ú lEf; Ex.
:mrx
r:
The rcü,:*ine
: exa-c,pies ue
:uncucna.l subsuruuccs acr
I
Ex-2
Er3
E35
DmrnT
AminT
Emtn//
DminT
Emln/
Am¡n7
vr
The fi¡st cxample is üe ubiquitous I-VI-[-V progressiou The subscqucnt ex¡rmples are all using functiond substiu¡üon to arrive at tbe ncry chord progressioos. Play thcm- Although thcy a¡e difrerent ücy rcuin the s¿mc basic souod. This is the ñ¡st stsp in learning how to re-harmonizc chord progressioos. This simple device lays thc groundwork for tbe advanccd re-ha¡roniz¡tioo's to follow.
Try thesc ideas out on your fevoritc urncs. A¡Eost all sta¡dard ¡s¡3s so¡t¡in üe I-VI-tr-V progressiou. The only way to gct thesc idcss iD yor¡r playr¡g is o apply then to nlocs you play.
FNOJAZZ
Chord Inversions inversioo. Tbe root of üe chord docsn't have .o bc on üe bonom The order of tones in a chord is known as is of dcscribc the ordcr of tones in a chord. Therc a¡e four main typcs of the voic¡n8. voicing is anotber term uscd to voicings.
1.
Closed Voice
2.
DroP-2
3.
DroP-3
4.
DroP-2 and 4
l¡t's
J
J
G,
üscuss üesc in dePth'
wiüin ooc É:teve' A closcd voice contai¡s all fo¡r ooes of e chord
Fr
exemplc
i¡ tüc mlody, tbey a¡e dl clo§€d voiccd chords' since thc Although rhesc voicings of G? have difiersnt oncs a¡e u¡irhin onc etrrc. Pl¡y thcsc voicings' occd-voicc cho¡ds di§ancc f¡om thc lowcst ootc to the higüest oac is clcc togethcr. Root pooitioa invcrsions of closcd us,aly diffrcult to pray sioce tüc oo"T *itio tbc cbord ür 3o wbcre closcd voiccs work well, as yol¡ will scc' voice chords gencrally work tbc best, but tberc e¡e otüc¡ siu¡rtions gult¡fists dcPcDd on othcr voTtrqs for comforr orc of thc since closcd voicc cbords afe so difficult to Pl¡y, voice chon4 and dropping it drop2 voicing. Tr¡ddüc'doá1* fu.'ü" top of a cloecd
fDo6t comtrIoo is tbc
dowa an oct¡¡ve, creaEs a droP2 voicing' Example:
G7
G7
m..
m'
m*
Dmf2
Drop2
Dmp2
FAOJAZZ
EIIEIt
ffi
Dlop2
Since Jrop-1's are oo
{
Gi
\!-here,tre :iossd'"'otce;¡cÉ ¡3s JnEassi¡ie.'-'ie:¡cO-'l:s','er' ¿'.u',¡¡:lelCu ad.¡acent sungs. rhere wrll be th¡ee sets of these on-üe gurar. Look at'.lus ülustrauon:
Pla! xes.:r¡¡ilies ior
smt
SET
2
xrTlx
xxf-l
SET lTlxx 3
t e¿rn a¡ the diaronic d¡of2 chords on all threc scts of strings (Scc also Dro72 Concept for Guitar by Charlcs Chapman, 2001 Mcl Bay Pubtications,Ioc., c¿talog #MB98ltl.) Tbcsc are used quia oftcn and yor ¡¡¡6t66t¡nrling of the fretboa¡d wilt grow considcrably.
Drop3 chords
a¡e formed in thc exact sa¡De tyrrnñer, cxcspt tbc
thid
notc froE thc top of thc cho,rd is droppcd
one oct¿ve
Am7
ffi
m-
ffi,* Ooúrd
Drop3
Clacd
Am7
Am7
Am7
D¡p3
mDrp3
ffi* iiilü Clcd
Drop.3
Look at tbc foüowi¡g exanples of drop3 voicings forA'mia7' These chord forms also work very wcll oo demonstratcd i¡ üc following illrxtration.
üc
gt¡iter. Drop3's can only bc played on rwo seu of strings as
FNCUAZ
vorongs chords ¡, g¡¿ m"jor scale' Thesc is esscntiat to learn thcsc on all t]re red ro tooes As with rhe drop2 voicings, it the rowesr gurtar Tbe danger of this is thar faidil;; cnord the with rowest';;irh; rhe pur rnd ro p'oo t¡" e string. To demonsáe this, look at ¿ smin, drop-3 a¡d É p*, bcrow yoo sound like roo.. as (op of the cbord)' scuenti, in üe melody
;;;"
GminT
ffi HtH
m-
Cl€td
DroP3
voic¿ chord. Dropprng Tbe first chord is a cloccd fa$sr chord; it sounds tiXe a Bii-cUo,rO e" voicing. tf the rowest
*J;ifi"? r.; ñ ;;il;ffiroiEt
cril
be a desirable
C
al6 or GminT
J J
C C C
this dowu ¿n ct¡ve crearas a drop3' Play of t¡pe to*' ftis holds tn¡e on eny si¡cc Atgb it
q" üird:ooe toa"
*iu
*
tate
iorot-titc
qualities' At certain times
üis
cficct'
The fi¡ar voicing is tbc drop2 "od ctoscd voiccd chord,
menn.r voicing is !¡e8Td in tbc s¡mc for¡fü ones. Here is an crample:
4.Pi,
d;-;";;JeDd
as tbe otbcr
voicings' From
a
GM¡¡7
eUeiT
m"
m-
Drp2rod¡t
a¡d 4's tcod in mty cartai¡ circumsa¡ccs' Drop2 play this chord. sincp this voicing is so widc' it is us'd is 6c root **á-tn"-u.rt whcn üe lowest nacof tbe chord
o
Exami¡e tbc following
Aswiütbedrop3,s'thcdrop2and4canonlybcplayedontwosctsofstriogs. illustration:
S.ET2x l
xl
pgo.JAz 10
o7J J J
.:, ¡esc .J.erj ,ut lo
'.ne
icllo\Img lncr:s. LlsteÍt:c:low i3c: ,,-.rcr¡B:.,re )cua,üj :-ir. _rt(tLl ^.cÉ ., tu :rn
rs€ üem ror:omorng ¿s'*ell as creauirg cnord melodv irr3¡gemeo§.
