Chord-Scale Theory and Linear Harmony for Guitar Book!

[JonnyPac]

Greetings y'all! I self-published a book! "Chord-Scale Theory and Linear Harmony for Guitar: Creative Tools for Improvisation and Composition in Contemporary Music" It is 90 action-packed 8.5x11 pages illustrated with diagrams, notation, and TAB. If you are interested, please send me a PM. You can also email me at jonnypac@gmail.com

More info, reviews, and PDF e-book download/sales: http://jonnypac.weebly.com/

Chord-Scale Theory and Linear Harmony for Guitar: Creative Tools for Improvisation and Composition in Contemporary Music is a guide to modern music theory as it relates directly to the guitar fretboard. It covers basic harmony as well as the complex harmonies used in jazz in a friendly easy-to-follow format. It contains examples in standard notation, guitar TAB, fretboard diagrams, and charts. It is a great resource for intermediate and advanced guitarists with various backgrounds looking to expand their musical horizons and creativity.

• Plastic Comb-bound: 94 pages with a clear plastic cover. Conveniently sits open flat on music stands.

• Publisher: Upstairs Art Gallery Revised Edition April 2011
• Language: English

• ISBN-13: 978-0615431116

• Page Dimensions: 8.5 x 11
• E-Book PDF available for download

Now on Amazon! Click the Marketplace if it appears out of stock!
http://amzn.com/0615431119


Included in this Book:

• Fretboard Notes and Intervals
• Building Scales and Modes
• Building Chords from Modes
• Hexatonic and Pentatonic Scales
• The Harmonic Minor Scale
• The Phrygian Dominant Mode
• The Melodic Minor Modes and Harmony
• The Dominant Diminished Scale and Harmony
• The Whole-Tone Scale and Harmony
• Triads and Inversions on the Fretboard
• Chord Synonyms, Polychords, and Slash Chords
• “So What” and Quartal Harmony
• Upper Structure Partial Chord Voicings
• Power-Chords and Low Voicings
• Chord Progressions and Cadences
• 12 Bar Blues and Rhythm Changes
• The Circle of 4ths
• Key Signatures
• Neighboring and Parallel Keys
• Secondary Dominants and Back-Cycling
• Borrowed Chords and Modal Interchange
• Substitution and Reharmonization
• Linear Harmony and Melodic Devices
• How to Build and Connect Basic Outlines
• Melodic Embellishment Devices
• Adding Harmony Lines to Melodies
• And Much More!

(Prerequisite: Basic Music Theory)

http://jonnypac.weebly.com/

[JohnW400]

Congratulations.

That's quite a lot of stuff your fitting into only 90 pages.


Good Luck with it.

[JonnyPac]

Thanks! It is very streamlined. I learned a ton putting it together. It is my last 10 years of jazz theory study put into form.

Here's the Guitar International review by Matt Warnock:
http://guitarinternational.com/2011/...r-book-review/

With the explosion of guitar books over the past two decades, first in hard-copy form and now through the ebook phenomenon, it is harder than ever for guitarists to sift through all of the material available to them and choose a good book to dig into in the practice room. While some books are aimed at specific genres such as metal licks or blues chords, playing in the style of your favorite player or learning a certain technique such as tapping or fingerpicking, one of the most popular formats has been and is still the “umbrella” approach to teaching in book form. With this approach, the author takes a look at a larger concept, while also spending time on a number of smaller techniques and sub-concepts that fit under the overall theme of the book. Writer, guitarist and composer Jonny Cantin has taken this approach with his in-depth volume Chord-Scale Theory and Linear Harmony for Guitar, and the resulting book is a well-written, detailed look at many of the harmonic and melodic concepts that any guitarist needs to raise their playing to the next level.

