An approach to Jazz Guitar improvisation utilizing a set of double stopped intervals as the basis.

This thesis investigates the process of developing???? harmonized (double stopped) melodic lines using intervallic structures of 3rds, 4ths, and 6ths on the guitar . The intended aim being, the utilisation ???of any one of these intervals rewrite!! as the basis for a complete ? improvisation in of itself. ??

Why?

How?

Background?

Brief Lit

YOU NEED TO EXPLAIN WHAT YOU ARE GOING TO DO.WRITE AN INTRODUCTIO TO EACH CHAPTER. STRUCTURE THIS THESIS

Research Q

It?? is divided into three sections, the first section??? explains ??the harmonised interval/double stop concept and the geometric layout[footnoteRef:1] of these three harmonic intervals on the guitar and are and how they organised into segments on the fretboard. [1: concerned with questions of shape, size, relative position of figures, and the properties of space on the guitar neck.]

The second section undertakes??? a historical examination underpinned by relevant transcription of intervallic double stop approaches utilized throughout the evolution of the Jazz guitar by influential figures from the late 1920s to the present day so a precedent can be established. The third section addresses a pedagogical approach?? to learning these intervals through a series of structured exercises and short compositions based on a jazz standard designed to imbue the guitar student with a deeper understanding of how to employ these devices. The etudes will then be discussed with focus on the compositional process undertaken, problem solving, technical issues, vocabulary development, dissection, cross-utilisation and deconstruction. Glen Hodges, Co-ordinator of Contemporary Music at the Tasmanian Conservatorium of Music and author of The Analysis of Jazz Improvisational Language and its use in Generating New Composition and Improvisation. (2007) articulates the legitimacy of this intended project through the following statement: Both musical composition (with written commentary) and analysis of existing musical works (transcriptions) have traditionally been accepted as valid research products. The composition of new works based on knowledge gained from the absorption of preexistent material consequently can represent a true research outcome combining both activities. SO>>>>

LITERATURE REVIEWYou need to explain what your lit review is achieving. Also, dont just quote explain the importance of the quote The ongoing?? search by guitarists in the improvisational/compositional realm for new sounds and textures has led them from the early explorations by Eddie Lang and Dick McDonough in the late 20s experimenting with using intervallic 3rds within their compositions and solos (Sallis 1996), through to Kenny Burrells use of 3rds and 4ths as an integral part of his blues based style (Marshall 2009), through to George Bensons use of 6ths as a melodic/harmonic device (Khan 1997) and eventually, John Scofields application of dissonant intervals like the seventh as a useful soloing tool (Heinitsh 2013). In all cases, these intervals are used only sporadically and as a textural device rather than a complete vehicle in their own right. By examining the pedagogical, compositional and improvisational aspects of harmonised intervals, there is a three tiered structure to this thesis, as such the process and methodology for this study will be taken and amalgamated from several sources. These range from texts that deal with the analysis of Jazz improvisation/Composition, through to pedagogical material dealing with guitar specific techniques/improvisational approaches which includes aspects of method from the classical guitar tradition. The methodology, dealing specifically with an approach to self composed musical studies, was aimed at creating a constant flow of material (mainly eighth notes) over the chosen chord progression, thereby packing in as much harmonic information per bar as possible. This pedagogical method ???has precedents set by Jazz guitarist/educator Joe Pass as seen in The Joe Pass Guitar Style (2006) who stated These solos (referring to his written etudes) are in straight eight notes. By eliminating rhythmic variety, you force the ear into building better melodies.. Pass elaborates further ..that was the way I learnt to play, by actually playing a lot and filling in all the spaces and not leaving gaps in the music. This method also lends itself to developing strong endurance and speeds up the ability to play the extremely demanding material set out in the composed studies in a musical setting. Guitarist/Educator Mimi Fox (2004), who has an instructional text in the same vein, elaboratesthe continual eighth-note rhythmswill train you to develop strong musical lines and rely on your ear (p.9). Each of these texts have been used to create a hybrid approach that best suits this studies intent, that is, to create a solid process from beginning to end from conceptualizing, composing, memorizing and performing the studies that hopefully allows the integration of double stop intervallic ideas to be fully formulated and utilized freely when improvising. Educator and Guitarist Bruce Saunders (2005) describes this pedagogical approach more eloquently in regards to its intended musical end result the methodis totally inorganic and to improvise mechanically using only patterns such as these (referring to his own etudes) will produce an unmusical, stiff solo. The student should practice inorganically and improvise organically (p.3) The pedagogical legitimacy of composing studies, or etudes, to improve aspects of ones technique or musicianship has been validated for over 400 years.[footnoteRef:2] The grove dictionary online describes a study as: [2: Although the title study rarely occurs in early keyboard music, much of the repertory was avowedly didactic in aim. Thus the many variously named pieces in instrumental treatises and instruction manuals may be considered studies, including the toccatas in Dirutas Il transilvano (1593), the lessons (i.e. dances and airs) in Lockes Melothesia (1673), the preludes in Franois Couperins Lart de toucher le clavecin (1716), the Probestcke in C.P.E. Bachs Versuch ber die wahre Art das Clavier zu spielen (1753) and the Handstcke in Trks Clavierschule (1789). http://www.oxfordmusiconline.com.ezproxy.lib.monash.edu.au/subscriber/article/grove/music/27018?q=study&search=quick&pos=1&_start=1#firsthit]

