lEf;

:mrx
r:
Ex. I
The
rc,:*ine : exa-c,pies ue :uncucna.l subsuruuccs acr
DmrnT
AminT DminT
Ex-2
Emtn//
Er3
Emln/
E35
Amn7
vr
The fist cxample is e ubiquitous I-VI-[-V progressiou The subscqucnt exrmples are all using functiond
substiuon to arrive at tbe ncry chord progressioos. Play thcm- Although thcy ae difrerent cy rcuin the smc
basic souod. This is the st stsp in learning how to re-harmonizc chord progressioos. This simple device lays thc
groundwork
for tbe advanccd re-haroniztioo's to follow.
Try thesc ideas out on your fevoritc urncs. AEost all stadard s3s sotin e I-VI-tr-V progressiou. The
only way to gct thesc idcss iD yorr playrg 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 e chord docsn't have .o bc on e bonom
of the voicn8. voicing is anotber term uscd to dcscribc the ordcr of tones in a chord. Therc ae four main typcs of
voicings.
1. Closed
Voice
2. DroP-2
3. DroP-3
4. DroP-2
and 4
lt's scuss esc in dePth'
A closcd
voice contais all for ooes of e chord
wiin ooc :teve' Fr exemplc
G7
J
J
G,
Although
rhesc voicings of G? have difiersnt oncs i tc mlody, tbey ae dl clod voiccd chords' since thc
diancc fom thc lowcst ootc to the higest oac is uirhin onc etrrc. Ply thcsc voicings' occd-voicc chods ae
us,aly diffrcult to pray sioce tc oo"T
*itio tbc cbord r 3o clcc togethcr. Root pooitioa invcrsions of closcd
voice chords
gencrally work tbc best, but tberc ee otc siurtions
wbcre closcd voiccs work well, as yol will scc'
since closcd voicc cbords afe so difficult to
Ply,
gultfists dcPcDd on othcr voTtrqs for comforr orc of thc
fDo6t comtrIoo is tbc drop2 voicing. Trddc'do1*
fu.'" top of a cloecd voice chon4 and dropping
it
dowa an octve, creaEs a droP2
voicing' Example:
G7
m..
m'
m*
EIIEIt
ffi
Dmf2
Drop2
Dmp2
Dlop2
FAOJAZZ
Pla! xes.:rilies ior Gi
\!-here,tre
:iossd'"'otce;c
3s
JnEassiie.'-'ie:cO-'l:s','er' '.u',:lelCu
Since Jrop-1's are oo { ad.acent sungs. rhere wrll be thee sets of these on-e gurar. Look at'.lus
lustrauon:
smt
xxf-l
SET 2 SET 3
xrTlx lTlxx
t ern a the diaronic dof2 chords on all threc scts of strings
(Scc also Dro72 Concept
for
Guitar by
Charlcs Chapman, 2001 Mcl Bay Pubtications,Ioc.,
ctalog #MB98ltl.) Tbcsc are used quia oftcn and yor
6t66tnrling of the fretboad wilt grow considcrably.
Drop3 chords ae formed in thc exact saDe
tyrrner, cxcspt tbc thid notc froE thc top of thc cho,rd is droppcd
one octve
Oord
Am7
ffi,*
ffi
Drop3 Clacd
Am7
m-
Dp3
Am7
m-
Drp3
Am7
ffi*
iiil
Clcd Drop.3
Look at tbc foowig exanples of drop3 voicings forA'mia7'
These chord forms also work very wcll oo c gtiter. Drop3's can only bc played on rwo seu of strings as
demonstratcd i c 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
ad
p'oo
t" e string.
To demonse
this, look at smin,
drop-3
with the
scuenti,
in e melody
(op of the cbord)'
al6 or GminT
m-
DroP3
Tbe first chord is a cloccd
voic chord.
Dropprng q"
ird:ooe
dowu n ctve
crearas
a drop3' Play this
chord;
it sounds
tiXe a Bii-cUo,rO
fa$sr
*J;ifi"?
sicc Atgb it * to*' ftis holds tne on eny tpe of
voicing.
tf the rowest ;;il;ffiroiEt

e" r.;
toa" *iu tate iorot-titc
qualities' At certain times is
cril be a desirable
cficct'
The fiar
voicing is tbc drop2
"od
4.Pi,
voicing is
!e8Td
in tbc smc
menn.r as tbe otbcr
voicings' From a
ctoscd
voiccd chord, d;-;";;JeDd
forf
ones. Here is an crample:
GM7
m-
Drp2rodt
GminT
ffi
HtH
Cltd
C
J
J
C
C
C
o7
J
J
J
eUeiT
m"
play
this chord. sincp
this voicing is so widc' it is us'd in mty cartai
circumsaccs'
**-tn"-u.rt
whcn e lowest nacof
tbe chord is 6c root
Aswitbedrop3,s'thcdrop2and4canonlybcplayedontwosctsofstriogs.
illustration:
S.ET2-
xl x l
Drop2
ad
4's tcod o
Examie
tbc following
10
pgo.JAz
.:, esc .J.erj ,ut lo
'.ne
icllo\Img lncr:s. Llstet:c:low i3c: ,,-.rcrB:.,re )cua,j :-ir. _rt(tLl ^.c
.,
tu :rn
rs em ror:omorng s'*ell as creauirg cnord melodv irr3gemeo.
