4231Table of Contents Unit2 Triads 8 Unit 3 Guide Tones Derivation 12 Unit4 Blues 14 Unit 5 Rhythm and Blues/Gospel Chordal Approach 2 Unit 6 Harmony Built Across the Strings 24 Unit7_lm7—¥7—17-VI7 Over a Pedal 2 Unit 8 Modes in Chords Reference 31 Unit 9 Chardal Study Derived From a Linear Exercise 36 Unit 10 Choosing a Style 39 Unit 11_ McCoy Tyner Lett-Hand Style Plano Voicings 40 Unit 12. Chord Tones as Melodies a Unit 13 Cadence Approach Through Upper and Lewer Neighbors 42 Unit 14 Contemporary Voicings Reference Unit 15 Major-Minor Exercise Unit 16 Chord Changes for Standards Unit 17_Gm7—Ehmaj7(14) Exercise Unit 18 Octaves with Thirds Inside Unit 19 C7 Pedal Chordal Reference 68 Unit 20 About the CD 72aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Introduction Contemporary Chord Khancepts At seems strange that with our insirument, in the world of pap and rock music, there ‘could exst such a thing as a ‘rhythm guitar” player. A guitarist who just plays the chords. And, a ead uta” payer, one who cly plays soles, fl, and ks. tnd tis od because | believe that ‘you mus! try to play ALL of the instrument as best you can. Obviously, you'll have strong and weak points, but don't let your shorcomings get the best of you. You CAN develop into a well-rounded musician and quart. Since the ’80s, music education has advanced faster than one can Keep up with. During the BOs, ‘when | vas ying fo learn haw to play the guitar, you had privae teachers, @ few beoks, and ‘exchanges of information with friends, but mainly YOU HAD YOUR EARS! it you couldn’ hear things quicly, you were last. No py aeng COs, no videos, instudiona books with cassettes, no REAL BOOK.” and no Jamey Aebersolt's "JAZZ AIDS” service As a teacher Ive been arazed at the techical advances on the instrument. Never has thee been 0 ‘many plyers with such incredible technique. Oftentimes that ability has come atthe extense ofa comprenensive knowledge of music harmony and theory. In my expatene, tat has ransited into students allowing their choral knowledge to lg fa. ar behind. So a a teacher, eves to tring in he extemes and share my concets about being able i put to use al he possiblities the qatar offers formore complete expression ‘Mer I had moved to New Vork ity in Janay of 1970 began stowly add more guitar and music bocks tomy rary. | recall purchasing severalChord Ditionry” publications, some wit as many ‘80,000 chords. | remember thinking, ‘How could there possibly be THAT many chords? As t studied these books and contiued lea abcut the quit, realized that most ofthese chords just fuliea a number in the book Dut proves to ve vitualyuseess vnen making music wih other musicias. in this book 1ve tried my best lo meke certain that everthing presented has the Potential tobe used ina variety of stings. {woul te the ist to adit hat Ihave nek covered every Single possibity, bu, the wore assembled here will certainly serve as an excellent source fo which to ter anytime {na sense, for my awn epprozch, Ive tried to view things in z more pianistic manner. The pianist can accompany thi igh-hand lies wah hit lol-har. So, in gar [vo wotkod at paying the ‘quitar wih this kind of approach in mind, but, the key difference for me is NEVER view the left-hand aspect as “jus a bunch of chords! The concept i to ALWAYS heat the top note of any chord as hhavng melodic content. This is of crucial importance. Your lines and your chords ar of equal import and ca uncon beauty eter in our hands ‘My method for shanng ths concepts actually 2 complete contaccton tothe end result we nope to achieve, By that | mean, | reat chords as totaly separate from the linear work. tthe str, the two are ony joined by tarmonic theory. And, a the work progresses, te lines and chords stow tegin to function together. As there re many excellent books and videos which concentrale on the Inear side ofthe instrument ard improvising, | have chosen ta focus ona chordal approach which can join shse tines. t's my sincere hope that you wil work slowly through this method fromthe building blocks to the ‘move sophisticated concepts. Approach things in sl study units by making series of shot frm {goals for yourselt — something yas CAN accomplish ina reasonable amourt of tme. You might {inc it dificult to place aspect time fame for the masery ofthese corcents, but palience ad 2 sleady course wll surly win out in he er Aline best, KE New York City, Noveme’ 1995Biography Steve Kten acts that, when he wes a teenager, “Iwas terrible drummer with no musica training, | had developed a love fr the guitar and, when | was 19, swiched instuments. | was delermined thal | would not make the same mistakes had made withthe drums, and stucied composition and thay al UCLA, along wih iva outa lessons fom Ron Ahoy” 1870 he moved to New ok City Fram this point fora, so much of Steve's carer is well documented. In 1874, be performed in ‘one ofthe fits contemporary jazz guitar duos wih Lary Coryell. During this same period, he became a member of he Brecker rothers Band. His fist recordings as a leader were a tio of ‘albums for Columbia Records tiled: “Tightrope” (1977), “The Blue Man* (1978) and “Arrows” (1979), These recording featured Randy and Michael Brecker, David Sarbor, Don Grotick, Mike Mainiei, Wil Lee, Steve Gadd, and otners. in 1994, Sony Music/Columbia released @ CD compilation ckawn rom fese thee LPs tiled, “The Collection.” In 1980, Steve recrded a briliant solo acouste qutar abum, “Evidence* wich pid tribute to his ‘ates jazz irspiraions and served to etblish hi as one ofthe ret interpreter of the music of Thelonicus Monk. Between 1981 and 1985, he worked and recorded wih his quartet, Eyewitness, ‘which ircluded Anthony Jackson, Manclo Batrena, and Steve Jordan. Togeher they made tres recordings: “Eyewiness” (1981), “Modem Times" Blades” (1982) and “Casa Loco" (1983) Steve joined Joe Zavinuts Weaher Update for its ene and only tour in 1966, This was followed by an Innavane duet recraing with Keyooardist Reb Mounsey. The Grammy-nominated CD was ited “Local Color," and was released in 1987. 1986 saw the resurrection of Eyewitness with Dave Weck! replacing Steve Jordan forthe “Public Access” CD. Since thal ime, Steve has adeed two straight ahead jaz recordings which letuted Ron Carter and Al Fos. ‘Let's Call This" and ‘Headine” ‘woe released in 1991 and 1992 respectively. 1994, Steve found himself back in the company of Anthony Jactson and Manolo Badrera, adding Dennis Chambers and Michael Brecker for “Crossings.” which was dedicated tothe memery of his lt fater, ici Sammy Cann. Recently, Steve has contributed to sevarat special projec. His unique medley of two George Harison'unes oraed Mike Maine's NYC Records "Come Togeber — A Guia Tribute to The Beals” Here he was accompanied by Marc Jehnson, Peer Erskine and Nana Vasconoees. Special COlympics and the Holiday Season brought Steve logeter again wih the Becker Brohers fora Saksz-stvediterptaton of his fathers one rue Chrisinas song, “The Christmas Walz,” which appeared on Blue Note’ “Jaz to fhe World” CO. In 1996, Steve teamed wit Argentine vocalist Gabriela Anders, Rob Mounsty and New Yor Salsa AlPSlars: Ruben Rodriguez, Marc Quifones ant Papo Pepin to contibute “Dont Worry Baby” ("No Te Preacupes Nena’) to “Wouidn’ It Be Nice” atbut to rian Wilson, Recorded in September of 198, “Got My Mert” tings Steve logeer forthe fst ime with John Paituco’ and Jack Delchnet. The CO again finds him usirg his unique plying and arenging Dsspetive tinea the wos of Wayne Shere, Omete Coéman Lee Moran, and Edie Haris; 3s wel as standards by Rodgers and Harmesbin, and Sammy Cahn and tames Van Heusen, Throughout ns long and distinguished career, Steve has ecorded with such diverseatists as Miles Davis, Seely Dan, James Brown, Aetha Franin, Cuiny Jones, Eddie Palmieri, Feddie Hubbard, Steps Atead, and others too numerous to list. He has alsa produced recordings for fellow quitists Larry Coryell, Mike Ser, Bitli Lageene and Bil Connors as wel as pianist Eliane Bias. In adition to this book, he hes published three other highly regarded books: “The Wes Monigomary Guitar * "at Natina: The Early Yeas,” and “Guitar Workshop Series — Steve Khan” (which really 18 asa Eyewitness Songbook). hn adalion to recording ané performing, Ske isan active cliscian and each, ‘Stove Khanrange of the guitar To the eyes and ears Of