Concepts for Solo Guitar Performance 2nd Edition

Concepts for Solo Guitar Performance2nd Edition

© Juju Music Edition - 2018

CONCEPTS

FOR

SOLO GUITAR PERFORMANCE

By

Jan Jakut

2nd Edition

Juju Music Edition Seattle

COPYRIGHT © 2018, JUJU MUSIC EDITION, INC.

PUBLISHED IN THE UNITED STATES OF AMERICA

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission except in the case of brief quotations embodied in critical articles and reviews. For information address Juju Music Edition, Inc., [email protected].

Cover Art © Julian Strait www. madebyshore. com

mailto:[email protected]

About the Author

Jan Jakut is a musician and music publisher living in Seattle, Washington. He received his undergraduate training in Jazz Guitar at the University of Mainz - School of Music (Germany) and studied for his master’s degree in Jazz and Improvised Music at the University of Washington - School of Music. He is a multiple published author with Schott Music International and has received awards and scholarships, among them the A. Reynolds Endowed Scholarship in Music. Based on his published work and his solo guitar performances, the United States Citizenship and Immigration Services granted him permanent residency with an EB-1 visa, addressing extraordinary abilities in the arts. With Juju Music Edition he publishes transcriptions and educational material for solo guitar to sustain and propel the rich heritage of American Popular Music by making its idiom and general body of knowledge available for current and future students of music in the US and abroad. Since 2015 he performs on the West Coast and frequently teaches at institutions like the California Jazz Conservatory, Berkeley.

Acknowledgement

The author is most grateful to his family, friends and all the people who contributed with their inspiration, critic, love and support to make this publication possible in the first place.

Irena, Jozef, Jacky, Lauren, Philippe, Bill Frisell, Eric Haugen, Jordan Klemons, Mark Leggett, Travis Lewis, Jason Verlinde, Nico Schellhammer, Lee Townsend, Rob Ewing, Julian Strait, James Seaberry, Don Anderson, John Dunn, Serge Guinot, Barry Chabala, Joe Turner, Mark J Gardiner, Tim Scully, Ruben Roy, Laurence Balmer, Perry Paletta, Bertram Hebert, Tyler Moody, Liam Murray, David Ziegele, Luis Mendoza Ramirez, Colin Dawson, Alfred Kreuz, Luke Huels, Gareth Williams, Steven Gatto, Gregory Pancratz, Joshua Gerowitz, Kendrick Lo, Florian Heinrich Seyfarth, Maximiliano Cremona, 大介二木, Thomas Van Osdol, Brian Monroney, Kamil Rekosz, Ivan Ujevic, 宮西暢明, Az Bin Abd Samad, Charles Gutzwiller, Russell Allen, Christoph Ruckli, Carlos Esquivelzeta, Rjurik Davidson, Scott Martinez, Paul Reiser, Bengt Mikael Thulin, Ronald Mueller, Koudai Kawashima, Oscar de la Cruz, Michael McMahon, Karel Van Deun, Bill Godwin, Jesse Kupper, Kevin Carroll, Matt Ralph, Chris A Liles, Tudor-Alexandru Ciocanel, Dietmar Kulterer, David Henehan, Owen Chen, William Martin, Louise Greenhorn, Andrea Hoffmann, Akchote Noel, David Zimmerman, Andrew Morrison, Giussani Marco, Caroline Neveux, Yuuya Fukuda, Paul Allopenna, Philippe Canovas, Martin Caberlin, Jeff Voll, Eric Hasemeyer, Dario Volpi, James Buchanan, Dariusz Asanowicz, Michael Schaefer, Bob Orr, Martin Schipper, Evan Heines, Nicholas Chiulos, William Orlowsky, Terence Simcik, Nino Ruggieri, Sydney Rodway, Brian Dabling, John Butcher, Christian Ries, Nils Monahan, Joel Villa, Rufus Beck, Anthony Abbatangeli, Robert Firestone, Hibiki Tomita, Xavier Dubois, Uwe Kirchfeld, Mateusz Madej, Brad Benefield, Nik Strelecki, Mirko Testa, Mikio Kang, Chad Lindburg, Nomura Takashi, Victor Camaano, Steven Thaachuk, Harry Guth, Sharon Lank, Danny McGirr, Michael Bruns, Royce Cho, Orestis Nalmpantis, Joseph Laflamme, Dario Villa, David Rubin, Benjamin Blanc, Simon Goodwin, Gabe Dill, Scott McBean, Alberto Martir, Sarah Lipstate, Robert Griffith, Chris Leate, Michael Hoegeman, Henrik Karlsson, Patrick Walden, Josh Henan

Table of Contents

1. Analyzing Harmonic and Tonal Groups………………………………………………...................................11.1 “Know the Song”: A Methodical Approach to Memorize Tunes

1.2 Melodic Tonal Groups - Harmonic Tonal Groups: Analysis and Application

1.2a Sample of Song Analysis

1.2b Transcription Analysis: Bill Frisell - Arrangement and Accompaniment Concepts

1.2c Arrangement Concepts applied to the changes of “Stella By Starlight ”

2. Analyzing Musical Forms………………………………………………………………..........................................4

Transcription and Analysis: “Improvisation ” - Julian Lage A: Establishing Tonal Centers - Contrasting Tonal Centers Melodic Harmonic Phrases - Rhythmic Organisation

Contrasting Harmonic Devices: Triads - Cluster Voicings

A’: Musical Organization of Phrases: Call & Response Principle

Establishing New Tonal Centers with Secondary Dominants

A’’’: Four-Part Harmony - Creating Harmonic Movement

B: Outlining Harmony with Single-Note Lines - Tension/Resolution

A’’’’: Chord Melody with Triads and Cluster-Voicings

Two-Line Descending Scale, Pedal Point

Ending: Harmonization of Vi-IV-II-V-I

Use of Voicing Varieties, Chromatic Bass Line, Arpeggios, Artificial Harmonics

3. Means of Harmonic Organization…………………………………………………........................................10 I. Musical Phrases

II. Harmonic Structure

III. Application: “Improvisation” - Sample based on Found Organization Principles

IV. I - IV - V Principle: Interchangeability of Chords, Chord Substitutions

4. Melodic Devices - Guitar Techniques of Jim Hall and Bill Frisell ……………….......................174.1a Sustained Notes: Unconventional Scale Fingerings