CMa7
Dmfl
F7
Drsp2
3
AM47
Dro'p,3
emzs)
Drotr2
bo
ebminZ
Drry2
F mln /r
Drop2
DminT
Drop,3
FMaiT
Clod
cMa7
DrorFz
rfl.
BMa7
Drry3
Remember to lart with e clcd voice chord when crcettng the drop vriciryS
See page 37 for soluons
PNqJA.Z
lt
Extensions
Extcnsions are notes that exrcnd beyond
the 7 of tbe chord. ln order to kecp the chord voicing down to only
four ootes, extensions replacc
particular Ooes in a chord. This kecps e chord very clean sounding' and vcry
playable. Exanine tbe following diagran:
czfg
m*
te
1 Il thcc eord tfOc+ rb 9t rill rtPle 'ld of'rd
fb. 13 p.Eift b dooir ctodr
Itvdwrprpla
tb 5
czn
m-
CrnaB
9's rephce I's
l3's replacc 5's
Extension
Chart
c9
IIIIOT
Hf
IIIJ
.o
czf rg
m*
Cmi
cg
m"
bo
m"
m-
c13
m."
a
c6
6 i a rrihblc cxtrasioo oo orjcn od oircr cbors'
Cminll
Fffit
ffi
3rd rqld
Cnrqzlll
m-
6's rtplace 7s
ffi*
Htfl
Cmin11
L
IiLLt.ti
I..,J.LLIJ
?+++.i..1
L.U
5rh rqlad
f
tl t n rvrittte ccosi:o o MrjT'.d D@7 co(.
Cmi
--
rla r t?tl
alJtit
Hfi
e
If you nphcr tbc 3rd YI c I l thc chord techntc:ll rs not a
oro chord aay longer, sncc crc ts oo ruoor irC
tl
I l's rcplacc 5 0R 3's
3-rS:]jiCl'] JilSf pIC\ld,e{,.
l.he
j-i-:l
:xnc,e:aj :r:: lCrle ,r
-.eic
:?:
,'le rote ln ieiauon to e chorci svmooi. From'ire::..,.,..
=....Jro
Things to remember:
l. A mrnor third on a domiant7 chord is a
f9
2. The 6 ou a major chord replaces e 7. On a dominart chord the 66 or ( l3) rcplaccs the 5. J! deminn
retarns e seventh degrec.
3. Domin 729 chords sound great anywherc, since ey cnd up bcing diminished 7 chords. All other
voicings need to be eveluatcd basd on how they sound. Usc yor:r ears, cy are e most valuabte tool you have.
Scc pegp 31 lo a pcsltte solution Thcre 8re Eny derent rys to do thic avmple
FNOJAZ:z
l3
Ilarmonizing
a MelodY
HercisasrmplemloavSl:,:?,:ffi LiH:l["trn::J,ffil,ilil:::'*iI"iH'#:3ffi
;
Herc
is a sinplc
mgrodv
wi a.vev
Tffi
,T:1['ff:il:J,ffiIri'il";"t;"nes
in this
exampre
*.H,
i,.i*"r''g
e
melodY
ones
fit on a1l ttre
chords'
DminT
G7
CminT
F7
DminT
FminT
eh
Look
st
pege 3?
for tbe
correct
fre.
I)on,t
forgpt
tbc eremion
chr
cbpter
YfI solution
A
-r-i,-:il;;d""iffi;ffi
#-#ffi
:i-#Huffi
lo,i"..
For
insuncc:
u
r;;h"."r{ltectoov',.r-f_gr.k"cvoicingornueradwars'
eoually
q,sll
i evefc'
" ::-::;; v(ftis.
Excosim
tgdl
to
ir is soffirc
uicc
to
er,
il,Iso"
tu
vcircing'
Extcosim
td
to
;.;""r.*
closcd-
a.r2:.*'l^1'
H ffi,#l:'oJ
p,,
*
i,sid'
tu
voHng'
E..rrw
-
-
oos.
This
includes.".lffia*zi,Hf"1
#
rhe
sccond
*p
il."@s
tuc
cuf
1ffi
Jt*fi
Jfr;;
oe
"
oicis
* I#HTH""|:
*i"i";-ml;
*H"*rill
JI;".;l"Jri"
r".""*
*IJir-*
";.i;
out
as
vou
nerre
em
ou
eocouotgr'
Have
a prcc
ur
a r u.r, bccooc
,ore
acco'puso*
".'-^L']l,
Makccreatir':,H:Hg'ffi
"JiffHil-?*'iif
$;*Jffi
find Your
abilitY
rc ba
mclodies
witb cbor
voicings
bclos
thso'
hoc lstr dooc
for
you. A drop3
is uscd
in thc
Hercisanotberoelody.p@ll}Tbefistoclodytoocbasbcagdoocforyt
frst
cbo
but
you cJnl
toy
"oi"'ng
yor likc'
q
t
t
t
I
(
(
(
(
(
I
eb
ffir
ffi
DminT
G
le
7
CminT
F7
le
G7
19-.
