This Week on the Guitar Blog...
The Jazz Power Chord Concept
In this episode of the GuitarBlog we'll learn how to break down large seventh quality chords into smaller voicings.
Video - PART 1: The first example works through the isolation of the primary chord tones found in seventh chords. These include the "Root, 3rd and 7th." Example one, breaks down Major, Minor and Dominant 7th chords to smaller isolated chord voicings. The new smaller "Jazz Power-Chord" patterns are easier to perform and have a smaller footprint on the neck.
Example two explores mixing the intervals of three chords from the key of "E Minor." The progression not only applies small pieces of each chord used in the riff, it also displaces the chord tones through the octave range of each phrase. A focus is placed upon adding or subtracting various chord tones through only slight position shifts on the neck.
Video - PART 2: In the second half of the lesson, (available with the lesson handout in the members area), the third example explores small interval movements through a phrase that blends specific chord tones using inside and outside harmony. This sound is popular to Jazz-Fusion and introduces wider (more intervallic) chord voicings that will tend to use various suspended chords. This progression in ex. 3 also applies a unique jazz oriented root and 5th style power chord played between the 4th to 2nd string.
Example four examines harmony outlines using intervals and licks to connect the chord types of Minor, Major and Dominant 7th chords. The harmonic effects can become highly customized this way since the outlines will use scale tones to produce suggested harmonies. The chord tones are still very limited, but the sound becomes both sophisticated and powerful in how it complements available tones. This effect works well in both ensembles and for solo guitar performances.
Be sure to watch Part 2 of this lesson and download the handout in the members area of CreativeGuitarStudio.com
"The Jazz Power Chord Concept"
For more resources on the topic of Harmony and Theory, visit the course pages at Creative Guitar Studio / Harmony and Theory.
For some extra jam practice this week, check out my FREE JamTrax on the JamTrax Page. Please consider visiting my PayPal Donation Page to help support the web-site. Have a great week everyone, and all the best!
February 17, 2017:
Secret Ingredients for Killer Guitar Melodies
PART ONE: In example one, the first exercise takes a low register melody (in ex. 1a), and displaces the line into another octave range, (ex. 2b). The concept of displacing melody into another tonal range is one of the easiest to adopt into your composing system. Changing the register of a melodic part creates an immediate impression and is straightforward to do.
In example two, a primary melody is introduced in example 2a. This melodic line acts as the principle part from where we use the key signature to match intervals and build a harmonized line in example 2b.
Harmonizing a melody is a compelling way to enhance any existing phrase. The effect is simple, yet instantly impressive to the listener. You'll hear this applied in a number of famous songs such as in the Eagles, "Hotel California," (guitarists; Joe Walsh, Don Felder and Glen Frey), as well as, the Allman Brothers song, "Jessica," (with Dicky Betts and Les Dudek on electric guitars).
PART TWO: In part two, (video lesson, PDF handout and MP3 jamtrack in the members area of CreativeGuitarStudio.com), example three begins with the application of wide intervals used across a melody in "G Major." The use of these wide intervals creates a very interesting sound a melody line. Applying the technique also requires a good deal of time spent on gaining new insight into the layout of the fingerboard and executing the technique of string skipping and /or hybrid picking.
In example four, the focus is on building up a melody from the use of small 2-note chords, (commonly know as "Double-Stops"). The melody in example four is based in the key of "A Major," and contains an abundance of double-stops. Take notice of the impression of the chord generated from the double-stop. It corresponds to the underlying harmony of the chord progression. I would suggest on recording the chord progression first, and then practicing the example four melody over the chord changes.