bottom three voices form a major triad while the top three form a minor triad. This example is also presented on the accompanying CD with two different performance demonstrations: selection #38 (slow ex.) / selection #39 (up- tempo ex.) Song Example 4 (a) "Standard Thing" [A] F-7 Bb-7 B7 Ab Db G7 Cc x Loe wee: SE bg seg: aes: Ey Ab Db Dh7 C7 Boy B)-7 EW Ab G75 Gi F-7‘This second example (b) introduces many more concepts than the first example due, in part, to the use of four and three note structures as well as offering fwo voicings per chord. The primary focus of this piece is the presentation of "approach voicings” on the second half of each measure (the majority of these being dominant and/or chromatic approaches). Quite a few examples of chromatic constant structure motion can be found beginning with bars 3-5 and continuing with some good examples of a common lead voice with the bottom voices in chromatic motion (A7-8, A10-13, and, perhaps the best, BI - B8). In the C section, notice the contrary chromatic motion in the bottom two voices (CI - C3). Fipally, note the symmetrical diminished scale's melodic “building” pattern in the last six bars along with the maj7#5 chord (second to last voicing) being used as a dominant chord. Song Example 4 (b) "Standard Thing" F-7 Bb-7 ET Ab b b, al Db G7 Cmaj7 x ASI G7 F-7 Bb7 EbF-7 Bb-7 B7 Ab Db Db-7 C7 . B°7 Bb-7 BY Ab 63‘This next example (c) presents three-note voicings on the same string set through the entire piece. There is, again, the use of many approach voicings and half-step voicings. In the first two bars, note the diatonic motion in the bottom voices while the top voice sustains. There are additional examples of this with some including chromatic motion in the bottom voices while the top sustains (Cl - C4). Also, note the melodie/voicing patterns in BS - B7 and C5 - C6. Finally, note the dom7sus4(b9) sound in the second to last measure. This example is also presented on the accompanying CD with two different performance demonstrations: selection #40 (slow ex.) / selection #41 (up-tempo cx.). Song Example 4 (c) "Standard Thing" {al Bb hr B7 Abmaj7 [a9] c-7 F-7 BOT Ebmaj7 (Eb7) Abmaj7 D7 Gmaj7 ye? [B] A-7 D7 Gmaj7 xFLT B7 Emaj7 c7 fe] F-7 Bb-7 BY Abmaj7 Dbmaj7 Db-7 C7 . BT B)-7 By Ab 65The following example (4) again presents a variety of 7th-width voicings along with many hybrid chords and some drop 2 voicings. Note how often the voicing first introduced in bar A10 is used and how many different functions it satisfies, especially it's constant structure examples: B1 - B3 and C2 - C4. Finally, note the interesting voice-leading in B6 - B8 and the voicing pattern in the last four bars. Song Example 4 (d) "Standard Thing" b7 Abmaj7 Dbmaj7_ G7 Cmaj7_ D-7 G7 F-7 Bb-7 AS] C7 F-7 BY7 Ebmaj7 — Abmaj7 D7 ~~ Gmaj7 ON B°7 Bb-7 B7 AbIn this last example (e) "independent lines" are presented on the last beat of each measure. When these lines are in the lead, the term "independent lead’ is appropriate. Although written as half-notes, the first voicing in each measure can sustain (as a dotted half-note) through the bar if desired. Note the use of two-, three-, and four-note structures as well as the interesting melodic ideas throughout, especially the ascending fifths in A9 - Al2 and the leaping melodic pattern in B1 - BS. My favorite melodic idea is the Ab blues scale stretching over 13 bars (from the 7th bar in the B section to the end of the piece)! This example is also presented on the accom- panying CD with two different performance demonstrations: selection #42 (slow ex.)