CminT
9
Bb7
EbMa7
Ab13
Lr
Fnn7
R
R-Root
I.ookatPaSe3tforapossibleha:r.monizatioosolu6on,Chapter\IIIsolutionB
14
CminT
Harmoniriog
\on-Chord
Tones
I th-rs chapter we wrll deal with melody notes at don't belong to e chord. There are several meods ro
discuss; ail of them will b looked at in depth. They are as foilows:
l. Diatonic hamonizrion
2. Chromatic approach
3. Dominat approach
1. Diminished approach
Examine this exarnple of the diatooic mcthod:
T..cf f3
DminT
tf*
ffi
c6
--a
LJ.}t flr,
ffi m- m" ffi'
(Emin4
eg ctg
F7 Bhra7
o<H
totE
Tbe diatooic mcthod worts in is way. On bcat 4 of thc first nreasurt &ere is a G oo a Dmin? chord. tnsrced
sf [aEonizing it as thc 1 l of thc DEin7, trea it ss an
FrinJ.
This crrtcs thc fccling of mvemen [6
thn
a
st$ratrt chord soud. This is dooc by
talcing
a chord ditonic to tlr key you'rr iu usually thc uext diatonic chord
up from the originrl. Drop2 voicings ae rscd exclusively to hmonizc this mclody. Noce the exrcnsioos on tbc
G7 aod C6 chord- Refer to tbc extcnsioo chart if yor Ec.d to.
Herc is anothcr cxample of tbe diatoaic mcthod:
Trck,ll
CminT
GminT
m'm-ffi'm' m''m- m'mm'm- m-m-m-
(DE7) (Ct!b7) (AEb7b,
'4.,c.L
,
xr t
I this example, thcre are thec oon-chord tones. ln each instnce, a chord diatonic to the key of Bb major was
uscd. This gives this examplc e nore sophisticated soun( ratber than the bland sornd of repeariag e sme chord
over and over. Also notice that a chord diatonically above or bclow the curent chord usually works the besr Drop
2's werc uscd for the cntie
gmplc.
FFCUAZ
l5
(AEbt
FminT
5m!t.
fri
i-,t-frfl
errcktr
m-m-
ffi"
The
chomauc
approach
is anothcr
very cffcctive
meod
of harmonizing
noo'chod
tones'
l-ook at this exarylc:
abz
ebuaz
m-
8
t,**6rn,
ffi*
ffi
m-
m-
m'.
ffi'
ffi-
ffi"
m'-
x
G
c
C
J
t
f
I
i
ol
I
-(
(

(
(
(
(
(
(
q
Gs7)
r^- L nf .rsurr' ooc, the otber
on bcat
thfcc
.JHH:*r,:ffi
rilffi
TI#,rl,iH'*r'r:ffiffi
ffi H"rv1.'t'15"
no*s
af" Erovie
by n.r?roti*
"o."
ir;"i",J.r,ur;*;rr#Iil'u"
*-o*'
in voicing
and tvpc as c
one
you ae resolviril'-'t*''s

lscd exclusivety
in this exanple'
Herc
is a Eorc
ivolved
examPlc:
Tbcre
ae scveral
chomatic
toges
,n, this mclody.
Io : sccond
measurg
a C9 chord
is uscd
on bcat
two,:nd
aooroached
ctmmuic,
*a a cg. :?:F
is-usd
*,t*
c7
"i
e last threc
oics
oi mes"re
r*'c'
Tbis
"'*"*
diminished
"uors,
whicb sound
"ro*ifrr-rJ'hv
ttris t;;;;;
to
efrecure
'jus meod
works.
(l'7)
c7
ffi'-
ffi-
ffi-
m-
m-
m*
ffi-
ffi.'
ra
tua
FSO.JAZZ
a*a
fU,a7
EIIEI
ffi
l6
-_-_---_--:
i-)6 rf ne m.csI pc)Durr l]en:s,1r ilJ-n:lcning
3ooincrd iLloes:_{
jJ,r"tl
ue JoEl.:i art"a:"a:..
,: ,:r-x._ :,,
rpproacnlng :ny :hord oy- it's dom.mar. Fcr exampie.
ihe domrar
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 - bbott
I this exuuple, all thc dominant approach chords 66srin h fUir crars teasion in c cho ad makes tbc
chord want to rosolvc norc strongly. lo measurc thrc, oo the forrth bct tbe Bb could have becn harmonizcd as
CminT sicc tbe notc is tbc scventh of c chor The dominant approach was rscd aa).way, to create morc intcrcst
in thc harmoniztioo. Try usiag a CminT hcre, listca to c 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 rt
DminT
m-
EI!
ffi
@
ffi
(Ae)
Clle7 G7
ffic
Hfr m" m* m" m* ffi'm* m'
[IEll
u#*l
l1-i-f
'(AEi!7)
This eighth norc example contains scveral istances of thc dominant approach. This is very effective since the
dominat chords want !o rcsolve quirc sroogly. This dso propels tbc harrrony with forward momenrum. Notic
a in measure rwo on the ead of e first bct, the diaonic meod was uscd. I couldn't use the dominant ap
proach 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 ae satised with rc resuls. There is always
more than one way to haruronizc a melody.
moJAzz
t7
I
&,r"*rfi,n,
The last cornmon method of harnonizing
non+hord
tooes is the diminishcd approach. To accomplish is
aPProach, voic a d'iminished
chord bclow
e dcsied melody norc'
Here is an example showing how to usc e diminisbed
approach'
abz
eh(rgl ehuaz
--- I]' II
i+++i
m*m-
m"
m"ffi-
ffi"
This simple example dcmonstrates
is Ecdrod
very well. Tbe
liminishcd
barEoEizetion
can be uscd anime'
Bccquse of rhis, i,
"*
;.t
out of a
jam wbcn otbcr armoniztion
methods uen't very cfrective' Your ea is thc
moo imporrant
toot yu Lre for dacrrrining
how we e voicing wor*s' Tbc 6cory witl hetp yur explore the
possibities, but your ear should bc tbc &iding factm'
Here is a nrorc complex exanple of 6e dirinished
ap'proach'
S
r,-r*,0
FminT
BlminT
ffi" m' m' m* ffi' m' m' m*
m* m"m-
Ahta?