many, the arge ofthe utara its outer reaches, can at tines seem the it ras te pce. te chewing dag Is Suded cau, the th about where our instrument really functions can become clear. if we'te to be honest with ourselves then we ‘will readily admit thal, in our lower regisler, we're operating in the territory of most bass instumens; and, in our mide to upper epiters, we'e esseialyopertng in the cere of most ‘keyboards. Whether we'te the principal melodic instrument (the soloist) or simply part ofa basic 4~ piece rythm secton (leybou(sgulaftass/éruns), is essental to gin an Uxdersandig of hw ou nstumert best tunons ‘Troughout recent decades there have been a mutiude of chord books offering thousands upon thousards of chord shanes forthe gular. It my expesence that In tne cortet of making music ‘with other instruments, mast ofthe chord yoicings which employ the °€" and “A” strings are essentially useless. Te reascn being, tal wren wee sing these Wo Sings, wee Tike o be in the way af the bass. and potential clouting the lower register ofthe Keyboard. If ene examines the syle of Wes Montgomery, ifs obvious that he used full sounsing voicings as an active part af his style and sounded tremendous. BUT, he was the LEADER, andthe arrangements were bull ound ‘wat he was playing. Pianists and orgarists fnew, or leaned, how to stay out ofthe way. In many (ock, heavy meal county, and foik musics, I's siylsticly important forthe guitar to use te lower stings. Inthe long un, always ty todo wha’ righ for he music asa whole! As this book unfolds, | hope to make a strong case for using 2,3, and 4-notevoiings which lay goss your D-G-B-E srngs. AS yOu Work a developing an evolved serse olharmony and theory, I telive that youl ind is concet extremely sf in, st just paying wih abassis. ano ater win the ada cf a keyboard | rave tied to supply you with as many options as possible. When os put these concep to use. ithen becomes a matter cf your own Sense oftarmany and tase, Written Sounds fray 2 2 mM Mt i} ml mM yn PITTI Li | ! i 1 | LI Nido | Oonstigs >» A D0 GB E Hoh 0 Top fe ane fingerings As | wakes at anencing my persona apprcacn whic Ws funeral for groups wou a keyboard player, | gradually began to adiust al! my fingerings. This became especially true for the 2- and 3-role cord ormaions. These fs, wien payed as pat ofa voicing employing 2 bass note onthe "For "A’ strings wal be fingered in he traditional manner. 1 chose to finger ese vocings in 2 incvual way, no si had simply led ofthe finger which would have been playing the bass note. My reesoning in doing this was to try and smooth out — make as legeto as ‘possible — the flow from one voicing into another. | fee! confident. that if given the time to sink in, usage at my fingerings will give you great results, especially if you're not happy with the current ‘state of your chordal movements. plek No mater Ho poet you bea it payng wi a ick, 5 your ates win hors brcaden there wil be ies wher te seo ee the “pick and claw echrique ar fingers alone wil prove pick and fingers rma expressive. Te advantage ofthese techniques i he ailtyt bring ou the op vice c any fingers chord an nse hat i seas clay as a meodicvace. By using a pick ot, no mate how quickly you stike arossa chord, the higter veces wil aways be milisecords la. By using the pick plus hwo or thee fingers or fingers only, you can pluck all the strings simultaneously an, perhaps best fal, ring out te top voice a litle more. So, i you're playing fines wit a pick and some chords with fingers on, how does one solve this back ard for preblem? Several years 290, aa cnc, someane asked, “White you were playing, | ‘noticed every so ten your pick would disappear when you played chores, wrere odio?" Atha ‘momen, | honesty di not know whol he was teking about. At first | asked if fd put the pick belween'my teth. He said, ‘No.” So, | tried to recreete the circumstances and, after a while, | realized tht! would sip the pick between the 1st and 2nd finges of my right hand n the area berween the 2nd inuckls and where the finger joins the hand, So, when slaying a 4-note chor, the thumb strikes the “D" sting, st finger the “6” string, 2nd finger the “B” sing