The Beato Book 3.0 PDF
Preview The Beato Book 3.0
THE BEATO BOOK 3.0 A CREATIVE APPROACH TO MUSIC THEORY AND IMPROVISATION FOR GUITAR AND OTHER INSTRUMENTS BY RICK BEATO Copyright (cid:926) (cid:1005)(cid:1013)(cid:1013)(cid:1004) Rick Beato 1 This book is dedicated to my Mom and Dad. Special thanks to my wife Nina and our three beautiful children Dylan, Lennon and Layla; my brothers and sisters Pat, Nancy, Mike, Lou, Ray and Jon; and my teachers and friends Steve Brown, Mick Goodrick, Glen Cummings, Paul Smith, Pat Ryan, Tom Wadsworth, Keith Williams and Ken Lanyon. A very special thanks to my dear friend and never-ending source of musical inspiration Aydin Esen. Additional thanks to Christan Lamby, Michelle Taylor, Aaron Shah, Rhett Shull and Carol Kuswanto for making this book and my YouTube channel possible. Cover design by Michael Murray I would also like to thank all of you out there that have supported me through this journey! Rick (cid:1006) Author's Note I have spent many hours compiling this book in order to give my students a comprehensive reference source from which to draw. Since this book is not copy-protected it would be easy to make a photo copy of it for one of your friends. Please don´t. I make a small living as a musician and am making even less from the sale of this book. I appeal to you as a fellow musician to respect the work of others, whether it´s wri1en material or recorded works. If one of your friends is interested in checking out the book, let them borrow it for a couple of days to get a feel for it. If they like it, encourage them to pick up a copy. When a book or recording is illegally copied, the publisher or record company has no way of monitoring interest in the project. This not only steals from the ar%st but may prevent them from having an opportunity to again express themselves in that medium. Good luck! 3 Table of Contents Author's Note........................................................................................................................................3 Chapter 1: Theory and Harmony..........................................................................................................6 Interval Names and Symbols...........................................................................................................7 Naming Intervals..............................................................................................................................8 Enharmonic Intervals.....................................................................................................................10 Chords and Their Formulas............................................................................................................11 Building Diatonic Triads.................................................................................................................12 Building Diatonic Seventh Chords..................................................................................................13 Major Scale (Triads & Seventh)......................................................................................................14 Natural Minor Scale.......................................................................................................................15 Melodic Minor Scale......................................................................................................................16 Harmonic Minor Scale...................................................................................................................17 Harmonic Major Scale....................................................................................................................18 Double Harmonic Major Scale.......................................................................................................19 More About Seventh Chords..........................................................................................................20 Suspended Triads and Other Three Note Structures.....................................................................21 Chord Scales...................................................................................................................................23 Chord (cid:38)amilies and Their Scales.....................................................................................................25 Scale Degree Names and Basic Progressions.................................................................................28 More About Roman Numeral Analysis..........................................................................................32 Cycle of FiDh and Back Cycling.......................................................................................................34 Roman Numeral Analysis and Chord Scale Choice........................................................................35 Basic Rules for Chord Subs%tu%ons...............................................................................................37 Triads over Bass Notes....................................................................................................................51 Triad and Seventh Chords over Bass Notes and Polychords..........................................................54 Reharmoniza%on and Chord Subs%tu%ons....................................................................................60 Advanced Reharmoniza%ons.........................................................................................................62 Reharmoniza%on of Standard Forms.............................................................................................75 Common Tone Reharmoniza%on...................................................................................................77 Modal Harmony and Theory..........................................................................................................80 Sharp and Flat Direc%on Modal Modula%on.................................................................................82 Resolu%on Tendencies Between Modal Groups............................................................................88 Voice Leading.................................................................................................................................89 Chapter 2: Chord Forms......................................................................................................................92 Triad (and Suspension) Chord Forms.............................................................................................93 Drop Voicings...............................................................................................................................101 Triads (cid:75)ver Bass Notes.................................................................................................................174 Spread Triads Over Bass Notes.....................................................................................................193 Quartal Voicings...........................................................................................................................215 Skipped String Voicings................................................................................................................234 Open String Voicings....................................................................................................................239 Polychords (Triads over Triads)....................................................................................................250 Using Comping Voicings in New Ways.........................................................................................253 Construc%ng Chord Scales...........................................................................................................254 Diminished Scale