ffi*
ffi
m'
m-
ffi"
ffi-
trtEc
ffi
Tbe timinished approach is very cffectivc bcre. Notice the use of the diuonic metbod in measurc fou' beat
rwo.
once again, .o.ioing rocoos
woria great- It is rae 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. It
also has the distinctioo of having cight norcs. In c traditional worl4 this is knowa as a octatooic scalc.
When you build tbids off of any tonc in ttp
diminished
scale, you get a
rliminishcd
chord. Whea you crearc
diinished chords on the l', 3"r, 5, ad 7 of thc scale, you end up having a whole srcp above each chord tonc.
Look at this examplc:
EJH''
H#il
ffi*
HtH
ffi*
[fl m'-
b
Drq3 voiciag
sq,,
tak
any
dimini(hed chord voicing end try shngins a chord tooc fu a scale looc a wholc step above.
Herc are somc examples:
ffi- ffi- m* m*
citil
d;n;.r
o
ibL f.? rbor!
QD!!
rd4
JLErI'
rL
q rnd sccod mtc
lEr lrr'
!vorit
This merhod can crpatc somc grcat cbord voicings. This works o any diminished chord. As always,lct your
eas determrne how effective a voicing is.
FSOJAZ
Ndc totae?.Do"G c..i Ddot ic
lEr!+.d
cio
l9
HereisaclassicjoePassexarnplebascdonthisidea:
Tnck *l l
DminT
G7
Tmrc
ffi
@t
i.+t+.{{
1111
l3
ehfe
ehrz
ofzfg
ahuaz
rfim!i
1r
ht
Here rhe diminished
chord
is uscd oo thc G7 rDcssufe.
This
works sicc e diminished
cbord
contains
the L9'
g,
S, ;a ? of the dominant
chord'
For instancc:
BDFAb=Bdim7
$lD
Lt,s
examine
this in more
dcail. 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 cd'd co bc cllo-
F, ABqDiEbibtlt
I rhis cxarnple
e
r{iminishcd cbord
ce be oEcd n
t:
B. or D. Takiog
s
gne
srcp forw
since this
di'inisbcd
chord
is arso a Gd,
tr*
ro5,:r
r*,
*, b" ca,ed
;';r,Bb''lb9'
or',Jw''This
is possible
r
the dominant
chords
ae a minor 3d apart'
Herc
is anoer
example
to futbcr
rstrarc
this:
G
r.-r*,,
ezfg
ezbs
ffi"
AMa7
ffin
F?f1
fflf
ffi-
m-
m*
ffi-
ffi-
CMa7
m-
In is 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'
Spendsomeumewiththeseideas'theycaDoPenawholeoewworldofpossibiticsforyou!
69Jlz
20
An Example Tune
The best way lo demonsrate e usage of e methods discusscd is to apply rhem ro a rune. The tollowrng
original rune resembles many of the stdd runes you know or should learn.
CIoudy
gbmnz
Eh
Fnn7 Bh eluaz Bh
BVT ehuaz
ebuaz
,-J-
BbminT h Ah{e7
)
lbmnz oh ebuaz
cminT FminT Bb7 EhrraiT
TRCUATT
2l
I
'l
\
'--!__--l
FminT
rn the next exa.urple,
e 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 rlor/'berow
the stafi. chords
werc rabered only
whcn 'e voicing
rype
ctranged-
Tiris makes for less cruucr m-e
page. Tbc nuntem
correspona o thc expranations
given you bclow ris
exarnpre.
If rbcf" o no iu",
given" fu urllotxi*
r'drod
has rurnaicd
thc sanp. Notice re exrcnsions in c
rrlody as well., i*r" o" cho
voicrng. Finany,lcam
is fafiggu,st,
it contains all thc marcial discrssed thrs fa'
gbmnz
m."
Eb7
Trrf. rt3
Db
Ebr*ta7
ffi"
m-
CninT
ffitt
ffi
Ahla,7
FminT Gl'7)
AbminT
Bh
ebuaz
ebuaz
[IEI}G.
ffi
m-
m-
Ebit7
c7
FminT
gbmnZ
(Gdin)
(EdiB) AhvtaiT
ebt sh
m-
m- m"
m- m*
m..m-
m-
m.m'
(1.)
abz
ffi'm"
EHc
ffi
(c-7)
ffi
m-m-m"
huaz
ffi'"
Eb7
ffi"
m* m-m*m-
m-
AhvraiT
T'].
lttn
ffi
?
aa
rrTn r
firfi]
HtH,
FiOJAZ
.--
---&
-
I
2A-
ffit
l-!-.,ltl
[tfl
ffic ,t EItrll
ffiffi H m.. m* m..
3.:t
a
la
FminT
Fmrn/
>-.
