Jim Hall Chords and Comping Techniques
|
|
- Vivien Lawson
- 5 years ago
- Views:
Transcription
1 Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with or without a soloist present. But how is it that some players manage to create such captivating comping ideas, while others fade into the background? A great accompanist can create motifs, melodies and rhythms that work with the ensemble without being overbearing, but that are still interesting on their own. The techniques and approaches for captivating Jazz guitar comping are scattered throughout recordings of the Jazz greats. Sometimes it only takes a few bars from a recording to learn truly unique comping techniques that you can use right away. In this lesson, you ll play through a Jim Hall comping example inspired by the Autumn Leaves recording from Ron Carter and Jim Hall on the Alone Together album. Using this comping example and the Jim Hall chords contained within, you ll derive 5 different concepts that you can immediately apply to your own playing in countless
2 ways. Free Jazz Guitar ebook: Pick up a free copy of my 64-page Jazz guitar PDF here and learn more about comping, improvisation and the necessities of playing Jazz guitar. Below is the Jim Hall comping example itself. Included with the music and tab notation are the recorded audio example and a backing track to help you practice. Each new musical exercise in this lesson will contain both audio and backing tracks to aid you in learning. Start off by playing and getting familiar with this Jim Hall comping example, then you can move on to the techniques required to comp like this. Click to listen Jim Hall Comping Backing Track Jim Hall Comping
3 After playing through the Jim Hall comping excerpt, it s time to go deeper and find out what s really going here. Here s a menu that will allow you to jump to the different topics contained in the lesson. Harmonic Analysis Learning through Rhythm Secondary Dominant Chords Chord Splitting Triad Substitution Melodic Comping Harmonic Analysis After playing through the Jim Hall comping example, the first step is to take a look at the individual chords and identify them. Breaking down the chords found in the excerpt will provide you with an opportunity to add them to your own playing and chordal vocabulary.
4 Bar 1 Cm9/C9 (iim7) Over the Cm7, two chords are featured. The first chord is a fragment of a Cm9 chord and the second chord is a fragment of a C9 chord. What you ll notice is that in both chords, the root is excluded. In many comping examples that feature bass and guitar, the root is excluded from the chord. Jazz guitarists often exclude the root in favour of more colourful tones, especially due to the fact that the bass player will be covering the root note. As these chords exist in the lower register of the guitar, you ll immediately generate a darker, more unique sound this is especially true when extensions are present (such as the 9 th ).
5 Bar 2 F9 (V7) In bar 2, a single F9 chord is broken up into two chords, providing a sense of harmonic movement. Having the ability to play two chords in one shape is also very easy on the hands! Bar 3 Bbmaj7, Bb9 (Imaj7)
6 In bar 3, over the Bbmaj7 chord, 2 chords are featured. Both chords are triads and both chords exclude the root note of the Bbmaj7 chord. The first triad is a Dm chord, which contains the notes D, F and A. The second triad is an F chord that contains notes F, A and C. Why F major and Dm triads? Take a look at how each triad corresponds to the chord tones in a Bbmaj9 chord. Bbmaj9 Bb D F A C Dm Triad R b3 5 F Triad R 3 5 The Dm can be found starting on the chord 3rd of Bbmaj9, and the F major triad starts from the 5th of the Bbmaj9 chord.
7 Bar 4 Ebmaj7, Ebmaj13 (IVmaj7) In the last bar of the Jim Hall comping example, an Ebmaj7 chord is featured on the and of beat 1. Following the Ebmaj7 chord, a second type of Eb chord is played. This time an Ebmaj13 is played without the root. If you look closely at the Jim Hall comping excerpt you ll notice that both chords are based off of the chord shape above. The only difference between the two Eb chords is that 1 string is left out of the complete chord shape in both chords. This chord splitting technique will be looked at in depth later in the lesson. If you re having trouble forming any of the chord shapes in the lesson, be sure to check out this guide on how to play chords faster.
8 Learning through Rhythm Your first step to improvising and implementing new material into your playing should be experimenting with rhythms. Changing the rhythm even slightly gives the music a completely different feel. Adjusting the rhythm also helps you to develop a deeper relationship with the musical content by creating new associations for your mind and hands to work over. Here are a few rhythms using the exact same chords as the Jim Hall comping excerpt to help you get started. Charleston Rhythm The first example you ll play through involves implementing the Charleston rhythm. The Charleston rhythm, as you may know, is played on beat 1 and the and of 2. Listen to how the comping example takes on a completely different vibe when using a different rhythm. Click to listen Charleston Rhythm Backing Track II-V-I-IV Track
9 Freddie Green Rhythm Again, you ll use the same chords as in the Jim Hall comping example, but this time you ll play quarter notes throughout. Click to listen Freddie Green Rhythm Backing Track II-V-I-IV Track As you can see and hear, shifting the rhythm only slightly creates a completely different comping feel. Now, take this concept further but thinking up as many new rhythms as possible and applying the Jim Hall chords to it.