4.1b Application of Unconventional Scale Fingerings: Radiohead’s Paranoid Android

4.2a Pedal Point: Transcription Excerpt “Poor Butterfly ” - Jim Hall Pedal Point Exercise : Ear-Training & Finger Independence

4.2b Jim Hall’s Melodic Pedal Point Ideas applied to the Changes of “ATTYA ”

4.3a Melodic and Harmonic Outline of “Shenandoah”

4.3b Transcription Excerpt “Shenandoah ” - Bill Frisell (solo)

Application of Pedal Point, Open Strings and Harmonics

Harmonic/Melodic Fills

4.3d Concepts applied to the chord progressions of “Goodbye Pork Pie Hat ”,

“Autumn Leaves ” & “In Bloom ” 4.4 Barre techniques to Accompany Melodic Playing

4.5 Analysis of Single-Note Lines: Creating Harmony

5. (Re)Harmonization Techniques............................................................................................295.1a Creating Harmony with Two Notes at a Time: “Two-Line” Descending Scale

5.1b Two-Line Descending Scale as played by Julian Lage, Dyads Exercise

5.1c Two-Line Scale applied to the Chord Progression of “Black Hole Sun ” Jimmy Wyble’s “Outlining Sound” Concept

5.1d Applied to the Changes of “Free Fallin’ “

5.2a Harmonizing Melodies: Analyzing Tonal Interval Structure

5.2b Harmonizing with 7th-Chords, Quartal Harmony & Chromatic Approach

5.2c Harmonizing “Avoid-Notes”

5.3 Harmonizing progressions with Triads: “Karma Police ”, “A Change Is Gonna Come” & “A Hard Rain’s A-Gonna Fall “ - Bill Frisell (solo)

5.4a (Re)Harmonization: “Lithium ” - Nirvana, Harmonic Outline

5.4b Utilizing 7th-Chords and Substitutions

5.4c Harmonizing with Quartal Harmony - the 4th Way “All Apologies ”

5.5a Harmonizing with Interval Pairs: “You Don’t Know What Love Is ” Kurt Rosenwinkel

5.5b Block Chords, Chromatic Approaches, Incomplete Voicings

“How To Pass A Blue Monk ” - Blues Etude 5.6a Understanding Non-Standard Voicing Formulas:

“Study For Electric Guitar ” - Julian Lage 5.6b Adapting Voicing Formulas

6. Creating Arrangements and Improvisations..........................................................46

6.1a Methods: Arrangement Sample

6.1b Exercise: Improvisation

6.2 Improvisation Practices: “Strawberry Fields Forever ”

6.3 Arrangement and Reharmonization Ideas for Jazz, Neosoul & Pop Tunes

Links to Soundslice:

“ Self-Portrait In Three Colors ” - Charles Mingus

“Toxic ” - Britney Spears

“Guitar Jingle ” - Jan Jakut

“Wouldn’t It Be Nice ” - Brian Wilson

Sonic Imprints - Ear-Training

7. Selected Transcriptions & Arrangements

“Study For Electric Guitar” - Julian Lage..........................................................................54

“Chordal and Melodic Ideas” - Arianna Powell.................................................................65

“Shenandoah” - Bill Frisell..................................................................................................68

“St. Louis Blues” - Bill Frisell...............................................................................................73

“Rhythm and Triads” - Blake Mills......................................................................................88

“Modal Subversions: Nirvana” - Reharmonization and Percussive Techniques.............91

“Robert Glasper’s Changes for Stella”..............................................................................97

“Lines for Autumn Leaves”.................................................................................................100

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How do you go about that?

1.1 Find the most common and defining recordings of the song. Decide which versions fit both the common playing practices and the given purpose of learning the basic structure (plain melody + basic harmonies). For instance, a standard like Embraceable You is commonly played with different harmonies and varying keys - Charlie Parker version is in F, Billie Holiday's in C. In this case, for a guitar solo performance, it is practical to choose the key of G:

- it's a common and good sounding key for the instrument - initially, tonal relationships and harmonic progressions are easier to process in a key with less accidentals- there are interesting recordings of guitar performances and sheet music available

1.2 Melodic Tonal Groups*: identify and analyze melodic phrases by measuring their intervallic structure. Harmonic Tonal Groups*

- identify the harmonic progression (e.g II-V-I) - the characteristic of the harmonies (triads, seventh chords, specific inversions & tensions, constant structure ...) - the intervallic movement of the root or the lowest note of a chord

* Intervals can be measured based on any arbitrary tonal group. Both the tonal interval structure and the chromatic interval structure can be identified as particular cases of tonal groups. This is of consequence for evaluating structural value and permutations. [2] (Kissenbeck 2007)

Learning musical motives, chord progressions and entire songs on a structural level helps to memorize tunes and to understand which notes are important to outline melodic and harmonic development with one instrument. Knowing intervallic structures enables playing musical ideas in different areas of the fretboard. By having access to all available registers you can take advantage of guitar specific techniques to play legato and with added sustained notes. Excerpts from Bill Frisell's solo rendition of Embraceable You illustrate the use of sustained notes, reoccurring musical motives and added bass notes.