An instrumental piece, usually of some difficulty and most often for a stringed keyboard instrument, designed primarily to exploit and perfect a chosen facet of performing technique, but the better for having some musical interest. Although a study was at one time the same as an exercise (Fr. exercice; Ger. bung; It. essercizio), the latter term now usually implies a short figure or passage to be repeated ad lib, whether unaltered, on different degrees of the scale or in various key The French word tude (as well as the English study) was used as the title of a number of 20th-century works, some requiring unusually facile technique or exploiting particular aspects of the composers craftsmanship. Composer Richard Danielpour who composed several etudes for pianists studying at the Blair School of Music in Nashville elaborates: etudes usually offer a different musical challenge in each piece; they are both instructional and artful Two sets of piano etudesby Chopin and Debussyare kind of the holy grail for me. They affected me very deeply as a young composer and pianist because they were not merely exercises, but complete musical works in their own right.[footnoteRef:3] [3: http://blair.vanderbilt.edu/news/2013/09/an-extension-of-the-very-best/#]

Within the classical guitar world, there has been a tradition of within the published literature to first have students break up a technical problem by first performing it through a diatonic scale, then, once it has been mastered in this manner, the technique is then put into a musical setting in the shape of a study/etude with the intent being, to create a musical work using that technique that should be ..technically rewarding, musically stimulating, and artistically enriching. (Kronenberg 2013).

Example from The Complete Carcassi Guitar Method (1884) firstly instructing the student to play the C major scale in harmonised 3rds.

Then using the 3rds in a musical study

Over the course of the nineteenth century and later, a number of comprehensive methodologies, including dedicated study material were developed, many of which remain in use. Sor, Aguado, Trrega, Pujol, Guiliani, Carcassi, Carulli, Diablelli, Mertz, Villa Lobos, Segovia, Quine, Papas, Brouwer, Noad and many others are pioneers in the historical development of the instrument.[footnoteRef:4] [4: Kronenberg. C.K. (2013) The pedagogical value of Lo Brouwer's tudes Simples: A perspective on preserving an exquisite, yet neglected custom. International Journal of Music Education]

This pedagogical tradition seems to have been accepted by pedagogues in the Jazz tradition also with noted authors such as Alan de Mause, Joe Pass, Steve Herberman, Jody Fisher and Bruce Saunders amongst others, following the same trajectory of technique/scale association first, then etudes/studies composed to bring out the techniques real value in a musical setting.

Example from Jody Fishers Beginning Jazz Guitar (1995) instructing the student to firstly play the C major scale in a diatonic sequence:

Then using the C major scale in a Jazz style etude:

This structure will be used in the later section of this thesis dealing specifically with the studies/etudes, but with the Jazz tradition incorporating the practice of improvisation, the Jazz student must go a step further than the Classical student as the goal is to improvise freely using the materials laid out in the studies. For the Jazz student, the study is not the end in itself, merely the springboard for ideas and providing the correct technique to be able to use the ideas. This means the Jazz student must extend on the etudes on his/her own.Houston based trumpeter/composer and author of Daily routines for Trumpet (2008) Eddie Lewis explains the self composed etude/study concept as it relates to the improvising musician and how the author invisages his own pedagogical method for this thesis: ..it makes for an excellent transition from a more theoretical approach to something more feeling or sound basedWhen I practice the etudes, I memorize them after I compose them. This is important because nothing we do in jazz improv is read. The music must originate from within us. So when we memorize the etudes it internalizes the wish list, turning it into something accessible to us in performanceAfter the etude is memorized, I will use it as a stepping off vehicle for improvisation. I begin by playing the etude and then continue the improv while trying to maintain the same feel, sound and styleWhen I feel like I have finished learning the tune, I will put the etudes away at least for a while. When I come back to that tune later, I may pull the etudes out again, but as my musicianship matures on that tune, I will eventually get away from the etudes completely.[footnoteRef:5] [5: http://eltigredo.com/blog/2012/03/22/why-write-jazz-etudes/]

