ú lEf; :mrx r: Ex. I The rcü,:*ine : exa-c,pies ue :uncucna.l subsuruuccs acr DmrnT AminT DminT Ex-2 Emtn// Er3 Emln/ E35 Am¡n7 vr The fi¡st cxample is üe ubiquitous I-VI-[-V progressiou The subscqucnt ex¡rmples are all using functiond substiu¡üon to arrive at tbe ncry chord progressioos. Play thcm- Although thcy a¡e difrerent ücy rcuin the s¿mc basic souod. This is the ñ¡st stsp in learning how to re-harmonizc chord progressioos. This simple device lays thc groundwork for tbe advanccd re-ha¡roniz¡tioo's to follow. Try thesc ideas out on your fevoritc urncs. A¡Eost all sta¡dard ¡s¡3s so¡t¡in üe I-VI-tr-V progressiou. The only way to gct thesc idcss iD yor¡r playr¡g is o apply then to nlocs you play. FNOJAZZ
Transcript
úlEf; :mrx r:
Ex. I
The rcü,:*ine : exa-c,pies ue :uncucna.l subsuruuccs acr
DmrnT
AminT DminTEx-2
Emtn//
Er3Emln/
E35Am¡n7 vr
The fi¡st cxample is üe ubiquitous I-VI-[-V progressiou The subscqucnt ex¡rmples are all using functiondsubstiu¡üon to arrive at tbe ncry chord progressioos. Play thcm- Although thcy a¡e difrerent ücy rcuin the s¿mc
basic souod. This is the ñ¡st stsp in learning how to re-harmonizc chord progressioos. This simple device lays thcgroundwork for tbe advanccd re-ha¡roniz¡tioo's to follow.
Try thesc ideas out on your fevoritc urncs. A¡Eost all sta¡dard ¡s¡3s so¡t¡in üe I-VI-tr-V progressiou. The
only way to gct thesc idcss iD yor¡r playr¡g is o apply then to nlocs you play.
FNOJAZZ
Chord Inversions
The order of tones in a chord is known as is inversioo. Tbe root of üe chord docsn't have .o bc on üe bonom
of the voic¡n8. voicing is anotber term uscd to dcscribc the ordcr of tones in a chord. Therc a¡e four main typcs of
voicings.
1. Closed Voice
2. DroP-2
3. DroP-3
4. DroP-2 and 4
l¡t's üscuss üesc in dePth'
A closcd voice contai¡s all fo¡r ooes of e chord wiüin ooc É:teve' Fr exemplc
G7
JJG,
Although rhesc voicings of G? have difiersnt oncs i¡ tüc mlody, tbey a¡e dl clo§€d voiccd chords' since thc
di§ancc f¡om thc lowcst ootc to the higüest oac is u¡irhin onc etrrc. Pl¡y thcsc voicings' occd-voicc cho¡ds a¡e
us,aly diffrcult to pray sioce tüc oo"T *itio tbc cbord ür 3o clcc togethcr. Root pooitioa invcrsions of closcd
voice chords gencrally work tbc best, but tberc e¡e otüc¡ siu¡rtions wbcre closcd voiccs work well, as yol¡ will scc'
since closcd voicc cbords afe so difficult to Pl¡y, gult¡fists dcPcDd on othcr voTtrqs for comforr orc of thc
fDo6t comtrIoo is tbc drop2 voicing. Tr¡ddüc'doá1* fu.'ü" top of a cloecd voice chon4 and dropping it
dowa an oct¡¡ve, creaEs a droP2 voicing' Example:
G7
m.. m' m*EIIEItffi
Dmf2 Drop2 Dmp2 Dlop2
FAOJAZZ
Pla! xes.:r¡¡ilies ior Gi \!-here,tre :iossd'"'otce;¡cÉ ¡3s JnEassi¡ie.'-'ie:¡cO-'l:s','er' ¿'.u',¡¡:lelCuSince Jrop-1's are oo { ad.¡acent sungs. rhere wrll be th¡ee sets of these on-üe gurar. Look at'.lus ülustrauon:
smtxxf-l
SET 2 SET 3xrTlx lTlxx
t e¿rn a¡ the diaronic d¡of2 chords on all threc scts of strings (Scc also Dro72 Concept for Guitar by
Charlcs Chapman, 2001 Mcl Bay Pubtications,Ioc., c¿talog #MB98ltl.) Tbcsc are used quia oftcn and yor¡¡¡6t66t¡nrling of the fretboa¡d wilt grow considcrably.
Drop3 chords a¡e formed in thc exact sa¡De tyrrnñer, cxcspt tbc thid notc froE thc top of thc cho,rd is droppcd
one oct¿ve
Ooúrd
Am7
ffi,*ffiDrop3 Clacd
Am7
m-D¡p3
Am7
m-Drp3
Am7
ffi*iiilü
Clcd Drop.3
Look at tbc foüowi¡g exanples of drop3 voicings forA'mia7'
These chord forms also work very wcll oo üc gt¡iter. Drop3's can only bc played on rwo seu of strings as
demonstratcd i¡ üc following illrxtration.
