Table Of Content

The Complete Jazz Guitar Method Beginning.- Intermediate » Mastering Chord/Melody Mastering Improvisation JODY FISHER Alfred, the leader in educational publishing, and the National Guitar Workshop, one of America’s finest guitar schools, have joined forces to bring you the best, most «< progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop. Copyright © MCMC Atte Pu Al igh esorved. Printed in USA ‘one et Ln Harr Ae ans (ee = TABIE OF CONTENTS ABOUT THE AUTHOR. INTRODUCTION enn nonnen nan Chapter 1 6 Rieht Hand Options. Ea ee Salvi a Pek Snare pt tee, % Fingerstyle Chords, = ave Pick and Fingers Technique, 1 OE SA Ea a Chapter 2 = oh ® LLezson 1: Recognising Chard Tones ea 8 Combining Melocy ard Harmony : ee Lesson 2: Guidlines forAcrangne, it Leszon 3: Chord Enhancement. = mes leon the Range AEE Chiapeer3 cee Lh Lesson i: Diads nes 18 Non-ChordTonas ee ee Blue Bal of Scan : = 9 Letson 2; Adding the Non.Chord Tone. 20 Becta Dreamer Tee eau a1 Lesion 3: Voie Lang none cnemnnen = 2 erson 4 Pasig Chords i Vigor. i ea Bucs in. 2 28 Doninshed Chords = =) an? (HalDimiished) Chords Es, 2 ts a 3 Lerson :Quaraal Harmony. a Saar suy: Single Notes. — m 36 Octave. — eer ince: Chapter 4 38 tLeson I Pasting Chord Approaches nun cesar Enhancing Chord Progressions we a Lesson 3: The IVA RBG ene 39 Lesson 2: The V7-TAppreach iu st Lesson 4: Theli-V7-1 Approach ee a en and Cote S a Lesson 5: BackeyclingApproaches, A SRN ee | Tre Alerts Cycle 46 Lesson 6; Tetone SubroacionApproadh sn. 46 Lesson 7: ThetV7-1Approsch ee eat) Lezton 8: Thali VIL andAlermaes Cycles ae es Lesson 9: Surprise Chores ats : 4 3) teat Caitante Ehapter 5 > | Lesson 6: Basslines—Combining Techniques. = 58 iis ag ‘A compoct dsc le available for each book inthis series. These dics can make leerning with there books easier end more enjoyoble. This symbol imill eppeor nemt to every example thet ix ployed on the CD. Use the CD {> help insure that you are copturing the feel ofthe exomples, interpret- Ing the chythms correctly, and r0 on. The Track numbers and Index num= bors below the symbels correspond directly tothe example you want £0 ) ‘near, Tack 1 will help you tune tothe CD. Have funt Table of Contents 3 ABOUT THE AUTHOR INTRODUCTION This book is about learning to playin a syle we call ChrdMelody ln this syle songs are ranged 20 the harmony melody. rhychm and sometimes the baze pars are plyed imal taneously, These arrangements can Be played alone or if sire, make fe pose for the fuicarie to load his or her own group, Piers who study thie syle know that it can be ene ofthe deepest forms of musical slexprestion, Alto, there ace enough concepts to leara 2h apply to keep one intrigued for 3 ese Ic has always amazed me that many gutariss just sand there not knowing what ro do sen asked playa song alone. The whale Mea behind playing a sil instrament play musle play songs. It seems tht mos guitarists know the part of songs hey would play In a band, but they had to ply eomething axa solo, wel moet players would be oak “This book it not fr complese beginners. The material found here i forthe studene who hae beon seuying the information inche first wo books of thi series, Beginning Jor2 Guar and incermediote Jzz Gotaror the equivalent. To get the most Out of is book you should be fanilar with major scales, chord construction, majar chord sales and altered chords Inthe firs two books each lesson has two separate sections. TheA” section deals with chords and harmony wile the °B" section covers the topic of singlecline inprewatin, This book focuses completely on chordimelody and harmonic concepts. I stares right whore the "A" sections ofthe Intermedtate 800k Iet of, (Mastering Jaz Gultor Improve on stars where the "B" sections in the intermediate back lef ef) \Whie | personally prefer reading musical notation fs not nacertary In order to obeain maximus resuls fom tis book, Examples ae written ia Both standard notton and lablature. While TAB i elective iis not nearly a2 expressive as musical noution. Non- readers are missing out onan everwhelming amount of musical and instructional materia ‘You dont have to bea super sight render, but ce ability to decioher musical nota very important Of course, the better you read musi, the better your comprehension and mosieality wil be. Ths wil Increase your enjoyment. ‘Yu may be surprised by the added benefits of becoming proficient in chardimelody ply Ing. Some of these are 4 much greater awareness of harmony, bester visvalzicion of srpert ehapes,a more sophisticated sense of melody while Improiting and 2 dramatic improvement in technique and strength, Als, Keep in rnd that you maybe able eo find ‘employment ae a sole guise if band gigs arene available ‘Ater completing this book you wil be able to arrange your own chordimelody tunes and you wil havea deep understanding of chord progressions and harmony, Thi willow you {communicate with acher musicians more elective Take your time, pracie lowly and have fun! nereduetion CHAPTER 