2>l
---'
dtr
--i'r.
ai aa aa
---zi
if.Iirij r:'tf
::3
-rfi f-
._--.-:-J-
f7
*+l
ffi
EbiraiT
aitt
. at
iJ
2O
E7
4
(4.)
abz
(5.)
AhnnZ
Dbe ebuaz CminT
m* m"
EEr
lllJ.J
sttr
Ei6 abz
m'm- m' m- m' m*
f[auon
i z
ation explanetlons
l. This is an example of thc chootic approach. The
fu7
is approrhing tbc Fm7 chord chromatically oo
the end of bet ooc.
Z. Herc is an cxample of tbc dionic mcod. A Cm7 was uscd aftcr thc BL'7 since Cm7 is atonic to thc key
"f
nl""O "Cl*rdf is iD , thc chord progression we ae dcating wi at ttp momeot is a II-V' I iD Ab.
3. This is an examplc of both the dominant ad dinioished ap,proacbcs. Otr the end of bcats tfuee and four,
Diminished chords are uscd to harmonizc the melody. is
rliminished
chords can dso funcaon as dominat
chords, we can look u is as either mcthod. Both of tfresc diminishcd chords can bc called 7b9, e V7 e f'"
4. This is anocr example of tbc ckomatic approrch. Tbc As7 is being approrhcd chronrauce.lly by r]re Bbm7.
5. Here is yet anoer exarnple of the chromatic approach. This d.m"
q*7 is uscd to approacb e Gm7.
Take time 6 sndy ail thesc methods. Thc marcrial to follow dcpends on youf ability to undersund everhing
we've discussed. I would also recommend trying thesc idcas out on some of your favonte runesl
Abmn7
ffi-
Fno,JA2Z
23
The
Tti'Tone
Substitution
one of ibe most commoo
methods
of chord
substiution
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
fist
ing
to understand
is tba11T-r*
is thc intcrvar
of a frat fth' If we look
at a G? chord'
we sce that
tbcre
is a tri-tone
bet**t
Ot 7 aDd 3 of the cbord'
Tri-T
bcttgEo
F dB
vuhcn aDL?
chord
and a G? cbord
ae cooPare
n intcrestit*ffi#.ffi";ttff#:
botb
cbords.
Notice
'"t
tf* io*'al
bctwcco
tbc t*o of both
cbsr
samc
ui-tone'
o"y
t"o-JiuUstiotc
for each
ocr'
Exaruplc:
G7
ol'z
Hercisasimpleexampleoftbcui.oncsrb*iatiooooatr.V.IProgEs,oB.
e
rrrl*r4
ffi"
HiH
m-
cnicbctsca
G? EdDb?
obz
ffi*
l-iitl1
tTmr
rf
Hic
CMaiT
ffi
Cll8i7
ffi
ui.@b
PROJAZ
Chord Movement
This chaprcr dels
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 wi bc the passing minor
cord. I-ook at this following common chord progression.
amzs)
By incorporuing a passing minor chord we crcatc Erore inrcrcst in e bsss linc. This crcarcs the fecling of
rnorDetrom
wiin tbc progression-
&r.*r,,
DminT
Irt.Lr! rt
ffi m' m' m-
D13
@.4.
Itlt
ut
DninT/C 8m7P5) E/(09)
Am(mai7) AminT Amin6
Ann7
This can bc uscd animc yu have a I miac chord ooving to YI chord of somc kid. Thcrc 8rE Eany ex-
amples of this i stdad OG. Try csc olt oo soglc UIt6 you lnow.
M4jor and Minor Och
A
major or
minr cch is formd quitc oftm h bo6sa novs aod othcr L-atin styles.This idca usually involves
thc rctioa of n inner voicc of a cbq{ generally fu foot c frfih. Here ae somc clssic examples:
Tbe Isr example is a sinple idca b$cd on a oio clicb. Tbc sccood example is a wonderfil exanple of the
minor cch uscd oo tr-V progression.
&,*,,,
ELt
.r-2
AminT
ffi,"
Ht
ffi"
[Hil
ffi''
frt,r
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,g
ITiSm!.
Ff-!.t
ffi
{t
b2
CMaiT
m"
Eha
ffi"
<o
CMaiT
'-..}U.i
2r
tr+++1
-rfi
U
CMaiT
ffi-
IJ.LLU
rT[Il-
ffi
DminT
IEII},t
UJJU
HtH
DminT
ffi*
H
Bbnn7
eV7
DninT
$mnZ Dh
1E,
CMa7
rtrnr
ffi
E.3
CMa7
m"
ffi'ffi-
ffi''
m'm-
Tbe rst cxampre
is the ubig.itors
I-VI-tr-v
progession ia c major. Example
2 sbows tbc tri-tooc substitutim
bcing uscd in thc sccood
a,d f,fth *.r*.
rtol,"ro,iog
is; occof. The
qrogressioo
now bs chrooric
bass movemcor
Thc otbcr intcrestig
thing hr*;
a o"-o*iool.
h examprc l, th" A7 has
"g
in e ocrody
and the G7 has btr in the rclody.
rrot
*ur,ipp.ns
to tbcsc^artcratioos
in thc sccond cxample' Tbc
p bccom
rbc t3 of c ui-orcLUJ"JL
and 6ebt
tiom
thc 9 of c tri-onc substiutioo'
[n examprc 3, this is takeo ooc strp furtbsr. rn e""h mcasuf. that tbc tri-ooc zubstinrtion
was uscd' &c u
thr
gocs with the v was ;d"d ; crarc
"
ir-v
frg*..ioo.
