MEL BAY'S COMPLETE BOOK OF HARMONIC EXTENSIONS FOR GUITAR By Bret Willmott F 6x (1:14) x, 6k mm (:36) Be. 8 (14) Fx 8 mmi44(1-01] Ex. 9 £59] Ex. 9 mm192 (28) Ex 10:57] 10 mm144 (35) Bx. 17b (8) Ex. 1857) Fx. 19448) Ex. 19a mmi4 [30] Be.21 £46) 1S SEEEESRRRERE fal Song Ex. Song Ex ng Ex Song Ex Song Ex Seeee Song Ex. Ex. 23 £54] Ex. 23 mids (34) 1a (a7] la mmt72 [25] (45) To mmt72 £26) 1et47] Jemmi72 (25) CD CONTENTS & Bal ie} (9 1996 BY MEL BAY PUBLICATIONS, INC ‘ALL RIGHTS RESERVED. INTERNATIONAL COPYAICI Song Es. 14 [43] Song Ex. td mimt72 25) Song Ex. te 47) Song Ex. le mm172 25) ‘Song Ex. 1f(:47] Song Ex. If mma172 [25] Song Ex. 28 [1:42] Song Fx. 2a mm144 (1-01) Song Ex. 20 (1:40) Song Ex. 2: mm126 [1:08] Song Ex. 24 [58] Song Ex, 34 mm200 (27) Song Ex. 3b [58] Song Ex. 36 200 (27) Song Ex. 358} Song Bx. 3e mm200 :27) Song Ex. 4a 1:05) Song Ex. 4a mm1$0 (44) Song Ex. 4e [1:51] Song Ex. de mmi88 [2] Song Ex. e 1:01} PACIFIC, Mo 6a069 HHT SECURED. BMI. MADE AND PRINTED INU, Song Ex Song Fx Song Ex Song Ex. Song Ex. Song Es. Song Ex. Song Es. Song Ex Song Ex. Song Ex Song Ex Song Ex Song Ex (3) ta] (aa) Song Ex. Song Ex. Song Ex. Song Ex. BA) Song x ic] Song Ex. 4emn228 (34) 5 1:59) 66 12:26) bm Tah] Tammt60 5} Teton) Te mmt60 (42) 81133] 8 mm176 (1:19) 9b [1:49] 9 mn160 (1-01) 9e 1:49) 9 mm}60 [:03) 10a 1:38) 1a ments (53) 106 (1:38), 106 mami 44 (59) 104138) 104 mms £46) Visit us on the Web at http:/www.melbay.com — E-mail us at email@melbay.comTable of Contents Mnitroductiongs tj scree eee ee eee Section I - Harmonic Concepts and Voicing Types a) Harmonic Foundations Foundations for various approaches and voicing structures to be examined, beginning with Chordal Enharmonics and Voice-leading. Includes musical examples; Exercise nos. 1-10 .....-++-++1ee eee b) Voicing Sizes and String Combinations Includes musical examples; Exercise nos. I] - 14 ..... 020-0000. 0 c) Special Voicing Types Including 7th-width/four-note structures, Fourth voicings, Upper-structure triads, Open-string voicings, Ninth (no 5) voicings, Pentatonic voicings, and Half-step voicings. Includes musical examples; Exercise nos. 15-24 ..........002005 Section II - Song Examples Song Example 1 “II-V Blues” (exs. a, b,c, d,e,andf) .............. Song Example 2 “In Dee” (exs. a, h, andc)...........--..2----+5- Song Example 3 “Third Tune” (exs. a,b, andc) .............---+.- Song Example 4 “Standard Thing” (exs. a,b, c,d, ande) ...........- Song Example 5 “Chord-Wall Ballad” ...........------.00++-- Song Example 6 “Symmetrical Song” (exs. aandb) ............02+ Song Example 7 “Green Standard” (exs. a, b,c, andd) ...........-+ Song Examplets “One Piece’ 204 (ria... Reemame pnw an Song Example 9 “Latin Thing” (exs. a,b, andc) .........--+....-- Song Example 10 “In Gee” (exs. a, b, ¢, and d) . (onipact Disc SelechiomMste <4 aoc ose ak ee --Introduction This book is a continuation of and expansion on the approach and concepts introduced in my original book, Mel Bay's Complete Book of Harmony, Theory, and Voicing. Additional concepts and voici sizes will be presented here along with an accompanying CD demonstrating selected examples. The primary approach of this text will be to present a variety of concepts and voicing sizes to a single etude or song. Coupled with the information presented in my first book, this book will offer an abundant choice of harmonic styles and colors over a variety of chord types and progressions. This degree of information can be both inspiring and overwhelming and brings to mind a question I am frequently asked; "How do I apply this information to my immediate playing?" My first reaction is one of identity with the question