CMa¡7
F7
AM47
emzÉs)
Dmfl
Drsp2
Dro'p,3
Drotr2
3
DminT Drop,3
FMaiT
cMa¡7
Clo§€d
DrorFz
lart
BMa¡7
Drry3
with e clc€d voice chord when crcettng the drop vr»iciryS
See page 37 for soluüons
PNqJA.Z
lt
Drry2
bo
rfl.
Remember to
ebminZ
F
mln
/r
Drop2
Extensions ln order to kecp the chord voicing down to only Extcnsions are notes that exrcnd beyond the 7ü of tbe chord. kecps üe chord very clean sounding' and vcry four ootes, extensions replacc particular Ooes in a chord. This playable. Exa¡nine tbe following diagran:
Extension Chart c9 IIIIOT
CmiÉ
CrnaB
m-
m" 9's rephce I's
Hfü ¡I¡IIJ .o
1¡
¡Il thc¡c eüord tfOc+ rb
9tü
czfg
cág
m* te
m" bo
rill rtPle ü'ld ofü'ürd
czf rg
c13
m*
m." a
l3's replacc 5's
fb.
13ü
¡p.Eift b dooi¡¡r ctodr
¡
Itvüdwrprpla tb 5ü czün
Cnrqzlll
m-
m-
tl t n rvrittte ccosi:o o
f
MrjT'.úd D@7 cño(ü.
Cmiú
c6
-¡rla¡ t?tl
ffi* Htfl
r
alJtit
Hfi
6's rtplace 7s 6 i¡
oo
orjcn od oircr cborús'
Fffit
L
IiLLt.tói
ffi
I..,J.LLIJ ?+++.i..1
L.U
5rh
0R
¡rrihblc cxtrasioo
Cminll
Cmin11
I l's rcplacc 5
a
rqlad
3's
3rd
rqld
e If you nphcr tbc 3rd YIü üc I lü thc chord techntc:ll¡ rs not or¡o¡ chord aay longer, s¡ncc ücrc ts oo ruoor irC
tl
a
3-rS:]jiCl'] JilSf pIC\ld,e{,. l.he j-i-:l :x¡¡nc,e:aj :r:: lCrle ,r -.eic :?: ,'le rote ln ieiauon to üe chorci svmooi. From'ire::..,.,..
=....Jro
Things to remember:
l.
A mrnor third on
a
domi¡ant7 chord is a f9
2. The 6 ou a major chord replaces üe 7ü. On a domina¡rt chord the 66 or ( l3ü) rcplaccs retarns
the 5ü.
J!¿ demin¡n¡
üe seventh degrec.
3. Domin¿¡¡ 729 chords
sound great anywherc, since üey cnd up bcing diminished 7ü chords. All other voicings need to be eveluatcd bas¿d on how they sound. Usc yor:r ears, ücy are üe most valuabte tool you have.
Scc pegp 31 lo¡ a
pcsltte solution Thcre 8re E¡ny düerent r¡ys to do thic av¡mple
FNOJAZ:z
l3
Ilarmonizing
a MelodY
TffiLiH:l["trn::J,ffil,ilil:::'*iI"iH'#:3ffi ,T:1['ff:il:J,ffiIríi'il";"tó;"nes
*.H, i,.Ñiá*"r''g chords' fit on
üe melodY
;
in this exampre
wiü a.ve¡v is a sinplc mgrodv HercisasrmplemloavSl:,:?,:ffi Herc ones a1l ttre
DminT
CminT
G7
F7
DminT
eh
FminT
for tbe correct Look st pege 3?
¡ñfreñ.
A ch¡rü cb¡pter YfI solution eremion tbc forgpt I)on,t
#-§#ffi :i-#Hu§¡ffi r;;h"."r{ltectoov',.r-f_gr.k"ücvoicingor¿nuera¡dwars' -r-i,-:il;¡;d""iffi;ffi láo,i".. eoually ir is
For insuncc:
q,sll
i¡
u
Excosim EÁ..r¡¡rw td ::-::;; v(fti¡s. Extcosim vcircing' i,sid' tu voHng' il,Iso"
¡evef§c' " áp,, uicc to er,
soffirc ffi,#l:'o¡J
-
tgdl to
*
a.r2:.*'l^1' H - ;.;""r.* This includes.".lffia*zi,Hf"1 # closcd-
úoos.
cuf 1ffi
Jt*fi Jüfr;; JI;".;l"Jri" *H"*rill r".""* *IJir-* *i"iñ";-ml; ur Have prc§c rhe sccond
eocouotgr'
*p il."@s
tuc
* ";.iÁ;
oe oici¡s "
I#HTH""|:
üem ou out as vou ner¡re
a r u.r, bccooc Í,ore acco'puso* ".'-^L']l¿,
a
Makccreati¡r':,H:Hg'ffi thso'
find Your abilitY rc voicings bclos mclodies witb cború
"JiffHil-?*'iif $;*Jffi
ba
hoc
lstr
thc drop3 is uscd in dooc for you. A
"oi"'ng
eb
ffir
ffi
DminT G7
19-.
CminT
G7 le
CminT
9
CminT Fnún7 R
Bb7
EbMa¡7
Ab13
Lr¡
R-Root
I.ookatPaSe3tforapossibleha:r.monizatioosolu6on,Chapter\IIIsolutionB 14
t t
t I (
( ( ( ( I
Hercisanotberoelody.p@ll}Tbefi¡stoclodytoocbasbcagdoocforyt yor likc' toy
you cJnl¡É fr¡st cbo¡ü but
q
F7 le
Harmoniriog \on-Chord Tones I¡ th-rs chapter we wrll deal with melody notes üat don't belong to üe chord. There are several meüods ro discuss; ail of them will b€ looked at in depth. They are as foilows:
l.
Diatonic ha¡moniz¿rion
2.
Chromatic approach
3.
Domina¡t approach
1.
Diminished approach
Examine this exarnple of the diatooic mcthod: T..cf f3 DminT
tñf*
ffi
ctg
(Emin4 eág
c6
-¡-a LJ.}t flr,
ffi'
m- m"
ffi
o
Tbe diatooic mcthod worts in üis way. On bcat 4 of thc first nreasurt &ere is a G oo a Dmin? chord. tnsrced sf [a¡Eonizing it as thc 1 lú of thc DEin7, trea¡ it ss an FrñinJ. This crr¿tcs thc fccling of mvemen¡ ¡¡¡[6 th¡n a st¿$ratrt chord sou¡d. This is dooc by talcing a chord di¡tonic to tlr key you'rr iu usually thc uext diatonic chord up from the originrl. Drop2 voicings a¡e r¡scd exclusively to h¿¡monizc this mclody. Noüce the exrcnsioos on tbc G7 aod C6 chord- Refer to tbc extcnsioo chart if yor Ec.d to.
