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Studies for electric guitar Tone - Technique - Theory
Part I
Pitch, texture and dynamics
1. Sound consistency ……………………………………………………………………………………….…....1
2. Synchronizing left and right hand …………………...….………………………………........2
Posture
Fretting hand permutations / tone production
Rhythmic and dynamic balance
Legato playing
‘Two-line’ scale exercises
Chordal playing:
- picking patterns / permutations / dynamics
- posture / preparing notes
- block chords and dynamic control
- adding chord shapes
- ‘blurring the lines’ - combining single-notes and chordal playing
Studies for electric guitar
‘Stella Watches The Stars’ …………………………………………………….………………………......7
‘Nioma’ - blues riffs in DADGAD tuning
‘Chet’s Dream’
‘Slow Dancing’ - a John Mayer-inspired guitar stroll
‘Akane’
‘How to Pass A Blue Monk’ - jazz blues study
Applied Music Theory
1. Jazz blues analysis …………………………………………………………...…....……….......…............... 16
2. ‘Tele moves’ - licks and riffs, triad inversions
3. ‘Neo soul flares’ - lick concepts by Chalmers ‘Spanky’ Alford
4. Arranging grooves for solo guitar
5. Arranging for solo guitar: basics ……………………………..………………………..................... 23
- melodic phrases and harmonic progressions
- chord-melody: ‘gospel chords’ and (re)harmonization ideas
- solo guitar arrangement: ‘Amazing Grace’
6. ‘Shenandoah’ - Bill Frisell (solo): transcription & analysis ….......................... 27
© JME / CY, Inc. 2020
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Pitch, texture and dynamics1. Sound consistency
Tone & technique
The term // tone [tōn] // can be defined as your perception of the interplay of pitch, texture and dynamics. The complexity behind a single sounding note - from the initial tone production to the resulting sound - is what makes ‘tone’ unique to every musician.
The tone imprints of guitarists like Jim Hall and John Scofield differ by a great margin - one sounds rather ‘round’, ‘jazzy’ and ‘composed’, the other one ‘ragged’, ‘bluesy’ and 'expressive’. Yet, both sound amazing! In conjunction with their musical imagination and their gear of choice, both musicians developed tools to create their respective signature sounds. This inherent variety of tone(s) also shows that their approach towards musical expression and instruments still shares a crucial common denominator: sound consistency
a) Sound texture (timbre) - whether you play with a pick or fingerstyle, the way you apply various techniquesdetermines the quality of the sound.
b) Dynamics are crucial to connect single events (pitches, rhythms) towards a coherent musical statement.Using dynamics also goes a long way to be able to 'tell a story' with your performance.
Ex. 1
- Learn the musical phrase by heart. - Practice and record it with relatively ‘flat’ EQ settings and less or no reverb at all. - Pause and start listening actively to evaluate your sound:
Does it sound ‘musical’, e.g. like a coherent sentence? [general rhythmic accuracy, musical interpretation] Did you like the sound of all notes? [tonal quality, dynamics]
Since the lick comes with harmonies vs. single note-lines, fretted vs. open strings, position changes, bends and hammer-ons, it creates a varied sound texture. Depending on your perception, musical choices and your technical abilities it might be the case that the open strings sound less pronounced than the fretted ones - or the opposite. Does it still sound consistent - like one sound - or do some notes 'pop out' in an unintended way? Is the sound transparent or muddy? The overall goal isn’t necessarily to develop a ‘clinical’ / absolutely even sound (unless that is what you’re striving for) - the goal is to be able to perceive and evaluate accurately how you sound, why you sound that way and finding out how you’re able to tweak your own sound.
The following exercises offer perspectives to further and adjust your available palette of ‘sound production’-techniques to your own specifications.
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Synchronizing left and right hand
Fretting hand: keep your neck and shoulders as relaxed as possible and avoid moving them in order to be able to reach certain notes or chords on the fretboard: adjusting the positions of elbow and wrist are far more useful to adapt your hand's position and posture.
There is an abundance of seamlessly shifting postures happening while you access notes and chords across the fretboard. Consider that most of them already follow patterns you're very familiar with.
Since everybody does come with a slightly different build, there isn't a 'one size fits all' technique which you have to follow. Everbody learns best practices as how to move effectively and how to avoid unhealthy habits that can cause injuries.
For this exercise, rely on your established motion patterns and listen actively how your notes sound. Keep in mind that you only have to slightly adjust and tweak your motions to create the tones you strive for. Repeat the exercises while focussing on the listed aspects, one at a time.
- Keep your wrist straight [especially for repetitive ex.] That still entails that there's a lot of 'wiggle room': you have to bend your wrist to access notes and chords in context. It's about allowing your hand to be in a relaxed yet moving flow as opposed to a rigid posture which doesn't help your sound nor your tendon's performance and longevity.
- Your fingers should be relaxed, resting in a natural 'bent' position, before you play a note. The fingers don't have to be perfectly lined up so you avoid unnecessary tension.
- When fretting notes, use minimal pressure to push the string towards the fretboard. To begin with slight string buzz is a nice tool to gauge how much pressure is actually needed to make a specific note on a specific string ring.
- Movement of the pick / 'plucking' finger: to get the most substantial tone out of your string you have to push the string towards the guitar body. By imposing slight pressure to the string, it is briefly displaced from its 'resting position', only to rebound when your pick or finger leaves the string. Unless you opt for a 'Chicken pickin' sound, you don't pick, rip or slide along the strings: these are all valid techniques, used for specific effects.
The purpose of this exercise is to: 1. establish the needed muscle memory for possible permutations on the fretboard - play these patterns in variations up and down the fretboard on all strings.2. establish a more coherent tone using alternate picking or fingerstyle playing: try different 'p - i - m - a' combinations and listen for sound consistency.
1. Focus on playing the position changes without interrupting the sound2. Play the scale with very even dynamics (mp)3. Apply dynamic changes, e.g. from piano to forte.
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Ex. 3 'Rhythmic accuracy': use a metronome, play half a bar, let the last played note ring while you count the subdivisions. For now, make sure that the 'gaps' between the notes are as short as possible and that the dynamics are consistent. Listen closely and try to hear (not to see) if the fretting hand is the cause for rushed or delayed notes or if the (finger) picking hand isn't in sync with the metronome or your other hand. Again, everybody has different tendencies - these aren't beneficial or 'bad' per se - they are what you work with. It's your conscious perception of the sound and your knowledge about your tendencies that enable you to tweak your movements towards an expedient guitar technique. Fretting hand technique: remember to keep your hand and fingers slightly relaxed and aim to 'prepare' notes. E.g. when changing from one string to the next, the index finger can already be placed on the string and fret which is to be played next, while the pinky is still fretting the prior note. This applies to the labelled notes in the above sample. This approach is also practical to create a legato sound or to let notes 'bleed' into each other.