and he 3 tinge is {eto bring out he top voice onthe “string by alyng aie more fore. It wil tke a ot of ‘consistent practice, but you CAN dit Contemporary Chord Khancepts 1Unit One superimposition of It seems so simple ia eyoord pave would ook at a ner vecng alae rss ii tuo hanés ant see is. for example. some form ot 6? chord Ofen on guts we can play only 3 the fim? on V7 chords potion ol the chard vaiing. For example: We might play ory what the righ-hand ofthe keyooard ie playing—a pat of thal G7 chord. We might view our voiig as oorneps a Om over ne bassist’: "or any number of other options. In discussions nee, afd wih one anoiher fs fine 0 look & things in ths rater seperated manner. Jus dont lose Sigh of what Me fryer armanic picture realy, In this 090k we wl bu your choral vocabsary tom: 4a 2-toe (guide tones) approach 3) trough tational and extended 3-ote vicings, and inal lo note choral ull yon upper exesion of basic ono Throughout ne book, De elirng 0 im and V7 chords 2s belng reat and ifercrangeable, ‘yu bull chord voicngs up ror the Sth deore of G7 (0) you would construct Drn, m7. Dr. ‘ec Inso dang, you would be extending the narmany o! G7 by ating ne th (A), te 12th (Cand the 13h (€).G7: 68 DF Chord Tones: 13557 91113 Dmg DFACE Chord Tones: 193.579 Example 1: G7 Chord Tones Omtim7); Root are sth mth [tt — ee 2 ss “ : Ts GiV7): Root ad ‘Sth mth sth 11th 13th \twe improvise using D mir xowings we'd constantly crete these extensions of G7 and probably ‘roduc, wral | would atlemp! to descrive asa very majestic Kling in the music, Htwe see allthis activity 28 functioning in the key of © major, then“ isthe V7 (dominant 7) and D's the Inn? hi orGer to proce this “rajesic™ harmonic elect yaute always superimposing lin? enord vocings oer the roo af the V7 Example 2: Harmonized Major Scale = —— Major Scale: Root 2nd 3d ath sth ah 7th rs ™ 07 wimp we | | Dri? a ‘As my own concept has eve. | find that | aly olay a guitar voicing tilting my low “A” or stings ve fone that is Feeps me ut of fe bass players way and, seems to ee us both More importantly, it expands our mprvisatonal foundries. This book will net deal withthe traditional ita chores which ule voicings whee the fowest nce is onthe “A” or "Estirgs. you Bel the fed t shre-up tis pat of you! knowedge, thee are many excellent publ wth eat His zea in deal, To nama fe ol te aunos: Mickey Baler, Jce Pas, and Tec Greene. AS we expand ca this conept an intodue progressivey nore and more ambiguous anc 4-nce vocings, youl fd tal the bass part and the musi gf eer and freer erause the nossbilities for spontinanes ‘ehiamonizaion any chorcbeccme endless. And youar your music wl bene mast § Steve KhanUnit Two triads After some 20 years of teaching, it still amazes me that so many exceptionally gited guitarists could develop great technical facility in the linear aspects of the instrument and totally ‘gnore the most base chordal components. Im speaking of he fundaental2-nateitervalic ‘elationships and the simpye, but essential, major and minor triads. Though this book deals with the advanced uses of harmony, | feel thats important that the usages of tiads be included. Noto tong ago in an intervie, Roten Ford slated how he is always asked about his solving. He tries to impress upon younger players tha. except for afew maments of soloing the guitarist must funcion 25 an accompanist mest ofthe tine. | coulin aycee mare with this assessment. So we ‘must ackrowlodgo tat off we will be asked tn function as a small part inthe greater context of someone ase’s music. As a supporting player, we must operate in a sonic place that leaves room forthe keyboards ane bass to move Feely. Obviously, a pene of musi is bull aroun the guitar, the cther instruments mus! then allow us the same latitude. This means that most ines we will play 2,3, and 4-note chords with the highest voice usually on the °B" cr “E” strings. Ths is where a thorough knowledge ofthe basic triads becomes 0 useful Its been my experience that usin triads in an aacompaniment foureis most useful in R&B. Funk ‘and Jazz-Rock Fusion whete the underpinring is essentially based upon the two former styles. The uitar is genealy called