and lack of any single or easy answer. I then try to communicate the importance of patience and the gradual but substantial re one receives from a lifetime commitment to harmonic study... not an extremely satisfying answer. Finally, realizing the legitimate need for immediate benefits, I offer a couple of approaches that have helped me. I first suggest applying some of the concepts presented to a frequently used and liked song or progression. Then | suggest composing different lines to this song or progression and harmonize them with a variety of voicing types and sizes, a majority of which are favorite” voicings. My second suggestion simply supports the tried-and-true method of repetition; Isolate only a few of these "favorite" voicings and apply them to a variety of songs or progressions. As an example, check out my repeated use of only two or three voicings in Exercise no. 4(a) undes Section I, page 12. ‘After examining the exercises and examples throughout this book, feel free to alter any of my voicings and/or lines if preferable ones are found. I've even found some lines and voicings in my pieces that are appropriate for the demonstration of a particular concept, but, because I don't particularly care much for them, rarely find their way into my playing. On the other hand, I always encourage an "open-minded" approach to new and unfamiliar sounding voicings and/or chords. I've often found a personally undesirable voicing structure, one I might never use by itself, a desirable link between two or more additional chord voicings producing a nice harmonic phrase. Id also encourage patience in hearing and judging new sounds. For example, I had a very negative reaction when first exposed to the "bright" and “sweet” sound of a maj9(no5) chord being used as a "dark" and "dissonant" sounding altered or min75 chord: Dmaj9(no5) used as Bb altered or Abmin755 chord. This sound is now an exciting and desirable piece of my harmonic repertoire. Itis pleasing as well as challengii to my ears, and I especially like the paradox produced by a "bright" and "sweet" sounding structure being used ix a" dark” and "dissonant" harmonic situation or function. Finally, before beginning your harmonic journey into this book, I'd like to reiterate some of the rhythmic advice offered in my first book: "Rhythmic variety, tempo variation, and space (rests) will ultimately enhance the exercises presented in this text." This advice should be applied to this book's exercises and song examples as well, and many of my performance demonstrations on the accompanying compact disc serve as illustrations of these concepts. The following examples are packed with different voicings and voice-leading techniques and o! colorful and harmonically informative "exercises". But they are exercises and require the addition of rhythmic ideas and space (silence) when applied to your playing. Be excited with your new harmonic discoveries, but don't overplay and abuse them, The silence following something really good gives you and the audience time to savor it and time to anticipate your next move. I begin all of my harmonic classes and clinics with the following statement, "The most importait and most useful chord voicing you will learn here is silence.”Harmonic Foundations This section presents the techniques and concepts that will be used throughout this book. Primary topics will include chordal enharmonics, voice-leading, constant structure motion, and various voicing sizes and string combinations. Additional and more specific topics will include fourth voicings, upper-structure triads, 7th widih voicings, approach voicings, half-step voicings, pentatonic