10 For even more rhythmic comping ideas, be sure to check out this essential Jazz guitar comping rhythms lesson here. Secondary Dominant Chords After working with altering the rhythm, the next step is to take a deeper look at what s going on harmonically. In just the 4 bars of the original Jim Hall comping example, a number of musical devices are used that you can incorporate into your comping. The first technique you ll find in the Jim Hall lick is the usage of the secondary dominant. A secondary dominant is a dominant chord that resolves to a chord other than the tonic or I chord. The secondary dominant must also resolve to a chord that is either a perfect 4 th above, or perfect 5 th below the secondary dominant itself. Keeping that definition in mind, take a look at bar 1 in the original Jim Hall comping example.
11 You ll notice that the Cm9 chord fragment becomes a C7 chord in bar 1, which resolves to the F7 chord in bar 2. In this chord progression, the F7 is a V7 chord and not a I chord, therefore making the C7 a secondary dominant. How can you take advantage of secondary dominants in your playing? Here are a few examples First, play through the same II V I IV chord progression using typical Drop chord style voicings. Get familiar with these chords as the next step will introduce the secondary dominants. Click to listen Drop Chords Backing Track II-V-I-IV Track
12 Moving on, the available chords that can be turned into secondary dominants are the Cm7 (iim7) and the Bbmaj7 (Imaj7). The reason the Cm7 can be converted to a secondary dominant is because the proceeding chord, F7, is not a I chord. Also, the F is a 4th above the C, which satisfies both conditions for a secondary dominant chord. The Bbmaj7 can be converted to a secondary dominant for the same reasons. The I7 (Bb7) in the place of the Imaj7 (Bbmaj7) is considered a secondary dominant due to the fact that the Ebmaj7 is not the tonic and that Eb is a perfect 4 th above Bb. Here s what playing the II V I IV progression sounds like with the inclusion of secondary dominants. Play the example using the notation below to familiarize yourself with the secondary dominant concept. Click to listen Secondary Dominants Backing Track II-V-I-IV Track
13 *Note that the chords in red indicate the secondary dominant chords. But hold on a moment, this example sounds different than the Jim Hall excerpt. Why is that? The chords you just played in the secondary dominant example are voiced in a brighter manner. In order to get the same darker quality as in the Jim Hall example, try playing the same chord progression using both secondary dominants and inversions of 7 th chords, instead of root position 7th chords. Using inversions of 7th chords can open the doors to both brighter and darker sounding versions of the same chord. Click to listen Secondary Dominant Inversions Backing Track II-V-I-IV Track
14 *Note that the chords in red indicate the secondary dominants. The inversions and secondary dominants sound great, but there s more you can do to emulate Jim Hall s approach. You can lose the Drop chord sound all together by simply removing a single note in each of the chords in the above example. Many of the smaller chord fragments Jim Hall and other great Jazz guitarists played can be derived as sections of larger Drop chords. Click to listen Secondary Dominant Fragments Backing Track II-V-I-IV Track
15 In the first 2 bars of the example above, the highest note in each Drop chord shape was removed. In bars 3-4, the lowest chord tone in each Drop chord shape was removed to add some variety. Chord Splitting As Jazz guitarists it s important to know how to get the most sound and playing ideas from even the simplest chords. In Bar 2 and 4 of the original comping example (seen below), a technique seen in countless Jazz guitar solos is used taking a single chord and playing different parts of it at different times. In the excerpt above, the F9 and Ebmaj13 chords are broken up into two chord fragments. Breaking up larger chords into fragments creates movement and allows you to highlight specific chord tones without having to lift a finger.
16 In order to work this chord splitting concept out for yourself, check out the following exercise. Using the II V I IV progression as a starting point, play through the following chord shapes. Now, using the same 4 chords as above, you ll play through the following comping example. This time, instead of playing the complete chord all at once, you ll break up each chord
17 into 2 parts. Click to listen Chord Splitting Backing Track II-V-I-IV Track The technique works for any chord shapes you can think of. In fact, you can even break the chord up into 2-string fragments or non-adjacent string fragments. Experiment with the number of ways you can break a single chord up. This kind of experimentation will quickly add variety to your comping and chord soloing. Triad Substitution Moving on, in bar 3 of the Jim Hall comping example, triad chord substitutions are featured. Over the Bbmaj7 in bar 3, a Dm traid is played followed by an F triad.