The book starts with an introduction to the material, which is easy to follow and highly informative, before laying out explanations of the symbols and diagrams to be used in the book’s musical examples. Here, and throughout the book, there is a good amount of musical theory present. Cantin has approached this material with a mix of teaching theoretical knowledge alongside performance based material, explaining everything he lays out on the fretboard along the way. Because of this, anyone who works through this book will wind up with not only a better understanding of this material on the guitar, but also how it all relates to the larger context of music in general.

One of the main reasons that this book is worth the sticker price, besides the well-explained concepts, is the sheer amount of material present in the book. Cantin, using the umbrella approach to writing, uses the larger concept of Chord Scale Theory to dig into a wide range of topics, including:

• Intervals
• Major Scales
• Melodic Minor Scales
• Diminished Scales
• Whole-Tone Scales
• Harmonized Scales With Triads
• Harmonized Scales with Four-Note Chords
• Common Chord Progressions
• Chord Substitutions
• Reharmonization
• Chord Shapes and Voicings
• Chord Synonyms

This is not even a full list of all of the concepts and material present in the book, so at $7.95 for the ebook and $19.95 for the hard copy, this book is a bargain for the amount of knowledge one can garner from working through this material.

That raises one of the big questions that many students bring up when purchasing a new book, especially one with this wide a range of material, “Do I need a teacher to work through this book properly?” The answer to that question depends on the student. After reading the book and going through the musical examples, I would say that any intermediate or advanced beginner would be able to go through this material on their own. But, since there is a good amount of music theory involved in the book, if you do have a teacher it would be a good idea to bring this book to your lessons to work on together, just to make sure that you are following the material correctly and it lines up what you are already doing in your lessons.

Overall, Chord-Scale Theory and Linear Harmony for Guitar is a well-written, in-depth study of diatonic harmony and common chord progressions/substitutions. By integrating scale theory into the material, Cantin has covered all the bases, providing a one-stop volume of chords, scales and harmonic material. There is a good amount of theory present, which the author is not trying to hide, so if you are a bit shaky on your music theory you might want to work through this material with your teacher, or at least brush up on your theory chops if you get lost here and there in the book.

Both the ebook and hard copy version are properly priced and come in an nice, easy to read format that would make a welcomed addition to the home-library of any guitarist looking to dig deeper into harmonic and melodic concepts.

-Matt Warnock, Jazz Guitarist, Publisher and Music Educator
Author of 30 Days to Better Jazz Guitar

Introduction from the book:

As nearly all musicologists and music theory books point out, music is made of three interlocking primary elements: melody, rhythm, and harmony. Music missing one of these sounds incomplete. Making sure that each of these elements is well developed in a piece of music should be a priority for each composer, arranger, and musician involved. There is some debate about which element is the most indispensable out of the three, but what is important at the end of the day is that they are all embodied within one another. Since an arpeggio can be interpreted as a linear melody or as a broken chord, the border between melody and harmony is especially undefined. A single melody can shape the rhythm and imply the underlying harmonic structure. This is a wonderful thing since it naturally unifies all of the parts. This is the basis of “linear harmony”.

The ability to interpret harmony accurately is often the last skill to be developed (if ever) by musicians and listeners alike. Many average pop listeners rely on lyrics to guide them through a piece of music, while some rely on a steady rhythmic pulse that they can move their bodies to, and others appreciate a catchy melody. Simple and repetitive is what works best for most commercial purposes. Too often listeners fail to appreciate the subtleties of advanced harmony. In a sense, harmony was the final frontier in the history of Western music. Certain audacious composers through the ages were fascinated with finding new and innovative methods of putting chords, voicings, and progressions together. Because melody and harmony are so closely related, fresh melodic ideas evolved simultaneously with the new developments in chordal theory. This enthusiasm for harmony continued all the way through the modern jazz era. A deep understanding of the harmonic element of music is a rich source of creative inspiration and listening pleasure for all of those who cultivate it. Studying “chord-scale theory” and “linear harmony” will simultaneously help to develop a trained ear and improve general musicianship. Both of these concepts are relatively new spins-offs of traditional music theory.