upon for its percussive qulites and it is for this reason that Ive only presented triads where the highest nate ison the °B" or“E strings. ve chosen fo omit triads with the top voice on the “D” or “G sings because | find these voicings sound much to dak to cut ‘though mast texture. isimportantta know them, bt, goin to eave that pursut up to you. Example 3: G Triads Top voice on “E” String rot (01 top) ED Top voice on “B” String att = o ie Example 3A: G Minor Triads Top voice on “E” String Rout a Contemporary Chord Khancepts 9triad superimposition Example triad superimposition chart 10 ‘The following “Trad Superimposiion” chart is an impertant one; once you undetsand its usage yu can continual rfer back to &. What I've done is to take a single bass ate, the root in most ‘cases, and used tads (soth major and minor) which ascend chromatcally over the rool. AS youre ‘provided wit a ong “6” pedal vamp on the recording ths work is presented ver “6.” Ive analyzed the “real chor” function (its theoretically corect rame) and the mode or seale one might need to know for improvising. When alls said and cone, youl actually have to know this infomation for the eleven oter rons Lets look athe fist example: F/G (an F trad over a G bass note). Although this chord can serve several lnctons, is usualy thought of as a dominant 7th (67) ype of souné. Because it contains 10 third (Bor BY) it could te pat ofthe dominant or minor chor flies. °F” the 7 of ‘When you swerimposea tra bulttomthe67 degree over abass note, hat tad supplies thes 7th, Sih, an 1th chord tones wich gives us G91) & Ga). The 11th depres can also be relered tos the At or as suspension: G8sus or Grsus, (One atonal thought £4 like to add. You will hea these kinds of ‘slash chords (F/G) refered to, Incorrecy, a8 poly-chords.& poly-chord refers to rarmony where two cr more chords ae actually being layed simultaneously. You wil find this kind of fantastic harmony, most often, in 20th century classical music, Such harmony is exemeyy dificult o associate one mode or chord scale wih, ard 2s you can see, withthe conventional “slash” chords presented here, they all readily give us ether a diatonic scae/mode or familar scale-ype with which to improvise. A tue poly-chord would nt da that so easily. ‘Major Triads ‘Tad/Root or Bass Nate Chord Name (most functional) Nade/Scale F iad 7.1) GMixoycian 6 Bles Fekiod This send ean uncon ‘hole tonahal-bre Hea Vat )chore ‘insted (SIAC [on Ove (Fe) BHarmonic Mine BACH] OE (FH {6} a8 Bieds Goal Maj. G Lydian iad Fut GProgian Aad 6713.9, 119 Gtydano? Gra, GLydan Bitiadts Gut Darin Binet mais) 6 ydian Augmented ia ‘maj This sounds use in CCMaj. C Bes, C Lydian any ways, nd tert GMja, 6 Bues teip cate Gospel or Bes ‘lng Dried 6708.5) GhalLonethole one rinsed (6) (61868(001 EFI Owiaas Gaia) Maj Gtyian Buiads mrs Carin iad 6703.4) ‘Ghal-onefhole‘one nines {6]168 8B] D+O (ENF ‘Minor Triads Fovtiag ive GPhngian Fmt ‘mai. 9} G Lydian Gntialts &m 6 ain Nias 6748.59) 6 Altered Dominant Supe ocrian Antioes (Tis isa soon uses Maer, 6 Nxt, aot in Gos music GBives Bmtieys emis 6 Locran}0oin Bnviaus nai? Major, tyeian cn vious ome Dorin On ties 67113 8,49) Grattongynote‘one diminishes onto 679) 6 Mociyda,G Bes mien sracoye ‘rhattonenol ton 19intass (ay wet) ‘imines envious 56 6 Major, 6 Mxlysan, Blas Steve Khantriad usage {'e tid to present one comprehensive exanpile of just how you might go about usiny mor of ‘minor tiads in the context ofa commen chord progression (I-vi?—ii-V7). Le’ examine what | ‘might play, wel jst assure thal hs would bend with keyboard and tre rest of he arangement you Fave @ protiem undersandng the theary behind why ve selected any ofthese Wiad try to figure it out yours by biling up each chord from the roo inthis and then label each mai oF minor iad. that proves difcul consut witha musical end or your teacher, ‘Theis choris tamed Eb tt as you cn see al Ive chosen to pla is @ G-rinor iad (8, Bb, ard), the Sd, Sh, ad ma 7th of Thee are times when an arranger would name this chord GmvE¥ because he/she wanls to make sue that you play a triad, wit some experience, you'l probably ust know to do thal by insint. The next chord is Cm?, here Im just