FNCUAZ
As with rhe drop2 voicings, it is esscntiat to learn thcsc on all t]re chords ¡, g¡¿ m"jor scale' Thesc vorongs
rnd ro pur rhe rowest';;irh; cnord faidil;; ;;;" gurtar Tbe danger of this is thar the rowesr tooes red ro
sound like roo.. as yoo p*, bcrow É a¡d p'oo t¡" e string. To demonsáe this, look at ¿ smin, drop-3 with the
scuenti, in üe melody (op of the cbord)'
al6 or GminT
m-DroP3
Tbe first chord is a cloccd voic¿ chord. Dropprng q" üird:ooe dowu ¿n ct¡ve crearas a drop3' Play this
chord; it sounds tiXe a Bii-cUo,rO fa$sr *J;ifi"? si¡cc Atgb it * to*' ftis holds tn¡e on eny t¡pe of
voicing. tf the rowest ;;il;ffiroiEt ñ e" r.; toa" *iu tate iorot-titc qualities' At certain times üis
cril be a desirable cficct'
The fi¡ar voicing is tbc drop2 "od
4.Pi, voicing is !¡e8Td in tbc s¡mc menn.r as tbe otbcr voicings' From a
ctoscd voiccd chord, d;-;";;JeDd for¡fü ones. Here is an crample:
GM¡¡7
m-Drp2rod¡t
GminT
ffiHtHCl€td
CJJCCC
o7JJJ
eUeiT
m"
play this chord. sincp this voicing is so widc' it is us'd in mty cartai¡ circumsa¡ccs'
**á-tn"-u.rt whcn üe lowest nacof tbe chord is 6c root
2. The 6 ou a major chord replaces üe 7ü. On a domina¡rt chord the 66 or ( l3ü) rcplaccs the 5ü. J!¿ demin¡n¡retarns üe seventh degrec.
3. Domin¿¡¡ 729 chords sound great anywherc, since üey cnd up bcing diminished 7ü chords. All othervoicings need to be eveluatcd bas¿d on how they sound. Usc yor:r ears, ücy are üe most valuabte tool you have.
Scc pegp 31 lo¡ a pcsltte solution Thcre 8re E¡ny düerent r¡ys to do thic av¡mple
I¡ th-rs chapter we wrll deal with melody notes üat don't belong to üe chord. There are several meüods rodiscuss; ail of them will b€ looked at in depth. They are as foilows:
l. Diatonic ha¡moniz¿rion
2. Chromatic approach
3. Domina¡t approach
1. Diminished approach
Examine this exarnple of the diatooic mcthod:
T..cf f3DminTtñf*ffi
c6-¡-aLJ.}t flr,
ffim- m" ffi'(Emin4 eág ctg
F7 Bhra¡7
o<HtotE
Tbe diatooic mcthod worts in üis way. On bcat 4 of thc first nreasurt &ere is a G oo a Dmin? chord. tnsrcedsf [a¡Eonizing it as thc 1 lú of thc DEin7, trea¡ it ss an FrñinJ. This crr¿tcs thc fccling of mvemen¡ ¡¡¡[6 th¡n ast¿$ratrt chord sou¡d. This is dooc by talcing a chord di¡tonic to tlr key you'rr iu usually thc uext diatonic chordup from the originrl. Drop2 voicings a¡e r¡scd exclusively to h¿¡monizc this mclody. Noüce the exrcnsioos on tbcG7 aod C6 chord- Refer to tbc extcnsioo chart if yor Ec.d to.
Herc is anothcr cxample of tbe diatoaic mcthod:
Tr¡ck,llCminT GminT
m'm-ffi'm' m''m- m'mm'm- m-m-m-
(DE¡7) (Ct!b7) (AEb7b,
'4.,c.L , úxr¿ tú
I¡ this example, thcre are th¡ec oon-chord tones. ln each inst¡nce, a chord diatonic to the key of Bb major was
uscd. This gives this examplc e ¡nore sophisticated soun( ratber than the bland sor¡nd of repeariag üe s¿me chordover and over. Also notice that a chord diatonically above or bclow the cu¡rent chord usually works the besr Drop2's werc uscd for the cnti¡e g¡¡mplc.
FFCUAZ
l5
(AEb¿t
FminTÍ5m!t.ñfriñi-,t-frfl
err¡cktr m-m- ffi"
The ch¡omauc approach is anothcr very cffcctive meüod of harmonizing noo'chod tones' l-ook at this exarylc:
abzebua¡z
m-
8 t,**6rn,
ffi*ffi m- m- m'. ffi' ffi- ffi" m'-
xGcCJtfIi
olI
-((¡(((
(
(
(
q
Gsü7) r^-¡ ¡L¿ nf .¡rsurr' ooc, the otber on bcat thfcc
rpproacnlng :ny :hord oy- it's dom.ma¡r. Fcr exampie. ihe domr¡a¡r of E7 would D€ B;. since'B- rs ule :o :r Ei.
L-ook at this srmple example:
S rncl *r
-BaMaiT GminT CminT F7
m'm*m"m-m*
de - b¡bott
I¡ this ex¡uuple, all thc dominant approach chords 66sr¡in ¡h fUir cr€ars¡ teasion in üc cho¡ü a¡d makes tbcchord want to rosolvc ¡norc strongly. lo measurc th¡rc, oo the for¡rth bcát tbe Bb could have becn harmonizcd as ¡CminT si¡cc tbe notc is tbc scventh of üc chorü The dominant approach was r¡scd aa).way, to create morc intcrcstin thc harmoniz¿tioo. Try usiag a CminT hcre, listca to üc differcEcc onc chord can make.