This book is intended to help guitarists play with an overall sense of harmonic clarity and creative control. I hope to give students a basic foundation on which to build articulate music by providing them with a compilation of useful diagrams that apply theoretical concepts directly to the guitar fretboard. The majority of the material is designed for intermediate and advanced guitar players wishing to expand their horizons. This book is not intended to teach how to read standard notation, TAB, or introductory level playing techniques. Basic music theory is a suggested prerequisite. If you feel that you do not have these fundamentals down and still wish to use this book, please find a suitable teacher or book to assist your studies as needed.

The guitar lends itself to be played with only a fractional knowledge of “fretboard theory”. This can lead to some debilitating misconceptions about music as a whole. Instrumentalists tend to approach music in a variety of ways, and many emphasize the particular aspects that apply strongly to their given roles. For instance, horn and woodwind players often think of melody lines and notation, drummers often think of grooves and measures, while guitarists often think of “chord shapes” and “blues-boxes”. I believe that musicians can transcend the limited vision of their own instrumental roles and think about the bigger picture, recognizing the relationships between the primary elements. Developing this perspective will enable one to compose, arrange, improvise, and perform in a holistic manner. This book mainly pulls from the concepts found in “jazz theory”, as distinguished from “classical theory”. This praxis emphasizes real-time harmonic analysis and improvisation, both of which are useful tools in most forms of contemporary music. It is a theory designed to guide intuition.

Keep in mind that I am a practical person, musician, and teacher. I do not expect all musicians to have perfect pitch, a metronomic sense of complex polyrhythms, and the technical prowess of a virtuoso. Achieving accurate relative pitch, sensible timing, and enough technique to express personal ideas and perform confidently in a group setting are realistic aspirations for most of us. Remember, music is an art, not a sport. There are many “right” ways to solve creative problems in art. Keep an open mind to different ideas as they are presented, and then decide what you accept and discard. These decisions will help to shape your personal style.

[Reg]

Your description is a little vague... is this a jazz guitar study book? your samples and intro. well there's obviously a big difference between jazz and pop... How's your playing, can you cover what you preach... This forum tends to have Free info... A better approach might be to show what your trying to sell... best of luck Reg

[JonnyPac]

It leans towards jazz though it is not strictly jazz theory. It cover pop as well as jazz. It promotes the modal approach to all contemporary music. It explains how to get through diverse changes like Giant Steps, the bebop blues, and Beatles tunes.

I don't preach, I teach. I have been teaching private lessons for over ten years now, and I am very comfortable with all of the material I present. I can express myself on the instrument to a satisfactory degree. I am no "monster"; music is a creative process to me, not a competition.

This book is something I created and compiled for a love and enthusiasm for music. I had 50 copies printed at a local print shop. I am selling them myself, and I think the price (7.95 PDF and 16.95 printed) is very reasonable for what it contains.

I am not trying to come off as pretentious to this community. I just have something I thought guitarists might enjoy. If this promotion of my book is unwelcome here, I will delete my posts and present it elsewhere.

Thanks,

Jonny

[randalljazz]

stay positive, jonny...

impressive looking work. send copies to a few professionals and try to get a review...

thanks for sharing here.

[FatJeff]

Originally Posted by JonnyPac

It leans towards jazz though it is not strictly jazz theory. It cover pop as well as jazz. It promotes the modal approach to all contemporary music. It explains how to get through diverse changes like Giant Steps, the bebop blues, and Beatles tunes.

My interest was piqued with the title containing "chord-scale," but now I'm confused - what is your definition of "chord-scale" and what exactly is meant in your above quote when you say "all contemporary music?" Could you explain what you mean when you say you promote a modal approach?