Herc is anothcr cxample of tbe diatoaic mcthod: Tr¡ck,ll CminT
F7
Bhra¡7
GminT
m'm-ffi'm' m''m- m'mm'm- m-m-m(DE¡7) , úxr¿ tú '4.,c.L
(Ct!b7)
(AEb¿t (AEb7b,
I¡ this example, thcre are th¡ec oon-chord tones. ln each inst¡nce, a chord diatonic to the key of Bb major was uscd. This gives this examplc e ¡nore sophisticated soun( ratber than the bland sor¡nd of repeariag üe s¿me chord over and over. Also notice that a chord diatonically above or bclow the cu¡rent chord usually works the besr Drop 2's werc uscd for the cnti¡e g¡¡mplc.
FFCUAZ
l5
xG exarylc: noo'chod tones' l-ook at this meüod of harmonizing cffcctive very is anothcr The ch¡omauc approach ebua¡z abz
FminT
err¡cktr
Í5m!t. ñfriñ
m-
m-m- ffi"
i-,t-frfl
Gsü7)
r^-¡ ¡L¿ nf .¡rsurr'
thfcc ooc, the otber on bcat
ffi Hñ"rv1.'t'15" üc TI#,rl,iH'*r'r:ffiffi *í-o*' .JHH:*ár,:ffi rilffi in voicing and tvpc
as
exanple' no*s af" Erovi¡e by n.r?roti* "o." ¡¡¡ l¡scd exclusivety in this one you a¡e
resolvi¡ril'-ñ't*''s
ir;"i",J.r,ur;*;ñrr#Iil'u"
examPlc: Herc is a Eorc i¡volved
8
t,**6rn,
m- m- m'. ffi'
ffi* ffi
ffi- ffi" m'-
cC J
t
f
I i
ol -(
I ( ¡ (
( (l'7)
fU,aí7
c7
ffi.' ffim* mmffiffiffi'rÉa
a*a
EIIEI¡¿
ffi
"'*"* works.
"uor¿s,
*,t*
"ro*ifrr-rJ'hv
FSO.JAZZ
l6
t;;;;;üñ
(
q
tóu¡¡a
¡:?:Fñ
(
(
is uscd on bcat two,:nd measurg a C9 chord sccond ü: Io me¿s"¡re r*'c' Tbis toges ,n, this mclody. last threc oics oi üe c7 Tbcre a¡e scveral ch¡omatic is-us€d efrecure 'jus meüod a cüg. "i to ttris aooroached ctmmuic¡ñ, whicb sound diminished
*a
(
Ñ
-_-_---_--: i-)¡6 ¡rf ne m.csI pc)Dur¿r l]enü:s,1r ilJ-n:lcni¿ng 3ooincrd iLloes:_{ jJ,r"tül ue JoEl.:¡ü¡i art"a:"a:.. ,: ¡,:r-x._ :,, rpproacnlng :ny :hord oy- it's dom.ma¡r. Fcr exampie. ihe domr¡a¡r of E7 would D€ B;. since'B- rs ule :o Ei. :r L-ook at this srmple example:
S
rncl *r GminT
BaMaiT
-
CminT
F7
m'm*m"m-m*
HE- ffi'"m* m'"mBi^m-
de - b¡bott
¡h
I¡ this ex¡uuple, all thc dominant approach chords 66sr¡in fUir cr€ars¡ teasion in üc cho¡ü a¡d makes tbc chord want to rosolvc ¡norc strongly. lo measurc th¡rc, oo the for¡rth bcát tbe Bb could have becn harmonizcd as ¡ CminT si¡cc tbe notc is tbc scventh of üc chorü The dominant approach was r¡scd aa).way, to create morc intcrcst in thc harmoniz¿tioo. Try usiag a CminT hcre, listca to üc differcEcc onc chord can make. Here is a tnore complex exaoplc:
Trrt rt DminT
m-
EI!¡¿
ffi
@
ffi
@*
m' m' ffi
m"
ffir l-ff.i+i
(AÉe)
G7
ffic
Hfr
Cl¡le¡7
m" m* m" m*
ffi'm* m'
[IEll¡¿ u#*l l1-i-fñ
'(AEi!7)
This eighth norc example contains scveral i¡stances of thc dominant approach. This is very effective since the domina¡t chords want !o rcsolve quirc sroogly. This dso propels tbc harrrony with forward momenrum. Notic¡ üa¡ in measure rwo on the ead of üe first bc¿t, the diaonic meüod was uscd. I couldn't use the dominant ap proach sincc rhe ootc "G" is oot a chord tonc of D7. I could have harmoaizcd it as a G7 chord, but i didn't waat to repcar the G7 chord herc. The AminT is the perfect solution. Combining harsronizatioo methods is very effectivc as well as very commoo. Try scveral differcnt methods until you a¡e satisñed with úrc resuls. There is always more than one way to haruronizc a melody.
moJAzz t7
I
of harn¡onizing non+hord tooes is the diminishcd approach. To accomplish üis voic¡ a d'iminished chord bclow üe dcsi¡ed melody norc'
The last cornmon method aPProach,
Here is an example showing how to usc
&,r"*rfi,n, ---
IÓ]'
IIÉ
i+++i
üe diminisbed approach'
eh(rgl
abz
m"ffi-
m*m- m"
ehua¡z
ffi"
well. Tbe ¿liminishcd barEoEizetion can be uscd an¡ime' This simple example dcmonstrates üis Ecdrod very very cfrective' Your ea¡ is thc out of a jam wbcn otbcr úarmoniz¿tion methods uen't Bccquse of rhis, i, ;.t how weü e voicing wor*s' Tbc 6cory witl hetp yur explore the
ñ
"*yáu Lre for dacrrrining moo imporrant toot possibiüties, but your ear should bc tbc &iding factm' Here is a nrorc complex exanple of
S
r,-r*,0
6e dir¡inished ap'proach' BlminT
FminT
ffi" m' m' m* ffi' m' m'
Ahta¡?