Here is a tnore complex exaoplc:
HE- ffi'"m* m'"mBi^m-
m' m'@*ffi m" ffir
l-ff.i+i
Trrt rtDminT
m-EI!¡¿ffi
@ffi
(AÉe)
Cl¡le¡7G7
fficHfr m" m* m" m* ffi'm* m'
[IEll¡¿u#*ll1-i-fñ
'(AEi!7)
This eighth norc example contains scveral i¡stances of thc dominant approach. This is very effective since the
domina¡t chords want !o rcsolve quirc sroogly. This dso propels tbc harrrony with forward momenrum. Notic¡üa¡ in measure rwo on the ead of üe first bc¿t, the diaonic meüod was uscd. I couldn't use the dominant approach sincc rhe ootc "G" is oot a chord tonc of D7. I could have harmoaizcd it as a G7 chord, but i didn't waat to
repcar the G7 chord herc. The AminT is the perfect solution. Combining harsronizatioo methods is very effectivc
as well as very commoo. Try scveral differcnt methods until you a¡e satisñed with úrc resuls. There is always
more than one way to haruronizc a melody.moJAzz
t7
I
&,r"*rfi,n,
The last cornmon method of harn¡onizing non+hord tooes is the diminishcd approach. To accomplish üis
aPProach, voic¡ a d'iminished chord bclow üe dcsi¡ed melody norc'
Here is an example showing how to usc üe diminisbed approach'
abz eh(rgl ehua¡z
---IÓ]' IIÉ
i+++i m*m- m" m"ffi- ffi"
This simple example dcmonstrates üis Ecdrod very well. Tbe ¿liminishcd barEoEizetion can be uscd an¡ime'
Bccquse of rhis, i, "* ;.t ñ out of a jam wbcn otbcr úarmoniz¿tion methods uen't very cfrective' Your ea¡ is thc
moo imporrant toot yáu Lre for dacrrrining how weü e voicing wor*s' Tbc 6cory witl hetp yur explore the
possibiüties, but your ear should bc tbc &iding factm'
Here is a nrorc complex exanple of 6e dir¡inished ap'proach'
S r,-r*,0FminT BlminT
ffi" m' m' m* ffi' m' m' m* m* m"m-
Ahta¡?
ffi*ffi m' m- ffi" ffi-trtEcffi
Tbe ¡timinished approach is very cffectivc bcre. Notice the use of the diuonic metbod in measurc fou¡' beat
rwo. once again, .o.üioing rocooás woria great- It is ra¡e to usc onc oethod wheu harmonizing a melody'
ebz
F:oiAZZ
18
Exploring the Diminished Chord
Here is the C dimlrushed scale:
The diminished scaie is a symnctrical scalc. It is built oo a pa[ern of alternating whole srcps aad half srcpc. Italso has the distinctioo of having cight norcs. In üc traditional worl4 this is knowa as a¡ octatooic scalc.
When you build tbi¡ds off of any tonc in ttp diminished scale, you get a rliminishcd chord. Whea you crearc
diÉinished chords on the l', 3"r, 5ü, a¡d 7Ü of thc scale, you end up having a whole srcp above each chord tonc.
Look at this examplc:
EJH''H#il
ffi*HtH
ffi*[üfl m'-
b
Drq3 voiciag
¡sq,, tak¿ any dimini(hed chord voicing end try ¿¡sh¡ngins a chord tooc fu a scale looc a wholc step above.
Herc are somc examples:
ffi- ffi- m* m*
citi¡¡l d;n;¡¡.r¿¿ áoü ibL f.? rbor!QD!! rd4
JLErI'¡¡ñrL
q rnd sccod mtc
lEr §lrr¡'¡!¡vorit
This merhod can crpatc somc grcat cbord voicings. This works oñ any diminished chord. As always,lct your
ea¡s determrne how effective a voicing is.
FSOJAZ
Ndc¡ tüotae?.Do"G c..i Ddoút ic ü¡ ¡l¡Er!¡+.d cio¡¿
l9
HereisaclassicjoePassexarnplebascdonthisidea:
Tnck *l l
DminTG7
ñTmrc
ffi@¡ti.+t+.{{ü1111
l3
ehfe ehr¡¡z ofzfg ahua¡z
rfim!iú1rhtü
Here rhe diminished chord is uscd oo thc G7 rDcssufe. This works si¡cc üe diminished cbord contains the L9'
g, S, ;a ? of the dominant chord' For instancc:
BDFAb=Bdim7 $lD
L¡t,s examine this in more dc¡ail. sipcc 6e diminished chord is madc up of minor ttrifds, tb€ root of the chord
*r, be--V tone in tle voicing' t'ook at this cxaryle:
Th¡ c¡d'd co bc c¡lloÜ-
F, ABqDiE¡bi¡btlt
I¡ rhis cxarnple É¡e r{iminishcd cbord ce¡ be o¡Ecd n t: B. or D. Takiog §s gne srcp forw¡¡ü since this
di'inisbcd chord is arso a Gdá, tr* ro5,:r r*, *, b" ca,ed ;';r§,Bb¡ñ'ú'lb9' or',Jw''This is possible
Ñ¿r the dominant chords a¡e a minor 3d apart'
Herc is anoüer example to fu¡tbcr ürstrarc this:
G r.-r*,,ezfg
ezbs
ffi"AMa¡7
ffinFñ?f1fflfñ ffi- m- m* ffi- ffi-
CMa¡7
m-
In üis example, the identicar voicing was uscd for every Dom*g chord in each mcasure. This exampre dem'
onstrarcs how one tr'"ti "Li"'g can rcsolve to four difrercnt roos'
The best way lo demonsrate üe usage of üe methods discusscd is to apply rhem ro a rune. The tollowrngoriginal rune resembles many of the st¿¡d¿¡d runes you know or should learn.
CIoudy
gbm¡nz Eh
Fnún7 Bh elua¡z Bh
BVT ehua¡z
ebua¡z
,-J-
BbminT Éh Ah{e¡7
)lbm¡nz oh ebua¡z cminT FminT Bb7 EhrraiT
TRCUATT
2lI
'l
\'--¡!__--l
FminT
rn the next exa.urple, üe rune has bccn harmonized using an the methods discusscd thus far. Take your time
learuing it_ you should have a firm undcrstanding of what basbecn done before you proceed to the morc advanced
chaptcn to follow.
