Tell a Friend · Help · Humor · Archives · Tour · About Us · Link To Us
ActiveMusician.com
You are here:
Guitar Store Composer Groove Builder Instruction  Basics  Features FretBuzz Articles  News 
Lessons
Home Members Lessons Tablature Artists  MP3s  Resources Products Auctions

 • Main Directory
 • Creating Lessons
 • Search Lessons
 • Top 10 Lessons
 • Learning Tracks
 • Riff Search Engine


Recommended:


$24.95
Stevie Ray Vaughan - iSong CD-ROM


$799.00
Washburn Cumberland J28SCEDL Acoustic-Electric Jumbo Guitar


$249.00
Zoom H4 Compact Digital Multi-track WAV/MP3 Recorder

Lessons: Lesson #12025: Low-Rent Jazz For Rockers Pt. 6

  • Share This Lesson

Low-Rent Jazz For Rockers Pt. 6


by Chris Adams (326)

• Email this Lesson to a Friend
• Bookmark this lesson page onsite
• Send Feedback to this member about this lesson
• Rate this lesson (5 is best): 1

Pages: 1  2  3  4  5  6     Suggested Tempo: 120
Harmonically Vague Forms

So far we've been talking mostly about single-note lines. The question remains (and a great question it is) : what about chords? Now obviously you can study harmony all your life and never run out of things to learn. But that's not Low-Rent now, is it?

Here are just a few harmonically vague structures that are pretty versatile for comping, or even as "punctuation" during a solo:

1
2
3
4

What are they? Well, that depends. Take the first shape: is it Cm11? F7sus? It could be a lot of things. What it is is a basic fourth voicing. So is shape 2.

Shapes 3 and 4 are versions of what pianists sometimes call "crunch chords" What are they? Again, that depends on how (or even if) you choose to analyze them.

For Low-Rent purposes, what really matters is the top note. If you create a nice little pattern or melody with the top note, the structures are vague enough that you'll often get away with what's underneath. Also, if something really doesn't work, usually you can move just one finger and it will.

Exercise 5a: Take All The Things You Are. Play it through once using only shapes 1 and 2, keeping the melody note in the top voice at all times. Notice how often this works. Now, go back to the spots where it really doesn't work, like the Cmaj7 in bar 7. Try moving one finger and see if you can "fix" those places.

Exercise 5b: Play a more modal tune, like Afro Blue. If you can play it with a friend, even better. Try comping using just shapes 1 and 2. Focus on creating a nice simple counter-melody in the top voice.

You'll be surprised at how often and how well this "budget" chord-melody works.

Exercise 5c: Back to the funk. Solo over the groove, but this time "punctuate" your solo now and then with shapes 3 and 4. Think perhaps about snare drum accents, or horn section "jabs". Once more, focus on the top note.

Remember, sometimes it doesn't matter so much what notes you play but where you play them. Miles Davis used to reach over to a keyboard during his solos and make little jabs at it. Sometimes he even used his elbow! Most of the time, it worked, at least to my ears. Think about it.

 Prev Page · Next Page   

© 1999-2009 eTonal Media, Inc. All Rights Reserved.  WholeNote is a registered trademark of eTonal Media, Inc.
Please read our Privacy Statement and the Terms and Conditions under which this service is provided to you.