voicings, ninth (no 5) voicings, open-string voicings, independent lines, and, of course, drop 2 type voicings. Most of these topics will be examined in more detail later. "Chordal Enharmonics" is a fundamental harmonic principal that all accomplished performers understand and use regularly, Simply put, any single chord voicing can function as two and often more different chords: Cups = 15.6 = Ab) = DHSS. ete, The following will list the thirteen basic 7th chords and offer the most common enharmonic possibilities of each. A more detailed list of chordal enharmonic possibilities can be found in my original book, "Mel Bay's Complete Book of Harmony, Theory, and Voicing”. Primary 7th Chords; maj? min? dom7, dim? dom7sus4 min(maj7) maj7e5 min725 dom, dim(aj7) maj7#5 min 795 dom7f5, The above also enharmonically contain the primary 6th chords: Cmin7, = Ebmaj6 (C6 = A-7) Cinin b5 = Eomin6 (C6 = AS) Most common enharmonic realizations of the primary 7th chords: Cmaj7 = A-7(9) — C-7 = Eb6 / Abmaj7(9) C-7b5 = Eb-6 / Ab7(9) / D7#5(b9) c7 =FRAsb9) Cmaj75 = A-6(9) /FE-7b5(11) /D7(9/13)/ Ab7#Sd9) C75 = FH7b5(9) / E(alt5) / Bb709/H11) or Bb-7h5(9) Cmaj7#S = A-maj7(9) / FA-75(9/11) / D7(9/H11/13) / AbT#S 9) Cas = FRIbs / ab7#5(9) / D7#5(9) c-7Hs = ab(add9) / F-7(11) C7sus4 = £b6/9 (C-11) / Bb6/9 (G-11) / Abmaj7(6/9) €07 = (£497, F#O7, A°7) B79 /D7b9/F 79 / ALI — CO(maj7) = Ab7449) D139) /Bb9) / F7b9/H 11) C-(maj7) = A-7)5(9) / BGSb9) / F7(9/H11) : Note those chords that develop hybrid chords in one of their inversions: Ab/Bb Now take a common chord progression and apply some of the above chordal enharmonic realizations. Tl demonstrate by using a basic 1 VI II V_ progression in the key of "Cand list just some of the enharmonic possibilities. Keep in mind, it is essential to reglize the effect of any harmonic structure on the original chord: Cmaj7H5 (root inversion) = E/C (maj?) (root inv.) = B/C C75 (third inv.) E7sus4 = Cmaj7(6/9) Dhmaj7b5 = A7B5(H9), etc. (D) Coccci. E7sps4/ ATgus4 / D7sup4 / E57 / A-7 / E-7H5 (VD Az. G-705 / CH7S / DomajIb5 | Dognaj7$5 / F745 / E97 ap D- Cigusd / Draped [Pat (ATS {CIE W) G7 F-1B5 / Final bs / BS / Db745 / Abm\maj7) /FO(maj7) Now I'll randomly choose various chords from above and try to connect them smoothly (voice-lead) through the use of different inversions. Again, the following offers just some of the possibilities available.Exercise No. I Fmaj7 © D-9 (OF Dbmaj?’s 2 AAG) Dbmaj7’s A7A5SGS) be G7i5b9) potmay) e139 Cmajo® Taif Ep 75 A-7AS j Ey ° Araalts) pbs 4 Cmajo 8) Et P75 Fmaj7 pi7is Est ° ° o Azaalts) or) ap E-7 Dbmaj75 cr omy) AvASds) | | L GE FD Ci E/E Gic Upper-structures. In the above examples only one chord per voicing is used. The following examples will present two or more voicings and/or enharmonic chords for each original chord.Exercise no. 2 a) Sb: ° b- maj b: re c.75 E97 Fmaj7 pst A aa p75 eae b a7isb)-A7?9 D. G7ise9) pres ETI a7 Dhmaj?> p75 Dhmajz# E97 4 4 b Agnes. Ege® C6 Cmajg® co cada C6 Arisdy 76s) a7i5G9 4799 Fmaj7 G74 cjp D7Ret F.7'8 ae ese BPs Apt \ ° D9 p-74) p94) p.7ay 7st) 13"? col 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 Fmaja® Bli3 — Bhmaj7 G7#5 Col (A7sus4) (£97) | (A7sus4) |(Abmaj7>5) (A7sus4) b) Common-tones in second voice cmajo B79 Ame cof 6) Bb7lS) Bhaja = G7 Cmaj9 2 o (Em7) (Fe7) (E7b5) ©) Descending chromatic motion in lead cmaj7 E75¢) —A-6 C754 Emajo Bi7H56) phe) Gs? Cmaja = o eo (Bb13) | (F#m 7b5) | (Emaj7b5) d) Ascending chromatic motion in lead Cmaj7 £71869) a-6 (1D C79 pada B79 pti) Cmaj?5 a 2 2 (Bmaj7b5)e) Chromatic motion in bottom voice Cmaj7 E7981) 4 madd9 cPsb £6 — Bb) Ebel —yfait) Cmaj7 as al pos eeaill atone whew ermal easement (G6/9)_ | (Abm6/9) (D7sus4) (Abm6/9) ‘f) Chromatic motion in 2nd and 3rd voices co a7 a6 c7 F449 Blast? Bhmajz G7#5 Cmaj7#t 4g) Melodic pattern Cmajo E79) a6) — C79 Bo) BH? Ebay GE) Cmnaj7! be 2 Soot 4) Arpeggios in top voice 5 ony? 7 ag CO FO Blo Ehmajo GPS C6) 2 é iS be (Cmaj7) | (Bbmaj75) | (m6) j 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 "ean be found in Section Il 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, 4), In this last example, note the use of "constant structure" in the bottom three voices starting on the F9#5 chord and continuing through the C13(9) chord. Exercise no. 4 (c) (E7) (Am) (c7) (F) (B7) (ey (G7) (c) a) Constant Structures cmajo EAH) a6) C13 ~— Fmaja Bb EG G23) co) & ig 2 2 e be 2 ul €7sus4) | (Abmaj75) | (Cmaj7>5) | (Blmaj75)| (A7sust) Greuss) (Cysust) | (Fmajys) || (A7sus4) Ec ont ion oe ob prope 2d 4 i i Cmaj7) — B7l) Ameddtt cg F6) Blo Ebmaj7 = G7) cg) = 2 2 e A 2s aig 2 # (Gea | (abersy | (Cars) | (Bers) | Cres) | (aber) | cero) (679) (c6/9) SSS ee b) Upper-structures = © (naj | 139) | maj) | crtst9) | Fmajy | ist | lmaj | (c1sb9) |] (Corfaraa) GIC cyD EC AWE cr GD BE» fe pis 3 ¢ + + t $ $ a $ 8 fo c) Approach Voicings co F E7tsts) Ab-6) A-6 Gots 13 cho® 4 e “2 o 2 2 es 2 > oe f 4 # $ ip : : 4 S — 4 Fmajo F13 — Bb13 69) Ebmaj9 = ADI. G7 Dbmaj7 Cmaj7 é e f # § —¥ { $ § j 4 ‘3 — 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 (c) (E7) (Am) (c7) (F) (Bb7) (E>) (G7) © 4) Original four-note example; co) e785) a6) c7ABES) maj BB Bee 63 co 2 6 b) Omit 2nd voice; C6 E79 A6 crs Bio 6 G9 co om ¢) Omit 3rd voice; adds 7856) madd? — c7ASH9) Ema Bi3® Le 6B — cadaa 2 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 f); co B7#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. It ajso 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 (DG-7 (VDI (V)Bbmiy =F Key of Db: (VI) Bb-7 Domai? bvIB7— dV) 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 @) Chromatic lead tone Fmaj7 | B)-7_— G-7 Deal D-7 B7 Bhmaj7 aay F a f= 8 ee = o a =o ee = — + 4 tori-$ pore 3 tor) 91-3 tort 81 # tory tory $i Se £ b) Common lead tone Fmaj7_—Bb-7 G-7_ Dbmaj7_—~‘D-7 B7 Bbmaj7 G’maj7 F o—— 2 °. —o °. © 65 3 © 2 = 3 = #8: joo 3 S oO o 5° to— 1 oO 3 f § { $ $ § oe 4 4 6 - i c) Constant Structures (Perfect 4th voicings) Fmaj7 B-7 Ce at D-7 B7 —_Bbmaj7_G}maj7 F 2 - = e = o ° == SSS G = = 2 — S ¢ \ + ton 8] don 8) $end ton 9 tron $a 9 3 tot BF torr 3 tot i $ $ d) "Modal" (Lyd. / Dor.) a \, Fe -7 ; ai i :, Fmaj7 Bb7 8 Dhmaj7 D-7 B7 —_ Bomaj7_ Gimaj7 F He == ° eee se o = =o 3— Ta & G S = = A Fie epee i (orl cory Store ‘orl Trt 16structure Triads Fmaj7_—B)-7 ion lead tones Fmaj7 B)-7 3s bs “Open 3-note chords j7 Bev a be “Close" 3-note chords Fmaj7 Bb-7 falf-step voicings Fmaj7 BL7. Exercise no. 6 (continued) i) Five-note structures Fmaj7 Be G-7 Dhmaj7_—«~D-7—B7 Bhmaj7 Ghmaj7 E bo 4) Combination of previous exs. in song form; _*CD selection no. 1 (slow)/ no. 2 (up-tempo) [a] Emajz BLT 2 2 = \A9| Pmaj7 By-7 G-7 Dhmaj7_—-D-7 B7 Bbmaj7_ — Gbmaj7 ° Tritone lead\pattern Bb-7 G-7 ree D-7 BZ Bbmaj7_— Ghmaj7 o 1.Exercise no. 7 (continued) ¢) "Open" 3-note structures Emaj7 Bb7 G-7 Dbmaj7 b Constant structures ... D-7 BT Bbmaj7 Ghmaj7 F i T in whole-steps . 5 d) "Close" 3-note constant structures (inverted 4th voicings) Emaj7 Bb-7 G7 D>maj7 b b Whole-step motion —_- ¢) Arpeggios in top voice; Fmaj7 BP7 arpeggio in top volBhmaj7 , Ghmaj7 ‘arpeggio in top voige ----------» _ | Bb7 arpeggio in top yoice . -- fnor-third intervals in top voice; Fmaj7 Bb-7 E diminished arpeggio in top voice - -- arpeggio in top voice —1 | Ediminished arpeggio in top voice ---- roach Voicings G-7 Dbmaj7 Fmaj7 (Chrom.) b (Chrom.) cin PA gm) S87 com (AT)‘The following again uses a standard song form (ABA) 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) (FH7) (B7) (E7) (ci?) (FH7) (B7) (E7) A123 FHLB By E13 — cypsd> fs’? = B78) En 9 chs Fi7to B13 = E13!9 A13 HPs oBis.