Ttre voicing types h,ave bccn labered foryou m rlorú/'berow the stafi. chords werc rabered only whcn É'e voicing
rype ctranged- Tiris makes for less cruucr m-üe page. Tbc nuntem correspona o thc expranations given you bclow üris
exarnpre. If rbcf" o no iÁu", given" fu urllotxi* r'drod has rurnai¡cd thc sanp. Notice üre exrcnsions in óc
rrlody as well., i*r¿" o" choá voicrng. Finany,lcam üis úfafiggu,st, it contains all thc marc¡ial discrssed thr¡s fa'
gbm¡nz
m."
Eb7
Trrf. rt3
Db Ebr*ta¡7
ffi" m-
CninT
ffittffiAhla,7
FminT Gl'7)
AbminT
Bh
ebua¡z
ebua¡z[IEI}G.
ffi
m- m-
Ebit¡¡7 c7 FminT
gbm¡nZ
(Gdin) (EdiB) AhvtaiT
ebt sh
m- m- m" m- m* m..m- m- m.m'
(1.)
abz
ffi'm" EHcffi(c-7)
ffi m-m-m"hua¡z
ffi'"
Eb7
ffi"
m* m-m*m- m-AhvraiT
ñTñ'].Élt§tnffi?
aa
rr¡Tn rÉfirfi]HtH,
FiOJAZ
.-¡----&-I
2A-
ffi¡tl-!-.,ltl[tfl
ffi¡c ú,t EItrll¿ffiffi H m.. m* m..
3.:ta
la
FminT
Fmrn/
>-.
2>l
--¡-'É dtr --¡i'r.ai aa aa---zi if.Iirij r:'tfñ
::3 í-rfi ñf-._--.-:-J-
f7*+lffi
EbiraiT
¡¿ aitt. atiJ
2O
EÚ7
4
(4.)
abz
(5.)
Ahn¡nZ
Dbe ebua¡z CminT
m* m"EE¡rl¿llJ.Jsttr
Ei6abz
m'm- m' m- m' m*
f[a¡uon i z ation explanetlons
l. This is an example of thc ch¡oo¡tic approach. The fu7 is approrhing tbc Fm7 chord chromatically oo
the end of be¿t ooc.
Z. Herc is an cxample of tbc di¡onic mcüod. A Cm7 was uscd aftcr thc BL'7 since Cm7 is üatonic to thc key
"f Á nlÁ""O "Cl*rdf is iD É, thc chord progression we a¡e dcating wiü at ttp momeot is a II-V' I iD Ab.
3. This is an examplc of both the dominant a¡d dinioished ap,proacbcs. Otr the end of bcats tfuee and four,
Diminished chords are uscd to harmonizc the melody. §i¡s€ rliminished chords can dso funcaon as domina¡t
chords, we can look u üis as either mcthod. Both of tfresc diminishcd chords can bc called É7b9, üe V7 e¡ ¡f¡'"
4. This is anoócr example of tbc ckomatic approrch. Tbc As7 is being approrhcd chronrauce.lly by r]re Bbm7.
5. Here is yet anoüer exarnple of the chromatic approach. This d.m" q*7 is uscd to approacb üe Gm7.
Take time ¡6 sn¡dy ail thesc methods. Thc marcrial to follow dcpends on youf ability to undersund ever¡hing
we've discussed. I would also recommend trying thesc idcas out on some of your favonte runesl
Abm¡n7
ffi-
Fno,JA2Z23
The Tti'Tone Substitution
one of ibe most commoo methods of chord substiu¡tion is the tri+onc substitution' It is a substitution berweca
dominant chords t¡"t ** tnt same tri-one' l't's exarnine this in dcptb'
Tbe fi¡st üing to understand is tba11T-r* is thc intcrvar of a frat ñfth' If we look at a G? chord' we sce that
tbcre is a tri-tone bet**t Ot 7ü aDd 3É of the cbord'
Tri-TÉ bcttgEo F dB
vuhcn aDL? chord and a G? cbord a¡e cooPare¿ ¡n intcresti¡t*ffi#.ffi";ttff#ñ:botb cbords. Notice
'¡"t tf* io*'al bctwcco tbc t*o of both cbsr
samc ui-tone' o"y t"o-JiuUstiotc¿ for each oócr' Exaruplc:
This chaprcr de¿ls with some intercsting motion within chord progrcssions. Thesc ca¡ bc used as'ftll" mate-
rial, or tcchniques of gening from one placc to asotber. Thc fint mcthod discusscd wiü bc the passing minor
cüord. I-ook at this following common chord progression.
amzüs)
By incorporuing a passing minor chord we crcatc Erore inrcrcst in üe bsss linc. This crcarcs the fecling of
rnorDetro¡m wiüin tbc progression-
&r.*r,,DminTIrt.Lr! rt
ffi m' m' m-
D13
@.4.ItlÉt
utü
DninT/C 8m7P5) E/(09)
Am(mai7) AminT Amin6
Anún7
This can bc uscd an¡imc yóu have a I miac chord ooving to YI chord of somc ki¡d. Thcrc 8rE Eany ex-
amples of this i¡ st¿¡da¡d O¡G. Try ücsc ol¡t oo soglc U¡It6 you lnow.