ebz
ffi*
ffi
m* m* m"m-
m'
m-
ffi"
ffi-
trtEc
ffi
in measurc fou¡' beat
diuonic metbod Tbe ¡timinished approach is very cffectivc bcre. Notice the use of the wheu harmonizing a melody' oethod rwo. once again, .o.üioing rocooás woria great- It is ra¡e to usc onc
F:oiAZZ
18
Exploring the Diminished Chord Here is the C dimlrushed scale:
The diminished scaie is a symnctrical scalc. It is built oo a pa[ern of alternating whole srcps aad half srcpc. It also has the distinctioo of having cight norcs. In üc traditional worl4 this is knowa as a¡ octatooic scalc. When you build tbi¡ds off of any tonc in ttp diminished scale, you get a rliminishcd chord. Whea you crearc diÉinished chords on the l', 3"r, 5ü, a¡d 7Ü of thc scale, you end up having a whole srcp above each chord tonc. Look at this examplc:
ffi* [üfl
ffi*
EJH''
HtH
H#il
b
Ndc¡
Drq3 voiciag
tüotae?.Do"G c..i Ddoút
m'ic ü¡
¡sq,, tak¿ any dimini(hed chord voicing end try ¿¡sh¡ngins a chord tooc Herc are somc examples:
ffi-
fficiti¡¡l
d;n;¡¡.r¿¿
áoü
ibL f.?
rbor!
QD!!
¡l¡Er!¡+.d cio¡¿
fu
a scale looc a wholc step above.
m*
m*
rd4
q rnd sccod mtc lEr §lrr¡'¡
JLErI'¡
¡ñrL
!¡vorit
This merhod can crpatc somc grcat cbord voicings. This works oñ any diminished chord. As always,lct your ea¡s determrne how effective a voicing is.
FSOJAZ
l9
HereisaclassicjoePassexarnplebascdonthisidea: Tnck *l
l
G7
DminT
@¡t
ñTmrc
rfim!i
ffi
ú1r htü
i.+t+.{{
ü1111
l3
contains the L9' works si¡cc üe diminished cbord oo thc G7 rDcssufe. This uscd is chord Here rhe diminished instancc: g, S, ? of the dominant chord' For
;a
BDFAb=Bdim7
$lD
tb€ root of the chord is madc up of minor ttrifds, chord diminished 6e dc¡ail. sipcc L¡t,s examine this in more t'ook at this cxaryle: voicing' *r, be--V tone in tle Th¡ c¡d'd co bc c¡lloÜF,
ABqDiE¡bi¡btlt
since this
srcp forw¡¡ü B. or D. Takiog §s gne n o¡Ecd be ce¡ cbord r{iminishcd or',Jw''This is possible rhis cxarnple É¡e b" ca,ed ;';r§,Bb¡ñ'ú'lb9' tr*
I¡
di'inisbcd chord is arso a Gdá,
ro5,:r
r*, *,
t:
3d apart' the dominant chords a¡e a minor
Ñ¿r
ürstrarc this: Herc is anoüer example to fu¡tbcr
G
r.-r*,, ezfg
ffin Fñ?f1
fflfñ
In üis
ehfe
CMa¡7
m-
ofzfg
ehr¡¡z
m*
ffi- m-
was uscd for every Dom*g example, the identicar voicing roos' can rcsolve to four difrercnt one tr'"ti
onstrarcs how
ahua¡z
ffi-
ezbs
ffi" ffi-
exampre dem' chord in each mcasure. This
"Li"'g
Spendsomeumewiththeseideas'theycaDoPenawholeoewworldofpossibiüticsforyou!
69Jlz 20
AMa¡7
An Example Tune The best way lo demonsrate üe usage of üe methods discusscd is to apply rhem ro a rune. The tollowrng original rune resembles many of the st¿¡d¿¡d runes you know or should learn.
CIoudy
gbm¡nz
Eh
ebua¡z
ehua¡z
BVT
,-J-
BbminT
elua¡z Bh
Fnún7 Bh
FminT
Éh
Ah{e¡7
lbm¡nz
oh
ebua¡z cminT
Bb7
FminT
EhrraiT
)
TRCUATT
2l
'l
\
'--¡!__--l
I
thus far. Take your time harmonized using an the methods discusscd rn the next exa.urple, üe rune has bccn advanced of what basbecn done before you proceed to the morc learuing it_ you should have a firm undcrstanding chaptcn to follow. whcn É'e voicing m rlorú/'berow the stafi. chords werc rabered only Ttre voicing types h,ave bccn labered foryou you bclow üris nuntem correspona o thc expranations given makes for less cruucr m-üe page. Tbc in óc exrcnsions rype ctranged- Tiris üre has rurnai¡cd thc sanp. Notice
r'drod If rbcf" o no iÁu", given" fu urllotxi* üis úfafiggu,st, it contains all thc marc¡ial rrlody as well., i*r¿" o" choá voicrng. Finany,lcam
exarnpre.
Trrf. rt3
ffi
ffi" m-
m."
Db
AbminT
Ahla,7
m- m- m" m- m*
ffitt
ffi
m-
Ebit¡¡7 c7
Bh
Gl'7)
CninT
Ebr*ta¡7
m-
FminT
fa'
Eb7
gbm¡nz
ebua¡z [IEI}G.
discrssed thr¡s
ebt
FminT
sh
m..m- m- m.m'
(1.)
hua¡z
abz
rr¡Tn
firfi] HtH,
rÉ
ñTñ'].É
lt§tn
ffi ?
m* aa
ffi m-m-m"
ffi
(Gdin)
AhvraiT
Eb7
EHc
ffi'm"
ffi'" ffi"
(c-7)
gbm¡nZ
ebua¡z
(EdiB)
m-m*mFiOJAZ
AhvtaiT
m-
>-. 3.:t a
la
f7
--¡-'É dtr --¡i'r. ai aa aa
---zi
if.Iirij
r:'tfñ
::3 í-rfi ñf._--.-:-J2>l
.-¡- ¡¿ -
*+l
aitt . at iJ
---&
ffi
2O
I
2A-
(4.)
FminT
ffi¡t l-!-.,ltl
[tfl
(5.)
abz
EbiraiT
ffi¡c ú,t
Ahn¡nZ
EItrll¿
ffiffi
H
Abm¡n7
m*
ebua¡z
m..
CminT
EE¡r l¿llJ.J
m"
m*
sttr
Ei6
abz
Fmrn/
EÚ7
m..
Dbe
ffi-
m'm- m'
4
m'
m-
m*
f[a¡uon i z ation explanetlons
l.