[Reg]

Hey Jonnypac thanks for response... Don't take comments personal, their only in response to your add or post... but be ready do defend your product... I'm easy , all I want to do is make jazz guitar players raise their level of musicianship... In the last 20 years understanding of jazz has been slowly returning to traditional theory, as far as explanations, and I am only trying to see if you know the difference between pop and jazz. I ask about your playing, because it is very easy to hear. Randall's comments were wise. As jeff mentioned you said you use a modal approach for all contemporary music, sounds interesting, how about modal interchange... anyway you have my respect for simply going through the process... I've been playing and studying jazz for 40 years, and still am. I'm really interested in what you have to say and how you play... best Reg

[JonnyPac]

Thanks, guys. I look forward to the response of my readers. I released to book locally last Friday. Since then, I have sold a few copies per day. So far my students and readers are really enjoying it. It's on Etsy!

About my personal OCD guitar studies... lol.

I have thoroughly read Mark Lavine's Jazz Theory book and Jazz Piano book, Connecting Chords with Linear Harmony, The Harmony of Bill Evans vols I and II, and applied the concepts to the fretboard as much as I could.

Music the Brain and Ecstasy is a great book on musicology and the brain science behind music. I feel like science and human biology offer interesting explanations for questions about music interpretation and performance (why is there consonance and dissonance, etc.)

The Universal Mind of Bill Evans DVD is a huge source of inspiration for me and my book. (See my little tribute pic on the cover ) His views are akin to my own. He feels like music is universal and transcends the label "jazz". He was also not a virtuoso from birth, he earned is greatness through diligence and remained humble. He stressed the artistry and creativity behind the music, and felt that playing demonstratively was not as honest if it was an just approximation of the desired result.

Of course I have a huge pile of guitar books too. Many of Wolf Marshall's licks and jazz artists transcriptions. The Guitar Handbook was the first book I ever studied. I manage a guitar store, so I have access to hundreds of titles. I read a lot of them when the day is slow. I have found that they generally lack the insights that authors like Mark Lavine offer.

I have personally transcribed hundreds of songs and solos from their original recordings. I enjoy making guitar arrangements out of horn/piano music. Nefertiti, Juju, Giant Steps, Blue in Green, Nardis, Someday my Prince will Come, Ladybird, Hot House, Flamenco Sketches, Maiden Voyage, are some favorites. I enjoy standards too. Stella by Starlight is my all-time favorite.
I am a huge fan of the jazz composer Andrew Hill and have made arrangements of his tunes too.

I turn to Charlie Christian, Grant Green, and Wes for guitar approaches. I like the level of pure lyricism and groove they played with despite somewhat unorthodox techniques (thumb use, down-stroke bias, linear fretboard vs caged boxes, etc.)

I was interested in George Russell's theories, but found them disproved by aspects of science. I also prefer a more direct approach of theory without any extra complications. I do love the lydian modes and chords though: I'm a full blown Lydiot!

My favorite classical composers are Debussy and Ravel. They have been borrowed from by jazz composers and arrangers throughout jazz history. The whole-tone scale, pentatonic "so what" harmony, and modal concepts can be heard in their full splendor by listening to them.

I have played with lots of musicians who have played with lots of musicians, some of which are recognized. I do not really care to ramble off a list of them in order to impress anyone. They are wonderful people (for the most) part and have been very kind and helpful as I have progressed.

My dearest teacher was Mel Eberle (Hollywood arranger, pianist) who I was very close with until his death. He taught music (and flew a plane!) till he was in his mid 80's. "tasty..." he would say upon hearing a lush extended chord.

Anyhoo, I'm still learning as we all are, and trying to enjoy every moment of it that I can. I hope to inspire others along a similar path.

Thanks!

Jonny

PS
I'll add more examples from the book tonight.

[JonnyPac]

Originally Posted by FatJeff

My interest was piqued with the title containing "chord-scale," but now I'm confused - what is your definition of "chord-scale" and what exactly is meant in your above quote when you say "all contemporary music?" Could you explain what you mean when you say you promote a modal approach?

