CHORD KHANCEPTS PDF

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Learn more about Scribd Membership Home. Much more than documents. Discover everything Scribd has to offer, including books and audiobooks from major publishers. Start Free Trial Cancel anytime. Steve Khan - Contemporary Chord Khancepts. Uploaded by Pete Serravalle. Date uploaded Nov 26, Did you find this document useful? Is this content inappropriate? Report this Document. Flag for Inappropriate Content. Download Now. Related titles. Carousel Previous Carousel Next.

Jump to Page. Search inside document. For example: We might play only what the right-hand of the keyboar is playing—a part of that G7 chord. Ive found that his keeps me out ofthe bass payer's way, and, seems 10 free us both, importantly, it expands our improvisational boundaries. This book will not da! If you fee the Teed to shore-up this part of your knowledge, there are many excellent publications which real this area in detail.

Though this book deals with the advanced uses af harmony, feel that it's important that the usages of triads be included. AS a supporting player, we must operate ina sonic place that leaves room forthe keyboaids and bass to move frely. Obviously i piece of music is bil around the quia, the other instruments must then allow us the same latitude. Iti important to know them, but, going to leave that pursuit up o you.

When alls sad and done, youl actualy have to know ths information for the eleven other root. Lets look atthe first example: FIG an F triad over a G bass nae , Although this chord can serve several functions, is usually hought of as dominant 7th G7 type of sound. One aditonal thought I ike to add.

A poly-shard rele to harmony where two or more chords are actually being played! You will find this kind of fantastic harmony, most often, in 20th century cassia! Ie tried to present one comprehensive example of just how you might go about using major or minor triads inthe context of a common chord progression I-vi7—ii7-V7. Lets examine what might play, well just assume that this would bend with keyboards and the rest ofthe arrangement It you have a problem understanding the theory behind wy Tv selected any ofthese triads ry to Figure it out yoursel by building up each chord from the roo in thirds and then label each major or minor triad, that proves dificult consult with a musical tried or you feacher.

The first chord is named Ehmaj? Over the Fm7, play an Ab tad, with the reasoning being the sam. Ebmaiz m7 Fm? The more you' called upon todo tis, the beter Your instincts will become as to just what i the right thin to play. Hl you were to turn the suggested top notes into hal-notes or quarter-notes and sing them aloud with full hythmic value, they should form a nice, though simple, long melody.

Give ia try! There's a lot more to doing it with improvised grace and logic than you might imagine. On the let side, you see a full 4-nole chord, hen fo the right, with the oot and one oer pitch removed. Of special intrest 10 ime are bars 4 and 8. The jazz player takes advantage of this moment by adding a jim? In 2 sense, joute approaching resolution fram one-halt step above Jus an alerat thought wna i you were to approach resolution trom one-hat step below?

You know, sliding up tothe BY? Or, use tat modality to approach resolution with your lines. Whatever is agteed upon, bar 8 canbe a V7 07 chord resolving to either I? These same kinds of harmonic principles can also be applied tothe 3-chord kind of blues weVve been utilizing, We wer, i you? In transcribing solos by many past masters, ve seen thelr ins mly this change even wien the bass and keyboards were no.

Again, give itary and see what happens. His mid-register2-,3- and 4-note chords were like the saxophone section and when he'd i wt ataves behind the slit. Perhaps he would not have verbalized this concept in the samme manne, but fn this tbe an efectve way of expressing what hear and stil hea in his playing ne mtd for geting a grip on this concep isto punctuate your qudeYores with chat voicings uilizing atop note on your high "sting Ws great for your developing ears fo ty and maintain a common tone in your top voice as often as is possible.

It aso helps to near how beaultlly harmony moves, nd how ecient harmonic mation onthe guitar canbe An adktional, and valuable, practice tol would be to use a kindof octave displacement in your top voice.

The trick, ingering-wise, is the constant shifting of the st and 2nd fingers on your let-rand it your pick iS held in your right-hand. The teerence sheet which follows Example 17 is offered simply as a pace to begin.

AS yout notice, on the guitar like the right-hand of a pianist , the style is rooted in simple major, minor, diminished, and augmented triacs, if youd like to delve deeper into the syle from a pianisis' point of view, make the effort to watch and listen tothe videos and recordings of Ray Charles, Richard Tee, and Or.

These would be used as an altenative to mare basic V-I cadence. You could view the Am as a function of C6, so, it too generates an Amen feeling.

Remeber, jst let the bass do ITS job playing the bass oles and you concentrate on the colors created by the triads. Let them speak! Basic voie leading principles as you add voices across the strings: 1. Ty to Keep a common tone in your top voice as the chords shit 2, Tryto move the top voice chromalically up or down as YOU hear the harmony shiting, While attending U.

In choosing one or the other, you might be indicating that the 5 of the dominant will resolve up to the 3rd of the tonic. But theb3 might resolve down othe Sto he tonic.