Apply the same approach to the next exercise to practice sound consistency with hammer-ons / pull-offs.
Focus on even dynamics while playing the double-stops throughout the register. Listen to:
a) how the low strings sound in comparison to the high register. Adjust your picking hand's attack accordingly.b) the dynamic balance of the notes which are being played simultaneously. No matter if you opt for using a pick only,
hybrid-picking or fingerstyle - all techniques have pros and cons in this context - go with the sound you like best andwork slowly on improving it
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In the example prior to this one the upper voice was played at twice the pace of the lower one which diminuishes intervals until the voices cross and the intervals become wider again. As seen above, you can also apply this approach more freely to outline harmonies and harmonic progressions with only two notes at a time.
It is also a practical exercise for the finger independence of the fretting hand: While there are 'pedal notes' that have to besustained with one finger, the second melodic line still requires the other fingers to move.
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Synchronizing left and right hand - chordal playing -
Tone & technique
The purpose of this preliminiary exercise is to establish efficient muscle memory and finger independence in the picking hand to facilitate chordal playing. Use fingerstyle technique or hybrid-picking. Remember aforementioned aspects concerning tone production: "to get the most substantial tone out of your string you have to push the string towards the guitar body."
Play the muted notes very slowly since now all fingers including the thumb are involved. Listen for sound consistency and adjust your hand position and angle accordingly.
1. After playing the first notes on low and high e-string with thumb (p) and ring-finger (a), move and place the thumb andmiddle finger (m) immediately on the strings where the following notes are going to be played. This is a 'snapping' motionrather than a gradual one. Your fingers are ready and in place to play the next notes, immediately after playing thefirst notes.
2. Index, middle and ring finger play a repeating pattern on the high string-set while the thumb moves independentlyfrom E to D sting and back. Repeat this exercise while shifting your focus from sound consistency to preparing notesand back. Also, monitor if the position and posture of your 'shoulder-arm-wrist-hand-complex' is stable.Ideally, you find a position that allows for a relaxed and resting position of shoulder, arm and wrist while the fingersdo the work.
Try more possible permutations like the one above when you're comfortable with the first one. Practicing each pattern adds to your picking hand's dexterity. Apply this approach also to accompaniments and riffs you already know well and listen to how you improve your sound.
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'Emphasize single notes dynamically: e.g. accentuate the bass notes with your thumb.'
Now combine picking and fretting hand. Starting out with this root position triad shape allows for a relaxed hand posturein bars 1-2. Take your time to find a very comfortable shoulder-elbow-wrist-hand posture for this triad and keep the fingers curved so the open strings can ring throughout. The following two bars come with a healthy :) fretting hand stretch (pinky on the 5th fret A string, index on the 1st fret G string) which is resolved in the last four bars.
Practice this exercise slowly and focus on keeping your fretting hand relaxed:
- apply the least amount of pressure necessary to fret the notes, take a break before your fretting hand starts to feel slightly uncomfortable. You can also start out with other chord shapes, e.g. open position E, A or D chords. - tilt your hand position by adjusting your elbow and wrist angels to facilitate the 'stretchy' chord shape before moving back to your very comfortable starting position.
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This brief yet more complex idea combines some of the challenges of single-note and chordal playing.
Since the fretting hand is often in a 'transitioning position' from single notes to dyads to full chord shapes, this exercise can be used as a tool to:
- become aware of different 'in-between' positions and connective movements in between- find and reduce unnecessary or exagerrated movements which slow you down and detract from sound quality.- a better understanding how to move elbow, wrist, hand and fingers to connect positions in a practical way.- establish a flexible technique which addresses more complex textures, e.g. the combination of open strings, harmonics and fretted notes in one line.
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Studies for electric guitar
(1) Stella Watches the Stars
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(4) Slow Dancinga John Mayer-inspired guitar stroll
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Wether you play fingerstyle or with a pick, this exercise is intended to improve overall 'tone consistency'.
1. The triad shapes should become second nature: very slow but active repetition builds the necessary muscle memory.E.g. stick with the picking pattern, aim to be always aware which inversion you're playing, then gradually increase the speeduntil your muscle memory is 'up to speed': that would be the case if you simply think "C major 1st inversion" and your hand'finds' the chord grip autimatically while you don't have to think about where the notes are or which fingers to use.
2. For now, each note should sound dynamically similar: adjust your fingers attack until you achieve even dynamics frompiano to forte. In the beginning, specific movements might create louder or more silent notes - listen and watch your fingersclosely to adjust the way the strings are plucked.
3. Each sound has a texture: independent from what kind of guitar and amp you use your tone's initial imprint is determinedby the velocity with which you pick the strings, the picking angle, the surface of your fingers/nails or picks, your picking handposition (e.g. near or far from the neck) and how you 'leave' the plucked string.
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b) [00:58] Douple stop fill, 'Forget Regret' - the RH Factor (2003)
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a) Learning melodic phrases and harmonic progressions on a structural level: 'Amazing Grace'
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Arranging for Solo Guitar: Basics
"One of the first things that's really important is to actually know the song [...] What do I mean by knowing the song? I mean being able to play it anywhere (on the fretboard). Not to have to think about what the next chord is, because you just know it. [...] First figure out one very simple way to play the melody with chords." [1] Rosenwinkel 2013
Kurt Rosenwinkel about chord melody
Identify and analyze 'melodic tonal groups'* and 'harmonic tonal groups'* by measuring their intervallic structure:
- intervallic relationship of melody notes = chromatic interval structure- intervallic relationship between melody, heptatonic scale and actual harmonization = tonal interval structure- intervallic movement of the root or the lowest note of a chord to the subsequent harmony- kind and characteristic of the harmonization (e.g. triads, seventh chords, quartal harmony, inversions, tensions etc.)
Learning musical motifs, chord progressions and entire songs on a structural level helps to memorize tunes and to understand which notes are important to outline melodic and harmonic development with one instrument.
Knowing intervallic structures also enables to hear the 'abstract musical concepts' behind the specific notes of a melody, lick or improvisation. This is extremely helpful to develop your own musical ideas and vocabulary based on your favorite musical performances / artists.
* Intervals can be measured based on any arbitrary group tonal group. Both the tonal interval structure and the chromatic interval structure can be identified as particular cases of tonal groups. This is of consequence for evaluating structural value and permutations. [...] (Kissenbeck 2007)
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c) Chord-Melody 'Gospel Chords' : (re)harmonization ideas based on the original changes
Tonic functions: I - iV
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Chords that are either related to tonic, subdominant or dominant degree are interchangeable because of common notes they share. Within a tonal context they serve the same function and can be used to harmonize melody notes, substituting the main functions I, IV, V. This knowledge is practical to find substitutions, voicing ideas or alternative bass movements.