—B7fsdo f ke { te b ae nipse> Bee Ee ats FH3 BSE) ag A138 ans FAP” ne E7bsi) —cis?? Has? Bist? pats) & be Sas he 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 Bhmaj7 1363 Abmaj7® = Gass — cagftt) Fug Fol ——_iptald bd bd bd B69) F Har C9 B13 Biot Bbi3) Eliz Eh7?5(9) Abmajo® — G7i5 c9tD cx) F713 B13) Bhs Blas’? BS: 6) = A7??Abmajo pz) g.7an oP?) pan —Biylshs) —pladas b b, b, by by b. ‘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 voices 26Major 2nds in top voice; Minor 3rds in top voice; 27Major 3rds in top voice; ths 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): a 4 te J td fe hdhe 29Ninth (no3): Ast Inv, Drop 2: fee eee bal gba 7th width; 2 ¢ a J ba bd a The following is an eight-bar etude using five-note structures only. Exercise no. 13 E900) Gygsws Amajol iia FE9(D Fos ne E13"? Amaj9 D138 = Gmaj9_— FED) ee 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 min7b5; 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) 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 iddressed in my first book will be more thoroughly examined here and include 7th-width voicings, Open-string roicings, and Half-step voicings. Lwill also 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 each 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 c G EB BD Gm A oo 79/7 1D) maj9 add9 cdui13) maj) | .7(9/11) gsm4 b) * (same voicing) B77 Ab G-?5 c7 Fm E-7 AZ D * 2 b ct7!S a7 Bm * (9) 7lalt9) maj 741 ort) 713) | maj7 | cri 7?9 | 6 °) B-7 FA B-7 E7 A E7 b 5 add9 ——(alt5/9) oy —7#sd9) 2709/1) asta) maj7’378 maj7 + G major Pentatonic 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- string 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 (17b) 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 @) Voicings on middle four strings (whole notes) with top E string open (darkened note heads) E 27 D chy c B7 b). Three note voicings (whole notes) with high E and B strings open (darkened note heads) A G F E7 A ci7 F-7 Gi7 Ci-6 D ie B7 E AT D7 G7 FR-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 frie! structure being used in two or more different positions. Note the E-7(11) in bar 6, oadhd ina 10, and CEAS(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!49 Emaja9 D9) Cmaj72E-70) — Fmaja Dm!) Bio cpt Dm Gs Cre APICE Dm) Fmajg/C cera crt) Bm) Dmaja/A Gt7tK cays 9 D130) 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 structures 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) min7)5 ; (1 & b2) (2 &b3) (4 &b5) min(maj7) ; (1 & 7) (2 & 53) dimin7 ; (1 & 7) (2 & b3) (4 & b5) (#5 & 6) dom7 ; "natural" (6 &b7) (3 & 4) “altered” (1 & b2) 42 & 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 Eb7 Dmaj7_ G7 Ce? FH B-7__=E7_—Amaj7_A7_Dmaj7_D-7 chy C7 Be? Ci7 FET _=D7_~GE7S Cl7_FR6 FI7B-7_—E7 A a) Amaj7 £13 Dmaj7 G13 Cimaéé? Fi7ASb9) Bmaddo ean Amaj7 A183) Dmaj7 D-9 CES C13 B-9 CH? Fimad@? 13 GH-7?5D cy7AsE) Fy. 6) FIP? B.9 E7k569) 4/410) 4) Amaj7_ E213 Dmaj7 G13) Cim249 F}7#5°9) Bmade9 EASE Amaj7 A13 Dmaj7 D-9 b ——— 010 CEO C13 B-9 CH7?? Fim24 p13 GH-7?5CD cy7HsED) FH 6 79 B-9 E745¢9) ost) 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 above 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. A4 -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) [As] B-7(Dorian) E pentatonic in lead using constant structures..