As Mark Levine promotes, chords and scales (modes) are so tightly knit, they embody one another. In jazz a ii Dm7 can be Dm9, Dm11, D13 without causing many problems, and in pop it can be watered down to a simple Dm or D5. The Dorian mode is the parent scale from which bass lines, melodies, riffs, and so on can be based around in either case. Pretty simple.

[FatJeff]

Originally Posted by JonnyPac

As Mark Lavine promotes, chords and sacles (modes) are so tightly knit, they embody one another. In jazz a ii Dm7 can be Dm9, Dm11, D13 without causing many problems, and in pop it can be watered down to a simple Dm or D5. The Dorian mode is the parent scale from which bass lines, melodies, riffs, and so on can be based around in either case. Pretty simple.

I guess what I'm driving at, is are there specific exercises or studies in your book that teach the chord-scale methodology, and how to actually do it on the guitar. I've got some ideas and exercises of my own, but it's always good to hear a fresh viewpoint.

[JonnyPac]

Absolutely. Intervals are the main thing to work with. By memorizing them by ear and on the fretboard you can build anything on demand. You can SEE how the chord is built from the intervals of a scale or mode. You can also take advantage of certain intervals that are especially appealing (such as fourths) and work then into a voicing or melodic passage.

I have several pages on taking a chunk of fretboard, analyzing it intervallicly, and building a variety of chords, voicings, and modes out of it. The mode tones become the "target notes" and the chromatic notes are used as passing tones on harmonically weak beats. It becomes a "modal palette" with which you can create.

[FatJeff]

How come the last line in every paragraph is centered?

[donojazz62220]

Minor point
Jazz Theory/Piano Book is by Mark Levine, not Lavine. Great Reference.

[Robertkoa]

My joke is that I use the Chromatic Scale for everything , but I skip around a lot.

[JonnyPac]

Hey guys, I just want to mention that I feel somewhat discriminated against as a new member here. I know that I posed a promo thread for my home-published book on guitar theory, but that should not immediately mark me as a showboating spammer looking for ego strokes and money. I am a real person like the rest of you; just a fellow guitarist who loves to share and chew the fat. It costs me nothing to post helpful images of fretboard patterns that I have the copyrights to. I don’t understand the negativity of the responses I am getting. One of the moderators has insisted that I stop making “spam” threads. Just because I have pre-written text sections and corresponding images, does not make me incapable of normal forum interactions. I am just well organized and have available material that is applicable to some of the theoretical inquiries in discussion.

I intend to share my page images here with everyone for free for private study. I would like to add new ones when ever I have time to upload them. That alone is proof that I have no ulterior motives. I’m not gonna hide the “meat” of my book for paying customers only, or any BS like that. If someone is really interested in getting a bound hard-copy for a few bucks, great, but that’s not the idea behind my presence here. I am an enthusiast, not a cheap scam artist. I play and teach because I love music.

I would understand if the paying banner site sponsors felt like I was undercutting their books and courses. I doubt they ever check on the treads. But really, being a huge promoter of the Jazz Theory Book myself, I don’t see how I cold possibly undermine Mark’s sales ever. I recommend it to all of my serious jazz students and keep a copy in stock at my music store at all times.

Perhaps I’ve said too much. This post (and the rest) could disappear overnight 1984-style if the thought-police think of it as some kind of mutiny. No offense to the moderators, but please treat me with a little more respect. My intentions are good. I want to make friends.

I am actually a pretty sensitive fellow, and I’ve lost sleep and been very depressed over this whole matter.


Best wishes,

Jonny

[FatJeff]

Really? All I did was point out a formatting problem with your book. I thought you might appreciate the tip so you could fix it in your next edition. BTW there's also a typo on Pg. 65 - "beak the rules."

You seem like a nice enough and well-educated fellow. I would hate to see you leave because of some hurt feelings. Sorry if I contributed to that.

