CHORD-MELODY GUITAR A Guide to Chords and Melody to Create Solo Arrangements LIBRO CD TABLATURE MI

CHORD-MELODY GUITAR, A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and Pop Styles. Musicians Institute Bruce Buckingham. SHEET MUSIC BOOK WITH CD 6 GUITAR TABLATURE. 

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Chord-Melody Guitar
A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and Pop Styles

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Author: Bruce Buckingham

Master the art of blending melody and harmony on the guitar with this book/CD pack. It includes in-depth studies of chords and chord melodies as well as a CD containing 90 demonstration tracks. Lessons include:
the five patterns;
chord shells;
inversions;
voice leading;
cadences;
diminished chords;
and more.


Inventory #HL 00695646
ISBN: 9780634032110
UPC: 073999956467
Width: 9.0"
Length: 12.0"
64 pages
 

Introduction

The subject of chord melody studies the relationship between a melody and its accompaniment. This can be a difficult thing if the student doesn't have a thorough understanding of the harmonic ideas presented in the tune. The intent of this book is to give the guitarist the tools to understand the interaction between the melody and the chords that support it, by both hearing these relationships and seeing them on the instrument.

When you play the melody to a song, there are certain parts that require some support from the harmony in order to create a complete and effective arrangement. It is up to the performer to realize where these points are and supply the chordal accompaniment. Most of this has to do with realizing how the melody relates to the key and thereby understanding which would be the proper chord for this point in the tune. Of course the composer has supplied that chord, but we may have different ideas from the composer. We also might encounter some melody notes that need special treatment, because they are passing notes that don't work well with the given chord for that measure; these require passing chords or no chord at all. Further complicating things is the idea of style, which can dictate a complete change of accompaniment patterns. We should be aware of stylistic demands and try to adhere to their ideals. Chet Atkins, a great country guitarist, might have a different (yet equally valid) approach from that of Joe Pass, a great jazz guitarist. In either style, an arrangement will be an exercise in resolving problems related to the interaction of harmony and melody. Therefore, students of chord melody should strive to understand harmony as well as looking for arrangements and studying the guitar and various musical styles. Classical guitar study addresses the harmonic issue from the very beginning, but popular styles (jazz, pop, country, etc.) usually don't. It is only the advanced players in those styles that create something for the rest to emulate, when in fact this can be done at any level of complexity. We should try to accomplish "musical" ideas at all costs! One way to open up your sense of melody is to play many different voicings of chords. A voicing of a chord is how the notes are ordered from the bass note up. An example would be a major seventh chord with its notes in this order: C-G-8-E, or possibly C-8-E-G. Notice that by re-ordering the chord tones we get a different note on the top; therefore a melody evolves on the top note of the chord when we move from one voicing to the next. Even if we just change the voicing of the chord once, it sounds as though some movement has occurred. Your daily practice should include technique and rhythm/time, the musical element of arranging (harmonic moves and/or songs), and memorization of repertoire. If you are serious about the harmonic possibilities of the guitar, the study of chord melody can continue for the rest of your life.

 

Contents

Introduction 

1. An Overall Fretboard View .

The Five Patterns 

Relationship of Chord Tones to Scale Tones .

Common Guitar Voicings .

 

2. Shells .

II-V-I Moves with Shells .

Blues with Shells .

 

3. Inversions .

Triads 

Seventh Chords 

 

4. Harmonized Scales 

 

5. Chord Scales 

 

6. Slash Chords 

Upper Structure Triads 

 

7. Harmonic Moves 

Triadic Harmony 

Seventh Chord Harmony 

 

8. Voice Leading .

 

9. Cadences .

 

10. Moving Lines .

 

11. Substitution .

Diatonic Substitution .

Flat-Five Substitution .

II for V7sus Substitution .

Melodic Minor Substitution .

 

12. Diminished Chords .

Dominant-Diminished Substitution .

Diminished Passing Chords .

 

13. Chordal Interpretation .

 

14. More Chord Voicings .

 

About the Author .

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64