18 Why the Dm and F traids? Building triads off of the chord 3 rd and 5 th allows you to play specific chord tones in a given chord. Triad substitutions often exclude the root of the chord in favor of the upper structure chord tones or extensions. In each substitution in the below chart, the triad built from the chord 3rd produces the 3rd, 5th and 7th of the given chord. The only chord tone excluded with the chord 3rd triad sub is the root. Chord Tones Eb over Cm7 Adim over F7 Dm over Bbmaj7 Gm over Ebmaj Eb G Bb A C Eb D F A G Bb D Play through the chord 3rd triad substitution below and listen to the audio example to
19 develop a feel for this substitution. Click to listen Triad Sub on 3rd Backing Track II-V-I-IV Track Next, play through the complete II V I IV progressions again, but this time using triads built from the 5 th of each chord tone. Remember that triads built from the 5 th omit the 3 rd and add the 9 th of each chord tone. As you can see in the chart below, when using a triad built from scale degree 5 of a given 7th chord, the root and 3rd are excluded. Often the 3rd is kept in a substitution voicing because of how it helps to define the chord. However, without the chord 3rd, triads built from the chord 5th of a 7th chord produce a unique sound that can bring variety and color to your comping. Chord Tones Gm over Cm G Bb D
20 Cm over F7 F over Bbmaj7 Bb over Ebmaj7 C Eb G F A C Bb D F Take a listen to the audio example below, then play through the example to hear the effect that chord 5th triad substitutions have on 7th chords. Click to listen Triad Sub on 5th Backing Track II-V-I-IV Track Melodic Comping The final, and possibly trickiest element to the Jim Hall comping excerpt is the concept of melodic comping.
21 In order to create interest and variety when comping, it s important not to forget about one of the most important elements to music melody. Starting in bar 2 of the Jim hall example, a melodic line can be heard moving through the top voice of the chords. Listen to the original Jim Hall comping example again and listen closely for the top voice throughout the excerpt. Click to listen Jim Hall Comping Starting in bar 2, the top voice of each chord starts moving in a consistent pattern. In bar s 2 and 3 the top voice moves in 3rds and in the last bar, the top voice jumps by a fourth. Having control over both the chords and melody of a tune or progression can be challenging, but here s an exercise to help you get started. Before trying to create a melody with leaps and patterns as in the example above, work on playing stepwise melodies through the chord progression. The term stepwise refers to playing a melody or line in a given key
22 by step, using no intervals larger than the 2 nd. Here s an example of maintaining a stepwise melody over the II V I IV chord progression. Click to listen F7 Melodic Comping Backing Track II-V-I-IV Track In this melodic comping example, the G in the top voice of the Cm7 in bar 1 moves by step throughout the progression. So, the notes in the melody starting in bar 1 are as follows: G, A, Bb, C. A trick to finding melodic limitations within each chord voicing is by playing the root note of a given chord then reaching for every available tone in the highest voice by step. Depending on your hand position relative to the root note, the basic chord shape may change as well. Next, you ll play through an example of creating melody with an F7 chord.
23 Using this exercise in combination with all the other chords in your chord vocabulary will set you on your way to creating melody while comping. Click to listen F7 Ascending Melody Now, play through the same chords as above, but this time in reverse. Working with each chord like this will immediately allow you to find out the melodic limitations of the given chord shape. Click to listen F7 Descending Melody
24 Before finishing up, check out the review for final points on the lesson. You can also continue reading by learning how to solo with chords here. Review and additional practice ideas Rhythm First, if you haven t already, play through the II V I IV progression using the same chords as the original comping example, but come up with even more rhythms. Additionally, you can also apply rhythmic variations to each of the other exercises you completed in this lesson. So, head back through and see what everything sounds like using different rhythms. Secondary Dominant In order to get in the habit of applying secondary dominants, run through each of the tunes you know or are working on and apply them where possible. Remember a secondary dominant is a chord that has been converted to a dominant (ie: from a m7 or maj7 chord) and resolves to the following chord up a perfect 4 th or down a perfect 5 th. Chord Splitting Comp through any tunes you know already, but
25 this time split each chord into sections. Maintain the same shapes you normally play and strum the chord in sections on different beats, rather than as a whole. Triads In order to really hear the color of the triads you use as substitutions in your playing, start out with a backing track or loop of a chord progression or tune. This way, you ll be able to hear the color of the triad substitution much easier. Melodic Comping While comping through your favorite tunes, start thinking about creating lines in the top voices of your chords. At first try maintaining a continuous stepwise melody (as in the example in this lesson), then work on making larger leaps. If You Enjoyed the Lessons, Sign-up for Free Updates. Join 4000 other subscribers in recieving nothing but the best Jazz guitar lessons. Sign up Leave this field empty if you're human:
Jim Hall Chords and Comping Techniques
Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with
More informationThe Evolution of Jazz Blues Chords
The Evolution of Jazz Blues Chords Jazz blues chords, progressions and tunes appear throughout the Jazz genre in many different forms and arrangements. The influence of Blues on Jazz is undeniable. The
More informationScale Patterns for Guitar and Why You Need Them
Scale Patterns for Guitar and Why You Need Them In this lesson, the topic of scale patterns for guitar will be covered in detail. You ll be both introduced to a number of scale patterns, and taught how
More informationApproach Notes and Enclosures for Jazz Guitar Guide
Approach Notes and Enclosures for Jazz Guitar Guide As a student of Jazz guitar, learning how to improvise can involve listening as well as learning licks, solos, and transcriptions. The process of emulating
More informationIntroduction What Are Chords? Intro to Drop Chord Shapes Chapter 1: First Steps The ii-v-i-vi Progression...