[Jazzaluk]

Hey Jonny... I think your willingness to share your work is great, especially when you pick a selection that pertains directly to the topic (like in the diminished scale thread).

At first I did not realize you were the author and I was cringing because attachments or links to free published material usually stirs a recurring copyright debate. I was surprised to see you were the author and appreciate your contribution. Never really saw it as spam or promotion.

I wouldn't take anything said on the forum personally, half the time negative comments are not intended and the other half... who cares.

Look forward to more posts from you... cheers.

[JonnyPac]

Thanks guys. I appreciate your noticing the typo, Jeff. I fixed it already. I'll repost that stuff in the linear topic thread with the correction and some new pages. The paragraph format is set to "center justified". I chose that for the main text sections. The inset bullet texts are "left justified". I want the layout to look like that, and I do not intend to reset it. Hell, Mark's books have terrible layout schemes. He could have cut the pages down to under 400 if he made use of the blank space on each page. The content is good; that's what counts. I'd buy his books over again with no complaints in a heartbeat.

Thanks for your support. I hope to stay on the forums without restraints on my original images. Hit me up if there are topics in my book that you want me to upload. I'll be staying in my own threads until this blows over.

EDIT: All versions PDF and printed are fully revised and left-aligned.

[Reg]

Hey Jonnypac... thanks for posting, as I said before you book appears well organized. Do you want feed back on what you post... from a jazz perspective... and then there is an actual jazz guitarist perspective. There are other methods of covering same material...
Best Reg

[cosmic gumbo]

Great stuff, but posting in a forum is still publishing, maybe links to your stuff would be more appropriate than posting entire pages from your book. Some folks might think you're taking advantage of a free host. They do end up being quite lengthy, space consuming posts. Some folks is finicky. Not me.

[JonnyPac]

Originally Posted by cosmic gumbo

Great stuff, but posting in a forum is still publishing, maybe links to your stuff would be more appropriate than posting entire pages from your book. Some folks might think you're taking advantage of a free host. They do end up being quite lengthy, space consuming posts. Some folks is finicky. Not me.

Thanks, I'm dumping the files in my photobucket and then connecting them to the forum with IMG code urls. I'll be sure not to overdo it and upset anyone further.

[guelda]

Hi Johnny,

congratulations for your book which looks pretty interesting indeed, and thanks for sharing some of its pages.

Just for info, did you hesitate using tablature ?

Cheers

PS : as far as I know, people here are very polite and some have a very good knowledge of music, so you shouldn't feel too much attacked, especially compared with other forums I know !!!

[wolflen]

the chord grids of "perfect fourth stacked voicings" could be an entire jazz theory study in themselves..as the forms have major, minor or dominate type functions...

the pleasing sound the particular chord form produces is to me the "jim hall chord" ... hey...hendrix has his own chord..why not jim hall..

to me hall uses these chords with taste and precision to paint harmonic patterns that are simple yet very compelling...add some melodic lines before..in..and after them will produce a collage of sound that is just a musical fantasy...coupled with traditional diatonic harmonic chords forms they extend the melodic possibilities in using the upper partials of all chord extensions..

play well

wolf

[JonnyPac]

Well said, wolf.

[JonnyPac]

Fourth related chord voicings:





Enjoy!

[wizard3739]

Jonnypac, those are good, very versatile voicings! good job!

wiz

[JonnyPac]

Originally Posted by wizard3739

Jonnypac, those are good, very versatile voicings! good job!

wiz

Glad you like 'em! Thanks!

[Markyboy]

Looks a very beautiful and understandable book to me. I think you are a very good teacher. Thanks for sharing

[guitarplayer007]

Hi jonny,

Nice book, i', intermediate player only about 3 years of jazz, but been playing guitar along time. i have found alot of books can't help that much w/o a teacher. How does your's stack up? Do you give alot of examples how to use your theory? i find thats the problem with most books, no real good examples. How much is the book?
thanks
Ken