/selection #43 (up-tempo ex.). Song Example 4 (e) "Standard Thing" E-7 Bb-7 BY Abmaj7 Dbmaj7 G7 Cmaj7 x be AT D7 Gmaj7Emaj7 Ab Blues Scale in Top Voice. F-7 Bb-7 #7 Abmaj7 Dhmaj7 Db-7 C7 BOT Ab Blues Scale cont. ~ Ab Blues Seale cont. Song Example 5 "Chord-Wall Ballad" This example is the chord progression (top stave) from another original composition of mine. When two harmonic instruments play chords together on the same piece, it's fun for one of those instruments to try and find yoicings that complement the original voicings (top stave). In this example, mostly drop 2 type voicings on the top four strings are used to complement the original chords and produce a thick and beautiful wall of harmony. ‘Note the additional chord symbol notation possibilities of many of the chords. Bbsus9 = Fsus4/Bb Dbsus9 = Absus4/Db C745 = Fbsus4/C or Abadd9/C C/D = D9sus4 Amaj7/B = B13sus4 ¢c Also, the Fmaj9/A voicing could imply a C triad over F triad, commonly notated: rE ‘This example is also presented in a performance demonstration on the accompanying CD (selection #44). 69Song Example 5 "Chord-Wall Ballad" adds Emadd9 adds “Amada9 pisuss G7 a eS 7 Fmajo/A. Apaddg BL/IAD BG = Diss ces Amaj7/B Ip DC al Fine DC al Fine 70Song Example 6 "Symmetrical Song" ‘This is another original chord progression composed primarily for the symmetrical ideas it offers along with some approaches to voice-leading through such a piece. The progression offers a lot of chromatic harmonic ‘motion and "relative major - minor" realizations will make many of them clear; in measures A9 - A13, take the relative min7 chords of the maj7 chords (C-7 from Ebmaj7 and Bb-7 from Domaj7) and realize the chromatic progressiot C-7 B-7 Bb-7 A-7. If this is also done in measures B1 - B7, a symmetrical major 3rd progression evolves: C-7 maj-3rd to Ab-7 maj-3rd to E-7 maj-3rd to C-7, etc. Also, check out the minor 3rd progression in the beginning: Gmaj7 min-3rd to Emaj7 min-3rd to Domaj7 min-3rd to Bomaj7, ete. In this first example (a) the first eight bars uses drop 2 voicings in a smoothly voice-lead phrase followed by chromatic motion examples in the second eight bars. The constant structure ideas continue in bars A17 - A22 while A21 - A24 displays voicings moving in contrary motion to chord roots. Chromatic motion continues in A25 — A29 while bars B5 - B9 make enharmonic use of 9(no 5) voicings. Finally, note the alternating voicings pattern in bars B9 - B14. Song Example 6 (a) "Symmetrical Song" A Gmaj7_— Emaj7_ Dbmaj7_—Bhmaj7_— A-7 c-7 B-7 D-7 ° © 2 2 fo 2 2 Ch7 Ebmaj7—-B-7 Dbmaj7_ A-7 F7 Gmaj7_ D7 A17| Gmaj7 Emaj7—- Dbmaj7_— Bbmaj7 A-7 C7 B-7 D-7 ce7 Ebmaj7 B-7 Dbmaj7_—A-7 7 Gmaj7 BT 72B| Ebmaj7 Ab-7 Gmaj7 c-7 Bmaj7 E-7 Ebmaj7 D7 2 boa Gmaj7_ Emaj7_——Dimaj7_—Bbmaj7_—A-7 c-7 Ab7 G tg te a bo ba 73This next example (b) offers more harmonic information by using wo voicings per chord while mixing three and four note structures. In the first eight bars, mostly "close" three-note structures are used mixed with some four-note hybrid structures that help produce contrary motion in the outside voices. "Open" three-note voicings are used from A10 - A20 while from A21- B3 some examples of "open-string voicings" are presented. B4- BS displays some interesting three-note structures with B6-7 producing a nice repeated voicing pattern. Finally, note the "whole-tone" lead voice in bars B9 through B12 finishing with a Cm(maj9) arpeggio in the lead through the last four bars. This example is also presented on the accompanying CD with two different performance demonstrations: selection #45 (slow ex.) / selection #46 (up-tempo ex.). Song Example 6 (b) "Symmetrical Song" Al Gmaj7_— Emaj7_—Dbmaj7_—Bhmaj7_—A-7 C7 B-7 D-7 b b Che7 Ebmaj7 B-7 Dbmaj7A-7 EZ Gmaj7 D7 A17| Gmaj7 — Emaj7 D)maj7, b by Bhmaj7 A-7 C7 B-7 D-7 2 = 74[B) Bbmaj7ab-7 = Gmaj7 ° fs = a7, Bmaj7 E-7 ie D7 b, Gmaj7 Gmaj7 Emaj7 Da Bomaj7_A-7 7) Ab7 75Song Example 7 "Green Standard" This example is a progression from another