---|-----------------]----------==-----= : Bomaj7(Lydian) 1B] x74 (ixotydian) Ebmaj7(Lydian) B-7 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 fom 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 a C 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) ee. Cmaj7 ye Dh Pentre |G Pet essvseee Eb Pettt severe Tyee Ebmaj7 ; crt Bh Penteswe | F Pentre F Pent/C Pent 42Cmaj7 Bb Ebmaj7, Gye ic 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(6f1 1), but Fmaj7(6/#1 1) does not equal Cmaj7(9). Cmaj7(9) {1 37 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) (15357 9} = F13susd / Ab(o7t11) / D7H5(b9) C-maj7(9) (153 7.9} = Bealt9) /FI3ELD / A-75(9/11) / D139) / Abdo#11) €6(9) {13.6 9} = Am(11) / Abalt) / D7(9) or D-7(9) / Fmaj7(6) / FR-7h5(b13) €-6(9) {1 b3 6 9} = B7(alt9) /F7(13) / A-7S(11) D709) / Abo 1) C9sus4 {1.4579} = abcomfi 1/13) /D-745 / BIC / G-7(11) /E7(alt) / FR(ydian augmented) 79) (1 3b7 #9} = FRIabs / 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) — pg ~— Bz galno3) Arla) Dmajg FHA? - 9) Gmj9 G9 B®) De® —Dhmajg Bm 11) Fy7{alt) Bm) —B7falt) E13 Ey Adah Gist Dmaj9 p94 D6 — Bb6® Fao G75¢9) cm) abtz¢ Dhmaja = A4)— Dmajg Bal) Ebmaj9 Bb-9 Dbmaj9 E-9 A739) Fe Bis) EmO/TD a 7569) polit Gmaj9 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 iad presents an interesting upper-stretue sound and several examples canbe 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 Db/E> BoA) Bic CFE AB F/B DIE G/EP Bm Bom cD BSUS/D DyD —EWD cypb BbUS/C DIB Eb/B> cre) ESB DIC B/D) DinveEb cieb Giab Wy GhA sh F/G> AE G/B) 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 "Jaz" or "I - 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 (Bo13sus4), This is a very popular sound today (placing the sus4 on the two strongest chords in the "Blues"; I and IV) and another example {5 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 "TI-V Blues" a ) Fmaj7 Fmaj9 E-7?S azhsd) D-9 G7" c9 FS Bis! Bis Bh-9 —Eb7?5 A9 pels Ab-9 be b b b, b 466-700 cfs qa” Fo = 7#54 = gi3, 7H) «13 (chromatic motion in bottom voices) E730) a7) pg = Gis’? cg lt) eth B13 pb7ist «= Bb.g Eby aidan A7% pg c7susdh9) gE Fe D7?) Gis CASH agnes (piaddo) (Bbm*249)"T]-V Blues" (continued) The following example (c) makes enharmonic use of one particular chord (maj7b5) to satisfy many different hannonic 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 performance demonstrations for each: Song Ex, Je ~ CD selection #20 (slow ex.)/ selection #21 (up-tempo ex). Song Ex. Id - CD selection #22 (slow ex.) / selection #23 (up-tempo ex.). °) F7 F123 E-7P5t11) a 7859) p-6® G7As¢9 e138 FASS) Ebmaj75 Beas Dhmaj5 Fmaj?5 Bmaj75 | BbmajA5 A maj5 Bi3® pis «= Bb-7) Blo A9 p7isd) Ab9 —_Db3® b b ba Abmaj75 Ghmaj75 Bmaj?5 c-9 G7isd9 C13 cist) F130) p7isé) = G13 c7#sd) F130) b Bmaj#5 | Bbmaj#5 Emaj7's| Ebmaj?s Ghmaj7s Fmaj?5 — Emaj754d F230 B79 E.7°50) a 7#569) pg 3) Grtsit9) C130 — R7A5¢9) b b Ebmaj>5 Bbmaj75 Bmaj#5 | Bbmaj#5 = Amaj75 Bas pbs) = Bho) 7) 79 Ab-7 — Dbo@1D Abmaj?5 — Dmaj75 cs G7st) co C754) ~~ D7ASE? ~—sGQ_c7ABHD BO b b B maj75 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 still 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 wiich 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. Le - 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 EPS Ay D7 GP C7 F7 b Bb7 Bb.7 7 A-7 D7 Ab-7 D7Bb7 Bb-7 B7 A-7 D7 Ab-7 Db G- c7 Fmaj7_ D7 G-7- C7, F7 7 G7 bdbd 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 F7). 