1. Analyzing Melodic and Harmonic Tonal Groups

"One of the first things that's really important is to actually know the song [...] What do I mean by knowing the song? I mean being able to play it anywhere (on the fretboard). Not have to think about what the next chord is, because you just know it." [...] First figure out one very simple way to play the melody with chords." [1] Rosenwinkel 2013)

- Kurt Rosenwinkel about Chord Melody

1

https://janjakut.bandcamp.com/merch/guitar-minute-study-20-concepts-for-solo-guitar-means-of-harmonic-organization

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After more arpeggiated harmonics in bar 3, the harmony is outlined with a variety of techniques: sustained bass notes (bars 4-8), chromatic approach (bar 10), voice-leading b7-3 (e.g. bar 5) and chords (bar 6, 9-10).

Most notably are the varying rhythms and that the melody "comes first". Accompanying notes aren't played simultaneously but rather fill the gaps between melodic phrases.

2

https://www.youtube.com/watch?v=uEHdvZD5jFc

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Sources:

[1] Rosenwinkel, Kurt (2013): Clinic Gdansk, Akademia Muzyczna w Gdańsku [2] Kissenbeck, Andreas (2007): Jazz Theorie II, Kassel : p. 16 [3] Frisell, Bill (2013) Embraceable You (Solo), Seattle for the Fretboard Journal published on YouTube: https://www.youtube.com/watch?v=uEHdvZD5jFc [4] Jakut, Jan (2017): Interstella, Seattle - Juju Music Edition

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*Lage, Julian. Improvisation. For Carter Vintage Guitars (1997 Gibson Super 4000 Demo) https://www.youtube.com/watch?v=LJg08nQjBrA

The majority of playing practices found in American Popular Music favor cyclic forms like AABA in Jazz or Verse-Bridge-Chorus in Rock/Pop-related repertoire. It's a practical organization principle to establish musical ideas while complementing them with contrasting elements. The transcription of Julian Lage's improvised solo performance shows how to organize musical ideas around this principle to create compelling solo performances.

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œœœœn

.11

j9 9 6 10 6

7109

Œ 768

678

Db[ ˙ Gb BbPhrase 3

w˙˙

˙˙

11888

8886

Eb

T

I. Musical Phrases

11

V bbb 44 www

688

Eb


establish tonal expectation 'Eb' 'home'

.œb jœ j


œ ‰Jœœœbb

.9

j8

j6 3

j6..11

11 ‰45

‰

J

246

Gb Eb Ab-:

( bIII ) Triad

I Triad

( IV- ) Cluster/Inc

contradict tonal expectation back 'home'

.˙,

œ œ...˙˙˙ œœœ

bb

.6 6 4...246

243

Db;

( bVII ) 7th Chord

V bbb


œœœb œœœn

.11

j9 9 6 10 6

7109

Œ 768

678

Db[ ˙ Gb Bb


( bIII ) Triad

V Triad

I Triad

Secondary Dominant to new tonal center bVII7 ( V )

new tonal center 'Gb' leaving via III7 ( V ) ... back 'home'

w˙˙

˙˙

11888

8886

Eb

T

II. Harmonic Structure

12

V bb www

678

Bb


Sample 2.1b: 'Improvisation' based on found organization principles / musical 'syntax'

.œjœ j

œ œjœ...

œœœbb ‰ œœn ‰

J

œœœb

b

.6

j8

j6

6

j6...

768 ‰ 7

8 ‰

J

989

Gb Bb Eb-:

( bIII ) Triad

I Triad

( IV- ) Cluster/Inc

.˙,

œ œb...˙˙

œœœb

.6

,

6 4...

989

654

Ab;

( bVII ) 7th Chord

V bb.œ j

œ œb œ œn œœœœbb Œ œ œ

.13

j11 9

9 108

91110

Œ 10 10

Ab13 Db F


( bIII ) Triad

V Triad

I Triad

w˙ ˙

˙

667

67

6

Bb

III. Application

abstract structure: concrete structure:

tonal center, harmonic progression chord, voicingmelodic and harmonic phrases melody, rhythm

13

V#### œœœ œ œœœ

œœœœ œ œ

546

4 546

546

0 44

E G# C#-7

I

I III-7 VI-7

3 - 5 - r r - b3 - (5) b6Intervallic structure relative to bass note 5 - b7 - b3

Sample 3.2a: I - IV - V - Principle

V####

2

œœœ œœœœ œ

567

567

0 9

A F#-7

IV

IV II-7

r - 3 - 5 b3 - 5 - b7

V####

3

œœœ œœœœ œ

447

447

76

B 7 D#ª

V

V7 VIIø

b7 - r - 3 b5 - b6 - r

I - IV - VMeans of Harmonic Organization

Chords that are either related to tonic, subdominant or dominant degree are interchangeable because of common notes they share. Within a tonal context they serve the same function and can be used to harmonize a melody, substituting the main functions I, IV, V. This is also useful to interpret chord progressions and to come up with substitutions, voicing ideas or different bass movements. In the key of E the changes F#-7 - B7 - E∆ ( II-V-I) can translate to A∆ - D#ø7/A - C#-9/G# (IV-VII-VI).

14

V####

4

˙ ˙

5 4

F#-7 B 7

II-7 V7

Sample 3.2b: Chord Substitutions and voicing ideas - II-V-I - based on interchangeability of chords

w

4

E@

I∆

˙ ˙˙˙ ˙

567

467

97

F#-7 B 9

II-7 V7

wwww

4467

E@

I∆

˙˙ ˙˙˙ ˙

566

464

5 5

A@ D#º/A

IV VII

wwww

4424

C#-9/G#

VI

V####

10

˙˙˙˙˙¥

90811

141113

12

A@ D#º/Atensions for F#-7: 6 - 9

wwww

12111411

G#-

III-7 w/ b6 for ITension: 9

V####

12

Œ ‰jœ œ œ

..˙ ‰Jœ

Œ ‰j

5 58..6

7 ‰J7

E@

I

Sample 3.2c: Chord changes for a simple melody (I - ii - V)

