jazz guitar shed - Jasmine Lovell-Smith
1
Page 47 NZM October/November 2012 D o you want to be able to play through chord changes as smoothly as possible? Well, this column and next one should help. First though, a little bit of theory. Every seventh chord consists of four notes: Root, 3rd, 5th, 7th. We are interested in only two of them, the 3rd and the 7th. These sum up the sound/character of the chord and are called ‘guide tones’. Depending on the type of chord, the 3rd could be major or minor, as could the 7th. Let’s start with dominant seventh chords (R, 3, 5, b7). The guide tones are the major 3rd and the minor 7th (b7). We’re going to look at a standard 3-chord blues in the key of F. The guide tones for the chords are: Chord Major 3rd Minor 7th F7 A Eb Bb7 D Ab C7 E Bb See Example #1 for how to play these guide tones on the middle two strings. Think of the guide tones as targets. Record a 2-3 minute backing track of the progression in Example #2. Then solo over this using the F minor pentatonic/blues scale, but target one of the two guide tones as the chord changes. As the chord changes from F7 to Bb7, aim for the D or Ab; as the chord changes from Bb7 back to F7, aim for A or Eb. Try and play a guide tone on beat 1 of the bar and find ways of resolving to guide tones that use small movements (one or two frets). Take a standard 3-chord blues in F and do the same thing. You might play a simple phrase like example #3, which starts off using the blues scale over F7 but then lands on the 3rd of the Bb7 chord (notice the semi-tone resolution from Eb to D). The idea here is to start with what you already know (pentatonic/blues scale) and add in the guide tones as a way of bringing out the sound of the chord progression. Next time we’ll look at guide tones for other types of seventh chords and apply them to the standard Autumn Leaves. Until then, a spot of homework for you: 1) Learn the guide tones for dominant seventh chords in different keys. You can do this using note names, or by visualising where they appear in the chord shapes that you know. Work them out on all strings. 2) Practice soloing over F7 and Bb7, targeting the guide tones. 3) Do the same over a 3-chord blues in F. Bonus challenge: Take a jazz blues in F and work out the guide tones, and then solo as above. Do the same for a jazz blues in another key (Bb, for example). You’ll find extra resources to help you with all this on my website (below). Happy practising. Dylan Kay is a professional guitarist and teacher based in Auckland. He can be contacted through his website www.dylankay.co.nz. The Power of Two (Guide Tones – Part 1) jazz guitar shed with Dylan Kay it’s possible to develop a pretty unique identity, less influenced by current industry trends than might come naturally if you’re right at the heart of the scene, such as in New York. New Zealand has definitely bred some really unique creative characters, so I guess I hope that I’m one of them. Also, I think the landscape, all the beautiful open space, has seeped into my music, as has our laid back and peaceful lifestyle. These things are kind of intangible but I think the influence is there all the same.” She recently relocated from Brooklyn to Middletown, Connecticut, about 2 1 / 2 hours out of NYC. Her Towering Poppies bandmates still reside in the Big Apple. “Living in NYC inspiration is abundant, but things like time and space to absorb and process and assimilate all of the stimulation you’ve imbibed are not. Plus it’s expensive, and so you have to work, which takes time away from music. So moving to Connecticut is all about me having this time and space to be more focused on and dedicated to honing and developing my craft as a composer, while still not losing that connection to NYC. “The type of music that I play isn't one where there is a lot of money to be made or support to be had for new composers in general – which is why when you find something like the grad program that I’m a part of, it’s a rare and beautiful thing. So part of the reason is that it’s a place where I can be supported in doing my creative work. And there’s so much more that I want to learn.” She expects to be touring internationally in the next few years and is looking to continue writing and playing music, especially moving towards larger ensemble works and some vocal music. She still holds the same philosophical outlook that saw her take an open-ended plunge to the other side of the world. “I’m unsure how long I’ll be in North America, or what the future holds, but I’m nowhere near sick of it right now.” www.jasminelovellsmith.com nzm145 oct nov 12 46-49.indd 47 16/10/12 10:56:31 AM
Transcript of jazz guitar shed - Jasmine Lovell-Smith
Page 47NZM October/November 2012
Do you want to be able to play through chord changes as smoothly as possible? Well, this column and next one should
help. First though, a little bit of theory. Every seventh chord consists of four notes:
Root, 3rd, 5th, 7th. We are interested in only two of them, the 3rd and the 7th. These sum up the sound/character of the chord and are called ‘guide tones’. Depending on the type of chord, the 3rd could be major or minor, as could the 7th.