I - iii - iV IV - ii
Tonic functions: Subdominant functions: Dominant functions: V - Vii
E.g. both harmonies, A or F#-, are alternatives to harmonize a 'tonic' melody note.
Beyond this basic interchangeability of chords, secondary dominants provide for more tension and resolution tendencies. As in the sample above secondary dominants don't have to resolve directly to the following chord. They can also be followed by another inserted chord before finally resolving to the target harmony: e.g. B9/D (II7) - Aadd9/C# (I) - Bb7#11 (V7).In the key of A the secondary dominant B7 (V/V) leads to the V (E7). E7 is present as tritone substitute - Bb7#11.
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31
The transcription at hand is Bill Frisell’s improvised rendition of the traditional American folk song “Shenandoah”, filmed for the Fretboard Journal’s subscriber exclusives in 2013. He played this performance on a 1930 Gibson L-00 flat-top acoustic guitar which was handed to him shortly before. This very intimate, acoustic performance, stripped of his usual electric-guitar sound enables us to focus on inherent musical qualities and ideas in Bill Frisell’s playing style that truly are the cornerstones of his famed signature sound and musical vocabulary.
Regardless of the final purpose of working with a transcription, it is immensely beneficial for every player’s progress not only to learn the music note-for-note but to identify and analyze musical ideas within their context to be able to deduct musical principles. Musical methods then can be applied to improvise new choruses or to harmonize any other given melody ‘in the style of’.
Musical Devices
Most notably throughout the performance is the use of varying but logical rhythms and that the melody always comes first. As opposed to a plain chord-melody style, accompanying notes that outline harmonic progressions aren’t necessarily played simultaneously with the melody but rather fill in the gaps between melodic phrases (bar 1-3, 11-13). Applied rhythms to both melody and harmonies add variety and momentum to the performance by constantly contrasting shorter note values with longer ones. The treatment and relationship of melody and accompaniment in the first three bars is exemplary for this organization principle. A sustained melody note (half-note) is followed by a melodic-rhythmic fill with shorter note values. The next melodic phrase, comprised of eight-notes, is followed by a sustained accompanying note.
Bill Frisell’s general rhythmic approach and its musical effect found in this transcription correspond with Travis Lewis' analysis of Bill Frisell's improvisations:
"The use of syncopation and note pairs is something that frequently occurs throughout Frisell’s improvised solos. He rarely resorts to complicated rhythmic patterns, but instead utilizes syncopation by playing strictly on upbeats. [...] The end result of each of these devices is a looser time feel that sits behind the beat and gives the impression of floating. This floating syncopated effect, when combined with his tendency to sustain notes, thickens the overall texture of his performances and allows him to avoid the thin sound that is sometimes associated with guitars playing in a group without a pianist." [1]
Melody notes are frequently anticipated and followed by accompanying notes on offbeats (bar 10-11, 16-17). Melodic-harmonic fills often start and end on upbeats (bar 14-15). You can find note pairs like 2nds, 3rds and 4ths intervals throughout the performance.
32
Sustained Notes: Open Strings, Harmonics & Pedal Point
"I like to work out fingerings for scales or melodies that get things running like a piano. For example, I’ll take a G major scale and re-finger it using open strings. I let everything ring as long as it possibly can by holding every note until the last moment. Curve your fingers so they don’t dampen the open strings." - Bill Frisell [2]
Bill Frisell’s use of open strings and harmonics instead of fretted notes create a variety of intervallic textures and also allows for longer sustained notes. It creates a similar effect as a sustain pedal does on a piano: e.g. smaller intervals like major and minor seconds resonating together (bar 4, 6, 16). The use of open strings for adjacent notes creates sustained 2nd intervals as well. These techniques are combined to great effect in bar 14 - 15: The melody is played in a low register, taking advantage of open strings while the accompaniment simultaneously adds a dyad on G and B-string, a pedal point with a fretted note on the E-string and a short melodic fill before the next melodic phrase begins. A similar principle is applied in bar 9: the sustained high pedal note F# is complemented with a descending melodic line.
In conclusion these musical devices show Bill Frisell’s economical playing style. Instead of block chords, sustained melody notes combined with inserted chord tones are sufficient to outline the harmonic progression of a tune and create a distinct mood at the same time.
A great exercise to apply the found principles to the guitar fretboard is to first outline the tonic chord D-Major by playing a lower open string (A or D) and a sustained pedal note like A on the E-String while playing fills with notes of the D-Major scale (compare bar 14). This most likely results in unconventional fingerings which shows you if the sound of the scale is internalized and accessible on the fretboard. Another benefit is that with added sustained notes the tonal relationships of the scale notes are audible. You can advance this exercise by applying it to different scales and harmonies to connect tonic, subdominant and dominant functions.
Sources:
Frisell, Bill. Shenandoah. For the Fretboard Journal, 2013, Youtube
[1] Lewis, Travis. A STUDY OF BILL FRISELL THROUGH PAUL MOTIAN’S ON BROADWAY RECORDINGS. Urbana, IL: University of Illinois at Urbana-Champaign, 2016. 15-16.