œ œ œ œ.œ

Jœ .œ J

œn

8 6 8 9

.7

J7 .7

J8

15

V####

14

Œ ‰jœ œ œ œ

œ œ œ.œ J

œn

Œ ‰j

7 7 79

96 7

.9

J8

F#-7 C 7

II-7

˙ Ó

Jœ

¥Jœ œ

œn œ#3

4Ó

J7

7

J

4 4

5 6

3

B 9

V7

V####

16

Œ ‰jœ œ œwww

Œ ‰j

5 5 4464

C#-7

VI-7

Sample 3.2d: Chord Substitutions

I

œ œ œ œ˙Ó

46

4 546 Ó

G#-7

III-7

Œ ‰ jœ œ œ œww

Œ‰

j

7 7 7 567

A 6

IV

II-

V####

19

wwww

4677

B 7

V7

16

V bb 44œ œœ œœ œœ

303 6

0 36

Sample 4.1a: Unconventional scale fingerings for C-Dorian [see Lewis, p. 15-16*]

2Intervals: b2 2

1 3 1

œœœ œœœ œ œœ

036

706

858

2 b5 2

4 4 1

V bb

3

œœ œœœ œ œœ

78

478

636

4 2

3 13 1

¥œœ œ¥ œœ¥

367

117

8117

Harm.

b2

4

4. Melodic DevicesGuitar Techniques of Jim Hall & Bill Frisell

"I like to work out fingerings for scales or melodies that get things running like a piano.For example, I’ll take a G major scale and re-finger it using open strings. I let everythingring as long as it possibly can by holding every note until the last moment. Curve yourfingers so they don’t dampen the open strings." [1]

- Bill Frisell

Using open strings and harmonics instead of a fretted note creates a varity of intervallic textures and allows for longer sustained notes. It creates a similar effect as a sustain pedal does on a piano: e.g. smaller intervalls like major and minor seconds resonating together. "I find this way of thinking interesting because it opens possibilities for dissonant or closely voiced chords not so commonly used on the guitar." - Bill Frisell [2]

[1] Jude Gold. "The Big Bang: Bill Frisell Helps You Unleash an Ever-Expanding Universe of Melodic, Harmonic, and Textural Possibilities," Guitar Player 36, no. 12 (Dec., 2002): pg 61.[2] See Bill Frisell, "An Approach to Guitar Fingering," in Arcana: Musicians on Music , edited by John Zorn, 140-144 (New York: Granary Books, 2000).

*Lewis, Travis. A STUDY OF BILL FRISELL THROUGH PAUL MOTIAN’S ON BROADWAYRECORDINGS. Urbana, IL: University of Illinois at Urbana-Champaign, 2016. 15-16.

4.1 Sustained Notes: Open Strings, Harmonics, Pedal Point & Barre

17

V bb

5

Œ œ œjœ œœ

jœ

˙ ˙

Œ10 10

j

107

10

j

8

8 6

C- Bbadd9

Sample 4.1b: Unconventional Scale Fingerings applied to the chord progression of Paranoid Android - Radiohead (C-Dorian to G-Dorian)

jœ œœ

j¥œœ

j¥œœ œ¥œœ

jœ

˙˙

j

888

j

887

j

887

6887

j6

8 0

F 9 F 9/A

Harm.

V bb

7

jœ œœ j

œjœ œœ j

œn˙

˙

j6 6

10

j

8

j

8 810

j0

106

G- G-/Bb

.˙ Œ

œn

œœn œ œ œœ œœ ˙

˙

.0

Œ0

32

3 332

30

30

3

G-6/E G-6

As opposed to playing a melodic phrase with one note ringing at a time, this practice allows to benefit from a fuller sound when performing solo or in a band context without another harmony instrument. Including bass notes the melody creates complete harmonies (e.g. bar 6: F9 - F A Eb G). The crucial categories of the harmony, like 3rd, b7th and 9th substituting the root category, are present without the added bass note.

18

https://www.youtube.com/watch?v=rY2vOfyuavE

V bbbbb9

œ,

œœn, œ

,

131013

11

19

Sample 4.2a: Transcription excerpt Poor Butterfly as played by Jim Hall (solo)* - use of Pedal Point

˙˙U(

Ó

1411 Ó

Eb-7

Œœ œœ œœ œœ œœ œœ

3

Œ13 13

161416

1316

1316

1316

3

Ab7Melodic Phrase*

V bbbbb12

˙ ‰ .œ‰ .œb ˙n

14 ‰ .14

‰ .14 15

Db∂ Dbœ

œn œœœœœ

œœœœœœ

œœœU

3

149

69

969

869

869

869

3

Jœ .œn

jœ œ

Jœœ

j

8 .7

j

85

j

58

V bbbbb15

..œœjœ .œn

jœ

..58

j

6.

5

j

6

œ œ œ .˙3

8 6 6.

6

3

This transcription excerpt shows Jim Hall's economical playing style: sustained melody notes combined withinserted chord tones are enough to outline the harmonic progression and create a distinct mood.

*Hall, Jim. Jim Hall's Three. Concord Records, 1986, Compact Disc.

Without using open strings and harmonics to sustain notes, one or more fretted notes act as pedal points. E.g. F and Eb in bar 11. As every finger of the fretting hand can provide a given pedal point this technique is a great exercise finger independence as well.