Literature Review: (will be expanded upon)

Jazz educational material that covers intervals can be divided into two distinct catagories: The first is the group that deals with melodic intervals as a basis for improvisation. These cover lick based texts such as Intervallic Improvisation - The Modern Sound: A Step Beyond Linear Improvisation (2010) by Walt wieskopf, Intervallic Fretboard - Towards improvising on the Guitar (2010) by Dave Murdy and Ashkan Mashoour, and Intervallic Designs for Jazz Guitar: Ultramodern Sounds for Improvising (2000) by Guitar pedagogue Joe Diorio. Texts dealing with etudes/studies using melodic intervals as a basis specifically, are less common: Jazz Improvisation: The Best Way to Develop Solos over Classic Changes (1996) by Flutist Sam Most, Jerry Bergonzis Thesaurus of Intervallic Melodies, and Technique Development in Fourths for Jazz Improvisation by Ramon Ricker all focus on developing an intervallic approach in unique ways.Texts in the second category, dealing with harmonic intervals (double stops) as an approach to jazz improvisation are much less common. Gil Parris : The Double Stop Guide (2006) and Steve Herbermans instructional video Double Stops for Jazz Guitar (2012) are the only jazz based instructional material published specifically on the subject at present. Jazz pioneer Barney Kessel deals with double stop 3rds, 4ths and 6ths in a fairly straight forward way relating to one particular pre-composed phrase as an example on his instructional video Jazz Guitar Improvisation: Chord Melody Style. Various websites touch on the subject in a meaningful manner such as Matthew Warnocks Jazz Guitar Corner: Double Stops for Guitar which focuses on Dominant based phrases only. There are other rock and blues based materials such as Truefires video course Interval insights by Charles Chapman that investigate Double Stops which also covers soul/funk material but these fall outside the scope of this thesis. The Methodolgy of composed studies and etudes examined here are situated next to the preceding material with a focus on developing each of the aforementioned intervals as double stops and used as a complete vehicles for an improvisation in themselves. This is the critical difference The approach here is also heavily visual in orientation. This differs from the other methods in its association of double stop scales and studies related to chord shapes and positions on the guitar fretboard.

Key Terms:

Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Thus, musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and indeed many other kinds of music. One definition is a "performance given extempore without planning or preparation." .Another definition is to "play or sing (music) extemporaneously, especially by inventing variations on a melody or creating new melodies in accordance with a set progression of chords.[footnoteRef:6] [6: Gorow. R. (2002). Hearing and Writing Music professional training for todays musician]

Encyclopedia Britannica defines improvisation as "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text. Music originated as improvisation and is still extensively improvised in Eastern traditions and in the modern Western tradition of jazz."

Interval:

Intervals are the building blocks of melody and harmony. A melodic interval measures the distance between two separate notes, while a harmonic interval measures the distance between two notes played simultaneously. Chords contain three or more notes, so there are compound intervals within chords. When one chord moves to another chord, the root motion the distance between the two chords roots can be measured in intervals. Intervals provide a way to measure and communicate the relative distances within music. Thus, any melodic or harmonic structure can be described in terms of its intervallic shape. In physical terms, an interval is the ratio between two sonic frequencies. For example, any two notes an octave apart have a frequency ratio of 2:1. This means that successive increments of pitch by the same interval result in an exponential increase of frequency, even though the human ear perceives this as a linear increase in pitch. For this reason, intervals are often measured in cents, a unit derived from the logarithm of the frequency ratio.

In Western music theory, the most common naming scheme for intervals describes two properties of the interval: the quality (perfect, major, minor, augmented, diminished) and number (unison, second, third, etc.). Examples include the minor third or perfect fifth. These names describe not only the difference in semitones between the upper and lower notes, but also how the interval is spelled. The importance of spelling stems from the historical practice of differentiating the frequency ratios of enharmonic intervals such as G-G and G-A[footnoteRef:7][footnoteRef:8] [7: Prout, Ebenezer (1903), "I-Introduction", Harmony, Its Theory And Practise (30th edition, revised and largely rewritten ed.), London: Augener; Boston: Boston Music Co., p.1] [8: Lindley, Mark/Campbell, Murray/Greated, Clive. "Interval", Grove music online ed. L. Macy (accessed 27 February 2007), grovemusic.com]