[2] See Bill Frisell, "An Approach to Guitar Fingering," in Arcana: Musicians on Music , edited by John Zorn, 140-144 (New York: Granary Books, 2000)
33
Part 2
Table of Contents
1. Analyzing Harmonic and Tonal Groups ………………………………………………...................................1
1.1 “Know the Song”: a methodical approach to learn and memorize songs
1.2 Melodic tonal groups - harmonic tonal groups : analysis and application
1.2a Sample analysis
1.2b Transcription analysis: arrangement and accompaniment concepts
1.2c Arrangement concepts applied to the changes of “Stella By Starlight”
2. Analyzing Musical Forms ………...……………………………………………………………........................................4
Transcription and analysis: “Improvisation ” - Julian Lage
A : establishing tonal centers - contrasting tonal centers
‘melodic-harmonic phrases’ - rhythmic organisation
contrasting harmonic devices: triads - cluster Voicings
A’: musical organization of phrases: ‘call & response principle’
establishing new tonal centers with secondary dominants
A’’’: four-part harmony - creating harmonic movement
B : outlining harmony with single-note Lines - tension / resolution
A’’’’: chord melody with triads and cluster-voicings
‘two-line’ descending scale, pedal point
Ending: harmonization of [ Vi-IV-II-V-I ], voicing varieties, chromatic bass lines,
arpeggios, artificial harmonics
3. Means of Harmonic Organization …….…………………………………………………....................................10
I. Musical Phrases
II. Harmonic Structure
III. Application: “Improvisation”-sample, based on found organization principles
IV. [ I - IV - V ] - principle: interchangeability of harmonies, chord substitutions
4. Melodic Devices - Guitar Techniques of Jim Hall and Bill Frisell …...........17
4.1a Sustained notes: unconventional scale fingerings
4.1b Application of unconventional scale fingerings: Radiohead’s “Paranoid
Android”
4.2a Pedal point: transcription excerpt “Poor Butterfly ” - Jim Hall
pedal point exercise : ear-training & finger independence
4.2b Jim Hall’s melodic pedal point ideas applied to the changes of “ATTYA ”
4.3a Melodic and harmonic outline of “Shenandoah”
4.3b Transcription excerpt “Shenandoah ” - Bill Frisell (solo)
application of pedal point, open strings and harmonics
harmonic / melodic fills
4.3d Concepts applied to chord progressions: “Mingus Pentatonics”,
“Autumn Leaves ” & “In Bloom ”
4.4 Barre techniques: accompany melodic playing
4.5 Analysis of single-note Lines: creating harmonies
5. (Re)Harmonization Techniques ...........................................................................................29
5.1a Creating harmony with two notes at a time: “Two-Line” descending scale
5.1b Two-line descending scale as played by Julian Lage, dyads exercise
5.1c Two-line scale applied to the chord progression of “Black Hole Sun”
Jimmy Wyble’s “Outlining Sound” concept
Outlining lydian sounds : improvisation concepts, ‘The Lick’, shell voicings
Applied music theory - concepts in context : hexatonics , altered colors,
chromaticism, melodic minor - (re)harmonization concepts
5.2a Harmonizing melodies: analyzing tonal interval structure
5.2b Harmonizing with 7th-chords, quartal harmony & chromatic approaches
5.2c “Avoid-notes”
5.3 Harmonizing with triads : ‘Gospel chords’ etude [ I - ii ] ,
inner movement [ (#)5 - 6 ] , guitar moves inspired by Spanky Alford, Isaiah
Sharkey and Melanie Faye, [ I - IV ] w / passing chords
5.4 Quartal Harmony - the 4th Way “All Apologies ” …………………........……………………………...51
Adapting ‘voicing formulas’
6. Creating Arrangements and Improvisations …………….........................................................55
6.1a Methods: arrangement sample
6.1b Exercise: improvisation
Outlining chord progressions
(1) licks and riffs inspired by Bill Frisell
(2) Flexible voicing formulas
6.2 Improvisation practices: “Strawberry Fields Forever ”
6.3 Arrangement and reharmonization ideas for jazz, neo soul & pop songs
Soundslice links:
“Self-Portrait In Three Colors ” - Charles Mingus
“Toxic ” - Britney Spears
“Guitar Jingle ” - Jan Jakut
“Wouldn’t It Be Nice ” - Brian Wilson
Supplement: Sonic Imprints ear-training exercise
7. Selected Transcriptions & Arrangements
“Study For Electric Guitar” - Julian Lage............................................................................................66
“Chordal and Melodic Ideas” - Arianna Powell .............................................................................77
“Lines for Autumn Leaves”...........................................................................................................................80
“Comping Concepts - Gershwin’s Chords ……………………………………………………………………….…..84 “Gee Baby, Ain’t I Good to You” (solo) - Amos Garrett ………………………………………….............88
“Red River Valley” - Bill Frisell (solo) ……………………..............................................................................91
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How do you go about that?
1.1 Find the most common and defining recordings of the song. Decide which versions fit both the common playing practices and the given purpose of learning the basic structure (plain melody + basic harmonies). For instance, a standard like Embraceable You is commonly played with different harmonies and varying keys - Charlie Parker's version is in F, Billie Holiday's in C. In this case, for a guitar solo performance, choosing the key of G is practical because of a number or reasons:
- it's a common and good sounding key for the instrument, e.g. you can take advantage of all open strings - initially, tonal relationships and harmonic progressions are easier to process in a key with less accidentals - there are interesting recordings of guitar performances and sheet music available
1.2 Melodic Tonal Groups * :
- identify and analyze melodic phrases by measuring their intervallic structure
Harmonic Tonal Groups * :
- identify the harmonic progression: e.g. is it a static harmony (modal) or an often used harmonic 'template' [ I - Vi - ii - V ] / [ ii - V -I ] ? - what are the characteristics of the harmonies (triads, seventh chords, specific inversions & tensions, constant structure ...) - the intervallic movement of the root or the lowest note of a chord
* Intervals can be measured based on any arbitrary tonal group. Both the tonal interval structure and the chromatic interval structure can be identified as particular cases of tonal groups. This is of consequence for evaluating structural value and permutations. [2] (Kissenbeck 2007)
Learning musical motives, chord progressions and entire songs on a structural level helps to memorize tunes and to understand which notes are important to outline melodic and harmonic development with one instrument. Knowing intervallic structures enables playing musical ideas in different areas of the fretboard. By having access to all available registers you can take advantage of all guitar specific techniques, e.g. legato playing with added sustained notes. The Excerpt from Bill Frisell's solo rendition of Embraceable You in the following sample illustrates the use of sustained notes, reoccurring musical motives and added bass notes.
1. Analyzing Melodic and Harmonic Tonal Groups
"One of the first things that's really important is to actually know the song [...] What do I mean by knowing the song? I mean being able to play it anywhere (on the fretboard). Not have to think about what the next chord is, because you just know it." [...] First figure out one very simple way to play the melody with chords." [1] Rosenwinkel 2013
- Kurt Rosenwinkel about Chord Melody
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Sources:
[1] Rosenwinkel, Kurt (2013): Clinic Gdansk, Akademia Muzyczna w Gdańsku [2] Kissenbeck, Andreas (2007): Jazz Theorie II, Kassel : p. 16 [3] Frisell, Bill (2013) Embraceable You (Solo), Seattle for the Fretboard Journal published on YouTube: https://www.youtube.com/watch?v=uEHdvZD5jFc [4] Jakut, Jan (2017): Interstella, Seattle - Juju Music Edition
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A 'melodic-harmonic phrase' : it introduces a harmonic center with contrasting musical devices - Chord-Melody w / triads and cluster voicings
establishes a tonal center
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2. Analyzing Musical Forms
* Lage, Julian. Improvisation. For Carter Vintage Guitars (1997 Gibson Super 4000Demo) https://www.youtube.com/watch?v=LJg08nQjBrA
The majority of playing practices found in American Popular Music favor cyclic forms like AABA in Jazz or Verse -Bridge - Chorus in more Rock / Pop-related repertoire. It's a practical organization principle to establish musical ideas while complementing them with contrasting elements. The transcription of Julian Lage's improvised solo performance shows how to organize musical ideas around this principle to create compelling solo performances.