Ex. : Play a C-Major scale (from C) 5th fret on the G-string, while simultaneously sustaining the root on the E-String (8th fret). This is a good add-on to the standard way of learning and practicing scales:

- with the sustained root (or any other category) the tonal relationships of the scale notes are audible - by deprieving yourself from muscle memory it shows you if the structure of the scale is internalized - finger independence

Sample 4.2a: Transcription Excerpt Poor Butterfly as played by Jim Hall (solo)* - use of Pedal Point

19

https://www.youtube.com/watch?v=WpOmnlTzhR8

V bbbb

17

Œ œ œœ œ œ œœœw

Œ 8 811

9 8 811

108

F-7

Sample 4.2b: Pedal Point & Jim Hall's melodic ideas applied to the changes of All The Things You Are

*Melodic Phrase bar 11

Pedal Point (root)

œ œœ œ œ œœ œœ33

˙ Ó

11811

108 8

1189

3 3

8 Ó

Bb-7

Pedal Point (3rd)

œœ œ œœ œœb œ œœn

88 11

1011

911

8128

Eb7

V bbbb

20

Jœ

œ Jœn ˙n

j8

11

j

1289

Ab@…œ œ

œJœn

œ Jœ

11 1110

j

98

j11

Dº G¡wwn

10

10

C@

V##

23

œ

7

Sample 4.3a: Melodic and harmonic outline of Shenandoah

œ œ œ œ œ œ œ

7 7 7 75 7 8

DPhrase 1

œ ˙ œ œ

7 5 10 9

˙ œ œ œ œ

7 710

710

G Phrase 2

œ œ ˙ œ

7 10 10 10

D

Jim Hall's way of playing concise melodic ideas is great to use as a springboard for improvisational ideas.

20

V##

28

œ œ œ œ œ œ œ

7 7 7 77 10 7

B-Phrase 3

œ ˙ œ œ

9 7 7 9

D

˙ œ œ œœ

7 77

77

G.˙ œ œ

.10

7 9

D

.˙ œ

.7

7

G

œ .˙

9.

7

D

V##

34

œ

2

Phrase 1

Sample 4.3b: Transcription excerpt Shenandoah - Bill Frisell (solo)*. Application of Pedal Point, Open Strings and Harmonics

˙U

jœ œ

jœ

Œ . Jœ

Jœ œ J

œ

32

U j

0 2

j

4

Œ .J

0

J

0 2

J

4

DHarmonic Fill

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23 5 7 8

02

Œ Œ

D/F#cont. Phrase 1

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37

œ œ .˙Œ .

JO O

12 10.

10

Œ .J

12 12

Harm.

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œO

79

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7

G

Harm.

Phrase 2

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Œ

j2

.5 5

3.7 Œ

D

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..œœjœœ

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U

23

57

77

.

.77

j24

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u

B-

Harm.

..œœjœœ ˙∑

.

.57

j24

02

∑

D

*Frisell, Bill. Shenandoah. For the Fretboard Journal, 2013, Youtube.

21

https://www.youtube.com/watch?v=6cORcUqbLAU

V##

42

œ œ œ ˙œ œ œ œ œ œ œ œ

2 3 5 72 4 6 7 6 4

7 4

D@ High "Pedal Note" w/ underlying melody fill

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œœ Ó .

77

j

77

j

104

Ó .

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3

‰Jœ œœ œ œœ

,

Œ

.10

4 75

3

‰J7

97 7

97

,

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B-7

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Jœœœœœ

7 5‰

J

5 5 5 ‰J

050

50

G@ A 7

Rit.

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544

46

.

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‰ Ó

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3

.

.34

‰ Ó

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2002

2002

0

3

D Phrase 1

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œœœœœ

3

œœœœ

J

œœœ .œ

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452

53

3

0320

J

320 .0

Harmonic Fill

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U

53

0 2 4 50 0

202

0

Œ Ó 202

U

cont. Phrase 1

V## 4

4

49

Ó . œ œ œ œœ œ œœ

œœœœœœœ

œœœœ Œ

Ó .2

3 24

2 545

045

0245

0245 Œ

D 6 Use of open strings foradjacent notes (= sustained 2nd intervals)

œœ œ œ œ œœ

Jœ œœ J

œ œœ Œ

47 7 5

757

J3

03

J

575 Œ

G Dœœ Ó .Œ O O

œ.

Œ

57

Ó .

Œ 7 72

.

Œ

Harm.

22

V 43

44

52

¥ ¥ ¥¥ ¥¥¥ ¥¥¥ ¥

12 12 127

12127

12127 7

Sample 4.3c: Transcription excerpt When You Wish Upon A Star - Bill Frisell (solo).

Harm.

Óœ

¥ ¥ Œ

Ó0

712

Œ

V 44

54

.œ

jœ œ œ œ#

˙ ‰ œ# œJœœ ‰

3

.0

j

8 6 56

8‰ 4

5

J

54 ‰

3

C A 7/C#Syncopation

jœ œ

jœ œ Œ

.˙œ œ#

j

63

j5 5 Œ

.01 2

D-@ D-7

Chromatic approach

Œœœ œœ

Uœ œ œ

œ œ .˙

Œ 00

00

U

710 8

30 .0

G

V57

jœœ# œœ

jœ .œ

jœ

Ó¥¥

j

79

89

j

13.

13

j10

Ó1212

C

Harm.

œ œ œ œ œ œ

Jœ œ

‰ Jœb

.

.œœ

10 8 7 7 58

J7

9 ‰J

6..

56

C/E Eb∂

œ œ œ .œ jœ

Jœ œœ ‰ ‰ .œ#

8 6 5.

5

j

3

J5

75 ‰ ‰

.2

D- D/F#

This performance uses discussed devices and accompanies the melody with harmonic fills. Note the chromatic approach in bar 55, and the frequent use of syncopation of the melody (e.g. bars 54-55, 58-59).

23

V60

˙˙

‰Jœ

œœ ‰

Jœ œ œ

50

‰J1

01 ‰

J3

03

F 6 GwŒ œ œ œb œ œb œ œb œb

3

3

3

Œ 75 8 7 6 5

66

3 3

C Eb/Bb

œ œ œ œ jœ

...œœœ3

55

77

j

3

...003

3

D5/A G 7

The playing aspects and their musical effect found in this transcription excerpt correspond with Travis Lewis' analysis of Bill Frisell's improvisations:

"The use of syncopation and note pairs is something that frequently occurs throughout Frisell’s improvised solos. He rarely resorts to complicated rhythmic patterns, but instead utilizes syncopation by playing strictly on upbeats. [...] The end result of each of thesedevices is a looser time feel that sits behind the beat and gives the impression of floating. This floating syncopated effect, when combined with his tendency to sustain notes, thickens the overall texture of his performances and allows him to avoid the thin sound that is sometimes associated with guitars playing in a group without a pianist." [5]

[5] Lewis, Travis. A STUDY OF BILL FRISELL THROUGH PAUL MOTIAN’S ON BROADWAY RECORDINGS. Urbana, IL: University of Illinois at Urbana-Champaign, 2016. 102.