This is an example of thc ch¡oo¡tic approach. The
fu7
is approrhing tbc Fm7 chord chromatically oo
the end of be¿t ooc.
"f
Z. Herc is an cxample of tbc di¡onic mcüod. A Cm7 was uscd aftcr thc BL'7 since Cm7 is üatonic to thc key Á nlÁ""O "Cl*rdf is iD É, thc chord progression we a¡e dcating wiü at ttp momeot is a II-V' I iD Ab.
This is an examplc of both the dominant a¡d dinioished ap,proacbcs. Otr the end of bcats tfuee and four, Diminished chords are uscd to harmonizc the melody. §i¡s€ rliminished chords can dso funcaon as domina¡t chords, we can look u üis as either mcthod. Both of tfresc diminishcd chords can bc called É7b9, üe V7 e¡
3.
¡f¡'"
4.
This is anoócr example of tbc ckomatic approrch. Tbc
5.
Here is yet anoüer exarnple of the chromatic approach. This d.m"
As7
is being approrhcd chronrauce.lly by r]re Bbm7.
q*7
is uscd to approacb üe Gm7.
Take time ¡6 sn¡dy ail thesc methods. Thc marcrial to follow dcpends on youf ability to undersund ever¡hing we've discussed. I would also recommend trying thesc idcas out on some of your favonte runesl
Fno,JA2Z 23
The Tti'Tone Substitution is the tri+onc substitution' methods of chord substiu¡tion commoo most ibe one of exarnine this in dcptb' tnt same tri-one' t¡"t
dominant chords
It is a substitution berweca
l't's
**
is thc intcrvar of a frat
is tba11T-r* Tbe fi¡st üing to understand Ot 7ü aDd 3É of the cbord' tbcre is a tri-tone bet**t
Tri-TÉ
bcttgEo F
we sce that ñfth' If we look at a G? chord'
dB
intcresti¡t*ffi#.ffi";ttff#ñ:
¡n G? cbord a¡e cooPare¿ vuhcn aDL? chord and a of both cbsr t*o tf* io*'al bctwcco tbc
botb cbords. Notice for each oócr' Exaruplc: '¡"t samc ui-tone' o"y t"o-JiuUstiotc¿
G7
ol'z
ui.@¡¡Ñb
Hercisasimpleexampleoftbcui.oncsr¡b*ia¡tiooooatr.V.IProgEs§,oB.
e
CMaiT
rrrl*r4
ffi" HiH
ffi
mcni¡cbctsca
G?
EdDb?
Cll8i7
obz
ffi* l-iitl1
tT¡m¡r
ffi
rífñ Hic
PROJAZ
Chord Movement This chaprcr de¿ls with some intercsting motion within chord progrcssions. Thesc ca¡ bc used as'ftll" material, or tcchniques of gening from one placc to asotber. Thc fint mcthod discusscd wiü bc the passing minor cüord. I-ook at this following common chord progression.
amzüs)
By incorporuing a passing minor chord we crcatc Erore inrcrcst in üe bsss linc. This crcarcs the fecling of rnorDetro¡m
wiüin tbc progression-
&r.*r,,
DminT Irt.Lr!
ffi
E/(09)
8m7P5)
DninT/C
rt
m'
m'
Anún7
m-
This can bc uscd an¡imc yóu have a I miac chord ooving to YI chord of somc ki¡d. Thcrc 8rE Eany examples of this i¡ st¿¡da¡d O¡G. Try ücsc ol¡t oo soglc U¡It6 you lnow.
M4jor and Minor O¡ché§ A major or min€r cüché is formd quitc oftm h bo6sa nov¡s aod othcr L-atin styles.This idca usually involves thc rctioa of ¿n inner voicc of a cbq{ generally fu foot c frfih. Here a¡e somc cl¡ssic examples: Tbe Isr example is a sinple idca b$cd on minor cüché uscd oo ¡ tr-V progression.
a
oi¡o
&,*,,,
Í.r-2
ELt Am(mai7)
ffi," Htü
clicbé. Tbc sccood example is a wonderfi¡l exanple of the
ffi" [Hil
AminT
ffi'' frt,rñ
AminT
Amin6
m* rrrm
m*m*m-m*
FFOJAZZ
26
D13
@.4. ItlÉt
utü
tn-tooe subsuruoon Here ts 3 more Lnrolved example usrng the
& EL
ract rrs
r
rT[Il-
'-..}U.i 2r
IEII},t UJJU HtH
ITiSm!É. Ff-!.tñ
ffi {t
ffi
CMaiT
DminT
nzf,g
CMaiT
tr+++1
ñ-rfi
U
b2
ffi-
ffi* Hüü
ffi"
m"
CMaiT
DminT
Eha
CMaiT
IJ.LLU
1E,
E¡.3
Bbnún7
CMa¡7
ffi'ffi-
m"
$m¡nZ
DninT
eV7
Dh
CMa¡7
rtrn¡r
m'm- ffi
ffi''
substitutim prog¡ession ia c major. Example 2 sbows tbc tri-tooc Tbe ñrst cxampre is the ubig.itors I-VI-tr-v chroo¡ric b¡s occof. The qrogressioo now rtol,"ro,iog bcing uscd in thc sccood a,d fó,¡fth a o"-oó*iool. h examprc l, th" A7 has "üg in üe ocrody thing bass movemcor Thc otbcr intcresti¡g p bccom *ur,ñipp.ns to tbcsc^artcratioos in thc sccond cxample' Tbc and the G7 has btr in the rclody. rrot thc 9¡ of üc tri-onc substiu¡tioo' and 6ebt¡
*.r*.
rbc t3ü of üc
ui-orcLUJ"JL
üis;
hr*;
tiom
was uscd' &c u th¡r rn e""h mcasuf. that tbc tri-ooc zubstinrtion furtbsr. strp ooc takeo is this 3, examprc [n hrs a [I-v has e II-v in Ab' and measurc 4 crÉarc ir-v frg*..ioo. Mcasr¡¡e 2io* gocs with the v was ;d"d üis Mgb" bailads " ¡Dany chords' oo doesn,r *ort aíweü sincc yor dcal wiü so in cs major. oo fast works bcautiñrllY.
; **.-üt
FRGJAZZ
25
\¡cüer
rice
ú7¡fi! Track +13
.
ir-lI.1U
C
min
t
:hche
rs baseo on C
üe :oo'"er,eci JI te
min{ 5
C
dE," LlrulJ
3É.