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*
Dominant Function w / single-note lines + a steady flow of 8's notes
œ œ œ# œ# œ# œ# œn œn
107 8 10
7 9 107
The musical phrases which are here labeled as three different 'A' parts have less melodic and harmonic conformaty as compared to the ones found in the segmentation of a Jazz standard but their development paired with the use of musical devices create a concistency that leads to a contrasting B-part with a new tonal center:
5
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[ I- ] / VI- in G-Major
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IV∆
6
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œ# œn œ œ œ œ œ œnJœœn ‰ J
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'Two-Line' - descending scale
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'pedal point'
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Sample 3.1a: 'Improvisation' - Julian Lage (1997 Gibson Super 4000 Demo for Carter Vintage Guitars)
Degree: I Voicing: triad
.œb jœ j
œ œnjœ..œœb ‰ œ
œ ‰Jœœœbb
.9
j8
j6 3
j6..11
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I triad
( IV- ) cluster/Inc
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œ œ...˙˙˙ œœœ
bb
.6 6 4...246
243
Db;
( bVII ) 7th Chord
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I triad
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3. Means of Harmonic Organization
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Phrase 1: A plain triad establishes the tonal center as well as the listener's expectation while the following rhythmic phrase 'surprises' with a brief detour to another key and contrasting cluster-like voicings.
.œb jœ j
œ œnjœ..œœb ‰ œ
œ ‰Jœœœbb
.9
j8
j6 3
j6..11
11 ‰45
‰
J
246
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...˙˙˙
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Phrase 2
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jœ n œ
b bœœœœœœŒ b
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I. Musical Phrases
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Degree: I Voicing: triad
established tonal expectation 'Eb' 'home'
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œ œnjœ..œœb ‰ œ
œ ‰Jœœœbb
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j8
j6 3
j6..11
11 ‰45
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( bIII ) triad
I triad
( IV- ) cluster / inc
contradict tonal expectation
.˙,
œ œ...˙˙˙ œœœ
bb
.6 6 4...246
243
Db;
( bVII ) 7th chord
V bbb
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Db[ ˙ Gb Bb
( bVII ) cluster / inc
( bIII ) triad
V triad
I triad
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new tonal center 'Gb' leaving via III7 ( V ) ... back 'home'
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II. Harmonic Structure
12
back 'home'
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Bb
Degree: I
Voicing: triad
Sample 2.1b: 'Improvisation' based on analyzed organization principles - a 'musical syntax'
.œjœ j
œ œjœ...
œœœbb ‰ œœn ‰
J
œœœb
b
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I
triad
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( bVII ) 7th Chord
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œ œb œ œn œœœœbb Œ œ œ
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V triad
I triad
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III. Application
abstract structure: concrete structure:
chord, voicingtonal center, harmonic progression, melodic and harmonic phrases melody, rhythm
13
V#### œœœ œ œœœ
œœœœ œ œ
546
4 546
546
0 44
E C#-7
I
I III-7 VI-7
3 - 5 - r r - b3 - (5) b6Intervallic
structure relative to bass note
5 - b7 - b3
Sample 3.2a: I - IV - V - Principle
V#### œœœ œœœ
œ œ
567
567
0 9
A F#-7
IV
IV II-7
r - 3 - 5 b3 - 5 - b7
V#### œœœ œœœ
œ œ
447
447
76
B 7 D#ª
V
V7 VIIø
b7 - r - 3 b5 - b6 - r
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Means of Tonal Harmonic Organization
I - IV - V
G#-
V#### ˙ ˙
5 4
F#-7 B 7
II-7 V7
Sample 3.2b : Chord Substitutions and voicing ideas [II-V-I] - based on the interchangeability of chords
w
4
E@
I∆
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567
467
97
F#-7 B 9
II-7 V7
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Sample 3.2c : Chord changes for a simple melody (I - ii - V)
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8 6 8 9
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Sample 3.2d : Chord Substitutions
I
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46
4 546 Ó
G#-7
III-7
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Sample 4.1a : Unconventional scale fingerings for C-Dorian [ see Lewis, p. 15-16* ]
2Intervals: b2 2
1 3 1
œœœ œœœ œ œœ
036
706
858
2 b5 2
4 4 1
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478
636
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4
4. Melodic DevicesGuitar Techniques of Jim Hall & Bill Frisell
"I like to work out fingerings for scales or melodies that get things running like a piano. For example, I’ll take a G major scale and re-finger it using open strings. I let everything ring as long as it possibly can by holding every note until the last moment. Curve your fingers so they don’t dampen the open strings." [1] - Bill Frisell
Using open strings and harmonics instead of a fretted note creates a varity of intervallic textures and allows for longer sustained notes. It creates a similar effect as a sustain pedal does on a piano: e.g. smaller intervalls like major and minor seconds resonating together. "I find this way of thinking interesting because it opens possibilities for dissonant or closely voiced chords not so commonly used on the guitar."
- Bill Frisell [2]
[1] Jude Gold. "The Big Bang: Bill Frisell Helps You Unleash an Ever-Expanding Universe of Melodic, Harmonic, and Textural Possibilities," Guitar Player 36, no. 12 (Dec., 2002): pg 61.[2] See Bill Frisell, "An Approach to Guitar Fingering," in Arcana: Musicians on Music , edited by John Zorn, 140-144 (New York: Granary Books, 2000).
* Lewis, Travis. A STUDY OF BILL FRISELL THROUGH PAUL MOTIAN’S ON BROADWAY RECORDINGS. Urbana, IL : University of Illinois at Urbana-Champaign, 2016. 15-16.
4.1 Sustained Notes: Open Strings, Harmonics, Pedal Point & Barre
17
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j
107
10
j
8
8 6
C- Bbadd9
Sample 4.1b : Unconventional fingerings applied to the chord progression of Paranoid Android - Radiohead [ C-Dorian to G-Dorian ]
jœ œœ
j¥œœ
j¥œœ œ¥œœ
jœ
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j
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j6 6
10
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8
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3 332
30
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3
G-6/E G-6
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18
V bbbbbœ,
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,
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Sample 4.2a: Transcription excerpt Poor Butterfly as played by Jim Hall (solo)* - use of Pedal Point
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Ó
1411 Ó
Œœ œœ œœ œœ œœ œœ
3
Œ13 13
161416
1316
1316
1316
3
Eb-7 Ab7 Melodic Phrase*
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14 ‰ .14
‰ .14 15
Db∂ Dbœ
œn œœœœœ
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j
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j
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jœ
..58
j
6.
5
j
6
œ œ œ .˙3
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6
3
This transcription excerpt shows the features of Jim Hall's economic playing style : sustained melody notes combined with inserted chord tones are enough to outline a harmonic progression and to create a distinct mood.
* Hall, Jim. Jim Hall's Three. Concord Records, 1986, Compact Disc.
Without using open strings and harmonics to sustain notes, one or more fretted notes act as pedal points. E.g. F and Eb in bar 11. Since every finger of the fretting hand can provide for a pedal point this technique is a great exercise finger independence as well.