For a guitar-oriented slant on the concept of intervals, understanding the division of the fretboard is important. Jesse Gress author of The Guitar Cookbook (1993) describes it as ..to measure physical distance, a foot is divided into 12 inches. Similarly, an octave is divided into 12 half steps. On the guitar, an octave is divided into 12 frets (one half step each) along a single string. The half step (otherwise known as a semitone) is the unit of measurement used to define musical intervals the distance between any two notes. In other words, any two notes can be said to be a specific number of half steps apart

A double-stop (also known as a Diad, or Dyad) is two notes that you play at the same time. It falls somewhere between a single note (one note) and a chord (three or more notes). On the guitar you can play a double-stop on adjacent strings or on nonadjacent strings (by skipping strings). Double stops can be played with a flattened finger of the left hand or two separate fingers.[footnoteRef:9] [9: Guitar For Dummies, 2nd Edition]

Although the term double stop itself suggests these strings are to be fingered (stopped), in practice one or both strings may also be open (unfingered) on the open strings of the guitar. Relating to the guitar in a Jazz setting these are typically used to create a fatter, fuller sound during single note improvisations and can be quickly moved around to create fills whilst comping behind another instrument or used during solo guitar arrangements to vary texture and add variety.[footnoteRef:10] [10: Bollenback. P. (2007) The Art of Solo Guitar. Mikesmasterclasses.com]

Interval/Double stop Concept:

To really grasp the concept of performing double stopped intervals on the guitar, the nature of the instrument and technique must first be explained.It should be noted that the guitar is built and tuned on a stack of 4th intervals and in one place a third interval. The tuning across the strings of the instrument is not consistent. Whereas all the other strings are tuned in intervals of a perfect fourth, the second (b) string is a major third higher than the third string.

Whereas, keyboard instruments have notes laid out in one plane only, the pitch rising in one direction and lowering in the other, the guitar has pitch rise and fall up and down the strings and also across the sets of strings. This affects the decision to play a note because not only may it occur in more than one position on the fingerboard but also the selection needs to be based on preceding, concurrent and following notes. Guitarist and author Jon Finn explains from his Modern Rock Guitar Improvisation book. In figure 1. The note C is played on the 10th fret of the fourth string, to play the note F a perfect 4th higher, you have several options. You can move vertically up to the 3rd string at the same fret (example 1) across horizontally up the neck to the 15th fret on the same string example 2, or you can move diagonally (which is really moving horizontally and vertically at the same time) to the second string at the 6th fret. There are still other ways to play the same two notes

The instrument can also have a change in pitch facilitated but moving either up and down the fingerboard or across the fingerboard or various combinations of the two. It is possible, for example, to play a note higher in pitch by moving down the board and across. Second, the guitar is not colour coded. On a piano, for example, a g# is always surrounded by two white notes (g and a) and then two black notes (f# and a#). There is no other note that has this pattern.

Lastly the guitarist has only four fingers (though occasionally the thumb is included) with which to access notes on the fretboard. Keyboard players are able to utilize all ten. This makes the playing of harmonised intervals on the guitar somewhat problematic as there are several ways to play each unique interval on the fretboard as can be seen in the following chart.

Traditionally, guitarists have thought of scales, chords, patterns and intervals etc. as Shapes due to the guitars inherently visual nature. This has often helped with the learning process. Jazz guitar pioneer Tal Farlow elaborates: my approach has been largely visual. In other words, I can visualize the shapes or patterns of scales and chords by mentally picturing little dots on the fingerboard. Using systems like this can make learning material whether its chords, scales or theory infinitely easier (Guitar Player)Harmonised intervallic concepts also offer unique challenges. Each interval can be performed using just the fingers of the left hand or a combination of pick (plectrum) and a finger (sometimes referred to as Hybrid picking), or even just using the plectrum exclusively. The problem of using just the plectrum is when performing intervals on non-adjacent string sets, there is a risk of producing sounds from the intervening string which requires special muting techniques in the left hand. The author found it beneficial to execute harmonized 3rds and 4ths with plectrum only, but harmonised 6ths best to be performed with two separate right hand fingers or a pick and fingers approach which seems to produce the most clarity needed to bring out the sonic character of these interval. Carl Verhayen, Author of Improvising without Scales (2005) verifies this:I believe that guitar is an unlimited instrument, capable of so much more than we steadily hear out there. But for many players, a limioting factor is the linear layout of the notes on the fretboard, the proximity of half steps and whiole steps. For a keyboard player to play wider intervals, the physical effort is minimal. It takes one finger to make one note and the next note, say a major 7th above, can come from a completely different hand if necessary. But for the guitarist to play a single note, two hands must coordinate to strike at the same time and calculate the many minute distances horizontaly between the frets (left hand) and vertically between the strings (right hand) before that next note, a major 7th above can be played. Its no wonder we guitarists tend to play in a scalar fashion..

