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The following
exercise is to help the developing guitar player utilize more
chord choices and voicings, as well as to help them approach
playing chord melodies. Just as we build triads (3 note chords)
by taking the appropriate scale, (e.g. C major triad = C, E,
G, or Root, 3rd, and 5th, from the C major scale) we can do
the same thing to build chords with more extensions, such as
7ths, 9ths, 11ths, and 13ths. These types of chords are more
commonly found in jazz and popular music.
The following examples start with a scale and then harmonize
that scale with a chord, where each note of the scale is the
top note of the chord. This gives the player a chord choice
for any melody note they see in a tune as well as giving them
more options to create different voicings in their playing or
comping.
Example # 1 is the C Lydian scale, which is one good scale choice
for the key of C major. The sharp 4th scale degree is used here,
because we usually don't want to use a major chord voicing with
the 4th in it, except in some special cases which will not be
discussed here. This scale provides the notes we will use when
approaching a C major chord.
Example # 2 takes the C Lydian scale and harmonizes each note
as some sort of C major type chord. Notice how the chord changes
depending on which note is in the melody. Despite the many different
names, the general sound of all these chords is that of C major.
In jazz, we usually don't want to use simply a triad, but instead
use extensions such as the 7th, 9th, 11th, and 13th, which add
color. The chords in example # 2 give one possible chord choice
for a C major voicing (there are of course others) with each
note of the C Lydian scale as the melody. It also provides a
way to play C major with out just playing one voicing, but instead
adding variety, and linear movement. Practice playing example
# 1 followed by example # 2, try to bring out the top note of
each chord and listen to hear the scale. Also try making your
own melodies using the scale and playing the appropriate voicings
for those melody notes.
Examples # 3 is an introduction to "Drop 2 voicings"
a common way to create voicings for guitar. Example # 3a show
closed position voicings for a Cmajor 7 chord. Closed position
means that each note is as close as possible to the next note
in the voicing. Notice how the chord is in all the possible
inversions, meaning the root is in the bass, then the 3rd, then
the 5th, and then the 7th. These closed position voicings can
be hard or even impossible to play on the guitar in some cases,
due to the tuning of the instrument. Sometimes, they sound great
however, as they convey a very tight, compact sound.
Example # 3b shows how to take these closed position voicings
and turn them into "Drop 2 voicings" by simply taking
the 2nd note from the top, and simply dropping it down to the
bottom of the chord. This makes the chord sound fuller, richer,
and provides a more open sound, which contrasts a closed position
chord.
Examples # 4 and #5 are the same concept as 1 and 2, only the
chord scale used here is the C dorian scale, a good choice for
the key of C minor.
Example # 6 offers some different choices than example # 5,
making every voicing a C minor 6 chord. Try mixing some of these
voicings with the C minor 7 voicings and notice the difference
in sound with the presence of the 6th (A natural).
Example #7a and 7b simply give some different voicings for a
major and minor sound. The whole steps and half steps found
in them provides a more dissonant, darker sound which have a
lot of color and bite to them.
Be sure to transpose these scales and voicings to all 12 keys,
since most tunes where we would apply these concepts do not
have just one tonality.
Example #8 applies the concepts we learned to a real life example,
the first A section to Antonio Carlos Jobim's standard tune,
Dindi. #8a shows just the melody, while #8b harmonizes the melody
using voicings we have discussed, and a few we haven't.
First off, notice how the melody has been transposed up the
octave, this is common when playing a tune on guitar, since
the guitar is actually a transposing instrument that sounds
down an octave from concert key. It also puts the melody in
a more workable range to be harmonized underneath.
Bar 1 is a standard voicing for Ebmaj7 with the fifth in the
melody, it is the sixth chord of example 2. The Db major chord
on beat 4 is from the third chord of example 2, and the third
chord from the drop position examples. Notice that you have
to transpose the voicings from the examples.
The next chord in bar 3, although originally an Ebmaj7, has
been changed to an Eb6/9 to add some variety in voicing (fifth
chord from example # 2). It then changes back to an Ebmaj7 followed
by an Ebmaj13 voicing (sixth and seventh chords from example
# 2).
The Bb-7 in the next bar comes from the third chord in example
# 5, (but with the lowest note on the 4th string) and then is
followed by another voicing, although not discussed, for a Bb-7
chord with the 9th in the melody. Notice how the 7th, not the
root, is the lowest note.
Although dominant chords haven't been discussed yet either,
The Eb7 on beat 3 of bar 4 also has the 7th as the lowest note.
Notice how it is only a 3 note chord, containing the 7th, the
9th, and the third. It is then followed by an Eb9, which is
the same voicing type as an Eb6/9 (second chord from example
# 2), only the b7th has replaced the 6th to make it a dominant
chord. Also notice how this chord is displaced rhythmically,
and comes on the second half of beat 3. This adds some rhythmic
interest.
The Abmaj7 in the next bar is harmonized with two different
voicings. The first, a closed position voicing (first chord
in example # 3a, again, lowest note on the 4th string) and the
second, a more open voicing (sixth chord from example # 2 again).
The Db7#11 has not been discussed, but since the # 11 is in
the melody, it has been harmonized as a four note voicing with
the 9th, 7th, and 3rd underneath it. Notice again the absence
of the root. When the melody changes to the 9th (F) the same
dominant voicing for the Eb9 from bar 4 is used.
The Ebmaj7 in the next bar comes from the third chord in example
# 2 and the next one has been changed to an Eb6 and utilizes
the first chord from example # 2. This was done to avoid the
clashing of the major 7th (D) and the root (Eb) which is in
the melody.
The next bar, although has no melody in it, has a standard Bb-7
voicing (fifth chord from example # 5) and a Bb7(b9) (not discussed)
has been added to add some tension to bring us back to the top
for the second 'A' section.
Try playing this example and use it get some ideas from harmonizing
melodies and choosing voicings, Notice the different choices
to make when deciding on things such as closed position vs.
drop 2 position, how many notes to put in a voicing, what beats
to play the harmony and also adding appropriate harmony (sometimes
referred to as "Arrangers Harmony").
Remember that this is an exercise and there are many other correct
choices that will provide good results. This example just provides
some options, and hopefully will put some new sounds in your
ears. The more you try and play them, the more you will decide
which you like, don't like, and what works where and why, as
you find your own voice. Remember that it is important to transpose
these examples to all 12 keys, so they can be helpful in a "real
life" situation.
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