Mcasre 2io* has e II-v in Ab' and measurc
4
hrs a [I-v
in cs major. oo fast **.-t
doesn,r
*ort awe sincc
yor dcal wi so Dany chords' oo bailads Mgb" is
works bcautirllY.
FRGJAZZ
25
\cer rice
-
7fi!
Track +13
;h i e crcrc
C min6
iJ+.1,
:.,]ltu
el_g.J
m'
. ir-lI.1U t
C min
3.
C min{ 5
dE,"
LlrulJ
LI-J.IJ
lLlrlJ
cMaf,s
m'
:hche rs baseo on e :oo'"er,eci JI te - Y.lm .
C mrnf
5
l-.
'tFlrt
-i--
1 I
rulu
Crcating a
&
r'."r*,,
" l lupe you'ru able to bond with this oru".
a major cl.ich is a
mettcr
of raising the thid of the prcviors exarnple. Take a look-
ffi
ffi
All of csc clichs can bc uscd on
just
abott any tunc. Thcy work very well whea c melody of c tnc is oot
an issue, such iul long hcld notcs,6 whca tbc mclody
Providc
sooc specc.
Threc Notc Voicings
Thrcc Dotc voicings arc a very effecve voicing tcchoiquc. SiE fu mst itportant toocs of a chord are tbc 3r
aod f, tbc rmt is usd ooly to providc the bss notc. Tb grcat rhythn guitar player, Freddic Grecn, usrd fuc
voicings oB the lowe sct of strings with remndous scccss Take look at a very coorDoo rnoveErcnt from thc fI'
cbord o e 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
scle diaronicdly. Noticc the indepcodcut Eove-
ment fum tbc 7 !o e in dl of thesc threc Dot! voicings.
&
r.*.*,
cM.l,
m"
DminT Erilin7 FMr7
ffi'
[fl m- m'
Experimcnt wi this ide on other scales. The basic idc is to substitutc thc 7 for e 6 while playing diatooic
7 chords eithcr ascending or descending.
27
o.ra
Quartal
Harrrony
-
Voicings
in Fourths
Au of e chords
we have discussed tbus fu have been built by stacking thids
-on
scare ones. we have dealt
rvirh scveral iversions
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 harmonizd
with thrce
notc fourth
voicings:
ffi-
m.
l.H+t
I ll tu-JJ m* m"
m*
m* m'" m'*
when voicing chords in this
rirntrcf,,, rc haroooy
can bc incompletc'
sice th voicing docs oot always coo-
tain
a 3 and 7. This c bc vcry dcsirable
*br";l"yirg
modal trDc or crcsti,g Eor modcrn souading harmony'
creating inversioos
from thc prcors exa.mprc is eesy.Te
the top notc of thc voicing and lower it an octave'
Takc a look:
E&1
E@:r
u.]Jtl
Ht m*
m*
m*
m'*
m'"
m''
EL2
E.3
ffitEr
t{+++{
It*i'fl
ffi*
|.li#..i
frfl
m-
m"
ffirt
Hffi
Hm'''
m'"
m'*
ETIEl
ffi
EEEFrt
Hffi m"
EII!
rt
ffi
IIItl
rr
fffirrt
ffiffi
Ef[frr fffitrt
ffiffi
l all tee exartples, the top note
was lowered an octave creating a total of four scts of inversions'
F*CJT{z
28
I
I
t_ :,, ;*i,itr8r.. ri;;*'r;;.
lle lr.iic* -^
3 :x rmn ie shows all thle inversloos on one sct of stn-ngs. From ]s
! otcings
:
ou can
--rcrc
c
other
jG
cv rtt -":-
-"'qt,ng
e process of lowenng the top oore of each voicrng
rcross
e neck-
+.itJ2
-i+l
]i.rfl
ffiprt
ffi
ffiFFf
r*
ffi
Lts look afqmh
voiciags buitt wirh forr tones. Here is e D Dorian oode harmonizcd i fourths.
m'
m- m' ffi* m'- ffi'* ffi'* ffi'-
,-
^Ifl'-t,lT
sor,rd great whca coaping oo modal trm likc Milcs Das' So wlut.They are very cfrcctivc
'o
cnor Eelooy
n
i,i"g ei *eu. Hcrc is
"
u-V- cxample using is idca'
Er"*-
G7 DminT
CMI7
m,.
m-
m'
^^-
:lf].rt-}
uoi.a*
havc an incomplea soro 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 Hancocq caick corea' Bill Evans
am r\elm J8rEt
Thcsc
mrsicians are Estrn u creating intcresting voicings usiag quartal barmooy.
P;AJAZ
29
r|l:'
t. .:.