pleying an triad (GG, BY), the 5d, Sth, and 70h of C. Over the F7,| play an Ab tia, with the reasoning being the same. in bar 4 and 12, te iverson of he AP tac Fens Dit is Now payed over a BP bass nate making the chord a B#9{sus). On fe lst chord of those bars, youll noice ttt the top voice ‘moves for vice leading purposes. For greater harmonic interest ard to create tension, in ba 8 on the tir bea | played E> which gives us 67(8548). a bar 16, win te prifcple being te same but to avait. layed GB t realize a 8136) ard het | sed descending cronatic vice leading, This was more easiy accomplished as | used a sightly higher inversion of the Ab/B> chord. Example 5: Triad Usage e Ebmaj7 Cn? Fm? Bb3{sus) fm ape - Fm AbSsus) Bb 7165.59) Contemporary Chord Khancepts Fz BbSsus)—_Bb7L13, 9) Inmostcases, an arranger (theres on) wil nt write out what your top note should be, so I's up toyou and your sense of harmony and good taste. The mare you're calleé upon todo this the beter Your instinets wil become ato just wha isthe righ thing to play. 4 you were o tum the suggested top notes ino hal-notes or quarter-notes and sing them aloud with full hythic value, they should foam a tice, hough simple, long melody. Give it ary! This style of gutaraocempariment is usualy found in R&B (etythm and bis), Pop, and various forms of “dance” music. There's @ lt mare to ‘cing itwithimprevised grace and logic than you might imagine. "iguide tones derivation Example 6A: Am(i) (key of G) an _——— Derivation = ~ med Th Example 6B: D7(V7) o7 Unit Three It's certainly understandable thst you would be cage: to skip tight to the most modern harmonic concsts, ut itil ll make mare sense, and gay greater dividends, if we begin wath far mare basic musical formations. 'm speaking ot 2-rote “ide tones.” simple intervals ct 4s, Ss, and triones (ths o ths) which, when placed above te root Cleary define the chord family and outing the tarmery, le serving tis funtion the) also prove @ basic harmonic back drop without making the soit a prisoner of YOUR convests The gui tone cart looks a he tee basic chord fares and views ‘hem on the qui tem the pespective cf the rot (ocated on ater he “A” or” sting and voices funcional rom tere). On the let side, you ata 4-note chord, then tote righ with he root and one athe ich remove The gui tows remain When played i the canted of a iim-V74 or avin i5}-V7-1 progression, its obvious now smooinly Inese simpie harmonic firs fw info ane anoter, AS you progress Uvough the matenals presented hare, the qude tes wil ivarialy Serve a5 our bucing blacks Aways, “cai go wong” lace to start. especialy wher reading through ature forthe fest te, 3d Th Example 6C: Gmaj7 and G6 (Imaj7 and 16) Graz Gs Graz nai? Gmajz 6 wal 7h ah Example 6D An? cs. 2 Steve KhanExample 6E: Am7(>5)(ii) An7(b8) oF #7 Amt(b5)° A*7 Be Example 6F Ans o7 Ans em? ttt ee Ee 2 = inns w i ins ' } = Taerat Jn Abetroma' Masha ef, anuoy M1868, Peto Contemporary Chord KhanceptsUnit Four guide tone blues There can be little argument that blues, in at its varied towns, s the cemmon ground, A language spoten by players fal musica tyes. In the blues form, the guide tones function wit suey and cispess, seeming to urge the groove along. I'S ashe ta ts ino any instumertation, but none bet than the classic orcan tro. Just check out Kenny Burl nano dinmy Smith's gral eccaings for Bue Noe or Ven. Inthe following example, Ive tried to present all the basis in two positions (lower and upper inversions), essentially withthe interals inverad, always using the “D" and °G* strings for maximum warmth, punch, and uniformity of sound and tone colo. Example 7: Lower Inversions 6 shutte JJ") ar Example 8: Upper Inversions srutte JJ=J 4 or 4 Steve Kian‘AS we each for more harmoric sophistication, the dea of the superimposed iim? to each dominant 7tv is introduced. When you improvise with these on your own, you should serse the harmony “openirg up,” Example 8: Lower inversions stuite JD = J 4 7. Dm7G\Grsus) a D716 ar tl. ih o7 7 Gnvic o7 a Dmi7ig Example 10: Upper inversions 6 shuttle SJ=J a nis or ome a cr, Gnr7ic cr a om7ia ‘An71O 07 C7 Gmae C7 a DnviG = Fo» eS Contemporary Chord Khancepts atExample 11: Minor Blues ® Gm? aT o7 m7 or ie a, fe. cm a7 o7 mr ey a7 o7 Gm? EBT aT 07 if « o> aa ht st - sae : Se hs SS aS SH yt = suspended sounds — How can ve begin tc break away ron rational apgoactes to bives harmony’ The following wo examples are ceed as a conceplul and stylistic point of departure, Again, al the examples are contemporary presinted over one ofthe most asic 12-barbues progressions to low the maximum aun’ of blues comping time to eroy hearing each voicng You may run into musians and singers who wil find this kind of harmo approach as fo pity o too jaz" fr ther musi. Hf such the cas, then on that job, go back o something more basic In Example 12. ve applied a tin? chord (Om?) over the root “6.” (he hesic chord sount is G7), Thiswill ivarebly produce @ suspended find ol sound and make the harmonic keling very open al times, lush andromantc Example 13 adds a litle more depth while being rythrrically more aclve ard percussive. This ‘approach is based upon a gui interpretation of McCoy Tyner’s pano style. As inthe previous ‘examples. all chord sourds are the procuct ol superimposing iim? cherds over the root ofthe ‘dominant chor Example 12: G Blues © omic Dmrsusié Dn7(@ve DMTI9, 116 ; + = =. Gm7susiC nro Dm79,11V6 ome Ani. Garic Dm7(6.19)16 Dei e+ © Ff & BeExample 13: G Blues (Shuffle) ® 713) (sus) Dm7(sus)/G Abm7(sus)iG ii Gmvjsus/C Dm7leuey @ ‘Am7(9sus)0 713) Gm7ic DbIG DmiIG 67113) On7isusyiG ‘wn Than ose Cantemporary Chord Khancepsjazz-type blues Example 14: Blues in F © Gl ai Ba bw file Theharmonic Featrent ofa 12-bar blues by aa over player wil usually fer fom the format we've been using fora basi blues, in that we've been making use of eny the I, IV7 and V7 chovs. You wil see ard hear diterences in he approach to bars 2,4 6, 8, ad 9-12. Of special iterest to ime ate bas 4and 6. In ta 4, a5 weve atead Deen paying ove 217 for the previous tee bars, this is where ou toic becomes the dominant 7h (V7) tote chor the ke of our example. F7 i going i resolve to B¥7_The az player takes advantage ot tis moment by adding a in? (C7) in onto the F7 to add ere colo, motcn, and tension towards the evenival resolution. A familiar substuiovaaticn in his process, gerralyasscciated with John Coltane woulé be to use the 15 substiute for F7, which would be B7. and inserting a iim? (Fim), thus creaing a diferent Approach to fnal resolution, Ina sense, you'e approaching rsotuton from oneal slap above stan aternae thought wat you wer to aporoach esotion trom one-nat step below? Havent ‘you ever done that wile laying chords? You know, slicing wo tothe 87 from A7? Wrat if you ‘wee fo ty ane sip i? chetd in ton of fr, use hat rodaliy 1 approach resolution with yout lines, Thinking abou things fie this, price o ctualy paying them, can give rise to muscal ‘regions, born ol thought, which might acally sound great to you, Never any harm in trying! Depending upc the color of tre choré used in bar 3, that wil go lng ways towards determining how you might treat bar 8. Whatever is agreed upon bar B can be a VI? (D7) chord resolving to either 17 (67) or iim? (G7), These same kines of karmic principles can aso be aplid to the <-chord ind of blues we're Deen utizing. We wer, youl eal, using a G Dives, so bar 9 wes @ 7 (V7) in that progesson, Se, is possible tat we could have treated bar 8 as an A7 (V7 of V7), but we cculd even ty to employ an E7 (VIZ). Here, however, were usng a it of our magination as £7 is aV? of Am? which we have been superimposing oer the 07 io extend the hamony so why Couldnt this work teo? In transcribing SOWs by mary asi masters ve seen thet lines imply his change even wien the bass and Keyboards were nt. Again, give ay ang see what Nappens. F xd 7 om? i He BRE HEH Bb? 7) Fi (7) 07 7 18 m7 CJ Fr D7 G7, or 7 Steve Khanjazz blues with common One of the most powerful lessons f've Laken away from all my Wes Montgomery listening and ‘rnscnting was nis orcestal (ig banc le) conception ofthe guta. Whether ne was soloing oF tone chordal punctuations Conon bend Nel Ryne ad ny Sih teed es ou is tgh ace vung we acing like 2 tumpel section His mid-gise 2-3. and 4-note chords wee like the sxoptone sation, and fen he ri wth oetaes behind the Sales. it soundea ike romtones thus giving the (uta rmarable scope and color. Perhaps he would no have vertalize this concep in the samme ‘ner, uti his tobe anefecive way of expressing wht Nard anc il ear nis paying ‘Ore metnod lor geting a grip on this concept isto punctuate your guide tones with chord voicngs utlizing atop note on yeur high “E string. t's gre lor your developing ears io ty and maintain a Common tone in your t9p voice as olen as IS possible. 