Table of Contents 2 Introduction... 5 What Are Chords?... 7 Intro to Drop Chord Shapes... 20 Chapter 1: First Steps... 28 The ii-v-i-vi Progression... 28 The iim7 Chord... 29 The V7 Chord... 37 The Imaj7
More informationEasy Jazz Guitar Progressions
Easy Jazz Guitar Progressions 12 Essential Progressions for Jazz Guitar Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2017 Guitar for Life LLC mattwarnockguitar.com 2 Table of
More informationEasy Major ii V I Comping
Easy Major ii V I Comping Easy and Essential ii V I Chords for Guitar Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com 2 Table of Contents
More informationThe Fundamental Triad System
The Fundamental Triad System A chord-first approach to jazz guitar Volume I Creating Improvised Lines Pete Pancrazi Introduction / The Chord-First Approach Any jazz guitar method must address the challenge
More information10 Must Know Jazz Guitar Licks
10 Must Know Jazz Guitar Licks Building A Vocabulary From Studying What The Masters Play Written By: Jamie Holroyd Edited By: Jamie Holroyd and Britt Reed 2012 Jamie Holroyd http://www.jamieholroydguitar.com/
More information11. Jazz Standards and Forms
11. Jazz Standards and Forms A typical performance of a jazz standard might take the following structure: o An introduction o The head (main melody) o Open-ended repetition of the form with improvisation
More informationTutorial 3K: Dominant Alterations
Tutorial 3K: Dominant Alterations Welcome! In this tutorial you ll learn how to: Other Tutorials 1. Find and use dominant alterations 3A: More Melodic Color 2. Play whole-tone scales that use alterations
More informationJazz Lesson 4. Technique. 1. Phrasing a. Phrasing is a very important part of technical exercises. If you can get in the habit of
Jazz Lesson 4 Technique 1. Phrasing a. Phrasing is a very important part of technical exercises. If you can get in the habit of working on your phrasing while practicing your tedious exercises than this
More informationWeekly Bass Lessons: Week 7 Walking Bass Line Concepts
Weekly Bass Lessons: Week 7 Walking Bass Line Concepts In this weeks lesson we will be focusing on some Walking Bass Line Concepts. The Chord Progression I m using is based on the changes to the popular
More informationThe Jazz Piano. What s the function of the jazz piano in the jazz ensemble?
The Jazz Piano Welcome to the wonderful world of jazz piano! Understanding the function of the piano and how to play your part in the jazz band can be overwhelming when first exposed to standard jazz material.
More informationChapter 1 - Jazz Guitar Chords Essential Jazz Guitar Chords For Beginners How to Transpose Guitar Chords... 13
1 2 Contents Chapter 1 - Jazz Guitar Chords... 8 17 Essential Jazz Guitar Chords For Beginners... 9 How to Transpose Guitar Chords... 13 Your First Jazz Chord Progression... 15 Essential Jazz Comping Rhythms...
More informationTutorial 1B: Chords and Scales
Tutorial 1B: Chords and Scales Welcome! In this tutorial you ll learn how to: Other Level 1 Tutorials 1. Read and understand chord symbols 1A: Virtual Practice 2. Build major chords and Lydian scales 1C:
More informationMajor Pentatonic Scales: Lesson 1
Major Pentatonic Scales: Lesson 1 In the next 4 video lessons we will be looking at and discussing some simple concepts for creating grooves and groove solos. The 4 Lessons will focus on Using Major Pentatonic
More informationBlues turnaround chord melody lick
Blues turnaround chord melody lick Week 1: 52 weeks to better jazz guitar Blues turnaround chord melody lick Page 1 Copyright Darren Dutson Bromley Blues Turnaround Chord Melody Lick. As a guitarist, regardless
More information2019 Stef Ramin jazz-guitar-licks.com All Rights Reserved
What s a Tritone Substitution? The tritone substitution is one of the most common substitution found in jazz. The basic application of a tritone chord substitution is to take any 7th chord and play another
More informationThe Fundamental Triad System
The Fundamental Triad System A chord-first approach to jazz theory and practice Pete Pancrazi Copyright 2014 by Pete Pancrazi All Rights Reserved www.petepancrazi.com Table of Contents Introduction...
More informationEasy Guitar Soloing Your stress free guide to soloing in the jazz guitar style.
Easy Guitar Soloing Your stress free guide to soloing in the jazz guitar style. Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC Expanded Preview Table of
More informationJazz Lesson 12. Technique. Harmony & Theory. 1. Playing Modes over 5-1 Resolution. 1. The ii-7-v7-i Resolution. Jazz Piano School 2014
Jazz Lesson 12 Technique 1. Playing Modes over 5-1 Resolution a. The V-I resolution is incredibly important. So much so, thatpracticing V-I resolutions in every key using specific modes will be an important
More informationPower Chords on Guitar Lesson. Power Chords on Guitar Lesson
Power Chords on Guitar Lesson Power Chords on Guitar Lesson Power chords are probably the most commonly used chords in rock guitar and they have been played on thousands of songs in many different genres.
More information5 Miles Davis ii V I licks.