Advanced
Methods
of Harmomization
I is chapter
we wi look at scveral
methods of advanced
harmoniztion
techniques' They
1. ContrarY
mouon
7- Chromuic
II'V's
. Slash Cbord Harmonizatioo
4. Constant
stncnrc'
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,**
)
(F'l9)
m'
m-
m*
; -llir
.:
. !r':L
arc as follows:
Bb6
Er'2
Inexaoplcl.adescndingchromaric.lircisuscdcoouarytothcmclodyaboveit.Intbesccondexamplca
stcpwisc
descending
ur";;-"r"
AddidJ
Do."s *.nr."
bctweca
thc norcs on bcas ee and for' on
bcst thec a Bb Major triad
was cresEd
e,d
"f;;-Fr,
"h"rd
was crearcd.
siDcc rz it t" dominant
of Bb'
A."" be coosidered
e dominnt
app'roach
as well'
pray
tbcsc examples.
cootnry
motioa is a way 6
mkc.yo,'fr'ge,e'ts
sound
very sophisticarcd'
Yo.r
sbitiry s shnge o.,".a*
"iyu
music ir rory i.por,-,
in ceeting
musical
and mmorable
arrangements'
Cbromatic II'V's
whcn the merody
of a tune cootais
the
minor 3d or flat Sof a minor chord,
you can substinte
a tr-v a half
srcp higber. Take a look:
FminT
d,t
ffi
,('
Ehraiz
-
Ii iaatti
E
t.iJ..,i
abz
m"m-m*m-
ELI
30 P8CuA?
^:::x:ltie
l. e :h.rd :oesiJ-re.oolarnj te :.:lcr
-:t
f F--
I su'osunrcj [-'" , te i:.,
:i ].
E--
:: 3-
The.{: ln e melodl becomes rhe 90 of the iator caord nd
e 13. of e domrnr ;hcrd
*iren
u\e ;Dcmlc
subsdruron is apped. Nonce how I condensed
rhc onginal [I-V
rnto e ai mesure of ,..i*pi".
Tbj;;.
very efrective meod of subsuruon. The stadffd nes Sreia
By Snrtight, and, There
Wl Never Be Anorhr
You, ate pcrfect vehicles
for this method.
&
r.".*
Ft z
P*nnz A7 FminT abz
Ebrr/aj7
m-m..m-m'"m''m*
m-
lsh Chord Eeruoniz- tion
Slash chords arc somctimes mistakea for polonal harmooy. A tnc polonal grple
would bc CmajrDmaj,
which idicrcs the notcs fom a C major riad and a D major
riad Slash chords are just
major tiads o"", diff"r.ot
bass notcs.
gmplcs
of slash chords are: C? or D/G. This mcthod gives yur a very modcro, clean souading
harmonization. lt's look u som examples.
F/G
Dr
m- m''
m-
fiEIr
ffi m-
Er.3 C/D
Example I is a simplc lmk t slash chords. You can 6,lly cll tbc fist chord a Dmin7, sic an F triad wirh D
i the bass contains thc tones of Elmi7. The F/G gives you tbc sound of a Gsus th tbc 9 added. The D/C gives you
a C lydian sound. Since ttre uppcr parts of c chord are all
major
triads, tbe overall sound of c chords is very clean.
Example 2 is a slightly morc ivolved exanple. Tbe same F/D chord is uscd for DminT bur we go to an BG
chord nexl If we lmk at this chord as a G7, it contais thc 13 a"d b9. Thc chord is lacking the 7 of e chord, so it
has an incompletc sound. This is what gives esc chords thcir personality. The G7 resolves to a drlc, which on
closer inspecuon is
just
a Cmin7.
Db,G
ffi'
Tr-f #25
Er. I
FID
L
t_t-t,tJ-t rt
ffi
FID E,G Ehc
31
FOJAZZ
,*ffi
3l'";r;ff
Hi:"?:r#ffir*SH#'ffiUX*,3Ut*Hf
*1
*;ii;ffi
#.-.Ji'1Hi'i?'ff;Juvio*'p*:$tillgfi
;;;t;or7Bu"othc
*,t,.vsoundgrea,:l,ff*:fi
I,ffi
ffii,iilJlq.HH:;L*i*"if#"":H"J:;
bcner
sounding
range
tbe arrcred
scare,
the
.,oI;;
;;;"di.
;";r-
ff
vou
look
at beas
3
toolT"Zla."n
cbor
tbe altcred
scalc
become
a
srear
choicc
"?[uJ*"r
re
$ merodic
minor
-1i"HlF
y::?:#*;tJrm;"'
G is the
T des";ol;-o-i'
minor'*"'ilmcrodic
htY:Hm"mm:o'"ffiff*
;;;5'*s,'
D and Eb'
I
d,
I
I
I
I
a
J
a
J
a
J
I
T
I
3:
I
I
t
(
I
(
(
(
I
P;OJAZ
Constant Structu-=
f 15rrn smlcrure rs a meod of harmomzation where a metody is hamonrzed
usrng ooe chord form regard,iess
of key or chord
Progresson.
As strange as that may sound, it can result in some great sound"ing harmoaizauons.
Creating major triads off e melody along with a dominant approach bass line is one very effective use of this
technique. This proccss will rcsult in a siash chord harmomzation. The big differencc is, no auenrion is givea to e
original chord progression. This appears
quirc compcated; it would be much easier ro look ar some examples.
S
r"-**
Ex' l
GminT
8.2
GminT
Er.3
E. {
GminT
FMa7
O
TrlrCGd
FMe7
Ab Gb Eb
dminatrgorchb.s lir
ADG
ctodYtm;+'6
EricEidr 6. td
odii<a o{ui d douio
gorchrEr.
e*e Flrt chc
m* m* m..m' m'
TACH
FMa,7
Tt$iCbdd
FMa7
Exarnple I is
just
a simple mlody in tbc kcy of F oajor. Thc rst stcp to uke is to dccide what e target chord
should bc. The F oajor chord scems idcl since it is c resolution point of this progressioo.
ln example 2, thc F Major bas becn lbcled thc target chord and a dominaat approach bass lie has becn placed
in the preceding rncasure. Creating thc bass linc is
just
a mattcr of working backwads fom tlrc target chord
Ia example 3, tb mclody is bamronizrd with major riads built offtbc thid. Ths b the constant sEucre.The
same
major
riad voicing is uscd rcgardless of kcy or harmony.