Due to these aforementioned problems, in this study we will be using only the following Shapes for the harmonised 3rds, 4ths and 6ths which will serve the purpose well:

Example: Thirds shapes on the 5th and 4th strings as well as on the 2nd and 3rd strings.

Example: Fourths shapes on the 5th and 4th strings as well as on the 2nd and 3rd strings.

Example: Sixths shapes on the 5th and 3rd strings as well as on the 3rd and 1st strings.

Double Stops Sixths

Tal Farlow elaborates: an effective idea is double stops.. which are directly based on a chord shape..two note ideas still form distinct patterns. Due to the way the guitar is tuned (in fourths with a third interval between the third and the second strings), these shapes can be played on all adjacent sets of strings (Guitar Player).These Interval shapes have been selected and road tested by analyzing the guitarists and transcriptions in the Historical overview section of this essay. The same shapes come up again and again, and appear in the playing of the Jazz guitar masters from the thirties to the present day.

Double Stop Thirds

To harmonise a scale in third intervals, stack the 3rd scale degree on top of the root, then continue up the scale through the octave, with each note of the scale joined by the note one diatonic third above it. This produces harmonised 3rds. Any two note interval can suggest chord sounds, especially when a root is provided by another instrument[footnoteRef:11]. Each harmonised 3rd double stop is designated major or minor in accordance with its interval structure eg. A minor third consists of three half steps and a major third consists of four half steps. [11: The Guitar Cookbook (1993)]

Arlen Roth, noted educator and producer of the Hot Licks video series throughout the 80s and 90s describes the resulting harmonies as such: The major and minor sound of double stop thirds can create some beautiful sounding lines that strongly support the song's harmony. But you have to be careful with them to play the minor and major intervals in the right places[footnoteRef:12]. [12: http://www2.gibson.com/Lessons/Arlen-Roth-Lessons/Lessons/An-Introduction-to-Double-Stops.aspx]

The interval of a double stop third depends on which scale degree it occurs on. On the first, fourth and fifth degrees a major third double stop occurs. On the second, third and sixth degrees a minor interval occurs.

This means you have to play the right kind of double stop third - major or minor - depending on the degree of the top note.

this might seem tricky at first but with a little practice and association with some common fretboard patterns it will become easier. Patterns for major and minor thirds are shown in the figure below (see fig 2).

Jazz Guitarist Barney Kessel encourages an aural association when learning to identify the 3rd interval. In his instructional Video Jazz Guitar Improvisation "Chord - Melody Style" (Rumark Video Inc) he elaborates on his recommended method: ..I want you to not only to hear these things and remember what they sound like, but remember what theyre called. Quite often you will hear these things (harmonised 3rds and sixths), and if you hear them in your mind when you hear someone playing them youll now know what theyre calledI also like to do it by association, for instance, when I think of the thirds I think Ive heard Mexican Mariachi bands where the two trumpet players are playing something like thisExample.

instructs students to liken the harmonised 3rd as sounding like Mariachi music.

Double Stop FourthsDouble stop fourths are arguably the easiest to play. Also called quartal harmony, these intervals ..impart an airy ambiguity that invites several harmonic interpretations.. (Gress 1993).These have an easier shape to play on the guitar fretboard due to the guitars standard fourth based tuning scheme. The only exception is the tri-tone interval produced from harmonising the fourth degree of the major scale and the third and fourth degrees of the melodic minor scale in fouths. The figure below shows the shape for fourth intervals between the strings.

Kessel again encourages an aural association when learning to identify the 4rd interval. this is what you might hear in a jazz piece with a trumpet and tenor sax playing two part harmony in a modern jazz arrangement. (plays example).. I think about oriental music which uses a lot of fourthsespecially when I play near the bridge and play figures like this (plays example).

Double Stop Sixths

Double stop 6ths have been extremely popular with guitarists is the Pop/Rock tradition owing to its close ties to the Blues tradition who used this interval extensively for intoductions, endings and fills extensively. The introduction to Soul Duo to Sam and Dave's Soul Man or Bon Jovis Wanted Dead or Alive are but two examples of this technique so prevalent in that domain.