Ex. : Play the C-major scale (from C) 5th fret on the G-string, while simultaneously sustaining the root on the E-String (8th fret). This is a good add-on to the standard way of learning and practicing scales:
- now, with the root being sustained ( or any other category ), the tonal relationships of the scale notes are audible - by deprieving yourself from muscle memory it shows you if the structure of the scale is internalized - finger independence
Sample 4.2a : Transcription excerpt 'Poor Butterfly' as played by Jim Hall (solo) * // use of Pedal Point
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9 8 811
108
F-7
pedal point (root)
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˙ Ó
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108 8
1189
3 3
8 Ó
Bb-7
pedal point (3rd)
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1011
911
8128
Eb7
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œ Jœn ˙n
j8
11
j
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œ Jœ
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Sample 4.3a : Melodic and harmonic outline of "Shenandoah"
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7 7 7 75 7 8
DPhrase 1
œ ˙ œ œ
7 5 10 9
˙ œ œ œ œ
7 710
710
G Phrase 2
œ œ ˙ œ
7 10 10 10
D
Jim Hall's concept of playing concise melodic ideas is great to use as a springboard for improvisational ideas.
Sample 4.2b : Pedal point & Jim Hall's melodic ideas applied to the changes of 'All The Things You Are'
V##
œ œ œ œ œ œ œ
7 7 7 77 10 7
B-Phrase 3
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9 7 7 9
D
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D
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7
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7
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V## œ
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Phrase 1
Sample 4.3b : Transcription excerpt Shenandoah - Bill Frisell (solo) *Application of pedal point, open strings and harmonics
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jœ œ
jœ
Œ . Jœ
Jœ œ J
œ
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j
0 2
j
4
Π.J
0
J
0 2
J
4
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02
Œ Œ
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*Frisell, Bill. Shenandoah. For the Fretboard Journal, 2013, Youtube.
21
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Sample 4.3c : Improvisation excerpt 'When You Wish Upon A Star' - Bill Frisell (solo)
This performance uses the discussed devices and accompanies the melodies with harmonic fills. Note the chromatic approach in bar 55 as well as the frequent use of syncopation of the melody ( e.g. bars 54 - 55, 58 - 59 ).
23
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The playing practices and their musical effects found in this transcription excerpt correspond with Travis Lewis' analysis of Bill Frisell's improvisations :
"The use of syncopation and note pairs is something that frequently occurs throughout Frisell’s improvised solos. He rarely resorts to complicated rhythmic patterns, but instead utilizes syncopation by playing strictly on upbeats. [...] The end result of each of thesedevices is a looser time feel that sits behind the beat and gives the impression of floating. This floating syncopated effect, when combined with his tendency to sustain notes, thickens the overall texture of his performances and allows him to avoid the thin sound that is sometimes associated with guitars playing in a group without a pianist." [5]
24
[5] Lewis, Travis. A STUDY OF BILL FRISELL THROUGH PAUL MOTIAN’S ON BROADWAY RECORDINGS. Urbana, IL: University of Illinois at Urbana-Champaign, 2016. 102.
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Sample 4.3d : a pentatonic melody in a 'Mingus mood'
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1. Arrangement ideas using open strings, harmonics and pedal point
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3. Original rhythm guitar part for 'In Bloom' by Nirvana w / syncopation and chromatic approach.
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Sample 4.5 : Transcription excerpt 'Improvisaton' as played by Julian Lagel (solo) * - single-note lines
28
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Sample 5.1a : "Two-Line" Descending Scale with Crossing Voices
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5. (Re)harmonization Techniques
This sample of a descending scale with two voices starts with a b7 dyad. In the key of G-Major its harmonic function can be interpreted as a suspension of D7:
A - G = 5th - sus4
resolving to
A & F# = 5th - 3rd
The upper voice is played at twice the pace of the lower one which diminuishes intervals until the voices cross and the intervals become wider again. You can find the same principle used in Julian Lage's improvisation in sample 5.1b.
" The two notes C & E, although a valid sound, are not named as a chord when standing alone [...]. Even though the sound is not as definite as with three notes , the listener still hears the OUTLINE of a chord. If no other notes are present, he hears the sound as a C chord sound. His ear relates to the bottom note C . Because of this ambiguity in a two-note sound, it is very flexible and open to interesting and surprising additions which can really intrigue a listener. [ 1 ]
- Jimmy Wyble
An effective approach to spell out harmonies ( basic triads ) including their extensions ( 9, 11, #11, 13) and suspensions ( sus2, sus4 ) is to use dyads. To play two notes at a time is sufficient to define the harmonic context and allows for melodic movement.
Outlining Sounds, Harmonic Tonal Groups, Chords and Voicings
29
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Sample 5.1b : "Two-Line" Descending Scale as played by Julian Lage - Improvisation for Carter Vintage Guitars ( from 01:11 ) *
*
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Sample 5.1c : "Two-Line" scale applied to the changes of Black Hole Sun Sound sample
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Ex. : Play scales with this approach, starting with different dyads / intervals in order to get familiar with tension and resolution tendencies.
Find short melodic phrases and combine them with chords and lines to play a harmonic progression. It's not so much about spelling out a harmony with all of its standard chord tones, e.g. [ G ∆ = G - B - D - F# ] ,it is about establishing a harmonic tonal center and outlining harmonic changes with a more minimalist approach. Allow for tensions and even 'avoid notes' ( see C in G ∆ , bar 11 ) - they bring color an movement ( 'passing notes' ). Meanwhile, shifting tonal centers as in a song like 'Black Hole Sun' can be connected with common tones.
* Lage, Julian - Improvisation - Demo for Carter Vintage Guitars
30
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The 'G ∆ #11 b9 sound' is a good example how to combine dyads effectively. It's based on the approach described in Jimmy Wyble's Classical / Country book:
This example starts with a 'flexible' two-note G-sound [ G, B ] . With an added G in the bass the listener is likely to perceive a more definitive G-chord. The next note [ C# ] introduced on beat two suggests another sound to the listener: it's an 'A7 sound' with resolving tendency to D-Major. However, with the next added note D, it sounds more like a 'G add b5 sound, including a natural 5th.