5 Miles Davis ii V I licks. BASS CLEF Matt Lawton WWW.MATTLAWTONBASS.COM MATTLAWTONBASS@GMAIL.COM About The Author Thanks for downloading my ebook! If you don t know who I am allow me to introduce myself;
More information10 Must Know Jazz Guitar Chords
10 Must Know Jazz Guitar Chords Playing the right chords through a jazz standard can be tricky without the right chord vocabulary. In this lesson, we will cover the 10 must know jazz guitar chords that
More informationChord Tones: Targeting Blues Guitar. Chord Tones: Targeting Blues Guitar
Chord Tones: Targeting Blues Guitar Chord Tones: Targeting Blues Guitar In this chord tones lesson we will learn to target the notes in each individual chord of the 12-bar blues progression and adjust
More informationJazz-Blues changes based on Joe Pass chord-melody solo The Blues. 50shadesofguitar - The Guitar Blog
27/12/2016 Jazz-Blues changes based on Joe Pass chord-melody solo The Blues 50shadesofguitar - The Guitar Blog Here you can see 2 choruses of the changes from great Joe Pass Blues transposed to all 12
More informationBlues Guitar 101 Classic Licks
Blues Guitar 101 Classic Licks Essential Blues Guitar Licks and Phrases Written By: Matthew Warnock Audio By: Jack Taylor Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com
More informationAdditional Open Chords
Additional Open Chords Chords can be altered (changed in harmonic structure) by adding notes or substituting one note for another. If you add a note that is already in the chord, the name does not change.
More informationPlaying Jazz Guitar Bass Lines with Chords
Playing Jazz Guitar Bass Lines with Chords The guitar is an extremely versatile instrument, with seemingly endless techniques and tones around every corner. One very important and widely used jazz guitar
More informationInstructions for BHS Jazz Auditions 2017 RHYTHM SECTION
Instructions for BHS Jazz Auditions 2017 RHYTHM SECTION Hello and welcome! Thank you for deciding to audition for the BHS Jazz Lab II band and/or the BHS Jazz Ensemble for the 2017 2018 school year. You
More informationJazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures
Jazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures B. Extensions: 9 th, 11 th and 13 th chords Jazz Theory and Practice Harmonic extensions
More informationProgressions & Composing
10-Week Teaching Plan: Intro to Chords, Progressions & Composing The Most Kick-Butt Chord Teaching Program Ever Tim Topham 10-Week Teaching Plan: Intro to Chords, Progressions & Composing The Most Kick-Butt
More informationChord Essentials. Resource Pack.
Chord Essentials Resource Pack Lesson 1: What Is a Chord? A chord is a group of two or more notes played at the same time. Lesson 2: Some Basic Intervals There are many different types of intervals, but
More informationJazz Lesson 20. Technique. Harmony & Theory
Lesson 20 Jazz Lesson 20 Technique 1. Minor Bebop Scale a. Playing minor bebop scales is going to be exactly the same as a dominant bebop scale fingering wise except for the fact that you will play a minor
More informationTeaching Jazz Improv in Your Middle School Ensemble
Teaching Jazz Improv in Your Middle School Ensemble Curtis Winters Orem Junior High & StepWise Publications curtis@stepwisepublications.com PATTERNS (MOTIFS OR LICKS) - WHY & HOW 1. provide a starting
More informationEar Training Exercises Ted Greene 1975, March 10 and May 8
Ear Training Exercises Ted Greene 1975, March 10 and May 8 PART 1 Wherever the word sing is used, you might wish to substitute hum or whistle if you prefer to do these. If you do sing the exercises you
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Voice Leading for Guitar John Thomas Chapter Harmony Review and Introduction to Voice Leading Press ESC to cancel sound. Check out Berkleeshares.com for
More information1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 The
More informationVertical Harmony Concepts
Vertical Harmony Concepts The purpose of this book is to familiarize the bassist with chord structures and to enhance his ability to solo intelligently and effectively. While many of these concepts can
More informationAnalysis Of A Tune Based On The Changes To Solar
Analysis Of A Tune Based On The Changes To Solar Analysis The 1st step on our quest is to really understand Harmony, Form and Melody. I definitely recommend that you do check out the melody for the Standard
More informationTip 1: Listen to different styles of music
1 P a g e Tip 1: Listen to different styles of music Listening to different styles will open the door to new playing techniques, harmonies, rhythms, effects and more! If you close yourself off to only
More informationHarmonised Scales Author: John Clarke Date:?
Dedicated to fostering the art and craft of the jazz guitar Harmonised Scales Author: John Clarke Date:? The objective of this article is to show: how chords are related to scales how an understanding
More informationBlues Guitar 101 Solos
Blues Guitar 101 Solos How to Build Exciting and Creative Blues Solos Written By: Matthew Warnock Audio By: Jack Taylor Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com
More informationHow To Work Out Songs By Ear On Guitar By Andy Crowley
1 How To Work Out Songs By Ear On Guitar By Andy Crowley Learning to play guitar by ear can be the most important skill any guitarist can learn. Guitarists who constantly develop this skill tend to be
More informationI have a very different viewpoint. The electric bass is a critical part of the musical foundation of the guitar choir.