Voicings............................................................................................................264 Stretch Voicings............................................................................................................................268 Chordal Lines (ii7 V7 Imaj7)..............................................................................................................272 4 Chapter 3(cid:855) Scales and Arpeggios.......................................................................................................274 Mode (Scale) Prac%ce..................................................................................................................275 Close Posi%on Fingerings.............................................................................................................284 Scales With Two Notes Per String................................................................................................287 Diatonic Intervals.........................................................................................................................294 Diatonic Arpeggios.......................................................................................................................295 Seventh Chord Arpeggios............................................................................................................298 Seventh Chord Arpeggios Root 6.................................................................................................300 Seventh Chord Arpeggios Root 5.................................................................................................306 Bitonal Arpeggios.........................................................................................................................312 More About Prac%cing Scales and Arpeggios...............................................................................322 Chapter 4: Linear Studies..................................................................................................................323 ii V I Progressions.........................................................................................................................324 ii7 V7 Imaj7 Subs%tute Pa1erns........................................................................................................338 Turnarounds.................................................................................................................................340 Turnarounds (cid:75)ver (cid:38)our Measures...............................................................................................343 Turnaround Subs%tutions.............................................................................................................346 Cycle of Fiths................................................................................................................................347 Cycle of FiDh Exercise..................................................................................................................349 Pentatonic Scales.........................................................................................................................350 Triadic Superimposi%on...............................................................................................................355 Seventh Chord Superimposi%on..................................................................................................363 Hybrid Arpeggios..........................................................................................................................370 Playing (cid:75)ver (cid:104)nusual Resolu%ons................................................................................................375 Melodic Ideas...............................................................................................................................380 Modes: Linear Approach..............................................................................................................388 Modal Mixture.............................................................................................................................406 Using One Interval Set Over Many Chords..................................................................................408 Outside Playing Over One Chord.................................................................................................412 Chroma%cism And Twelve Tone Applica%ons..............................................................................415 Twelve Tone Triadic Formulas......................................................................................................419 Modal Shapes...............................................................................................................................427 Unorthodox LeD Hand Techniques..............................................................................................431 Modern Linear Examples.............................................................................................................432 Pedal Point Soloing......................................................................................................................435 Chapter 5: Technique and Prac%ce...................................................................................................436 Bass Lines.....................................................................................................................................437 Comping Rhythms........................................................................................................................449 Solos Over Standard Forms..........................................................................................................450 Prac%cing......................................................................................................................................464 5 6 Chapter 1: Theory and Harmony A thorough understanding of intervals is of the utmost importance in studying all types of music, as intervals are the building blocks of polyphonic music. Each interval has vastly diKerent sound characteris%cs and must be commi1ed to memory aurally and visually. Intervals can be sounded together (harmonically) or sequen%ally (melodically). There are twelve intervals in the space of an octave. Interval Names and Symbols Unison m2 M2 m3 M3 P4 A4/d P5 m6 M6 m7 M7 P8 5 ½ 0 1 2 3 4 5 6 7 8 9 10 11 12 steps Key: m = minor M = Major A = Augmented d = diminished P (cid:1089) Perfect Ex. 1 ½ steps 0 1 2 3 4 5 6 7 8 9 10 11 Perfect Imperfect 1st Unison 2nds Seconds Augmented Major 4th Fourths 7ths Sevenths 5th FiDhs 3rds Thirds Diminished Minor 8th Octave 6ths Sixths 7 Perfect Intervals: Octave, Unison, FiDh, Fourth become augmented when enlarged by a half step become diminished when reduced by a half step Imperfect Intervals: Second, Seventh, Third, Sixth 1) Major Intervals become augmented when enlarged by a half step become minor when reduced by a half step 2) Minor Intervals become major when enlarged by a half step become diminished when reduced by a half step Naming Intervals To precisely iden%fy an interval, generic interval classiOca%on must be made based on the number of le1er names spanned. For Example: Ex. 2 le1er names C D E F a fourth = generic classiOca%on 1 2 3 4 4 le1ers spanned Ex. 3 le1er names F G A a third = generic classiOca%on 1 2 3 3 le1ers spanned Once the generic classiOca%on has been determined, a more precise descrip%on (e.g., perfect, major, minor, diminished or augmented) can be made, based on the number of steps between the two pitches. 8 Ex. 4 C C# D D# E F 5 half steps = P4 perfect fourth ˅ ˅ ˅ ˅ ˅ 1 2 3 4 5 ½ steps spanned Ex. 5 F F# G Ab 3 half steps = m3 minor third ˅ ˅ ˅ 1 2 3 ½ steps spanned Ex. 6 Here are some more examples of intervals: (cid:894)D(cid:1089)Doubly(cid:895) 9
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