1 also Nelps to Wear Now beautiully hamonj moves, ad how efficent rarmnic motion onthe quar can be ‘An additonal, and valuable practioe tool would be o use aki ot octave displacement in your top vote, For example in 26° blues. play 2 voiong wh “Das your op nite onthe “8” sting. Then answer Dat wih "D” as the tog nate of chord onthe nigh “E” sting. AS tte chord progression ‘moves along iy to gel “D” ontop o each chor it you can. Onoe you get he tang cit you wil be able fo comp mith big band conceat, wih all hve sections undar your ingers £79) 8571139) F79) omg) F719) 857(19) Br = a 37(913) Gm7 67139) F7(13) D7(ES,5) GIRS.) C7IHSHG F719) Contemporary Ctord Khancepts 9tumarounds This brings us to discussing bars 11 and 12, ina jazi-type blues most players will pu! to use either a IZ=W7-AP-V7 oF I-VI7-im7-V7 progression (2 bea per chard). Im presenting examples in Doth "F and “6, you were to be saying wit atthe very leas, a bassist you would usully not use the nots given of te iw "E” and "A" strings. However, in my alempt to cover as much rater as possi. | wad male Su tha fo those of you who have head guitars sound lie they're both the gular AND the bass, you have gained a sense of ow this is dane. Php my favorite ‘example otis syle (essentayitsqude tones with a bass nie) was recorded by J Kal and Bill Evans on their yeson ol “My Funry Vatentine" from Urcercurens (Blue Note/Solid Sil). Each af (the bass fine and the guide tones) could cenainly function on its own, Dut here's @ new chalenge to ty and play both. The ck, ngeing-wise,& the constant shina of te ts and 2nd fingers on your fetehand (it your pick is held in your right-hand). I you were not paying the bass ‘ols, lhe minor 7th guide tones would be played wth your tt tingorenly, and al the dominant 7th guide tones would be played win your ts and 3rd gers. As adiscoine, just ry paying the ‘basslines by themselves and guin a ‘eling for tow abass payer might approach Such le Example 16A: Blues Turnaround in F (Upper inversions) 9 £7 09 a7 or ov7 a abr 9 ae e7. D9 Ab7 ar b7 Fo Fee = ba - F ® : Turnaround in G Major FT ev 20 Steve Khanaa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page 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that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.9 aN) MN ONTEMPORARY CHORD KHANCEPTS presents information for guitarists of all styles-from Rock, Latin, and Funk to Country, Jazz, and Alternative. Steve shares his approach to chord construction, an area he hes become known for on guitar In this book, he has taken a complex subject and broken it down into simple building blocks and small study units. You will learn to extend your sense of harmony by the superimposition of chord forms which are familiar, as well as a world of new ones. Your ability to express yourself and create textures and musical moods will improve immediately. The text is accompanied by two CD’s full of per formed examples, play-along tracks, and five completely new composi jons by Steve only available in this package. expansive and diverse career as a guitarist. As a soto artist, Steve has released fifteen For guitarists, the Khancepts in this book will a serve as an unlimited source of reference mate: solo recording projects. Since Hie Rat facotdine ie GGUADRR rials and ideas for as long as you enjoy playing Records in 1977, Steve has established himself as a truly the instrument. individual and important voice on guitar. His unique approach on guitar can be heard on recordings by such diverse artists as Miles Davis, Steely sisal sdaiduauais decuboaeaenadmesnau Dan, James Brown, Quincy Jones, Sree RL Re Caen] and the Brecker Brothers, to Pa Re ee name a few. Mmakoos9cD 56121 2 otl29156'26737!