24

V#

63

œ œ œ œ œ œJœ œ œ œ

3 3 3

98 8

98 10

j

8 89 7

3 3 3

E 7 C 13

Sample 4.3d: Melodic phrases and harmonic outline of Goodbye Pork Pie Hat - Charles Mingus

œ œ œ œ œ ˙3

98 8

9 7 9

3

F@¢ Bb¢

V# nbb

65

¥ œ œ œ œ ¥ jœ œ œ œ

3 3 3

¥J¥

œœb

3

7

8 80

87

j

8 80

7

3 3 3

7

J7

88

3

E 7 C 13

Harm.

1. Arrangement ideas using Open Strings, Harmonics and Pedal Point

œ œ œ œ œ œ œ œ œb œ œ œ œ

33

3

Jœn œ œ œ ˙b

3

08 8

07 7

0

5 65 7

5 0

3 3 3

J8 7

8 7 6

3

F@¢ Bb¢

V bb

67

.œ jœ œ œ œ#

3

‰Jœœœ# œœœ Ó

.10

j8

11 8 9

3

‰

J

777

888 Ó

C-7

* Chromatic Approach

*

*

2. Pedal point concept applied to the changes of Autumn Leaves - J. Kosma

.œ jœ

jœb œb j

œn‰ .œJœ ‰ Œ

.10

j

8

j

9 7

j

5‰ .8

J

8 ‰ Œ

F 7*

extensions: #9 b9 * Chromatic Approachbasic chord tones: 3rd / b7th

25

V bb

69

œ œ œ œ# œ œ œ# œ

∑

68 5 6 7

6 7 8

∑

Bb@

Passing Tone Passing Tone / #5

w‰ œ J

œ ˙

8

‰8

J

5 58

Eb@

Incomplete voicing:root - 3rd - #11

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œ .œ‰ œœ ‰ Œ ‰ Jœ#

.6

j

4

j

3 .5‰ 5

5 ‰ Œ ‰

J

4

Aº

basic chord tones: 3rd / b7th

V bb

72

˙ œ œ œ œ#˙ Ó

35 3 2

44 Ó

D 7

œ œ œœ œ ...œœœ Jœ

5 737

3...3

37

j

8

G-9

œnœ œ œ œ

œbœ

98

8 1011

11

8

G¡

V bb

75

...œœœ

œœœœœœœœ œœœ

œœœœœœœœœ

œœœœœœœœœ œœ

...886

886

886

00

003

003

003

003

003

003

003

00

Bb5 G5

Syncopation

...œœœ

œœœœœœ

œœœbb œœœ

œœœœœœ

œœœœœœ œn

œœ œœnn

...331

331

331

664

664

664

664

664

664 0

64

75

F5 Ab5 A5

Chromatic approach

3. Original rhythm guitar part for In Bloom - Nirvana. It utilizes syncopation and chromatic approach.

26

V bb

77œœ œ

œœœ œœ# œœœ œ œ œ œn œœn œœ ...œœœ

6

3 3336

45

045

3 30 3

03

03

...003

Bb£ G 7

Intro for In Bloom using reharmonizations, open strings, harmonics and pedal point

œ œ œ œn œ œ œ œb œœ

œœœ

œb œ ¥ œ# ¥

80

70

7 86 9 9

6

976

7 6

7

87

F° B 7

V#

79

Œjœœ##œœ œœnn ..œœ

jœ

œ Ó .

Œ

j911

1012

810

..78

j

10

8Ó .

C@

Sample 4.4: Barre technique as used in Embraceable You - Bill Frisell (solo)

.œjœœ

jœœ œœ j

œ‰Jœn

œœb .

.œœ ‰

.8

j812

j810

812

j

8‰

J8

88

.

.88

‰

F¢

V b 43 ..

.

.

81

œ œ .œ jœ...

œœœJœœœ œ

12 8.

8

j

10...9108

J

9108 7

F@Christmas Time Is Here - the barre technique is applied to play the melody and simultaneously create a Eb7#11 harmony

œ œ œ œ œ œœ œœ

3

œbœœb

Jœœ .œ

10 6 8 66 6

1068

3

666

J

66 .6

Eb¢

œ œ ˙...œœœJœ œ œ

55 5...

578

J8 7 5

F@

The “barre” technique is used as a temporary and flexible capo (index finger) to let ring notes as if they were played with open strings. All other fingers are freed up to play melodic fills or create sustained notes and emphasize tensions like #11 and chord tones resonatingsimultaneously.

27

V bbb 42

44

84

.œnjœ#

....œœœœnn##

‰

.10

j

2

....8797

Sample 4.5: Transcription excerpt Improvisaton as played by Julian Lagel (solo)* - Single-Note Lines

= Tonal Group - based on categories of chord tonesCategories of four part harmony: root/9 - 3rd - 5/6 - 7

œ œn œn œ# œ# œ œn œn

3 52 6

4 5 7 9

B 7


*

6 5 3 5 6 b7r

Arpeggio: tonal phrase 1

= Tonal Group - based on relationship of 8 note symmetrical scale to present harmony.