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 “yeird" 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 3 7 Bm AZ G7 FA7 ‘as| Bm En AT, D c7 Brialt) E-7 #7 Bm Bb-7 A-7 D7 "B" blues scale in top voiceG7 [0] Bm Constant Structure Ha FE-7 B7 F-7 — Bb7 E-7 Ay E-7 A7 D c7 fe cee mic Motion 53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 (C5-1), Song Example 2 (b) "In Dee" Bm E-7 A7 D cr B7 Bm (B7) E-7 Az D c7 B7 E-7 FIZ Bm Be7 A-T D7 54G7 FL7 B7 E-7 Bb7 E-7 AT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 4 E-7 FA7 Bm AZ G7 FI7 E-7 FI7 B-7 Bb-7 A-7 D7 56le] Bm (B7) re7 AZ 57 C7 B7 AT7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 fhe voicings that ae diatonic extensions of the chords immedjately efore them: bar3-F-7(11) and bat 7~ Gp, 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 D7isGo) Gmaj7_ Bhi3 Ebmaj9 FAT Bmaj7 * F9 Bb7"? b, 6) Ebmaj7 AT™ D9 Gmaj7 ceo FH? Bmaj9 B6°) F-9 BH13® —Ebmaj7 (6/9) C+7()_ 7/0 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 B7 * A-7 D7 G By Eb HZ B = F-7 By7 AT D7 G CL F7 B E-7 Bby7 Eb cL7 FIZ 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 EP A-7 D7 G B7 Eb #7 B F-7 By BE A-7 D7 G C7 FH Inverted 4ths in whole4step motion E> 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" F-7 pee BT AD pbb B)-7 EW Ab G75 cz 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” pattem 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" [a] E-7 Bb-7 \ BY Ab b Db G7 Cmaj7 i, 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 pattems 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 ex.). Song Example 4 (c) "Standard Thing" A A be i {al By hr EW Abmaj7 [a9] C7 F-7 BT Ebmaj7 (£7) Abmaj7 D7 Gmaj7 ye? AT D7 Gmaj7FLT B7 Emaj7 c7 fe] F-7 Bb-7 BT Abmaj7 Dbmaj7 Db7 C-7 . BT Bb-7 EY Ab 65The following example (d) 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 pattem 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 4 o B°7 Bb-7 7 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 4 be Abmaj7 ; oe D7 Gmaj7 AT D7 Gmaj7 xEmaj7 Ab Blues Scale in Top Voice. F-7 Bb-7 ET Abmaj7 Dhmaj7 Db-7 C7 Boz Ab Blues Scale cont. ~ AbBlues Scale 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 C-745 = 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: EI ‘This example is also presented in a performance demonstration on the accompanying CD (selection #44). 69Song Example 5 "Chord-Wall Ballad" Gado Emadd9 adds “Amada9 pisusg G7 a eS 7 Fmajo/A. Apadda BbIAD BUG = pisuss c- 75 Amaj7/B cD 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 ofthe malf chords (C7 from Ebmaj7 and Bp-7 from Dbmaj7) and realize the chromatic progress C-7 B-7 Bb-7 A-T. 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, ete. Also, check out the minor 3rd progression in the beginning: Gmaj7 min-3rd to Emaj7 min-3rd to Domaj7 min-3rd to Bbmaj7, 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 BS - B9 make enharmonic use of 9(n0 5) voicings. Finally, note the alternating voicings pattern in bars BO - B14. Song Example 6 (a) "Symmetrical Song" A Gmaj7_— Emaj7_Dbmaj7_—Bhmaj7 AT C-7 B-7 D-7 a 2 = 2 2 2 fo ch? Ebmaj7-B-7 Dbmaj7 A-7 F7 Gmaj7_-D7 A17| Gmaj7 Emaj7_Dbmaj7_—_Bbmaj7 AT C7 B-7 D-7 ce? Ebmaj7 B-7 Dbmaj7A-7 F7 Gmaj7 Bb7 72B| Ebmaj7 Ab-7 Gmaj7 7 Bmaj7 E-7 Ebmaj7 D7 ° 2 bo. Gmaj7_ Emaj7_——Dimaj7_—-Bbmaj7_—A-7 c-7 Ab7 G ts te a bo ba 13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" A] Gmaj7_— Emaj7 Dbmaj7 Bbmaj7_A-7 c-7 B-7 D-7 Al7] Gmaj7_— Emaj7 Drmaj7, Bhmaj7 A-7 C7 B-7 D-7 b 74(B) Bbmaj7 aby Gmaj7 2 f= = a7, Bmaj7 E-7 re D7 b, Gmaj7 Gmaj7 Emaj7 aL Bomaj7_A-7 Gy 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] cS C7 Dic Dic Cmaj7 C Pentatonic Voicings -}------------ G7lalt/sus4) Cmaj7 G Penmtatonic Voicings -} --~-------------! F-7 Bb7(al) Ebmaj7 G7 Constant 76DIC DIC loo lo) e B-75 E7 AT FES B7 7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" A c C7 DIC DIC Cmaj7 cee App) be Constant Structures _-_|__ [5 D-7 G7 Cmaj7 = Constant Structures Continued E-7 2s bo