Double stop sixths have an interval of a sixth between the two notes. Like thirds they occur in two flavours, major and minor, so there are two different patterns to learn on the fretboard. Kessel also encourages aural association with this advice ..I associate Sixths in my mind with Greek music (plays example).

Intervals Applied to the fingerboard:

As the goal of this paper is to put forth a systematic approach to be able to improvise with these double stops in a Jazz improvisation scenario, the first step is to ascertain which sounds are best internalized from the plethora of choices available to us as musicians. The author has selected two Scales from which all the material to follow will be based on that should cover most chord progressions that appear in the Great American Songbook catalogue of tunes that most Jazz musicians play on a regular basis. These are the Major scale and the Melodic Minor scale. The major scale can cover the minor 7th chord for Dorian, the Major chord for Lydian and the unaltered 7th chord for Mixolydian. Washington D.C. based guitarist and pedagogue Steve Herberman, who has recorded 36 masterclass style instructional videos for Mikesmasterclasses.com elaborates:.I find that the modes of the Major scale and the modes of the (Jazz) Melodic minor scale are going to be what you use most of the time (as an improviser).

The Melodic Minor scale is extremely versatile when superimposed over chords to cover Lydian dominant, altered dominant and Half diminished sounds. In this thesis the author has used the fretboard visualization key center approach. Noted guitarist and pedagogue Don Mock explains:.there are two approaches youre faced with when dealing with scales. (explaining using A melodic minor: D Lydian Dominant, over a D7th chord) The modal approach would have you memorize the D7b5 sound as a new scale or mode. Even though you are still playing an A melodic Minor, you would learn it starting from D as a different scale with a different name. Using the key center approach, you simply superimpose your original A melodic minor scale over the D7. Its not necessary to think of several separate scalesIve seen students able to play with more confidence over chord changes a lot sooner, with a lot less confusion, using key centers rather than modes (Mock. D 1994)

The following pages show the C Major and C Melodic minor scales harmonised in 3rds, 4ths and 6ths associated with common chord forms in each of the 5 positions on the guitar fretboard. These which will become the building blocks for the etudes and compositions in the later sections. They will be played with a variety of fingerings.

(Chart to be added here)

Chapter 2 Double Stop historical overview:

Being somewhat niche, there is not a large amount of material documenting the growth of double stop improvisation from its birth until the present day, so scouring of scores and recordings is necessary to formulate a timeline of the development in this area. That having been said, to be able to improvise using these ideas there must first be a certain level of technical ability acquired. A general discussion of the harmonised interval technique and compositional antecedent begins in the Classical guitar tradition whose early pioneers in the 18th and 19th century and beyond seemed to enjoy the sonority of harmonised 3rds and 6ths and published scale studies and etudes dedicated to these intervals in their method books. These beginnings paved the way for the early Jazz guitarists who most probably studied these methods to take and re-shape the ideas and technique to suit their own purposes.[footnoteRef:13] [13: Kinigstein. S. (1999) Jazz Guitar/Classical Guitar: A symbiotic relationship ]

There seems to be a reoccurring story of early Jazz guitar pioneers who were adept at using the harmonised interval technique (and influenced the later generations of guitar players inspired to use these techniques) such as Eddie Lang, Carl Kress and Johnny Smith who were also students of the classical tradition. Lang was described as being ..a versatile player whose technique and harmonic skills were advanced for the time, Lang was as at home jamming with Blues guitarist Lonnie Johnson as he was playing solo arrangements of pieces from the Classical repertoire.[footnoteRef:14] Johnny Smith is generally regarded by his successors as the master of utilising harmonised 3rds in his artistic vision[footnoteRef:15] One of Smiths admitted early musical influences was the classical guitarist Andrs Segovia, he even released an album of difficult classical pieces using only a pick. This recording, later to be released as Legends of Jazz Guitar, remains one of the most highly regarded and studied jazz guitar albums ever released.[footnoteRef:16] [14: http://www.prewargibsonl-5.com/eddie-lang/4579161916] [15: What most people dont realize, jazz master Jack Wilkins proclaims with profound conviction (and affection), is that the modern legato style of chord melody playingthe harmonies, the phrasing, the voice-leadingall derive from Johnny Smiths innovations. Now its not as if there werent exceptional chord-melody players before Johnny, people like Eddie Lang, Dick McDonough, Carl Kress and George Van Epps. But in a sense, Johnny Smith codified everything that came before him, and took it to another, much higher level. And in addition to his use of closed chord voicings on the guitarwhich are quite easy on the piano but involve really difficult stretches on the guitarhe also made inventive use of drop tunings, open strings, thirds,..you name it. Hes the man.http://www.chipstern.com/chip_sound_jsfy.htm] [16: http://www.mattwarnockguitar.com/jazz-guitar-legends-johnny-smith]