LI-J.IJ
lLlr¿lJ
"
l lupe you'ru
;¡h ¡i üe crcrc
- Y.lmñ .
min6
C
mrnf 5 l-.
iJ+.1,¿
'tFlrt
:.,]ltu
-i-- 1 rulu I
el_g.J
able to bond with this oru".
Crcating a major cl.iché is a mettcr of raising the thi¡d of the prcviors exarnple. Take a look-
&
r'."r*,,
c6
cMaf,s
ffi ffi
m'
cME*s
m'
m..
All of ücsc clichés can bc uscd on just abott any tunc. Thcy work very well whea an issue, such iul long hcld notcs,6 whca tbc mclody Providc sooc specc.
üc melody of üc t¡nc
is oot
Threc Notc Voicings Thrcc Dotc voicings arc a very effecüve voicing tcchoiquc. SiE fu mst i¡t¡portant toocs of a chord are tbc 3r tbc rmt is us€d ooly to providc the b¡ss notc. TbÉ grcat rhythn guitar player, Freddic Grecn, usrd aod voicings oB the lowe¡ sct of strings with remndous s¡cccss Take ¡ look at a very coorDoo rnoveErcnt from thc cbord o üe ry7 i¡ a 12 bar blucs.
fuc fI'
f,
&
r"-.-
G7
AminT
abz
m- m- m'
BminT
m-
c7
m'
This ocxr exaraple is a greet mcthod sf T,alking up a rnqjc sc¡le diaronicdly. Noticc the indepcodcut Eovement fum tbc 7Ü !o üe óÜ in dl of thesc threc Dot! voicings.
á& r.*.*,
cM.l,
m"
DminT
Erilin7
ffi' [üfl
m-
FMr¡7
m'
Experimcnt wiü this ide¿ on other scales. The basic idc¿ is to substitutc thc 7ü for üe 6Ó while playing diatooic 7ü chords eithcr ascending or descending. ¡§o.¡ra 27
Quartal Harrrony - Voicings in Fourths scare ones. we have dealt been built by stacking thi¡ds -on Au of üe chords we have discussed tbus fu have triadic harmony' tbc orign of aI of the voicings comes from rvirh scveral i¡versions of thesc chords, but with thrce Take a look at the G Majol scale harmoniz€d harmony rs bascd oo cbords built with fourths'
Quarral
notc fourth voicings:
ffiI
ll
m* m" m* m* m'" m'*
m.ü l.H+t tu-J¿J
always coocan bc incompletc' si¡ce th voicing docs oot when voicing chords in this rirntrcf,,, ürc haroooy harmony' modal tr¡Dc§ or crcsti,g Eor€ modcrn souading tain a 3É and 7ü. This c¿¡ bc vcry dcsirable *br";l"yirg lower it an octave' is eesy.Tüe the top notc of thc voicing and creating inversioos from thc prcüors exa.mprc Takc a look:
E&1
E@:r u.]Jtl Htü
m*
ffitEr t{+++{
ffi* |.li#..i
EL2 It*i'fl
ñfrfl
ffi
l¡
EEEFrt
Hffi
ffirt
m- m"
E¡.3 ETIEl¿
m*
m*
m"
EII!
ffi
Hffi
rt
€IIItl
ffiffi
m'" m''
Hm'''
m'"
fffirrt
§Ef[f¡rr¿ fffitrt
m'*
ffiffi
octave creating a total of four scts of inversions' all ütee exartples, the top note was lowered an
I
F*CJT{z 28
I
t_
r¡r
m'*
:¡,,
;á*§i,itrÉú8ür..
ri¡;;*§'¿r;;.
lle lr.iic* -^3 :x rmn ie shows other j€G -"'qt,ng cv rtt -":-
all thle€ inversloos on one sct of stn-ngs. From ü]€s€ ! otcings : ou can --rc¿rc üc
üe process of lowenng the top oore of each voicrng Írcross üe
ffiprt
+.itJ2¿
L¡ts look afqmh
ffiFFf
ffi
ffi
-i+l ]i.rfl
neck-
r*
voiciags buitt wirh for¡r tones. Here is üe D Dorian oode harmonizcd
i¡
fourths.
m' m- m' ffi* m'- ffi'* ffi'* ffi','o
great whca coaping oo modal tr¡m likc Milcs Daüs' So wlut.They are ^Ifl'-t,lT§n sor,rd i,i"g ei *eu. Hcrc is u-V-¡ cxample using üis idca'
very cfrcctivc
cnorÚ Eelooy
Er"*-
"
DminT
m-
CM¡I7
G7
m'
m,.
uoi.a* havc an incomplea sor¡o¿ thcy work very well in ccrtain sioatioos. As always, let yor tur-13tioi*o.tr.Cbcck * :lf].rt-} pi"ni"s likc McCoy'I]'g, Hcrbic Hancoc¡q caick corea' Bill Evans ^^-
am r\elm J8¡rEt
"in Thcsc mr¡sicians are E¡strn¡
u creating intcresting voicings usiag
P;AJAZ 29
quartal barmooy.
r|l:' t.
.: .
.:.
; -llir ¿¡!r':L
Advanced Methods of Harmomization I¡ üis
arc as follows: of advanced harmoniz¿tion techniques' They chapter we wiü look at scveral methods
1. 7. 4.
ContrarY mouon
Chromuic II'V's Slash Cbord Harmonizatioo
Constant stn¡cn¡rc'
ContrarY motion
oPPosite or It can bc dcscribed ¡s two mlodies Eoving in Coauary motioa is a mcthod of countcrpoinu coDtrary motioo' I-ook at this examplc'
Er,** É)
Bb6
(F'l9)
m' m-
Er'2
m*
Inexaoplcl.adesc¿ndingchromaric.lircisuscdcoouarytothcmclodyaboveit.Intbesccondexamplca on bcas ü¡ee and fo¡r' on AddidJ Do."s *.nr.¿á"¿ bctweca thc norcs stcpwisc descending dominant of Bb' was crearcd. siDcc rz it e,d bcst thec a Bb Major triad was cresEd "h"rd as well' be coosidered üe domin¡nt app'roach m¡kc.yo,'¡f¡r'ge,e'ts sound very sophisticarcd' Yo.¡r pray tbcsc examples. cootnry motioa is a way 6 and mmorable arrangements' music ir rory i.por,-, in ceeting musical sh¡nge ¡s sbitiry
ur";;-"r"¿
t"
"füñ;;-Fr,
A¡.""
o.,".a* "iyáu
Cbromatic
II'V's
whcn the merody of srcp higber. Take a look:
a tune
chord, you can substin¡te cootai¡s the minor 3d or flat Süof a minor
abz
FminT
ELI
a
tr-v a half
Ehraiz Ii iaatti
d,t
m"m-m*m-
ffi ,(' 30
P8CuA¿?