Sonstant Structures | Contiied 3 se= 2 aee ete ose ie, Renee | ee 78(Chrom App) (Chrom App, |a9| ic C7 b DIC DC te (Cpe App) B-75 E7 A-7 5 FH-73 87 10 2 Constant Structures ---J-----_-. f 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 aaa 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 Bb Ebmaj7 G7 80Dic Dlic Cmaj7 a7. B75 E7 A-7 FES 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" fa] ic C7 DIC DC Cmaj7 F-7 BOT Ebmaj7 G7 82by DiC DC c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 Bé - 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" EAL SA Ch G B-7 F FL7 E Gi 2 2 2 os FLT mt [ag] a chy c B-7 G7 = Le Gl F-7 BIT G-7 c7 Ab Bb/Ab FR7st Beesic A Ce7 G B-7 F FLT Ending = E DIE CIE BYE D/E CIE BYE AVE CIE BYE ADE GhE E/FE AIG cD BA FE ition in Sths /\Triad motion in minoy 3rdssong Example 7 Latin hing — ‘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 Bb7 Bhmaj7 F-7 Bb7 Ebmaj7 Ab7 Die 7, c7 C7 rz, 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-?5 G7 C7 APS D7 G-7 E75 AT Dmaj7 E-7 AT D-7 G7 C7 E7 88Bbmaj7 x Bb7 Bomaj7 F-7 Bb7 J i Ebmaj7 Ab7 D-7 G-7 (ip c-7 F7 BY7 By x 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 drop 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 o Ab triads followed bya good example of contrary motion inthe top two voices (D4 DS). 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? D7 G-7 AZ Dmaj7 E-7 AT D-7 G7 C7 F7 909] " Bhmaj7 x Bb-7 Eb7 Bh7 Eb7 Bhmaj7 x F-7 BY (Upper-structures) ; (Eb) Basil Ab7 D-7 G-7 c7 C7 F7 Bb-7 Ey B-7 OE 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 pattern in the first two bars followed by descending constant structures in A3 - AS. Constant structures again appear in bars A6 - A9 (note the whole-step pattern in A6-7 repeated a half: step up in A8-9). Constant structure use is continued in measures All - A14, B6, BS, Cl - C2, and 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 G7 c7 iE F-7 b aa G-7 ey F BT 92u B) ED BLT Eby Ab Eb-7 AUT 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 14 and the extended example in B5 - 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 c7 F F. BY # (7) A-7 D7 G C7 7 &| G G-7 c7 F F-7 BY7 94=) 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 / FAm(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 Bb ‘major scale running through B7 and B8, producing the bth on A-7)5. Song Example 10 (c) "In Gee" [a] G G-7 c7 F F-7 BIT Eb AT D7 G BIT 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 witha 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 measures AS thrqugh Al6 the progression G7 7 CS FY D-7 G7 toa note in bar BI is formed, and a triad progression of Ab Bb Cis formed in measures B1 through C2. Atfast 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" A ie G-7 ig? Fe F-7 Bb { Dim 7th arpeggio in lead Caug. arpeggio in lead --- F7 arpeggio in lead F7 arpeggio in lead —¥ == E> A-7 D7 G Bb7 e D-7 arpeggio in lead 98Bb-7 Eb7 q Eby me AD arpeggio in lead--| ~~~ Ab arpeggio in lead. See, Bb arpeggio in lead C-9 arpeggio in lead 9924 5 Compact Disc Selection 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 ata 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 (1.e. 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; Exercise no. 6k - CD selection #1 (slow ex.) / selection #2 (up-tempo ex.) ‘Exercise no. 8 - CD selection #3 (slow ex.) / selection #4 (up-tempo ex.) Exercise no. 9 - CD selection #5 (slow ex.) / selection #6 (up-tempo ex.) Exercise no. 10 - CD selection #7 (slow ex.) / selection #8 (up-tempo ex.) Exercise no. 176 - 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 9c - 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