œ œ œ# œ# œ# œ# œn œn

107 8 10

7 9 107

C-WTHT scale

b9 #9 3 #11 5 13 b7 r

V bbb87

œ œ œ# œn œ œn œ# œn œ3

8 10 11 7 810

8 710

3

œn œ œ# œn œ# œ œn œ

910 9 7 6

8 76

œ# œn œ# œ œn œb œ œn

97 6

99 8 7 5

V bbb90

œ# œ# œn œ œ ¿n œn œ#

46 7

4 5 ¿ 98

œ# œ# œn œ œ œn œ# œ#

78 9

7 87 11 14

.˙

‰Jœn

œn œ œn œœœ Œ3

.15

‰J

014

1212 12

1214

Œ

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Playing single-note lines without underlying harmony requires a more dense and directed harmonic and rhythmic consistency on a small and large scale level. A logical structure (e.g. arpeggios, scales) with repetitions and references create a musical statement listeners can follow.

28

https://youtu.be/LJg08nQjBrA?t=54

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5. (Re)harmonization Techniques

This sample of a descending scale with two voices starts with a b7 dyad. In the key of G-Major its harmonic function can be interpreted as a suspension of D7:

A - G = 5th - sus4

resolving to

A & F# = 5th - 3rd

The upper voice is played at twice the pace of the lower one which diminuishes intervals until the voices cross and the intervals become wider again. You can find the same principle used in Julian Lage's improvisation in sample 5.1b.

"The two notes C & E, although a valid sound, are not named as a chord when standing alone [...]. Even though the sound is not as definite as with three notes , the listener still hears the OUTLINE of a chord. If no other notes are present, he hears the sound as a C chord sound. His ear relates to the bottom note C. Because of this ambiguity in a two-note sound, it is very flexible and open to interesting and surprising additions which can really intrigue a listener. [1]

- Jimmy Wyble

An effective approach to spell out harmonies (basic triads) including their extensions (9, 11, #11, 13) and suspensions (sus2, sus4) is to use dyads. To play two notes at a time is sufficient to define the harmonic context and allows for melodic movement.

Outlining Sounds, Harmonic Tonal Groups, Chords and Voicings

29

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Sample 5.1b: "Two-Line" Descending Scale as played by Julian Lage - Improvisation for Carter Vintage Guitars (from 01:11)*

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Ex. : Play scales with this approach, starting with different dyads / intervals to get familiar with tension and resolution tendencies. Find short melodic phrases and combine them with chords and lines to play a harmonic progression. It's not so much about spelling out a harmony with all of its standard chord tones (G∆ = G - B - D - F#) but creating a harmonic tonal center. Allow for tensions and even 'avoid notes' (see C in G∆, bar 11). In a tune like Black Hole Sun shifting tonal centers can be connected with common tones.

*Lage, Julian - Improvisation - Demo for Carter Vintage Guitarshttps://www.youtube.com/watch/?v=LJg08nQjBrA

30

https://www.soundslice.com/slices/RQYcc/

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The sound in bar 15 is a good example for the flexiblility of a two-note sound. It's based on the approach described in Jimmy Wyble's Classical/Country book:

This example starts with a flexible two-note G-sound (G, B). With an added G in the bass the listener is likely to perceive a more definitive G-chord. The next introduced note (C#) on beat two suggests another sound to the listener: it's an A7 sound with resolving tendency to D-Major. However, with the next added note D, it sounds more like a Gb5-sound, including a natural 5th.

"The point is - we've made the listener interested enough to try and find out. He wonders what comes next." [3]

The final harmonics confirm (F# = G∆#11) and develop (Ab - G∆#11b9) the perceived harmony.

from Jimmy Wyble's general theory for OUTLINING SOUND:

- start with two notes of any interval- add one or two notes which either make the original sound definitive and expected or which make it unusual and surprising- the added notes can be above, below or between the original two notes as long as they come after them. [2]

[1-3] Wyble, Jimmy. "Jimmy Wyble's Classical/Country. (North Hollywood: Playback Music Publishing Co., 1973)

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https://www.youtube.com/watch?v=80zrUAOl86s

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Sample 5.2b: Harmonization with 7th-chords and Quartal Harmony, application of Chromatic Approach

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Before harmonizing melodies with more complex sounds, keep in mind that every tone being part of a harmony exists within a context. Every 'chord-tone' is a part of a melodic pathway that at a point in time converges into a chord. Thinking of an individually moving voice rather than a static event helps to make more conscious decisions about which chord and voicing structures to pick to harmonize a melodic line.

Harmonic Tonal GroupAnalyze the tonal interval structure of the melody. Which possible harmonic centers / keys does it imply? The tonal center determines the function / effect each note has at a given moment. The majority of melody notes in sample 5.2a indicates the key of A.

ChordThe term chord is the abstract definition to categorize different organization principles for sounds consisting of more than two different notes within a harmonic tonal group: Triads, 7th-chords (with/without tensions), Quartal Harmony. Triads most clearly define the perceived harmony , whereas 7th-chords and quartal harmony offer a more open sound. Apart from stylistic choices this should be a simple guideline when choosing and combining different chord structures.

VoicingThe term voicing describes the categories and intervallic arrangement of chord tones added to the melody. E.g. a 'complete' 7th-chord sound consists of: root/9th - 3rd - 5th - 6th/7th. Every chosen sound to harmonize a melody can either enforce, color or disguise a melody note, depending on the tonal relationship and intervallic distance.

Harmonic Tonal Groups, Chords and Voicings

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A melody note that doesn't match either available chord tones or tensions within the key, indicates a shift of the tonal center. An exception are 'avoid-notes' that resolve to a chord tone, functioning as suspended notes. E.g. a 4th during a I chord, like in Stella By Starlight. It can also be harmonized with a minor iv derived triad (Eb-/Bb) which would indicate a tonal shift. However, looking at its function and brevity, it still would rather be considered to be a reharmonization than a change of key.

Use inversions to create economic voice leading and harmonize a melody in one area of the fretboard. Inversionsdiffer slightly in their intensity: the intervallic structure of the second inversion of each major, minor or diminished triad creates the most distinct sonority indepedent from which register it's played in.