-E¡ t.iJ..,i
^:::x:¡ltie l. ¡e
:h.rd :oe¡siJ-re.oolarnj
te :.:lcr -:t ¡f F--
I su'osun¡rcj ¡ [-'" ,¡ te i:., :i ]. E-- :: 313. of üe domrn¿¡r ;hcrd *iren u\e ;D¡cm¿lc subsdruron is appüed. Nonce how I condensed rhc onginal [I-V rnto üe ñ¡ai me¿sure of ,¡..i*pi". Tbj;;. very efrective meüod of subsuruüon. The sta¡dffd ünes Srei¿a By Snrtight, and, There Wl Never Be Anorh¿r You, ate pcrfect vehicles for this method.
The.{: ln üe melodl becomes rhe 90 of the iat¡or caord
& r.".*
Ft
P*n¡nz
z
¿nd
A7
üe
FminT
abz
Ebrr/aj7
m-m..m-m'"m''m* m§l¡sh Chord Eeruoniz- tion Slash chords arc somctimes mistakea for pol¡onal harmooy. A tn¡c pol¡onal g¡árñple would bc CmajrDmaj, which i¡dic¿rcs the notcs f¡om a C major riad and a D major riad Slash chords are just major tiads o"", diff"r.ot bass notcs. g¡¡mplcs of slash chords are: C¿? or D/G. This mcthod gives yur a very modcro, clean souading harmonization. l¡t's look u som examples.
Tr-f #25 Er. I
FID
F/G
m-
m''
FID L t_t-t,tJ-t
ffi Er.3
C/D
rt
Dr€
m-
E,G
Ehc
ffi
m-
fiEIr
Db,G
ffi' Example I is a simplc lmk ¿t slash chords. You can ¡6¡,¡lly c¿ll tbc fi¡st chord a Dmin7, si¡c¿ an F triad wirh D the bass contains thc tones of Elmi¡7. The F/G gives you tbc sound of a Gsus úth tbc 9ó added. The D/C gives you a C lydian sound. Since ttre uppcr parts of üc chord are all major triads, tbe overall sound of üc chords is very clean.
i¡
Example 2 is a slightly morc i¡volved exanple. Tbe same F/D chord is uscd for DminT bur we go to an BG chord nexl If we lmk at this chord as a G7, it contai¡s thc 13ü a"d b9. Thc chord is lacking the 7ü of üe chord, so it has an incompletc sound. This is what gives üesc chords thcir personality. The G7 resolves to a drlc, which on closer inspecuon is just a Cmin7. F§OJAZZ 31
Id, I I
,*ffi 3l'";r;ff Hi:"?:r#ffir*SH#'ffi§UX¡*,3Ut*Hf
*1
#.-.Ji'1§Hi'i?'ff;Juvio*'p*:$tÜillgfi ;;;t;or7üBu"othc *;ii;ffi *,t,¡.vsoundgrea,:l,ff¿*:fi I,ffi ffii,iilJlq.§HH:;L*i*"if#"":H"J:; bcner sounding range.ü,oI;; ff vou look beas toolT"Zla."n¿ cborü tbe altcred scalc 3 at ;;;"di. ;";r- merodic minor -1i"HlF
tbe arrcred scare, the become a srear choicc desÉ";ol;-o-üi' G is the D and Eb'
T
r¡e
$
"?[uáJ*"r minor'*ñ"'üilmcrodic
y::?:#*;tJrm;"' htY:Hm"mm:o'"ffiff*
;;;5'*és,'
I I a
J a J
a J I T I
3:I I
t (
I
(
(
(
I
P;OJAZ
Constant Structu-¡=
f ¡¡15rrn¡ smlcrure rs a meüod of harmomzation where a metody is ha¡monrzed usrng ooe chord form regard,iess of key or chord Progress¡on. As strange as that may sound, it can result in some great sound"ing harmoaizauons. Creating major triads off üe melody along with a dominant approach bass line is one very effective use of this technique. This proccss will rcsult in a siash chord harmomzation. The big differencc is, no auenrion is givea to üe original chord progression. This appears quirc compücated; it would be much easier ro look ar some examples.
Ex'
l
GminT
S
FMa¡7
r"-**
O
8.2
ADG
FMe¡7
ctodYtm;+¿¡'¡6 EricEi¡dr ú6. tÉd
Er.3 GminT
ffi,.
ütH
E¡.
TrlrCGd
dminatrgorchb.s lir
GminT
T¡¡¡ACH Gb
Eb
Ab
m* m* m..m' odi¡¡i
{
gorcührEr. GminT
e*e
Flrt
FMa,7
m' Tt$iCbdd
chc
FMa¡7
Exarnple I is just a simple mlody in tbc kcy of F oajor. Thc ñrst stcp to uke is to dccide what üe target chord should bc. The F oajor chord scems idc¿l since it is üc resolution point of this progressioo.
ln example 2, thc F Major bas becn l¡bcled thc target chord and a dominaat approach bass li¡e has becn placed in the preceding rncasure. Creating thc bass linc is just a mattcr of working backwa¡ds f¡om tlrc target chord Ia example 3, tb mclody is bamronizrd with major riads built offtbc thi¡d. Th¡s b the constant sEucü¡re.The same major riad voicing is uscd rcgardless of kcy or harmony.