popular "standard" song and features four different harmonic approaches. In the first example (a), a lot of different concepts are introduced even though only four-note structures are used. Note the sustained outside voices while the inner voices move diatonically in bars 1 and 2 and again in bars 3 and 4, In AS - A7, note the sustained bass while the above 4th structures move chromatically. Also listed are "pentatonic voicings" and "constant structure” examples. Several examples of voicings containing octave doublings can be found in bars B8, A9, All, and A12 followed by a good example of chromatic motion under a sustained lead voice: A12 - A15. Finally, note the repeated voicing pattem in C5 - C6 followed by a typical ending using a sustained lead voice over chromatic 4th structures. This example is also presented on the accompanying CD with two different performance demonstrations: selection #47 (slow ex.) / selection #48 (up- tempo ex.). Song Example 7 (a) "Green Standard" [A] ic c-7 Dic Dic Cmaj7 C Pentatonic Voicings -}------------ Gy7lalt/sus4) Cmaj7 G Pentatonic Voicings -} ----------------! F-7 Bb7lalt) Ebmaj7 G7 Constant 76DIC DUC ie lo) e B-75 E7 ALT FE?S B7 71This next example (b) presents four-note structures that contain half-steps. There is a good deal of constant structure motion (listed) and the voicing in the first measure is responsible for most of it. Chromatic approaches are listed as well and a nice example of an arpeggio (A~7) in the lead voice is in bars C2 - C3. Song Example 7 (b) "Green Standard" DIC DIC Cmaj7 ie App) be Constant Structures Constant Structures Continued E-7 s bo Sonstant Structures Continued! =e aetna) Serene oo | Pee 78Oe 7 (Chrom App) pe (Chrom App, DIC DC ic (Cpe App) B-75 E7 A-7 5 FH73 87 10 2 Constant Structures ---|-----_-. : 79‘This example (c) presents four-note hybrid structures which in turn produce "upper-structure triads” over the original chords. Be sure to realize the hybrid's effect on the original chords; for example, the second voicing is D/G which produces a C chord with tensions 9, #11, and 13. This example is also presented on the Saat CD with two different performance demonstrations: selection #49 (slow ex.) / selection #50 (up- ‘tempo ex.). Song Example 7 (c) "Green Standard" A c C7 Dic DiC Cmaj7 D-7 G7 Cmaj7 F-7 BY Ebmaj7 G7 80DIC Dic Cmaj7 D-7 B-75 E7 A-7 FE? B7 81Jn this last example (d) four-note 4th structures are presented giving the piece a "modal" character. Although not in the same order, the voicings used in the first two bars are repeated in the following two bars and, again, bars A9-10 are repeated in bars A11-12. Measures B1-2 and B5-6 display constant structure motion which also supports the melody. Note the chromatic motion of the 4th voicings under a sustaining lead voice in bars B8, B9, and ending at measure A9 (and yet another example of this in the last four bars of the piece). Song Example 7 (d) "Green Standard" Al ic C7 DIC DiC Cmaj7 F-7 BT Ebmaj7 G7 82Dic DC c D-7 B-75 E7 A-7 FE?S B7Song Example 8 "One Piece” This is another progression from an original composition of mine and it offers some different harmonic situations than have been presented thus far: including an extended "triad over bass" ending. The example presents four-note structures and the first seven bars make use of only three different voicings -—- two of which are inversions of each other. A9 - A15 and B4 - B8 have common leading tones over moving voices while B9 - B12 presents a nice hybrid voicing pattern. Note the repeating voicing pattern along with the "whole-tone" lead voice in bars C5 - C6. ‘The "Ending" presents triads moving in whole-steps (through Various inversions) producing an interesting chromatic line over an E pedal bass. The last four bars use