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Quartal Four Part Harmony voicings create full sounds and tensions, especially for comping or harmonizing a melody in a modal playing context.

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Chords are interchangable in modal playing. Voicing based on Ab-minor, the intervallic structure features 2nds.

r - 4 - b7 - 3

Constant Structure Intervallic formula*: "r" - (b)2 - (#)4th - (b)2

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*Intervallic formula in relation toa given note from Db-Mixolydian "r"

Ex.: Use an intervallic formula like the one above and play the resulting constant structure voicings within a tonality. E.g. starting from G the same formula would yield the voicing G - A - D# - E in the key of E-Melodic-Minor. The voicing can be used for all degrees of the melodic-minor scale. The intervallic structure in relation to Eb7alt (VII) would be 3 - b5 - r - b9. With the b7 category missing it is an incomplete voicing including two tensions.

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6. Creating Arrangements & Improvisations

A rewarding path to learn and arrange a musical idea or an entire song is to first internalize its basic structure. This way you end up with a couple of arrangement sketches which may either lead up to a "definitive" performanceor to the flexibility to play and improvise with the musical material at your hands.First learn to play a melodic musical phrase in one area of the fretboard, then find the spaces the phrase leaves to insert accompanying notes easily. Easily means that the note is not too difficult to reach - consider range/fingering. The accompaniment should complement the rhythmic structure of the melody - you don't always have to accent the first beat of a bar, at times the melody takes care of this job quite beautifully and you can insert notes where they lead directly to the next harmony. The chosen accompanying notes should help to establish the tonal center so boththe defining bass note (root) and the 3rd and 7th (guide-tone lines) of the given harmony are good candidates. You don't always have to play these specific notes and while voice-leading is important, try to create a rhythmic-harmonic flow first. After you learned the basic harmonic and melodic structure of the song and you found where all the practical note options are on the fretboard you can start to adjust the voice-leading and the rhythmic structure to your liking. This approach opens up the flexibility play and alter the melody freely, change harmonies on the fly and to add the middle voices ad libitum. The middle voices are more likely subject to change, depending on how you intend to color the melody.

Sample 6.1a: The following sample illustrates this concept, applied to an improvised melody, which is harmonized with switching tonal centers and a minor iiø - V - I progression:

Notice in the first two bars that melody and accompaniment consisting of only two notes at a time are sufficientto establish harmonies and to create a harmonic and rhythmic movement. As opposed to playing full chords thisminimalistic approach literally frees up your hands and mind. It is easier to phrase the melody differently (e.g. more legato) or to change it altogether. This musical model can be used as basic outline to improvise freely with the given musical material.

For a listener's perception and interpretation of a sound, context provides for most of the necessary information. Playing a root and a 9th simultaneously might have the same musical effect as playing a complete four-part voicing.Depending on the tonal context the listener will still 'hear' a major chord which you can either enforce by adding the defining note later on or contradict by playing a minor third.

46

https://www.instagram.com/p/Bp0BnE9Hj5C/

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1. Find the notes which resolve from B∆ (Ionian) to G∆ (Lydian) and back and create melodic phrases.It is advisable to start with chord tones only to really hear and establish a tonal center before addingtensions like 9 and #11. Play simple rhythmic phrases with a start and ending, so you have a musicalstatement that creates a clear structure which can be repeated, altered and developed.

2. Play the respective bass notes either simultaneously with the current melody note or insert them inbetween your melodic phrases. To accomodate that, alter common fingerings in a way that frees upa finger or two.

3. After you've found musical melodic lines and you're comfortable playing and altering them with addedbass notes, try to add a third note to create more complete harmonies, e.g. A# in B∆ resolving to B inG∆ (7th-3rd).

4. Melody notes with a longer rhythmic value can be accompanied by more than two notes. Try to buildvoicings based on the scale rather than common chord shapes (see bar 5). Meanwhile the melody notecan act as a pedal point.

6.1b Exercise: Improvisation

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6.2 Improvisation Practices: Strawberry Fields Forever

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49

https://www.youtube.com/watch?v=ZgZ5SdmU4R4

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6.3 Arrangement Ideas - Soundslice

"Self-Portrait In Three Colors" - Charles Mingus (Jazz)

"Toxic" - Britney Spears (Pop)

"Guitar Jingle" - Jan Jakut (Neosoul)

"Wouldn't It Be Nice" - The Beach Boys (Reharmonization)

52

https://www.soundslice.com/slices/Sflcc/

https://www.soundslice.com/slices/21wcc/

https://www.soundslice.com/slices/CTkcc/

https://www.soundslice.com/slices/3dYcc/

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Supplement: Sonic Imprints Exercises to speed up your ears for performance and transcription

Here’s an economic way to speed up your ears and to map the fretboard without shapes or patterns*. It combines different ways of learning sounds (auditive, visual and tactile) to create a stable sonic imprint in your mind, whose structure you can compare and match with actual sounds you encounter. The idea is to establish your perception of both semitones / whole tones and intervals (b2 - 9) in relation to another pitch. Focus on one aspect at a time.

1. Sustain a pitch with your voice or a loop and play an ascending chromatic scale followed by a descending whole tone scale.2. Try to anticipate the sound of each following note in your mind before playing it.3. Follow your ears to find other possible fingerings and stringsets to play these notes on the fretboard.4. Play only the sustained pitch and sing/imagine the sounds of the scales without your instrument.

*Shapes and patterns are very useful when trying to play an instrument consistently ;) This exercise complementsyour helpful knowledge of shapes and patterns.

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https://www.youtube.com/watch?v=rhUMUeyrlNY

Julian Lage - Live at National Sawdust in Brooklyn

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https://www.youtube.com/watch?v=rhUMUeyrlNY

https://janjakut.bandcamp.com/


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Concepts for Solo Guitar Performance 2nd Edition

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