M4jor and Minor O¡ché§
A major or min€r cüché is formd quitc oftm h bo6sa nov¡s aod othcr L-atin styles.This idca usually involves
thc rctioa of ¿n inner voicc of a cbq{ generally fu foot c frfih. Here a¡e somc cl¡ssic examples:
Tbe Isr example is a sinple idca b$cd on a oi¡o clicbé. Tbc sccood example is a wonderfi¡l exanple of the
minor cüché uscd oo ¡ tr-V progression.
&,*,,,ELt Í.r-2
AminT
ffi,"Htü
ffi"[Hil
ffi''frt,rñ
m*rrrm m*m*m-m*
FFOJAZZ
26
Here ts 3 more
& ract rrs
EL r CMaiT
Lnrolved example usrng the tn-tooe subsuruoon
nzf,gITiSm!É.Ff-!.tñffi{t
b2 CMaiT
m"Eha
ffi"<o
CMaiT'-..}U.i 2rtr+++1ñ-rfi
U
CMaiT
ffi-IJ.LLU
rT[Il-ffi
DminT
IEII},tUJJUHtH
DminT
ffi*Hüü
Bbnún7 eV7 DninT $m¡nZ Dh
1E,
CMa¡7rtrn¡rffi
E¡.3 CMa¡7
m" ffi'ffi- ffi'' m'm-
Tbe ñrst cxampre is the ubig.itors I-VI-tr-v prog¡ession ia c major. Example 2 sbows tbc tri-tooc substitutim
bcing uscd in thc sccood a,d fó,¡fth *.r*. rtol,"ro,iog üis; occof. The qrogressioo now b¡s chroo¡ric
bass movemcor Thc otbcr intcresti¡g thing hr*; a o"-oó*iool. h examprc l, th" A7 has "üg
in üe ocrody
and the G7 has btr in the rclody. rrot *ur,ñipp.ns to tbcsc^artcratioos in thc sccond cxample' Tbc p bccom
rbc t3ü of üc ui-orcLUJ"JL and 6ebt¡ tiom thc 9¡ of üc tri-onc substiu¡tioo'
[n examprc 3, this is takeo ooc strp furtbsr. rn e""h mcasuf. that tbc tri-ooc zubstinrtion was uscd' &c u th¡r
gocs with the v was ;d"d ; crÉarc " ir-v frg*..ioo. Mcasr¡¡e 2io* has e II-v in Ab' and measurc 4 hrs a [I-v
in cs major. oo fast **.-üt doesn,r *ort aíweü sincc yor dcal wiü so ¡Dany chords' oo bailads Mgb" üis
works bcautiñrllY.
FRGJAZZ
25
\¡cüer riceú-7¡fi! Track +13
;¡h ¡i üe crcrc
C min6iJ+.1,¿:.,]ltuel_g.J
m'
. ir-lI.1U t
C min3É.
C min{ 5
dE,"LlrulJLI-J.IJlLlr¿lJ
cMaf,s
m'
:hche rs baseo on üe :oo'"er,eci JI te - Y.lmñ .
C mrnf 5l-.'tFlrt
-i-- 1 Irulu
Crcating a
& r'."r*,,
" l lupe you'ru able to bond with this oru".
a major cl.iché is a mettcr of raising the thi¡d of the prcviors exarnple. Take a look-
ffiffi
All of ücsc clichés can bc uscd on just abott any tunc. Thcy work very well whea üc melody of üc t¡nc is ootan issue, such iul long hcld notcs,6 whca tbc mclody Providc sooc specc.
Threc Notc Voicings
Thrcc Dotc voicings arc a very effecüve voicing tcchoiquc. SiE fu mst i¡t¡portant toocs of a chord are tbc 3raod f, tbc rmt is us€d ooly to providc the b¡ss notc. TbÉ grcat rhythn guitar player, Freddic Grecn, usrd fucvoicings oB the lowe¡ sct of strings with remndous s¡cccss Take ¡ look at a very coorDoo rnoveErcnt from thc fI'cbord o üe ry7 i¡ a 12 bar blucs.
& r"-.- G7 AminT abz BminT c7
c6 cME*s
m..
m- m- m' m- m'
This ocxr exaraple is a greet mcthod sf T,alking up a rnqjc sc¡le diaronicdly. Noticc the indepcodcut Eove-
ment fum tbc 7Ü !o üe óÜ in dl of thesc threc Dot! voicings.
á& r.*.*, cM.l,
m"DminT Erilin7 FMr¡7
ffi'[üfl m- m'
Experimcnt wiü this ide¿ on other scales. The basic idc¿ is to substitutc thc 7ü for üe 6Ó while playing diatooic
7ü chords eithcr ascending or descending.
27
¡§o.¡ra
Quartal Harrrony - Voicings in Fourths
Au of üe chords we have discussed tbus fu have been built by stacking thi¡ds -on
scare ones. we have dealt
rvirh scveral i¡versions of thesc chords, but tbc orign of aI of the voicings comes from triadic harmony'
Quarral harmony rs bascd oo cbords built with fourths' Take a look at the G Majol scale harmoniz€d with thrce
notc fourth voicings:
ffi- m.ül.H+tI ll tu-J¿J m* m" m* m* m'" m'*
when voicing chords in this rirntrcf,,, ürc haroooy can bc incompletc' si¡ce th voicing docs oot always coo-
tain a 3É and 7ü. This c¿¡ bc vcry dcsirable *br";l"yirg modal tr¡Dc§ or crcsti,g Eor€ modcrn souading harmony'
creating inversioos from thc prcüors exa.mprc is eesy.Tüe the top notc of thc voicing and lower it an octave'
Takc a look:
E&1E@:ru.]JtlHtü m* m* m* m'* m'" m''
EL2
E¡.3
ffitErt{+++{It*i'fl
ffi*|.li#..iñfrfl m- m"
ffirtHffi Hm''' m'" m'*
ETIEl¿
ffiEEEFrt
Hffi m"EII! rtffi
€IIItl r¡r fffirrtffiffi§Ef[f¡rr¿ fffitrtffiffi
l¡ all ütee exartples, the top note was lowered an octave creating a total of four scts of inversions'
F*CJT{z
28
I
I
t_ :¡,, ;á*§i,itrÉú8ür.. ri¡;;*§'¿r;;.