"The point is - we've made the listener interested enough to try and find out. He wonders what comes next." [3]
The final harmonics confirm [ F# = G ∆#11 ] and develop [ Ab - G ∆ #11 b9 ] the perceived harmony.
from Jimmy Wyble's general theory for OUTLINING SOUND :
- start with two notes of any interval - add one or two notes which either
make the original sound definitive and expected or which make it unusual and surprising
- the added notes can be above, below or between the original two notes as long as they come after them. [2]
[1-3] Wyble, Jimmy. "Jimmy Wyble's Classical/Country. (North Hollywood: Playback Music Publishing Co., 1973)
31
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Outlining Lydian Sounds ( 1 ) Lush Life inspired by Bill Frisell's solo performances
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Improvisation concepts: alternative scale fingerings
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Outlining Sounds (3)Movement within a Harmony
1. Taking advantage of open strings :
Combining shell voicings with open strings already creates a rich sound texture.In this example the open strings remain static ( pedal point ) yet they change their respectivefunction within harmonies while the shell voicing is being moved down the neck:
The Ab7alt voicing can be used as a colorful chromatic approach to A9, e.g. while improvising in a modal context to create tension or simply as a voicing in a minor ii - V - I progression.
2. Creating movement within a harmony:
Adam uses a similar progression in his composition. Although it's moving down (II-V-I),the voicings are moving up. This is always a fresh sound since most progressions move downwards.
This movement is achieved by moving from a root position voicing to an inversion (D-7 to D-7/ F)and connecting these with a double-chromatic approach.
Think: - 1 step below the target chord, then move up chromatically. You can also thinkof it as using an inversion of the harmony one step below from D-7 (C-7) which is being moved upchromatically.
Do you recognize the same principle applied to the G7 harmony in the following bar?
35
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b) Sample line: ii - V7alt - I
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( 1 ) Bi triadic hexatonic scalesConcepts in Context
Triads offer - similar to the benefits of the pentatonic scale - a strong sound with structural integrity that is easy to identify even when embedded in more complex structures. By combining two triads that have no common tones into a hexatonic scale you can a) create lines that have a defined, recognizable outline and b) create new 'colors' since using the scale emphasizes different combinations of notes than the standard scales. In this case the resulting hexatonic scale is basically B-altered omitting the major third. It is also helpful to be able to think and find 'F-triad' and 'G-triad' on the fretboard while playing over altered harmonies, here B7alt.
36
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The non-diatonic notes from the sample line (a) add extra 'colors' by contrasting the current tonality and by creating stronger resolution tendencies. Where and how does one find these on the fretboard? There are two concepts at display how to find 'dedicated color notes' for a chord function.
The first one is rather intuitive. Chromatic approach: a target note (e.g. B in bar 3) on a heavy beat (e.g. 1-2-3-4) can always be approached from a half or whole-step below and above itself. Here it is encircled by c' an a#' which happen to be both diatonic (c) and non-diatonic notes (a#). This concept is dubbed 'double chromatic approach' - a common technique often found in bebop improvisation. You can always go for a less chromatic sound by opting for an a' instead of a#'. Still, more important than the note choice is the rhythmic placing: rather think 'one fret below - one fret above' when approaching target notes.
Here's another sample using chromatic and double chromatic approach:
Here's another way how the space between target notes can be filled up. The first half of the measure is almost diatonic, creating an augmented sound with the inserted g# approach note. The last three notes encircle the f# target note of G∆.Build your own!
38
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c) D-mixolydian scale with superimposed notes from D-altered
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The second concept is superimposing notes from the respective altered scale. How to go about that in a musical way? A good start is to establish the diatonic outline of the chord in the first half of a bar, similar to the prior exercise. Then add notes from D-altered, they create tension and a resolving tendency towards a following harmony.
The above chord diagram 'box' shows the diatonic notes (black dots). It is a D-Mixolydian scale minus the 4. First, play the notes in this position only. Ideally with a drone of the root (sing or loop: D) so you can both establish
1. a 'sonic imprint' of the sound and2. muscle memory regarding to where this sound is located in this area of the fretboard.
The second step is to slowly add altered notes (white dots). Listen to how the sound differs and if you can hear the resolving tendencies towards the following chord (e.g. G∆ or G-). Looking at the diagram / fretboard you'll notice as well that the altered notes come in 'triadic shapes':
Ab triad & Eb-minor triad. When you're looking for altered sounds you can always think
1. major triad from the b5 of the chord (D - Ab: Ab c eb) -2. minor triad from the b9 of the chord (D - Eb: Eb gb bb).
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The IV chord already comes with a #11 (G-lydian), the added #5 is borrowed from E melodic minor,its minor parallel with a raised 6th and 7th. It is a common practice in jazz and related styles to harmonize or embellish the third of a I or IV chord with a ∆#5 voicing.
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Where is this non-diatonic note coming from? Here's one possible approach:The minor parallel for the IV chord (G) in the key of D major is E-minor. Since E is the second degree in D major it already comes with a raised 6th (C#) which is the #11 in the IV chord - practical! The raised 5 can be borrowed from the E-Melodic Minor scale by changing the D to a D#. The resulting voicing offers a lydian augmented color derived from the third mode of melodic minor, here: G lydian augmented.
Applied reharmonization concepts:
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'home' key Anew tonal centerHarmony: F7 (V)b7 - 3 - 6 - 9
Sample 5.2b : Harmonization with 7th-chords and quartal harmonies, application of chromatic approach
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Before harmonizing melodies with more complex sounds, keep in mind that every sound that is part of a harmony , exists within a context. Every 'chord-tone' is part of a melodic pathway that at a point converges into a harmony. Thinking of an individually moving voice rather than a static event helps to make more conscious decisions about which chord and voicing structures to pick to harmonize a melodic line.
Harmonic Tonal GroupAnalyze the tonal interval structure of the melody. Which possible harmonic centers / keys does it imply? The tonal center determines the function / the effect each note has at a given moment. The majority of melody notes in sample 5.2a points towards the key of A.
ChordThe term chord is the abstract definition to categorize different organization principles for sounds consisting of more than two different notes within a harmonic tonal group : triads, 7th-chords ( with / without tensions ), quartal harmony. Triads define perceived harmonies clearly, whereas 7th-chords and quartal harmonyies can offer a more open sound. Apart from stylistic choices this should be a simple guideline when choosing and combining different chord structures.
VoicingThe term voicing describes the categories and intervallic arrangement of chord tones added to a melody note. E.g. a 'complete' 7th-chord sound consists of : root / 9th - 3rd - 5th - 6th / 7th. Every chosen sound to harmonize a melody can either enforce, color or disguise a melody note, depending on the tonal relationship and intervallic distance.
Harmonic Tonal Groups, Chords and Voicings
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A melody note that doesn't match any available chord tones or tensions within the key, indicates a shift of the tonal center. An exception are 'avoid-notes' which resolve to a chord tone, functioning as suspended notes. E.g. a 4th during a I chord, like in 'Stella By Starlight'. It can also be harmonized with a minor iv-derived triad (Eb- / Bb) which would indicate a tonal shift. However, looking at its function and brevity, it still would rather be considered to be a reharmonization than a change of key.
