Linear Harmony for Guitar Examples

[JonnyPac]

Greetings y'all. Here are a few sample pages on linear harmony soloing from my new book Chord-Scale Theory and Linear Harmony for Guitar. Enjoy!

[Reg]

Hey Man much better approach... for musicians... thanks. Looks well organized and very thoughtful. I have a few more approaches to dom. Harmony and usually view Dim. interpretation as last resort. But that's what makes us hear and play different. Again thanks for posting. I checked out your Dim. pages, I also have different views, but yours is as good as most for functional start. Thanks Reg

[604bourne123]

similiar to that Chris Standring course the host is always posting Linear improvising but much better.Thank you

[JonnyPac]

Thanks for being kind! I hope you enjoy it! I'm on the edge being banned as a spammer here. lol.

I'm always happy to share anything I can. Best wishes.

[JonnyPac]

[JonnyPac]

[JonnyPac]

Again, I hold the copyright to these images. Feel free to use them for private study. I am happy to share. Hit me up with any questions, etc. Cheers!

Jonny

[JonnyPac]

Any of ya play around with the "octave displacement" idea?

[JonnyPac]

Anybody try this out?

[JonnyPac]

This book is now available on Amazon! Chord-Scale Theory and Linear Harmony for Guitar: Creative Tools for Improvisation and Composition in Contemporary Music by (yours truly) JonnyPac

Amazon.com: Chord-Scale Theory and Linear Harmony for Guitar: Creative Tools for Improvisation and Composition in Contemporary Music (9780615431116): Jonathan Pac Cantin, Jacob Chilton: Books

[guitarplayer007]

What would you recommend for learning how to comp and have alot of chord movement in my playing?
Ken

[wizard3739]

Very well done, JonnyPac! Good presentation of good material to help the thought process of improvising. Good luck with your book.

wiz

[bass2man]

Johnny Pac:

Thanks for sharing this...good stuff...

I am working through the Bert Ligon book where he utilizes three outlines to hit the chord tones/resolutions...but no tab so its slow going as my reading is pretty lame (another thing to work on..sigh)..

I really like where you describe what the motif is...Bebop or chromatic or octave displacement, etc...very useful when starting to work on this concept..

Will definitely get a copy of your book!!! Thanks again for sharing...

[JonnyPac]

Originally Posted by bass2man

Johnny Pac:

Thanks for sharing this...good stuff...

I am working through the Bert Ligon book where he utilizes three outlines to hit the chord tones/resolutions...but no tab so its slow going as my reading is pretty lame (another thing to work on..sigh)..

I really like where you describe what the motif is...Bebop or chromatic or octave displacement, etc...very useful when starting to work on this concept..

Will definitely get a copy of your book!!! Thanks again for sharing...

Bert's book is wonderful. His examples are classic and very useful.
My reading is lame too. It took me months to get through it. lol.

Glad to help! Hope you like it. Orders and questions pvillemusic@aol.com

[JonnyPac]

Originally Posted by guitarplayer007

What would you recommend for learning how to comp and have alot of chord movement in my playing?
Ken

That a big question with a big answer!

Learn tunes that you like the sound of chord-wise. Stella by Starlight, Ladybird, On Green Dolphin St, Giant Steps, Gloria's Step, Time Remembered, Very Early, Blue in Green, A Night in Tunisia, Yardbird Suite, Nefertiti are some of my favorite progressions to play with. Lots of borrowed chords, parallel keys, and interesting jazz cadences.

Analyze the heck out of them! Take notes. Find the parent scales/keys/modulations and all of that.

Build voicings all over the neck for each change from the parent scales or modes you choose. Try different themes for each chord in the song; for example, use close voicings, forth stacks, so what chords, upper structure partials, etc.

Be creative!

Does that help?

[dyross]

Hey Johnny - book looks great...its on my amazon wishlist. For you any recordings available for listening that employ your principles?

[JonnyPac]

I always recommend 50's and 60's classic jazz for listening. There was a certain amount of clarity in the performances that makes the theory easier to pull from.

As a guitar teacher for the last decade I have had to transcribe a huge amount of music. A lot of it was non-jazz contemporary music. I found many commonalities between the two (despite what some jazz purists think). Whatever helps you hear it, helps you hear it in the end.

If you're thinking of my own music, the live trio track on myspace.com/jpacattack has an original tune of mine called Illumination. Sorry it sounds a bit too reverby and a bit too sloppy, but it's live from quite a while ago. It employs the parallel key idea. It is in G Major but uses a few things from G Minor. I really need to get a CD made someday.

Let me know if I can help further. Thanks for your interest!!

[guitarplayer007]

hey jonny,

Do you really think about modes while you play? I used the jimmy Bruno method where there are just 5 shapes that cover the entire neck. That way yo have to think what mode goes with what chord?
Thx
ken

[JonnyPac]

Originally Posted by guitarplayer007

hey jonny,

Do you really think about modes while you play? I used the jimmy Bruno method where there are just 5 shapes that cover the entire neck. That way yo have to think what mode goes with what chord?
Thx
ken

Yes, I almost always think of modes. It is not so bad after a few years. It's like breathing air to me now. I couldn't play without them, and they feel almost effortless.

The idea of "avoid" or "handle with care" notes is really the first step to realizing the problems of playing over several changes with the tonic parent scale (pan-diatonic improvisation). For example, the 4th of a major chord/scale sounds like dookie (it tends to create a minor 2nd, or minor 9th interval between it and the 3rd in the triad) unless a sus 4 type chord is under it.

With that in mind, the next step is to play harmonically specific lines. A well designed melody has the full potential to create a spontaneous counterpoint between you and a walking bass line. The chords no not need to be played in the accompaniment at that point whatsoever. (Chords are nice though.) I think of it as playing "harmonically responsible melodies", instead of just "playing over" chords (and resolving clashes as they inevitably pop up).

I use the 5 shape method too. It is called the CAGED system sometimes. I also put them back together (like Voltron!) to create the full pattern and then use linear fretboad approaches (not just "linear harmony" I mean non-box patterns).

Does that help?

[JonnyPac]

BTW thanks for your interest and being kind in this thread. Happy 2011!

[AZanshin]

Wow This book looks dope!

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