lle lr.iic* -^3 :x rmn ie shows all thle€ inversloos on one sct of stn-ngs. From ü]€s€ ! otcings : ou can --rc¿rc ücother j€G cv rtt -":--"'qt,ng üe process of lowenng the top oore of each voicrng Írcross üe neck-
+.itJ2¿-i+l]i.rfl
ffiprtffi ffiFFf r*ffi
L¡ts look afqmh voiciags buitt wirh for¡r tones. Here is üe D Dorian oode harmonizcd i¡ fourths.
m' m- m' ffi* m'- ffi'* ffi'* ffi'-
,- ^Ifl'-t,lT§ sor,rd great whca coaping oo modal tr¡m likc Milcs Daüs' So wlut.They are very cfrcctivc
'o cnorÚ Eelooy n i,i"g ei *eu. Hcrc is
" u-V-¡ cxample using üis idca'
Er"*- G7DminT CM¡I7
m,.m- m'
^^- :lf].rt-} uoi.a* havc an incomplea sor¡o¿ thcy work very well in ccrtain sioatioos. As always, let yor* tur-13tioi*o.tr.Cbcck
"in pi"ni"s likc McCoy'I]'g, Hcrbic Hancoc¡q caick corea' Bill Evans
am r\elm J8¡rEt Thcsc mr¡sicians are E¡strn¡ u creating intcresting voicings usiag quartal barmooy.
P;AJAZ
29
r|l:'t. .:.
Advanced Methods of Harmomization
I¡ üis chapter we wiü look at scveral methods of advanced harmoniz¿tion techniques' They
1. ContrarY mouon
7- Chromuic II'V's
. Slash Cbord Harmonizatioo
4. Constant stn¡cn¡rc'
ContrarY motion
Coauary motioa is a mcthod of countcrpoinu It can bc dcscribed ¡s
coDtrary motioo' I-ook at this examplc'
two mlodies Eoving in oPPosite or
Er,**
É) (F'l9)
m' m- m*
; -llir.:
. ¿¡!r':L
arc as follows:
Bb6
Er'2
Inexaoplcl.adesc¿ndingchromaric.lircisuscdcoouarytothcmclodyaboveit.Intbesccondexamplcastcpwisc descending ur";;-"r"¿ AddidJ Do."s *.nr.¿á"¿ bctweca thc norcs on bcas ü¡ee and fo¡r' on
bcst thec a Bb Major triad was cresEd e,d "füñ;;-Fr, "h"rd was crearcd. siDcc rz it t" dominant of Bb'
A¡."" be coosidered üe domin¡nt app'roach as well'
pray tbcsc examples. cootnry motioa is a way 6 m¡kc.yo,'¡f¡r'ge,e'ts sound very sophisticarcd' Yo.¡r
sbitiry ¡s sh¡nge o.,".a* "iyáu music ir rory i.por,-, in ceeting musical and mmorable arrangements'
Cbromatic II'V's
whcn the merody of a tune cootai¡s the minor 3d or flat Süof a minor chord, you can substin¡te a tr-v a half
srcp higber. Take a look:
FminT
d,tffi
,('
Ehraiz
-Ii iaatti
E¡t.iJ..,i
abz
m"m-m*m-ELI
30 P8CuA¿?
^:::x:¡ltie l. ¡e :h.rd :oe¡siJ-re.oolarnj te :.:lcr -:t ¡f F-- I su'osun¡rcj ¡ [-'" ,¡ te i:., :i ]. E-- :: 3-The.{: ln üe melodl becomes rhe 90 of the iat¡or caord ¿nd üe 13. of üe domrn¿¡r ;hcrd *iren u\e ;D¡cm¿lcsubsdruron is appüed. Nonce how I condensed rhc onginal [I-V rnto üe ñ¡ai me¿sure of ,¡..i*pi". Tbj;;.very efrective meüod of subsuruüon. The sta¡dffd ünes Srei¿a By Snrtight, and, There Wl Never Be Anorh¿rYou, ate pcrfect vehicles for this method.
& r.".* Ft z P*n¡nz A7 FminT abz Ebrr/aj7
m-m..m-m'"m''m* m-
§l¡sh Chord Eeruoniz- tion
Slash chords arc somctimes mistakea for pol¡onal harmooy. A tn¡c pol¡onal g¡árñple would bc CmajrDmaj,which i¡dic¿rcs the notcs f¡om a C major riad and a D major riad Slash chords are just major tiads o"", diff"r.otbass notcs. g¡¡mplcs of slash chords are: C¿? or D/G. This mcthod gives yur a very modcro, clean souadingharmonization. l¡t's look u som examples.
F/G Dr€
m- m'' m-
fiEIrffi m-
Er.3 C/D
Example I is a simplc lmk ¿t slash chords. You can ¡6¡,¡lly c¿ll tbc fi¡st chord a Dmin7, si¡c¿ an F triad wirh Di¡ the bass contains thc tones of Elmi¡7. The F/G gives you tbc sound of a Gsus úth tbc 9ó added. The D/C gives youa C lydian sound. Since ttre uppcr parts of üc chord are all major triads, tbe overall sound of üc chords is very clean.