The double stop interval technique as applied to the guitar was first codified and laid out in a pedagogical manner for the classical instrument in the method books and etudes of Romantic Era exponents such as Spanish Guitarist Fernando Sor (1778-1839) whose 20 studies for the guitar published from 1821-30 include a Study in harmonised 3rds and a study in harmonised Sixths amongst others. These are both very musical compositions that not only build technique but acclimate the ear to hearing the interval and being able to use it in a compositional manner. Classical Guitarist/Lutenist Rob Mackillop describes the Sor as having the ..ability to write beautiful estudios for students, with good harmonic movement, elegant melodies, and good classical and Romantic structures[footnoteRef:17] [17: robmaclillop.net]

Sor: Estudio 12 (3rds study) bars 1-8 Sor: Estudio 13 (6ths study) bars 1-3

Untold numbers of students have worked their way through these studies, which satisfy the elusive goal of providing memorable pieces that, at the same time, enhance the skill and knowledge of the practitioner. Master guitarist Andres Segovia selected a set of twenty of those studies, each emphasizing a particular aspect of technique.[footnoteRef:18] [18: http://guitarist.com/classical/midi/sor20.htm]

Spaniard Dionisio Aguados (1784-1849) New Guitar Method, first published in Spanish as the Nuevo Mtodo para Guitarra in Madrid in 1843, is generally considered an epoch-making work in the history of the guitar It includes several pages of fully fingered scale studies for 3rd and sixth intervals for all major and minor scales. It was translated into English by Brian Jeffery who describes its importance in the introduction of its English translation:..here are set out and discussed all the technical issues which concern modern players: correct hand-positions, angles of the fingers, ornamentation, special effects.Aguado set out and codified for the first time the guitar technique which we use today. Because of the book's continued relevance, as well as because of its functional position in the history of guitar This early work is already a full and complete method for the guitar...Aguados method includes scale studies in harmonised 3rds, 6ths and octaves.

Aguado 3rds study

Aguado 6ths study

Romantic era Guitarists Fernando Carulli, Matteo Carcassi and late 19th century guitarists Julio Sagreras, and Pascual Roch were other pedagogues who wrote methods and studies that include harmonised 3rds and 6ths for guitar that are still inc use today.

Sagreras: C major scale in harmonised 3rds

From the Classical guitar, the influence crossed over to the early bluesmen Blind Lemon Jefferson played the blues, the early blues in the 1920s and later, but he played long intricate solo lines to accompany his singing. These lines inspired his teenage guide of the time, T-Bone Walker If he was heard by jazz players, he must have had an influence. It is also likely that the "Spanish tinge" (a term used by Jelly Roll Morton to help explain the jazz of New Orleans) included Spanish guitar (Classical Guitar) with all its soloing: see for example the Spanish guitar composer Tarrega, active into the early 20th Century. Tarrega himself had been prone to running away from school as a child to hear gypsy music, so a possible gypsy element (pre- Django Reinhardt) may also have had an influence on the early jazz guitar.

Harmonised 3rd,s, 4ths and 6th,s are staples of the Rock/pop guitar tradition. Morphing from early blues into rock and soul music and used by artists such as the Beatles, Beach Boys, Rolling Stones, Chuck Berry, Steve Cropper (Booker T and the MGs), Cornell Dupree, Mark Knopfler, Jimi Hendrix, Stev Vai, Eddie Van Halen and Angus Young (AC/DC) to name just a few. These double stops are in a lot of cases riffs originating from Delta Blues guitarists like Blind Lemon Jefferson, and Lonnie Johnson in the 1920s and '30s and T-Bone Walker and Rosetta Tharpe in the '30s and '40s[footnoteRef:19] updated to the modern era. Early bluesmen Like Robert Johnson regularly included double stops in their arrangement like Milkcows Calf Blues Fig. [19: who left immediate and broad stamps on the music of the early rock, blues and R&B electric players of the '50s]