Example 20 Cm7 F7 Bbmajadd 6 or G7 alt 5 a ll. F7 5,b9 Bbmaid G7 5. In any given performance, there would almost alvays be a moment when the singer would tell a slory over a LONG vamp, sometimes tis vamp was over a ee point one static pitch from the bassist.

As a siscpline, I've allempled to make this voice move in hal-steps winenever possible. Alvays keepin mind that I've just casen ONE option. Long notes on the guilar can at times. Each example is presented in "6 G dorian, G mixolycian and G Iydian. Generally speaking, the first two rows offer chord forms which gularists are expected to know.

Beneath certain pitches, two options can be seen 4 being standard want to fake a moment and discuss the major chord family and why the ydian mode will be the scale of choice throughout this teat.

I's purely a choice of sound by convention For the most part, is choice usually appears in jazz and pop-standard song contests.

Example Basic Voicings G Lydian :. Use Example 40 as an illustration. Example 40 is a sequential line in F major G dorian and C mixalydian are modes in that family wit the exact same noes which goes up a Sid and down a step p Tis melody is then harmonized wih he dleen vokings in Examples It can realy help if you sing the top rote out oud even it you dant have a good voice this wil pay of dow the oad , Example 40 Example 41 uses basic shapes and Example 42 adds chords with more color tones.

It's essential that you tae the time to do the same work with the remaining two basic chord families: G major Iydian and G dominant 7th G mixolycian. Examples 43 and 44 are inlended for use over the C pedal as if we were improvising over an extended C dominant 7th vamp. Gm7 chords serves te open up the sound. In trying to pass along my approach inthe most direct manne, have isolated the three basic chord families: major, minor, and dominant. For you, in your practice, the idea would be to develap fluency by practicing playing over one chord family for extended periods of ime.

The only non-McCoy contribution comes from listening to Chick Corea, especialy his mid-sities work a8 a sideman on numerous Latin-jaze recordings Cal Tjader and Herbie Mann.

Now, how about harmonizing chord tones and modal Pitches as melodies. To get the most out ofthis kind of exercise play the examples as single nots fist. Then sing along with the melody. For the moment, allow yourself to believe thal this fs your melody, Whert I fels expressive to you, ty adding the chordal suggestion Te supalied. Here's a perect opportunity to make use of one, oral ofthe applicable chordal reference sheds. Also, ry to use completely dteentvoicings for an entire exemple, Finally, make up you online wth single notes and then carefully harmonize i a you would heart.

No two players will make the same choices. Bbmaj 6. Again the greater Goals to provide you woicings reference with 5 many options as possible You'l notice that fr this study.

This i realy not so, andthe thinking behind this isa follows: AS has been slated and feslaed, as guitarists we can extend the harmony o any dominant 7th chord by superimpesing iim? So, in this contemporary series of sound shapes we want to extend the harmony as alten as possible. By only using minor im? Ive chosen this method to challenge your ears as well a8 your chordal dexterity so thal, on a purely technical level, your fingers never get too comfortable at this stage.

AS you begin to use the basic and contemporary voicings in conjunction wth one another, your relationship to all hat you heat and play wilt Nave much deeper connection. Ty to create a series of shart term practice goals and follow them through over a projected time 4-note open voicing systems "2. Let's analyze this repeated four-bar pattern as if it were a harmonic problem we needed to solve.

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Contemporary Chord Khancepts [With 2 CD's]

Contemporary Chord Khancepts. Steve Khan. Steve shares his approach to chord construction, an area he has become known for on guitar. In this book, he has taken a complex subject and broken it down into simple building blocks and small study units. You will learn to extend your sense of harmony by the superimposition of chord forms which are familiar, as well as a world of new ones. Your ability to express yourself and create textures and musical moods will improve immediately. The text is accompanied by two CD's full of performed examples, play-along tracks, and five completely new compositions by Steve only available in this package.

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Steve Khan - Contemporary Chord Khancepts

The book is drawn from concepts which I have been sharing with my private students, and those who have attended my clinics and master classes, for now over 30 years. Like many aspects of my early music education and jazz education, these were ideas which I came upon by myself, because during the years when I was trying to learn about such things, the mid-'60s, there wasn't the scope of information books, videos, play-alongs, etc. As there are already many fine books dealing with "jazz lines" and their formation, and various theories about how one can best "speak the linear language" of jazz, I felt that I had to narrow my focus and concentrate on one area. It is, hopefully, a relatively comprehensive study of the improvisational usage of, what I feel are, the two most common pentatonics: the minor pentatonic [R, m3rd, 4th, 5th, 7th] and what I have come to call the dominant 7th pentatonic [R, 2nd, 3rd, 5th, 7th]. In addition, the book tries to clarify the difference between the "blues scale" and the "minor pentatonic" scale. With that done, the book shows how one can then "backtrack" and put to use the blues scale over what might seem to be some pretty uncommon chord structures. It all works beautifully together in the end.

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Steve Khan – Contemporary Chord Khancepts

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