different harmonic motions (listed) between the bass and upper triads. This example is also presented on the accompanying CD with two different performance demonstrations: selection #51 (slow ex.) / selection #52 (up-tempo ex.). Song Example 8 "One Piece" El A Ch G B-7 F FL7 E Gi 2 2 2 cm os FLT mt [as] a ct-7 c B-7 2 © Gir F-7 BIT G-7 Gp Ab Bb/Ab FR7st eyesA Ch7 G B-7 F FLT Ending OE DIE CIE BYE DIE CIE BYE AVE CIE BYE ADE GHE E/FE AIG cD BWA FYE ition in Sths /\Triad motion in minoy 3rdssong Example 7 Latin 1hing ‘This example uses the progression from a very popular Latin piece. There are three different examples with the first two focusing on three-note structures emphasizing the "guide-tones" (very common in Latin comping). In this first example (a), the guide-tones appear in most of the voicings (often the two bottom voices). The rhythm stated in the first two bars should be used in each of the following two-bar phrases with slight variations to avoid boredom. Note the ascending chromatic line in the bottom voice (bars D5 - D6). "This particular line is often referred to as an “ascending minor cliché": Cm - Cmf5 - Cmé6. Song Example 9 (a) "Latin Thing" [A] Bhmaj7 Ghmaj7 B7 Simile Rhythm Pattern.) Dmaj7 E-7 AT D-7 G7 C7 F7Bbmaj7 Bb-7 Eb7 Bbmaj7 F-7 Bb7 Ebmaj7 Ab D7 G7 Cz C7 F7 Bb-7 B7 Vamp & Fade 87‘This next example (b) continues using three-note structures and, although it also contains many guide- tones, steers a little further away from their use than the previous example. The most prevalent concept presented here is the sustained lead voice over chromatic and/or diatonic motion in one or both of the bottom voices; many examples of this can be seen throughout the piece and some of my favorites are in the first two bars (bottom voice moves) and bars C1-2 (bottom voices move) along with bars B1-2 and, my absolute favorite, B6-8. The last two bars present another common chromatic line cliché (descending minor cliché): Bm - Bm(maj7) - Bm - Bm6. This example is also presented on the accompanying CD with two different performance demonstrations: selection #53 (slow ex.) / selection #54 (up-tempo ex.) Song Example 9 (b) "Latin Thing" Bhmaj7 x Ghmaj7 BT Bhmaj7 x D-?3 G7 C7 APS D7 G7 ES AT Dmaj7 E-7 AT D-7 G7 C7 F7 88Bbmaj7 x Bb-7 E7 x Bomaj7 F-7 BY7 Ebmaj7 a7 D-7 G7 c7 C7 Ez, Bb-7 By Vamp & Fade 89This last example (c) brings back the four-note structures (along with one five-note voicing) and mixes them with a variety of three-note voicings. This example contains a lot of voicing and voice-leading concepts, and Tl try to touch on some of the more obvious ones. In the first two bars a D-7 arpeggio is spelled by the lead voice followed by the repeated voicing pattern in bars 3 and 4. Bars 5 and 6 open up (in contrary motion) to two Grop 3 type voicings followed by a nice chromatic line in the second voice in bars 7 - 8. A nice melodic pattern starts the B section off followed by 7th-width/four-note structures chromatically descending in bars B4 - Cl (be sure to check out the three-note voicings there as well). ‘The line motif in C3 - C4 is repeated in C5 - C6. In D2 note the Bb to Ab triads followed by a good example of contrary motion inthe top two voices (D4 “D) This example is also presented on the accompanying CD with two different performance demonstrations: selection #55 (slow ex.) / selection #56 (up-tempo ex.). Song Example 9 (c) "Latin Thing" 4] Bomaj7 x Ghmaj7 B7 Bhmaj7 x p-75 G7 C7 A-?e D7 G-7 AZ Dmaj7 E-7 AT D-7 G7 C7 F7 909 — Bhmaj7 x Bb-7 ELT Bh7 Eb7 Bhmaj7 x F-7 BY7 (Upper-structures) ; (Eb) Boel Ab7 D-7 G-7 C7 C7 F7 Bb-7 EY B-7 OB Vamp & Fade 91Song Example 10 "In Gee" This final song example I composed using chord progression ideas from different songs. There are four different examples and each will