Example 2 is a slightly morc i¡volved exanple. Tbe same F/D chord is uscd for DminT bur we go to an BGchord nexl If we lmk at this chord as a G7, it contai¡s thc 13ü a"d b9. Thc chord is lacking the 7ü of üe chord, so ithas an incompletc sound. This is what gives üesc chords thcir personality. The G7 resolves to a drlc, which oncloser inspecuon is just a Cmin7.
*,t,¡.vsoundgrea,:l,ff¿*:fi I,ffi ffii,iilJlq.§HH:;L*i*"if#"":H"J:;bcner sounding range
tbe arrcred scare, the .ü,oI;; ;;;"di. ;";r- ff vou look at beas 3 toolT"Zla."n¿ cborü tbe altcred scalc
become a srear choicc "?[uáJ*"r r¡e $ merodic minor -1i"HlF y::?:#*;tJrm;"'
G is the T desÉ";ol;-o-üi' minor'*ñ"'üilmcrodic htY:Hm"mm:o'"ffiff*;;;5'*és,' D and Eb'
Id,IIIIaJaJaJITI
3:IIt(I((
(
I
P;OJAZ
Constant Structu-¡=
f ¡¡15rrn¡ smlcrure rs a meüod of harmomzation where a metody is ha¡monrzed usrng ooe chord form regard,iessof key or chord Progress¡on. As strange as that may sound, it can result in some great sound"ing harmoaizauons.
Creating major triads off üe melody along with a dominant approach bass line is one very effective use of thistechnique. This proccss will rcsult in a siash chord harmomzation. The big differencc is, no auenrion is givea to üeoriginal chord progression. This appears quirc compücated; it would be much easier ro look ar some examples.
S r"-**Ex' l GminT
8.2GminT
Er.3
E¡. {GminT
FMa¡7
O
TrlrCGdFMe¡7
AbGbEb
dminatrgorchb.s lirADG
ctodYtm;+¿¡'¡6EricEi¡dr ú6. tÉd
odi¡¡i<a o{uiú ¡d doui¡ogorcührEr.e*e Flrt chc
m* m* m..m' m'
T¡¡¡ACHFMa,7
Tt$iCbddFMa¡7
Exarnple I is just a simple mlody in tbc kcy of F oajor. Thc ñrst stcp to uke is to dccide what üe target chordshould bc. The F oajor chord scems idc¿l since it is üc resolution point of this progressioo.
ln example 2, thc F Major bas becn l¡bcled thc target chord and a dominaat approach bass li¡e has becn placed
in the preceding rncasure. Creating thc bass linc is just a mattcr of working backwa¡ds f¡om tlrc target chord
Ia example 3, tb mclody is bamronizrd with major riads built offtbc thi¡d. Th¡s b the constant sEucü¡re.Thesame major riad voicing is uscd rcgardless of kcy or harmony.
The 4ú and ñnat example is the combination of the bass line and triads. Notice how the bass ll¡e has been
modiñed by incorporating thc tri-tooc substitutioo. Tbe 2ü and 4ó beats of thc triad mcasurc usc tle tri-tonc of tbc
origlnal bass Line. This is pcrfectly fine. The bass li¡e was changed for thc simplc rcasor¡ tbat it created ch¡omati-
cism. Rcmembcr, when d¿¡ling with harmonizatioo, th b¡ss movement b thc mct important featr¡re of theprogrcssion. This cre¿tcs powerful moverrcnt io both di¡ections; up üe cycle of fou¡ths or ckomacicaily doT o-
ward. Other grcat bass mooon is diatonically up a scde or syms¡ctric¿l movemcnt in whole steps. As aiways. rythese ide¿s out on som€ slanda¡ds, it's thc only way to begin to undentend a¡d hea¡ them.
GminT
ffi,.ütH
33PNOJAZ
In this chapter you will sh¡dy a soog that utilizcs almost an of the ideas discusscd in this rcx. l¡arn it" ptay it
for friends, rccord yoursclf prayrng ir Not ortyit oold you understand thc material, you should be able to he¿¡ it as
well. Good luckl
ebmingl¡b
ExamPle Tirne #2
m-
FMaiT
ffi"ahúa¡z
m'
7
atm¡nZ ebminz
A7Ell¡t EfficffiffiG/A) tÉYrl
E7DminT
m*
o7ffittLTLLU
HüflG r,*,*' m'ffi'm
Em7ü5)
ffi*HiH
J,Fr.i¡3 5lt
oo.l
dm-ffi m'm' m- ffi- m'
DhvraiT oh GfrraiT
m"
cmzüs) F7
FminT
Abm¡nz (AlAGhúai7
m" m* m' ffi,'ry ffi" ffi"Fm in7(b6)
@,.ffi
Eb o7
m*LLIJ''u-Il-rJ
l
G7 ObminglOb
m- m-GminT
ffi"J)
c7
ffi'- ffi'"Hiü uttü
I
t-
GminT C7
m-m-m-m-ffi"'w'tóu¡ia
FECJAZ
--f-- -rarai
rd
'¡r I n 3rE,
'-i-' §É.
fr'1f¡t--Ti'llil
A)7
,t/
DminT
ffilraffi m" m''
BhHaiT
m'GminT FMejT
ffi'm- m- m- m'm' ffi'
Emzüs) DminT
m- m'm' m*m-m'ffi' ffi-
HTH*Hffl m- m* m'
FMa¡9
ffiGhuajT
m"
Ha¡uron iz¡ tion ExPlanations
A descending chromatic line works very well
"gJr, t¡rt rl"fo¿v' Notit' the usc of unisoo as a starting pomt-
z. straigbt forward dror2 voicings. Tbe imporunt thing to noticc is üat not every melody notc nccds to be
harcroaiz¡d.