1 Introduction I have taken the time to write down some of what I know and feel about using the electric bass in a guitar choir. This document is an odd combination of instruction and philosophical discussion.
More informationGUITAR SYSTEM THE. Beginner
Beginner GUITAR SYSTEM THE Beginner The Guitar System - Beginner - Table Of Contents Table Of Contents DVD #6 - Minor Chords And Walk-Downs Open Minor Chords...................................................................
More informationCHAPTER TWO BASIC SKILLS REVIEW COMMON CHORDS
6 PROGRESSION 1. I - IV - V7 2. I - vi - IV - V7 3. I - ii - V7 4. I - iii - IV - V7 CHAPTER TWO BASIC SKILLS REVIEW COMMON CHORDS The chart below contains the seven pitches of five major scales. Upper
More informationBeginner Guitar Theory: The Essentials
Beginner Guitar Theory: The Essentials By: Kevin Depew For: RLG Members Beginner Guitar Theory - The Essentials Relax and Learn Guitar s theory of learning guitar: There are 2 sets of skills: Physical
More informationChronicles II Part 1: Chord Phrasing Chord Phrasing Lesson 1: The C Shape
Chronicles II Part 1: Chord Phrasing Chord Phrasing Lesson 1: The C Shape The open C chord is one of the first things a guitarist will learn, but did you know that there's a built-in scale pattern that
More informationMinor Blues Chord Progressions
Minor Blues Chord Progressions In this jazz guitar lesson you will learn the most common chord progressions used when playing a minor blues. These progressions will start off rather simply, with what is
More informationJPS Lesson 37. Technique
JPS Lesson 37 Technique 1. Hexatonics Series Part 1 C7Sus (bvii, I) Our hexatonic scale is very similar to our pentatonic scale except we are combining two triads two form a six note scale. The combination
More informationImprov Pathways. Table of Contents. CD 1 Track List
Introduction....................... 1-2 Lessons 1-8: The I Chord............ 3-10 Head Charts: I Chord.............. 11-12 Lessons 9-13: The IV Chord........ 13-17 Head Charts: I & IV Chords........ 18-19
More informationONE-OCTAVE MINOR PENTATONIC BLUES
The Musicarta Pentatonics Workbook ONE-OCTAVE MINOR PENTATONIC BLUES This catchy 12-bar minor blues uses the white-key A minor and D minor pentatonic scales chords I and IV (One and Four) of a twelve-bar
More informationRICK PAYNE S FINGERSTYLE BLUES
RICK PAYNE S FINGERSTYLE BLUES 10 lessons in the art of Fingerstyle Blues acousticguitarworkshop.com Welcome to the Fingerstyle Blues - 10 lessons in the art of Acoustic Blues Here is a resume of the course.
More informationA Quick Guide To Learning Your First Bar Chord!
A Quick Guide To Learning Your First Bar Chord! By Jonathan Boettcher This guide may not be copied in any form. It is for personal use only. Why Learn Bar Chords? Before we dig into learning your first
More informationEasy ii V I Vocabulary
Easy ii V I Vocabulary Easy and Essential ii V I Lines and Concepts Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com 2 Table of Contents
More informationJazzyPiano.net Glen Rose Professional Piano Techniques (2 parts)
JazzyPiano.net Glen Rose Professional Piano Techniques (2 parts) Professional Piano Techniques - Part One (27 minutes) (and faking it) These ideas continue from where the video titled, The Five Basic Jazz
More informationAutumn Leaves Chord Melody Guitar Arrangement
Autumn Leaves Chord Melody Guitar Arrangement 1 / 6 2 / 6 3 / 6 Autumn Leaves Chord Melody Guitar Autumn Leaves Scales. Jazz guitar scales are an important tool for improvisation and essential learning
More informationJazz Standard Study Guide Corcovado
Jazz Standard Study Guide Corcovado Written By: Matthew Warnock Published By: Guitar for Life LLC Cover Photo By: Twizzlebird Creative Copyright 2017 Guitar for Life LLC Introduction to This Study Guide
More informationNon-Harmonic Tones (NH Tones)
Non-Harmonic Tones (NH Tones) Ted Greene 9-16-1973 Non-harmonic tones can be defined generally as quickly moving tones that are unessential and/or foreign to the chords with which they are being played.
More informationJazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues
Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues C. The Basic Blues If you ask a dozen musicians, you ll get at least a dozen answers to the question: What is the
More informationThe Basics of Minor ii V Soloing for Jazz Guitar. The Basics of Minor ii V Soloing
The Basics of Minor ii V Soloing for Jazz Guitar The Basics of Minor ii V Soloing When learning Minor ii V Soloing for guitar, a big mistake many guitarists make is to approach bebop improvisation from
More informationApproach Note Series #1: Root and Third
Approach Note Series #1: Root and Third A true staple in the jazz improvisation world is the approach note technique. It is a technique that has been used by all of the greatest jazz improvisers of the
More informationLevel 7. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 7 Length of the examination: 35 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 3 examination
More informationLEVEL SIX. The THEORY 2 written examination must be completed successfully for the awarding of the Level 6 Practical Certificate.