Use inversions to create economic voice leading and harmonize a melody in one area of the fretboard. Inversions differ slightly in their intensity: the intervallic structure of the second inversion of each major, minor or diminished triad creates the most distinct sonority, indepedent from which register it's played in.
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Harmonizing Melodies with Triads and Seventh Chords'Gospel Chords'
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Quartal Harmony - 'The 4th Way' "All Apologies"
Quartal Four Part Harmony voicings create full sounds and tensions, especially for comping or harmonizing a melody in a modal playing context.
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To add more voice movement and 'color' tones ( characteristic tensions ), harmonize the melody with stacked-4th and constant structure voicings.
52
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In modal playing, voicings are interchangable . This voicing is based on Ab-minor, the intervallic structure features 2nds.
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Constant Structure Intervallic formula*: "r" - (b)2 - (#)4th - (b)2
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* Intervallic formula in relation to a given note from Db-Mixolydian "r"
Ex.: Use an intervallic formula like the one above and play the resulting constant structure voicings within a tonality.
Starting from G the same formula would yield the voicing [ G - A - D# - E ] in the key of E-Melodic-Minor. The voicing can be used for all degrees of the melodic-minor scale. The intervallic structure in relation to Eb7alt (VII) would be 3 - b5 - r - b9. With the missing b7 category it is an incomplete voicing ( inc ) including two tensions.
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6. Creating Arrangements & Improvisations
A rewarding path to learn and arrange a musical idea or an entire song is to first internalize its basic structure. This way you end up with a couple of arrangement sketches which may either lead up to a "definitive" performance or to the flexibility to play and improvise with the musical material readily available at your hands.First learn to play a melodic musical phrase in one area of the fretboard, then find the spaces the phrase leaves to insert accompanying notes 'easily'. Easily means that the note is not too difficult to reach - consider range / fingering. The accompaniment should complement the rhythmic structure of the melody - you don't always have to accent the first beat of a bar, at times the melody takes care of this job quite beautifully and you can insert notes where they lead directly to the next harmony. The chosen accompanying notes should help to establish the tonal center so both the defining bass note (root) and the 3rd and 7th ( guide-tone lines ) of the given harmony are good candidates. You don't always have to play these specific notes and while voice-leading is important, try to create a rhythmic-harmonic flow first. After you've learned the basic harmonic and melodic structure of the song and you found where all the practical note options are on the fretboard you can start to adjust the voice-leading and the rhythmic structure to your liking. This approach opens up the flexibility to play and alter the melody freely, change harmonies on the fly and to add the middle voices ad libitum. The middle voices are more likely subject to change, depending on how you intend to color the melody.
Sample 6.1a : The following sample illustrates this concept, applied to an improvised melody, which is harmonized with switching tonal centers and a minor iiø - V - I progression:
Notice that in the first two bars melody and accompaniment , consisting of only two notes at a time, are sufficient to establish harmonies and to create harmonic and rhythmic movement. As opposed to playing full chords , this minimalistic approach - literally - frees up your hands and mind. It is easier to phrase the melody differently ( e.g. more legato ) or to alter it even further. This musical model can be used as basic outline to improvise freely with any given musical material.
For a listener's perception and interpretation of a sound, context provides for most of the necessary information. Playing a root and a 9th simultaneously might have the same musical effect as playing a complete four-part voicing. Depending on the tonal context the listener will still 'hear' a major chord which you can either enforce by later adding the defining note or contradict by playing a minor third.
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Find the notes which resolve from B∆ (Ionian) to G∆ (Lydian) and back and create melodic phrases. It is advisable to start with chord tones only to really hear and establish a tonal center before adding tensions like 9 and #11. Play simple rhythmic phrases with a start and ending, so you have a musical statement that creates a clear structure which can be repeated, altered and developed.
Play the respective bass notes either simultaneously with the current melody note or insert them in between your melodic phrases. To accomodate that, alter common fingerings in a way that frees up a' finger or two'.
After you've found musical melodic lines and you're comfortable to play and alter them with added bass notes, try to add a third note to create more complete harmonies, e.g. A# in B ∆ resolving to B in G ∆ ( 7th-3rd ).
Melody notes with a longer rhythmic value can be accompanied by more than two notes. Try to build voicings based on the scale rather than common chord shapes ( see bar 5 ). Meanwhile, the melody note can act as a pedal point.
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This chord kit shows how standard drop-2 grips can be used as a template to come up with more colorful voicings. One way to apply (or hear) these voicings is as a (II - V) in the key of D moving to the IV chord - actually without adding any non-diatonic notes.
The only tweak to the inversion of A7 is lowering the 5th (E) one whole step. This adds the sus4 (D) to the harmony which creates a rich texture (‘b2 rub’) in conjunction with the still present 3rd (C#).
The Dsus4add2/A also features a dissonant b2 interval between the 3rd (F#) and 4th (G) of the harmony. The 5th (A) in the bass is a nice touch - instead of always moving from root to root in the lower register. Notice that the voicing qualifies as ‘incomplete’ since the b7 (C) is missing which would make this harmony a ‘full-fledged’ dom7 function. That works in this specific context and for musical situations where you look for colorful chords rather than for strict resolution tendencies only. It creates a more ‘open’, floating sound.
The IV chord is created by simply taking the voicing formula of the prior chord and reusing it from the 5th (D) of the G chord. Again, this choice was made to create a b2-tension within the voicing. Since the G is a subdominant function it comes with a raised 4th (or b5) - making it possible to have a ’sus’-type major 7 chord.
Check out if you can use these concepts and similar voicing formulas as a springboard to tweak your known chord grips!
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6.3 Arrangement Ideas - Soundslice
"Self-Portrait In Three Colors" - Charles Mingus (Jazz)
"Toxic" - Britney Spears (Pop)
"Guitar Jingle" - Jan Jakut (Neosoul)
"Wouldn't It Be Nice" - The Beach Boys (Reharmonization)
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Supplement: Sonic Imprints An ear-training exercise
Here’s an economic way to speed up your ears and to map the fretboard without shapes or patterns *. It combines different ways of learning sounds (auditive, visual and tactile) to create a stable sonic imprint in your mind, whose structure you can compare and match with actual sounds you encounter. The idea is to establish your perception of both semitones / whole tones and intervals (b2 - 9) in relation to another pitch. Focus on one aspect at a time.
1. Sustain a pitch with your voice or a loop and play an ascending chromatic scale followed by a descendingwhole tone scale.
2. Try to anticipate the sound of each following note in your mind before playing it.
3. Follow your ears to find other possible fingerings and stringsets to play these notes on the fretboard.
4. Play only the sustained pitch and sing / imagine the sounds of the scales without your instrument.
*Shapes and patterns are very useful when trying to play an instrument consistently : ) This exercisecomplements your helpful knowledge of shapes and patterns.
= chromatic interval structure in relation to sustained note
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