1 Right-Hand Options place about ninety percent of tei attention 2nd efforts onthe lef and. Limieaions in their paying are wualy blamed on sore ful of the lef hand only The real siuation is chat. with the exception of hammer-ons pullffs, eis and other decorative devices, ie taker two hands £0 produce one note. Therefore, equal atention ‘should 8e paid zo both hanes se all ines In single note playing, moe glarees have favor lf hande tha sight hands, When both hands are fly developed. the right hand actualy “powers” che lf. Severl diferent hand techniques fend cherealves co chordimelody playing, Pik syle, fingerstyle, and combining the two al hae their distinct sounds and advantages, 1 che early days of solo jazz guitar pick style war she preferred mathod. Strumming chords with »pck pve you the opportunity to enjoy many diferent atacks 2nd imbres Single nove lines are played with alternating down and up srokes. Many players use his tathod when they first start stadyingchordlmetody paying Bacaute i allows ther the tne ofa good picking technique they have areas developed in heir previous sees. The ‘nly real dizadvancage i that there are many chord voiigsthac wil be impossible to play because of shipped strings che fgering, “There are accully many ses of fingerstyle paying. Inthe wadsional method the thumb and frsechree fingers are ted. in some folk styles, the thumb and two fingers work pretty well. use ll our fingers and the ehumb, Thi char shows dh rghe and Ginger Gesignaions qeemte ism thumb = p Arse finger = middle finger =m third finger = 0 pinky ‘Chapter One = Right Hand Options Generally. p controls the sixt> and fileh serings, while |i on the fourth, m is on che third, 2 ison the secon an cis on the frst. If pis paying onthe ith + lourchserigs ples ‘he third. plays the second anda plips the lrss. ilfrent songe and exerces wil require some shfing of hand placement Petes es ging bring enraged hecho eo oe Goes yau weno har Pi tng aon yoo ler or echo occ inviainoeinsshord Ores oniearaten stacbncooh ea tee “Stes silanes When Smring hs pc ar anh ae ne ss Fo psu ae te he nee ere ee tow scomene~a th ots chord arte te mower ge shorts tare mpi py wah po. San ene mount oe hoe a aes Ip alin ema rater Sey on ean aan ony (One real sdvaneage of playng chord in cis manner isha olay single-note lines fingerstyle, most 22 players aither alternate thei acre fs £815 (ur) or akernate their Uuenb and reccnd fingers (pin). There are many gaod cesses ] In addition to asin a pick and developing ngrsiye technique ics sno & goed idea to Braccice using pick alongwith your eras remaining frgers. Mase pleyers occasionally do this and, for many itis eeir primary way of playing Usually the plck i held between the p andi fingers and takes care ofthe sixth, lth snd foureh strings while m covers the third. o coves she second and ¢ handles the frst. The advantage to this technique is that ic allows you ta twitch from fingerstyle to using ple With very te ffer. When playing strict fingerstyle, you ether have to palm che ck, which can interfere with your righ hand tecincue, or putt somewhere ele ike your x mouth). The constane switching can bea hindrance, The major daatvanage le hat you are Fimited to playing four-note chords, since two of your fingers are occupied mith holding the pie, j Le almost everything sie with guitar I is best learn every technique instead of relying ‘n Just one or two. This way you will be prepared for any musia! situation shoe comes your wey Chapter One Right Hand Options (HAPTER 2 Combining Melody and wi A chordimelody arrangement allows you to phy the melody with chords. Usually the melody wil be the highest note if the chord, and ehe tones Underneath produce the tarmony. Not every nove in an arrangement needs co be harmonized. Sore payers lean toward heaey harmoniztion, and others prefer a more sparse approach, Uiemace ie 3 matter of personal tte ‘One of che fist shile duc nseds tobe developed the ably to recognize chord tones in 2 melody, In Examples I.2and 3,che melody notes that are ako par of the accompanying chord are highlightes dade ams aq ce === Se ee i omit Aming? fomnz Amin 07 Gxt 4 Sale: ssf 37s + ‘Chapter 2—Combining Melody and Harmony ‘Obviously. che beter you know your chord formulas and arpeggios, che easier it wili be to. recogrize chord rones. The nex step isto find chord voicings thc have the melody notes fon cop. Here are some possible armonitation for Examples 1,2 nd 3 J Marmonizations f+ Example | cna "7 Denier er ce onnir ait a0i Amir O7 Gtr ie==- , tye fe zt = = wl og a bE (Chests 1~Caniina: Melndvandainecs Jets often nacessry to ealte the melody one octave In order toute larger chord valine Harmontzatlons for Example3 F evar ahve chur 5 nes ere C= — a= <= 2 SSS mint cor Fring ey elvai7 AbNaj7 eiayz ia E = —= losing clodes in 25 many ways as you can Gra Gr 8) OM? min) Emi AT NIT be « ©) cm #7 Gy 7 Bhir 0) Arn mats €7 Amin —— ae Sf it rie ge ——— = = = Fs = = = = 10 Chapter 2—Combining Melody and Harmony