LEVEL SIX Length of the examination: Examination Fee: Co-requisite: 30 minutes Please consult our website for the schedule of fees. www.conservatorycanada.ca The THEORY 2 written examination must be completed
More informationINTRODUCTION TO CHORDS
INTRODUCTION TO CHORDS Indicates Files in Piano Marvel Repertoire Introduction to Chords Print out this file and use it at your keyboard to study/ Prepared by Christine Brown Please give me your feedback
More informationLEVEL FOUR. Please consult our website for the schedule of fees. REQUIREMENTS & MARKING ONE SUPPLEMENTARY 10
LEVEL FOUR Length of the examination: Examination Fee: Co-requisite: 25 minutes Please consult our website for the schedule of fees. www.conservatorycanada.ca None. There is no written examination corequisite
More informationHarmonizing Jazz Melodies Using Clusters
Harmonizing Jazz Melodies Using Clusters As a jazz pianist, I am always looking for ways to arrange jazz tunes. One technique that I find myself working with involves using clusters in the right hand in
More informationVirginia Standards of Learning IB.16. Guitar I Beginning Level. Technique. Chords 1. Perform I-IV-V(V7) progressions in F, C, G, Scales
Guitar I Beginning Level Technique 1. Demonstrate knowledge of basic guitar care and maintenance 2. Demonstrate proper sitting position 3. Demonstrate proper left-hand and right-hand playing techniques
More informationMozart, Beethoven, and Brahms were all renowned for their improvisational abilities
ØJazz Ukulele What is Jazz? (From Ask Jeeves) - a genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex styles. A type of music of black American
More informationWe aren't going to play any 4/4 time signatures because you already know this style. Let's try some others.
Time Signatures Video Reference: Chapter 2 - "Time Signatures" We aren't going to play any 4/4 time signatures because you already know this style. Let's try some others. These may not be the most 'fun'
More informationChords- Theory and Application
Chords- Theory and Application Chords remain a mystery for most guitarists because of the mystique surrounding both the guitar and the theory behind what makes a chord appropriate. The almost limitless
More informationThe Basics of Jazz Piano Missouri Music Educators Association Conference January,
The Basics of Jazz Piano Missouri Music Educators Association Conference January, 25 2018 Phil Dunlap Director of Education and Community Engagement Jazz St. Louis phil@jazzstl.org 2.4 2.5 2.6 3.0 General
More informationProject Two - Building a complete song
Project Two - Building a complete song Objective - Our first project involved building an eight bar piece of music and arranging it for three backing instruments. In this second project we will consider
More informationWes Montgomery Licks. From the Master. Written by Sam Smiley Copyright 2012 by Sam Smiley
Wes Montgomery Licks From the Master Written by Sam Smiley Copyright 2012 by Sam Smiley http://www.samsmileymusic.com twitter.com/samsmileymusic facebook.com/samsmileymusic Table of Contents Introduction...
More informationEPUB / MELODIC MINOR SCALE GUITAR DOCUMENT
01 November, 2017 EPUB / MELODIC MINOR SCALE GUITAR DOCUMENT Document Filetype: PDF 232.4 KB 0 EPUB / MELODIC MINOR SCALE GUITAR DOCUMENT Here's the free C Melodic Minor Scale. It can also be easily remembered
More informationhow to play guitar in less than 10 steps
how to play guitar in less than 10 steps everything you need for a lifetime of playing your favorite songs written by josh espinosa graphic design by blueline branding introduction People often look at
More informationThe Tritone substitution In Chords on August 8, 2012 at 10:01 am from Alfred Scoggins (Wholenote web site) Tempo: 120
The Tritone substitution In Chords on August 8, 2012 at 10:01 am from Alfred Scoggins (Wholenote web site) Tempo: 120 In chordal playing there are several substitution rules one can apply. One of these
More informationTranscription. Music Analysis Essay SAYS YOU. Composed by Sam Jones As played by Wes Montgomery On Movin Along. Transcribed by Mathias Baumann
Transcription Music Analysis Essay SAYS YOU Composed by Sam Jones As played by Wes Montgomery On Movin Along Transcribed by Mathias Baumann BAJP Year 3 01/04/2012 Table of contents Album Information 4
More informationMUSIC THEORY GLOSSARY
MUSIC THEORY GLOSSARY Accelerando Is a term used for gradually accelerating or getting faster as you play a piece of music. Allegro Is a term used to describe a tempo that is at a lively speed. Andante
More informationUnderstanding and Using Pentatonics Creatively: Lesson 1
Understanding and Using Pentatonics Creatively: Lesson 1 Major and Minor Scales When we write melodies, play bass lines and improvise solos, we derive our information from scales. There are many types
More informationRhythm. Chords. Play these three chords in the following pattern of 12 bars.