The 4 and nat example is the combination of the bass line and triads. Notice how the bass lle has been
modied by incorporating thc tri-tooc substitutioo. Tbe 2 and 4 beats of thc triad mcasurc usc tle tri-tonc of tbc
origlnal bass Line. This is pcrfectly fine. The bass lie was changed for thc simplc rcasor tbat it created chomati-
cism. Rcmembcr, when dling with harmonizatioo, th bss movement b thc mct important featrre of the
progrcssion. This cretcs powerful moverrcnt io both diections; up e cycle of fouths or ckomacicaily doT o-
ward. Other grcat bass mooon is diatonically up a scde or symsctricl movemcnt in whole steps. As aiways. ry
these ides out on som slandads, it's thc only way to begin to undentend ad hea them.
GminT
ffi,.
tH
33
PNOJAZ
In this chapter
you will shdy a soog that utilizcs
almost an of the ideas discusscd
in this rcx. larn 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
ebminglb
ExamPle
Tirne
#2
m-
FMaiT
ffi"
ahaz
m'
7
atmnZ
ebminz
A7
Ellt Effic
ffiffi
G/A) tYrl
E7
DminT
m*
o7
ffitt
LTLLU
Hfl G
r,*,*'
m'
ffi'm
Em75)
ffi*
HiH
J,
Fr.i3
5lt
o
o.l
dm-
ffi
m'm'
m-
ffi-
m'
DhvraiT
oh
GfrraiT
m"
cmzs)
F7
FminT
Abmnz
(AlA
Ghai7
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'"
Hi utt
I
t-
GminT
C7
m-m-m-m-ffi"'w'
tuia
FECJAZ
--f-- -r
arai
rd
'r
I n 3rE,
'-i-'
.
fr'1f
t-
-Ti'
llil
A)7
,t/
DminT
ffilra
ffi m"
m''
BhHaiT
m'
GminT
FMejT
ffi'
m- m- m- m'm' ffi'
Emzs) DminT
m- m'm' m*m-m'ffi'
ffi-
HTH*
Hffl m- m* m'
FMa9
ffi
GhuajT
m"
Hauron
iz tion ExPlanations
A descending
chromatic
line
works
very well
"gJr,
trt rl"fov'
Notit'
the usc of unisoo
as a starting
pomt-
z. straigbt
forward
dror2
voicings. Tbe imporunt
thing
to noticc is at not every melody
notc nccds to be
harcroaizd.
3. A great closcd
voicing for a O7$9bt3t
4. Diaonic
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
tcxrcs
ca oakc
yot'an.Dge,Cnt
Euch
morc inrcresting'
9. Ctomtic
aPProach'
10. Slssb
cbord harmonizaion'
I I . Diminishcd
approacb.
The cfdinT
cen also bc lookcd
al 8s an A*9' e dominant
of Dmi7
!
I 2. rhis is an istsce
of the ui-tooc
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FfrOJAZ
BarrJ- Greene
Barry Greene began ptayrng guitar ir 197 i. w'hen he was ten ye3rs old. Su'ongly influenced by \&'es
\f onrom-
ery, George Benson and Pat Marto, Baqv has develo@ into a world class guitarisl arranger and composer. He
has recorded or performed with such atiss as Trm Hagens, Dnny Goieb, Geae Bertoncinri. Scon \lbadbolt
Kenny Drew Jr., Am Nussbaum, Waren Berndhadt, Russcll Malone, Roo A.ffif, and Colin Bailey.
Barry's fist CD. Sojourner, has beeu well received by both the press and music industry. lust lazz Guitar
magazirc says,
"...his improvisatioos were creative with impeccable technique...." 20th Century Guiur wrcte,
*...it
has ail e urgency of the best of Pat Martino's worL.. Sojourner is a mixrure of original music and stadards
in both trio aud quartet formats." The CD has also received positive web reviews from allaboujzz.ssq "...
excellent player, a supenor musician with power to spate..."
Preseatly, Barry is involved in scvcral projecs with Mcl Bay Pnbcatioos, and is writing compositioos fc
aaotbcr relcsc o be recordcd i thc oear futre. He cootinucs !o eudorse Thomastik-Ifeld strings aod Buscari
Guitars ad 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 rnstrctor at tbc prestigiors National Guitr Wortsbp bcld eecb sumncr in Coonectictt
Barry is anAssc:rrc Pr,ofessor of laz,Griar tttbc Univcrsity of North Rorid in Jacksowillc, wbcre I
bcca au iostn ct6 sic 1995. Hc tcacbcs two guitar cnscmblcs, as well as applicd guiar, arranging ad iq
srioa. Barry has composed m arranged ocarty scventy pieccs of guit cnscmblc music as well as scvcral bi
coopositioos. Hc and wife Sara ad son Mitcbcll, fcsidc in SL Augttstirc' R6id-
Barry Grecae can bc rcached via thc web wwv.unf.edrr/-bgrecuc or ema bgreene@unf.edu'
39
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