3. A great closcd voicing for a O7$9bt3t
4. Dia¡onic metbod of barmonization'
5. Chromatic aPProacb mctbod'
6. slasb cbords uscd on the A7. This is a gr"ar wey of harmoniziog 6c p end rg of a dominant chord!
1. Chromatic aPProach'
g. usc of sixths as a oclodic dcvicc. Drffcrcot tcxü¡rcs ca¡ oakc yot'an.Dge,Cnt Euch morc inrcresting'
9. Ct¡om¿tic aPProach'
10. Slssb cbord harmoniza¡ion'
I I . Diminishcd approacb. The cfdinT cen also bc lookcd al 8s an A*9' üe dominant of Dmi¡7 !
I 2. rhis is an i¡st¡sce of the ui-tooc Tb*dl1T :Ykilr,J.Hk[ fr.fi [H,il1;t7tx;:ffi;o."l;#:;:l§ffi;S"*,ffi'Wñh:iffi :"tffi l":,t§ffi ffiTJffi H:t'$I#tr,.áTrxm:;:ffi,E:üiÉ#xsxg*:Uffi '*prcf
;;;r,;thesc idc¿s oo trr'cs you rikc to ptay. Bellads arc espccially sr¡itable for ücsc ¡pghniques'
3óp¡'o.tlz
Chapter V Solution
ctÁ47
-!J-Jt¿:]IIJtttflDrop3
Effi¡t|l riól¡iiaiaürfff
AMajT
'ri+ll'tffiDrop3
Emzüs)
ffi''ttN
rDrf2D rO.
A¡min7
ñTIl.¿ffiDrop2
F7
DminT.L-t+lgc,ffiftop3
FLle¡7
lJjlu,¿
ffiCl6Gd
BMa¡7
m"D¡oP3
FminT
ffi'[f,t
Dro,pz
Gira¡7
m*Drop2
A13 C 13 G7d€) e¡üel
m- m'm'm'DMa¡g Glg 816 Cr?úrg
m'm- m,.m'Dr!F3 Drop2 Drop2 Clos.d
Chapter YI Solution
cTds) Fmirs
m-m'Drop3 [}rop3 Drop3 Clo.d P{tp2 DmF3
Chapter YII-A Solution
G7 Cniln79
FninT Bh
R r !rr
F7 DnInT,
F7,*
G7b
CminT
53
Dnún7 G7 CminT3¡. brr ot
R-Rot
37
FTqJAA
Chapter !,"tr-B Solution
abua¡z G7 cminT
üe* E¡t EIEEIüirL '!+ FF]-H-!ffit ,-- .-_.-L!t
Drop3 DroF2 Drotr2
r*g
m'"Drp2
ctg
m*Drop2
DminT
m-Drop3
CminT f*effi'' m''Hüü HtüD!q3 D!op2
Cnún7
ffi-D¡gr2
ehg
ffi"DrF2
Dnún7 G7
m'"m*1::2 Y
r¡$gsh abreügl eh¡hi7
m*m- m-Drop2 Cl6cd Ctoctd
m*Dtop2
FfrOJAZ
BarrJ- GreeneBarry Greene began ptayrng guitar ir 197 i. w'hen he was ten ye3rs old. Su'ongly influenced by \&'es \f onr¡om-
ery, George Benson and Pat Mart¡¡o, Baqv has develo@ into a world class guitarisl arranger and composer. Hehas recorded or performed with such a¡tiss as Trm Hagens, D¡nny Goüieb, Geae Bertoncin¡ri. Scon \lbadboltKenny Drew Jr., A¿¡m Nussbaum, Wa¡ren Berndha¡dt, Russcll Malone, Roo A.ffif, and Colin Bailey.
Barry's fi¡st CD. Sojourner, has beeu well received by both the press and music industry. lust lazz Guitarmagazirc says, "...his improvisatioos were creative with impeccable technique...." 20th Century Guiur wrcte,*...it has ail üe urgency of the best of Pat Martino's worL.. Sojourner is a mixrure of original music and sta¡dards
in both trio aud quartet formats." The CD has also received positive web reviews from allabou¡j¡zz.ssq "...¿¡excellent player, a supenor musician with power to spate..."
Preseatly, Barry is involved in scvcral projecs with Mcl Bay Pnbücatioos, and is writing compositioos fc
aaotbcr relc¿sc o be recordcd i¡ thc oear futr¡¡e. He cootinucs !o eudorse Thomastik-I¡feld strings aod Buscari
Guitars a¡d has performcd at thc t,ong tsland Guitar Sbo{v bcld in Ncw Yort, fc th past threc years. In additi
Barry has becn an rnstr¡ctor at tbc prestigior¡s National Guit¡r Wortsbp bcld eecb sumncr in Coonectict¡t
Barry is anAssc:r¡rc Pr,ofessor of laz,Gr¡iar tttbc Univcrsity of North Rorid¿ in Jacksowillc, wbcre I
bcca au iostn ct6¡ si¡c¡ 1995. Hc tcacbcs two guitar cnscmblcs, as well as applicd guiar, arranging a¡d iqs¿rioa. Barry has composed m arranged ocarty scventy pieccs of guit¡¡ cnscmblc music as well as scvcral bi¡coopositioos. Hc and wife Sara a¡d son Mitcbcll, fcsidc in SL Augttstirc' R6id¡-
Barry Grecae can bc rcached via thc web wwv.unf.edrr/-bgrecuc or emaü [email protected]'