which as rock historian Loyd Grossman states in his A Social History of Rock Music (1996) influenced the next generation of rock guitarists who incorporated much of his techniques into their own style Grossman describes this effect on Chuck Berry he fused certain elements of the blues, such as repetitions, chokes, and bends, and double stop techniques that he learned from listening to Robert Johnson and his contemporaries, with country music sounding speed licks and slides.. Walter Everitt (2009) describes the empathy for using double stops in his book The Foundations of Rock:From Blue Suede Shoes to Suite: Judy Blue Eyes...One way that lead players cut through the texture is to play double stops. George Harrison was highly unusual in play- ing his early Beatles leads in octaves, as in Please Please Me, From Me to You, and in the coda of This Boy, but Jimi Hendrix followed him in the opening of Fire and in Third Stone From the Sun. Much more typical is to hear double-stopped lines in other relationships, as in Chuck Berrys solo in Memphis, Paul Burlisons solo in Johnny Burnettes Lonesome Tears in My Eyes (copped by John Lennon for the coda of the Beatles The Bal- lad of John and Yoko), and Van Morrisons intro to Brown Eyed Girl. Its the double stop by which Chuck Berry nails the car horn in Maybelline..

George Benson relates on his video The art of Jazz Guitar that Eric Clapton told him once:you know, (in) rocknroll music..two note things..double stops work much better than single line(s), that is the essence of the music.. if its not played with double notes, it doesnt sound good, it isnt rocknroll..A few examples will demonstrate these intervals unbiquity in first the Rock and Roll canon.

3rdsExample 2 Brown Eyed Girl

Ex. 2 La Bamba

4ths

Ex 1 Chuck Berry Back In the USA

Van Halen Hot for Teacher

6ths

Soul Man

Stax guitar Legend Steve Cropper who played and co-wrote "Knock on Wood" with Eddie Floyd, "In the Midnight Hour" with Wilson Pickett and "(Sittin' On) The Dock of the Bay" was one of the main exponents of double stop playing throughout the 60s. Author Allan Slutsky who wrote the liner notes for Soul Man describes Croppers influence as such.Cropper used ..fills and motifs based around harmonised 3rds coming from the rural Ozarks, Cropper never could escape his country roots.he also favoured using 6th intervals for fills and introsCropper favoured harmonised intervals in musical situations where single note lines just didnt fill up enough space

It is worth noting that the assimilation of these harmonised intervals into the jazz vernacular came from the same Blues source and there seems to have been some cross pollination from the rock to jazz genre and from the jazz to rock in the reverse. Henry Heintisch (2013) discusses this phenomenon in his thesis on John Scofields playing styleThe double-stop is a technique that John Scofield uses as a branding mechanism and sometimes as a way to make a blues statement. In Wabash II, Wee, Farmacology, as well as countless other recordings, we hear double stops as a way in which Scofield asserts his own background as a rock and blues guitarist. His use of distortion on the album Time On My Hands further accents this use of double stops as it is reminiscent of more rock-influenced guitar playing; it sounds in a way more similar to Jimi Hendrix and Chuck Berry than to Wes Montgomery or Jim HallIts fairly clear that the rock guitarists borrowed a lot of techniques from the Jazz guitar foundation. From tracing the genealogy of Django Reinhardts use of Octaves appropriated by Wes Montgomery who then influenced Jimi Hendrix who had a big impact on Stevie Ray Vaughn the same traces can be found. Rock Guitar Legend Jimi Hendrixs record collection, circa 1967, ..included Rahsaan Roland Kirks Rip, Rig & Panic right alongside Jeff Becks Truth and the odd assortment of Bob Dylan, Tim Hardin, Albert King, Buddy Guy, Muddy Waters, Kenny Burrell, Wes Montgomery and Ravi Shankar LPs[footnoteRef:20] [20: http://jazztimes.com/articles/20150-jimi-hendrix-modern-jazz-axis]

It is interesting that Barney Kessel performed on all the mid-period Beach Boys hits such as 'I Get Around', 'California Girls' and 'Dance, Dance, Dance', including the later Brian Wilson productions such as 'Pet Sounds', 'Good Vibrations' and 'Smile'.[footnoteRef:21] [21: http://www.spectropop.com]

With the advent of Fusion, and the guitars role in its development, it was inevitable that these rock devices would find their way into the up and coming generations repertoire or storehouse of techniques.

Eddie Lang seems to be one of the first guitar players to employ the double stop 3rd as an improvisational device. In A handful of Riffs he uses 3rds at several points. He probably picked up the technique from studying the classical methods of the day and having close association with Violinist Joe Venuti who would have studied these same methods and some of it rubbed off on Lang.

Dick Mcdonough also used the 3rd interval as a compositional and soloing device as seen here in the first few bars of his composition chicken a la swing

Eg Hendrix using montgomerys octaves. Benson using r&b style 6ths. Scofield funk influence. Kenny burrell blues influence

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