The 4ú and ñnat example is the combination of the bass line and triads. Notice how the bass ll¡e has been modiñed by incorporating thc tri-tooc substitutioo. Tbe 2ü and 4ó beats of thc triad mcasurc usc tle tri-tonc of tbc origlnal bass Line. This is pcrfectly fine. The bass li¡e was changed for thc simplc rcasor¡ tbat it created ch¡omaticism. Rcmembcr, when d¿¡ling with harmonizatioo, th b¡ss movement b thc mct important featr¡re of the progrcssion. This cre¿tcs powerful moverrcnt io both di¡ections; up üe cycle of fou¡ths or ckomacicaily doT oward. Other grcat bass mooon is diatonically up a scde or syms¡ctric¿l movemcnt in whole steps. As aiways. ry these ide¿s out on som€ slanda¡ds, it's thc only way to begin to undentend a¡d hea¡ them. 33
PNOJAZ
ExamPle Tirne #2 rcx. l¡arn it" ptay it almost an of the ideas discusscd in this utilizcs that soog a sh¡dy will In this chapter you you should be able to he¿¡ it as oold you understand thc material, rccord yoursclf prayrng ir Not ortyit
for friends, well. Good luckl
G
m'
r,*,*'
o7
DminT
E7
m*
m-
ffi'm
ffitt LTLLU Hüfl
A7
C7
GminT
ahúa¡z
FMaiT
ffi" m-m-m-m-ffi"'w' tóu¡ia
Fr.i¡3 5lt
Em7ü5)
ffi*
m'
HiH
Ell¡t Effic
ffiffi G/A)
tÉYrl
o
7 DhvraiT
ebmingl¡b
ffi
m"
GminT
ffi"
J)
GfrraiT
m'm'
dm-
Ghúai7
oh
Fm
in7(b6)
@,.
ffi
c7
Eb
m-
ffi-
o7
G7
u-Il-rJ
l
FECJAZ I
t-
ObminglOb
m* m- mffi'ffi'" uttü Hiü LLIJ''
m'
(AlA
ffi,'ry ffi"
m'
m*
ebminz
Abm¡nz
F7
cmzüs)
FminT
m"
atm¡nZ
o.l
ffi"
J,
'¡r
--f-- -r arai
rd
I
n
3rE,
'-i-' fr'1f
¡t-
§É.
-Ti'
llil
A)7
,t/
DminT
ffilra
ffi
m"
m''
GminT
FMejT
m- m- m-
m'm'
Emzüs)
m-
ffi' ffi'
Hffl
m'
DminT
m'm'
m*m-m'ffi'
GhuajT
HTH*
BhHaiT
m- m*
ffi-
FMa¡9
m' m" ffi
Ha¡uron iz¡ tion ExPlanations
very well A descending chromatic line works
t¡rt rl"fo¿v' Notit'
"gJr,
z.
straigbt forward harcroaiz¡d.
pomtthe usc of unisoo as a starting
dror2
notc nccds to be to noticc is üat not every melody voicings. Tbe imporunt thing
a O7$9bt3t
3.
A great closcd voicing for
4.
Dia¡onic metbod of barmonization'
5.
Chromatic aPProacb mctbod'
6.
A7. This is a gr"ar wey of harmoniziog slasb cbords uscd on the
6c
p
end rg of a dominant chord!
1. Chromatic aPProach' morc inrcresting' ca¡ oakc yot'an.Dge,Cnt Euch g. usc of sixths as a oclodic dcvicc. Drffcrcot tcxü¡rcs
9.
Ct¡om¿tic aPProach'
10. Slssb cbord harmoniza¡ion'
The I I . Diminishcd approacb.
of Dmi¡7 ! an A*9' üe dominant cfdinT cen also bc lookcd al 8s
fr.fi [H,il1;t7tx;:ffi; :Ykilr,J.Hk[ l":,t§ffi H: ffiTJffi o."l;#:;:l§ffi;S"*,ffi'Wñh:iffi :"tffiwiü '*prcf I
2.
rhis is an i¡st¡sce of the ui-tooc Tb*dl1T
t'$I#tr,.áTrxm:;:ffi,E:üiÉ#xsxg*:Uffi *ro,"¿ ro-*l'tiu,ti* [*,:ffi: ffi}ffi;;Hf*Tñ;
ercncc
souod grear
;;;r,;thesc
sr¡itable for ücsc ¡pghniques' ptay. Bellads arc espccially idc¿s oo trr'cs you rikc to
3ó
p¡'o.tlz
Chapter V Solution ctÁ47
F7
AMajT
Effi¡t |l riól
-!J-Jt¿ :]IIJ
ffi
ürfff
Drop3
Drop3
FLle¡7
.L-
Gira¡7
lJjlu,¿
t+lgc,
ffi ftop3
ñTIl.¿
ffi
rDrf2
D
DminT
A¡min7
ffi'' ttN
'ri+ll't
¡iiaia
tttfl
Emzüs)
Drop2
rO.
BMa¡7
ffi
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BarrJ- Greene Barry Greene began ptayrng guitar ir 197 i. w'hen he was ten ye3rs old. Su'ongly influenced by \&'es \f onr¡omery, George Benson and Pat Mart¡¡o, Baqv has develo@ into a world class guitarisl arranger and composer. He has recorded or performed with such a¡tiss as Trm Hagens, D¡nny Goüieb, Geae Bertoncin¡ri. Scon \lbadbolt Kenny Drew Jr., A¿¡m Nussbaum, Wa¡ren Berndha¡dt, Russcll Malone, Roo A.ffif, and Colin Bailey.
Barry's fi¡st CD. Sojourner, has beeu well received by both the press and music industry. lust lazz Guitar magazirc says, "...his improvisatioos were creative with impeccable technique...." 20th Century Guiur wrcte, *...it has ail üe urgency of the best of Pat Martino's worL.. Sojourner is a mixrure of original music and sta¡dards in both trio aud quartet formats." The CD has also received positive web reviews from allabou¡j¡zz.ssq "...¿¡ excellent player, a supenor musician with power to spate..."
Preseatly, Barry is involved in scvcral projecs with Mcl Bay Pnbücatioos, and is writing compositioos fc aaotbcr relc¿sc o be recordcd i¡ thc oear futr¡¡e. He cootinucs !o eudorse Thomastik-I¡feld strings aod Buscari Guitars a¡d has performcd at thc t,ong tsland Guitar Sbo{v bcld in Ncw Yort, fc th past threc years. In additi Barry has becn an rnstr¡ctor at tbc prestigior¡s National Guit¡r Wortsbp bcld eecb sumncr in Coonectict¡t
Barry is anAssc:r¡rc Pr,ofessor of laz,Gr¡iar tttbc Univcrsity of North Rorid¿ in Jacksowillc, wbcre I bcca au iostn ct6¡ si¡c¡ 1995. Hc tcacbcs two guitar cnscmblcs, as well as applicd guiar, arranging a¡d iq s¿rioa. Barry has composed m arranged ocarty scventy pieccs of guit¡¡ cnscmblc music as well as scvcral bi¡ coopositioos. Hc and wife Sara a¡d son Mitcbcll, fcsidc in SL Augttstirc' R6id¡-
Barry Grecae can bc rcached via thc web wwv.unf.edrr/-bgrecuc or emaü [email protected]'
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