Let’s start with dominant seventh chords (R, 3, 5, b7). The guide tones are the major 3rd and the minor 7th (b7).
We’re going to look at a standard 3-chord blues in the key of F. The guide tones for the chords are:
Chord Major 3rd Minor 7thF7 A EbBb7 D AbC7 E Bb
See Example #1 for how to play these guide tones on the middle two strings.
Think of the guide tones as targets.
Record a 2-3 minute backing track of the progression in Example #2. Then solo over this using the F minor pentatonic/blues scale, but target one of the two guide tones as the chord changes.
As the chord changes from F7 to Bb7, aim for the D or Ab; as the chord changes from Bb7 back to F7, aim for A or Eb. Try and play a guide tone on beat 1 of the bar and find ways of resolving to guide tones that use small movements (one or two frets).
Take a standard 3-chord blues in F and do the same thing.
You might play a simple phrase like example #3, which starts off using the blues scale over F7 but then lands on the 3rd of the Bb7 chord (notice the semi-tone resolution from Eb to D).
The idea here is to start with what you already know (pentatonic/blues scale) and add
in the guide tones as a way of bringing out the sound of the chord progression.
Next time we’ll look at guide tones for other types of seventh chords and apply them to the standard Autumn Leaves.
Until then, a spot of homework for you:1) Learn the guide tones for dominant
seventh chords in different keys. You can do
this using note names, or by visualising where they appear in the chord shapes that you know. Work them out on all strings.
2) Practice soloing over F7 and Bb7, targeting the guide tones.
3) Do the same over a 3-chord blues in F.Bonus challenge: Take a jazz blues in F and
work out the guide tones, and then solo as
above. Do the same for a jazz blues in another key (Bb, for example). You’ll find extra resources to help you with all this on my website (below). Happy practising.
Dylan Kay is a professional guitarist and teacher based in Auckland. He can be contacted through his website www.dylankay.co.nz.
The Power of Two(Guide Tones – Part 1)
jazz guitar shedwith Dylan Kay
it’s possible to develop a pretty unique identity, less influenced by current industry trends than might come naturally if you’re right at the heart of the scene, such as in New York. New Zealand has definitely bred some really unique creative characters, so I guess I hope that I’m one of them. Also, I think the landscape, all the beautiful open space, has seeped into my music, as has our laid back and peaceful lifestyle. These things are kind of intangible but I think the influence is there all the same.”
She recently relocated from Brooklyn to Middletown, Connecticut, about 21/2 hours out of NYC. Her Towering Poppies bandmates still reside in the Big Apple.
“Living in NYC inspiration is abundant, but things like time and space to absorb and process and assimilate all of the stimulation you’ve imbibed are not. Plus it’s expensive, and so you have to work, which takes time away from music. So moving to Connecticut is all about me having this time and space to be more focused on and dedicated to honing and developing my craft as a composer, while still not losing that connection to NYC.
“The type of music that I play isn't one where there is a lot of money to be made or support to be had for new composers in general – which is why when you find something like the grad program that I’m a part of, it’s a rare and beautiful thing. So part of the reason is that it’s a place where I can be supported in doing my creative work. And there’s so much more that I want to learn.”
She expects to be touring internationally in the next few years and is looking to continue writing and playing music, especially moving towards larger ensemble works and some vocal music. She still holds the same philosophical outlook that saw her take an open-ended plunge to the other side of the world.
“I’m unsure how long I’ll be in North America, or what the future holds, but I’m nowhere near sick of it right now.”
www.jasminelovellsmith.com
nzm145 oct nov 12 46-49.indd 47 16/10/12 10:56:31 AM