present a variety of concepts. In the first example (a), the overriding theme is “constant structure" use. Note the voicing pattem in the first two bars followed by descending constant structures in A3 AS. Constant structures again appear in bars AG - A9 (note the whole-step pattem in A6-7 repeated a half- step up in A8-9). Constant structure use is continued in measures All - A14, BO, BS, Cl - C2, ahd a final example in the last three bars. This example is also presented on the accompanying CD with two different performance demonstrations: selection #57 (slow ex.) / selection #58 (up-tempo ex.). Song Example 10 (a) "In Gee" G-7 ez F F-7 Bb7 9293In this next example (b) "open" three-note structures are presented. The first six voicings make use of only two different structures and these will reappear often throughout the piece. Note the constant structures in ‘Al4 and the extended example in BS - B7 (listed). Finally, note the sustained lead voice over the chromatic fifths in C2 - C3 and the leaping inner voice in C4 - C5. This example is also presented on the accompanying CD with two different performance demonstrations: selection #59 (slow ex.) / selection #60 (up-tempo ex.).. Song Example 10 (b) "In Gee" [A] G G-7 ez F F-7 BT & G G-7 C7 F E-7 BIT o4=) Eb Bb-7 27 ab ED-7 ATExample (c) presents "close" three-note structures and ends with four-note 9th(no 5) structures: Eomaj9 / F4m(maj9) / Gm(maj9). The first 14 measures uses only the 3rd, 4th, and Sth strings, producing a dark, “punchy” sound. Note the constant 4th structures in B3 - BS and C3 - C4, Finally, note the 4th voicings from Bp ‘major scale running through B7 and BS, producing the bth on A-7)S. Song Example 10 (c) "In Gee" G G-7 co F F-7 BT 96This final example (d) presents the use of arpeggios in the lead voice as a comping tool. Discretion should be used when applying this concept since voice-leading is broken and extended examples could interfere with a melody or soloist. Isolated phrases can be very effective and some of the following two-bar phrases might be interjected into an otherwise voice-lead piece. Note the progressions formed by some of these arpeggios; in moazures AS thrqugh Al6 the progression G7 K7 Cybo Fi D-7 G7 to aC note in bar Bl is formed, anda triad progression of C is formed in measures B1 through C2. At fast tempos these progressions could be recognizable. This example is also presented on the accompanying CD with two different performance demonstrations: selection #61 (slow ex.) / selection #62 (up-tempo ex.) Song Example 10 (d) "In Gee" Al ic Ga] iS? F F-7 BT Caug. arpeggio in lead ~~ F7 arpeggio in lead G G-7 c7 F F-7 BI7 = E> AT D7 G Bb7 D-7 arpeggio in lead + | G7 arpeggio in lead | - 98Eb Bb-7 Bb7 4 Eb-7 ADT Ab arpeggio in lead _---1 | Bb arpeggio in lead- C-9 arpeggio in lead 99Compact Disc Setection List ‘The following is a list of Exercises and Song Examples contained on the accompanying compact disc. ‘Their corresponding notated examples will be found in this book. There are thirty-three different harmonic examples on the CD and a majority of these will present each example at two different tempos. Initial performance will be in a slow-legato fashion with each notated voicing being accompanied by a basic root-position chord using little or no tensions. This allows each voicing to be better heard and slowly displays voice-leading from one choré to another, It also allows incomplete or tension filled voicings to be more easily identified with their basic chord function and sound, These slow examples will also give each voicing a duration of two quarter-notes in 4/4 time regardless of their notated durations or time-signatures. The final performance of each example will be played at a quicker tempo with an accompanying