This is a very short, brief, inadequate, introduction to playing blues on a guitar. Shown is a twelve bar blues in A because it's easy to get started. Have fun! Rhythm You've heard this rhythm before:
More informationDOWNLOAD OR READ : BASIC SCALES CHORDS ARPEGGIOS AND CADENCES PDF EBOOK EPUB MOBI
DOWNLOAD OR READ : BASIC SCALES CHORDS ARPEGGIOS AND CADENCES PDF EBOOK EPUB MOBI Page 1 Page 2 basic scales chords arpeggios and cadences basic scales chords arpeggios pdf basic scales chords arpeggios
More informationDOWNLOAD OR READ : MINOR CHORDS PDF EBOOK EPUB MOBI
DOWNLOAD OR READ : MINOR CHORDS PDF EBOOK EPUB MOBI Page 1 Page 2 minor chords minor chords pdf minor chords Guitar Chords Chart - PDF, Printable, Poster and Wallpaper Guitar chords chart for beginners
More informationHow to Strum Rhythms on Guitar. How to Strum Rhythms on Guitar
How to Strum Rhythms on Guitar How to Strum Rhythms on Guitar Learning to strum rhythms on guitar is one of the most important foundations you can build as a beginner guitarist This lesson is an extract
More informationWorksheet: Marian's Music Theory Shorthand (video 4, stepping outside the scale) 1 / 6
Worksheet: Marian's Music Theory Shorthand (video 4, stepping outside the scale) 1 / 6 I. Half steps and whole steps and scales We spent some time on intervals seconds, thirds, sixths, etc. now we are
More informationLevel 6. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 6 Length of the examination: 30 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 2 examination
More informationMelodic Guitar Patterns Video Guitar Lesson. Melodic Guitar Patterns
Melodic Guitar Patterns Video Guitar Lesson Melodic Guitar Patterns In the previous lesson, I showed you some practical ways to improve your dexterity and coordination through a series of five carefully
More informationTutorial 1C: Melodic Color
Tutorial 1C: Melodic Color Welcome! In this tutorial you ll learn how to: Other Level 1 Tutorials 1. Find and use color tones in solos 1A: Virtual Practice 2. Find and use color intervals in solos 1B:
More informationAsk your students to continue skipping up the scale by playing broken triads on each on each scale degree.
Rev. 8/18/11 Learn Your Chords Kid! By Bradley Sowash When I was about 12 years of age, my parents took me to a restaurant that featured a live jazz trio. l was amazed to see the pianist playing without
More informationThe Solo Section is a Part of the Chart Too!
The Solo Section is a Part of the Chart Too! Making the Solo Section Work for Your Band Mike Conrad Doctoral Candidate University of Northern Colorado Time spent on improvisation? Chart is about 5 minutes
More informationDOWNLOAD OR READ : RHYTHM BLUES GUITAR PDF EBOOK EPUB MOBI
DOWNLOAD OR READ : RHYTHM BLUES GUITAR PDF EBOOK EPUB MOBI Page 1 Page 2 rhythm blues guitar rhythm blues guitar pdf rhythm blues guitar In music performances, rhythm guitar is a technique and role that
More informationMethod 2 The Chord Tone Gap Method By James Hober
Method 2 The Chord Tone Gap Method By James Hober Ted Greene created the V-System using Method 1 in the 1970s. In the 1980s, I discovered a pattern of chord tone gaps inherent in Ted s V-System. I wrote
More informationCopyright MCMLXXIX by Alfred Publishing Co., Inc.
This CHORD DICTIONARY shows the notation, fingering and keyboard diagrams for all of the important chords used in modern popular, music. In order to make this dictionary useful to the amateur pianist,
More informationMUSIC SOLO PERFORMANCE
Victorian Certificate of Education 2009 SUPERVISOR TO ATTACH PROCESSING LABEL HERE STUDENT NUMBER Letter Figures Words MUSIC SOLO PERFORMANCE Aural and written examination Wednesday 11 November 2009 Reading
More informationJazz Guitar Lessons Misty Chord Melody Chart,
Jazz Guitar Lessons Misty Chord Melody Chart, Learning Blues Guitar I have been teaching guitar professionally since 1992, when Don t Fret Guitar Instruction was established. Over the years, I have taught
More informationThe Great American Songbook
The Great American Songbook Volume Don't Get Around Much Anymore Arr. by Rich Severson Georgia On My Mind Tenderly The Shadow Of Your Smile Fly Me To The Moon It Had To Be You Don'tGetAroundMuchAnyonDukeBoElbRingutosenl
More informationChromatic Chord Tone Patterns
A scale-like approach to add chromatics to Gypsy Jazz improvisation By Jim Vence March 2011 As a progressing Gypsy Jazz improviser, you have been probably working on your chord and arpeggio patterns, as
More informationDOWNLOAD OR READ : THREE CHORDS AND THE TRUTH PDF EBOOK EPUB MOBI
DOWNLOAD OR READ : THREE CHORDS AND THE TRUTH PDF EBOOK EPUB MOBI Page 1 Page 2 three chords and the truth three chords and the pdf three chords and the truth B that you can use as a stepping stone to
More information