bass line. These up-tempo examples will use the notated voicing durations and time-signatures and, in an attempt to simulate a more realistic performance approach, will include varied rhythmic activity and interpretation. Many of these faster examples will also present several different stylistic approaches or feels (ic. Latin, Swing, Waltz, etc.) to a single song or harmonic progression. ‘The majority of examples will offer split channels allowing selection of only the left or right speaker instrument. The CD will begin with an open A or Sth string for tuning. Compact Disc Selection List; \8 Exercise no. 6k - CD selection #1 (slow ex.) / selection #2 (up-tempo ex.) 22.Exercise no. 8 - CD selection #3 (slow ex.) / selection #4 (up-tempo ex.) 24 Exercise no. 9 - CD selection #5 (slow ex.) / selection #6 (up-tempo ex.) 15 Exercise no. 10 - CD selection #7 (slow ex.) / selection #8 (up-tempo ex.) Exercise no. 17b - CD selection #9 Exercise no. 18 - CD selection #10 Exercise no. 19a - CD selection #11 (slow ex.) / selection #12 (up-tempo ex.) Exercise no. 21 - CD selection #13 Exercise no. 23 - CD selection #14 (slow ex.) / selection #15 (up-tempo ex.) Song Example Ia - CD selection #16 (slow ex.) / selection #17 (up-tempo ex.) Song Example 1b - CD selection #18 (slow ex.) / selection #19 (up-tempo ex.) Song Example Ic - CD selection #20 (slow ex.) / selection #21 (up-tempo ex.) Song Example Id - CD selection #22 (slow ex.) / selection #23 (up-tempo ex.) Song Example le - CD selection #24 (slow ex.) / selection #25(up-tempo ex.) Song Example If - CD selection #26 (slow ex.) / selection #27 (up-tempo ex.)Song Example 2a - CD selection #28 (slow ex.) / selection #29 (up-tempo ex.) Song Example 2c - CD selection #30 (slow ex.) / selection #31 (up-tempo ex.) Song Example 3a - CD selection #32 (slow ex.) / selection #33 (up-tempo ex.) Song Example 3b - CD selection #34 (slow ex.) / selection #35 (up-tempo ex.) Song Example 3c - CD selection #36 (slow ex.) / selection #37 (up-tempo ex.) Song Example 4a - CD selection #38 (slow ex.) / selection #39 (up-tempo ex.) Song Example 4e - CD selection #40 (slow ex.) / selection #41 (up-tempo ex.) Song Example 4e - CD selection #42 (slow ex.) / selection #43 (up-tempo ex.) Song Example 5 - CD selection #44 Song Example 6b - CD selection #45 (slow ex.) / selection #46 (up-tempo ex.) Song Example 7a - CD selection #47 (slow ex.) / selection #48 (up-tempo ex.) Song Example 7c - CD selection #49 (slow ex.) / selection #50 (up-tempo ex.) Song Example 8 - CD selection #51 (slow ex.) / selection #52 (up-tempo ex.) Song Example 9b - CD selection #53 (slow ex.) / selection #54 (up-tempo ex.) Song Example 9¢ - CD selection #55 (slow ex.) / selection #56 (up-tempo ex.) Song Example 10a - CD selection #57 (slow ex.) / selection #58 (up-tempo ex.) Song Example 10b - CD selection #59 (slow ex.) / selection #60 (up-tempo ex.) Song Example 10d - CD selection #61 (slow ex.) / selection #62 (up-tempo ex.) Credits ‘My heartfelt thanks to all those who supported and encouraged me to continue my research into the world of guitar harmony and complete this second book. Td also like to thank the supportive students and faculty of the Berklee College of Music community. A personal thanks to my immediate family (Kath, Mat, Dev, and Dan), my parents (Pat and Bill), and my brother (Cort) who's guidance and advice will not be forgotten. I must reserve a special thanks for my friend, fellow colleague, and engineer of this project, Anthony Marvuglio. Without his expertise, encouragement, ears, and spirit, the accompanying CD would not be. Also, thanks to those contributing technical and equipment assistance to the recording including Barry Doubleday of "Music Unlimited” in Kingston, MA and Dave "Ziggy" Collins. 101