Looking for the best book on creating chord movement to use on standards

[matt.guitarteacher]

Here are basic straight Dominant voicing I use for chord movement...

Nice. Thanks, Reg.

So, octave transposition....continuing same melodic line in a different octave?

Juxtaposition?

Thanks again.

[matt.guitarteacher]

Try and hear all the lead line possibilities...

Wow. Just got to sit down with it at home. Not just a list of voicings, but the groupings are actual mini Reg lines. :-)

You are a generous man. Serious Reg post. Big-time karma on this one.

[Reg]

Hey Matt maybe not best use of word... but I have a tendency to put voicings next to each other that, don't really have that much in common.... actually by themselves are different. Somewhat how I use chord movement... and the bigger the difference... strong Dominant relationships, the stronger the tendency to create motion... anyway... I'll try and revamp my verbal description... with next set of voicing, I'm always up for help.

Really glad your getting a chance to play through them. And yea... like I said I'm giving all I have, just may take a while.

Many of my posts and simple looking info... can have many layers of applications and organization.

I'll keep them coming.

[matt.guitarteacher]

Hey Matt maybe not best use of word... but I have a tendency to put voicings next to each other that, don't really have that much in common.... actually by themselves are different. Somewhat how I use chord movement... and the bigger the difference... strong Dominant relationships, the stronger the tendency to create motion... anyway... I'll try and revamp my verbal description... with next set of voicing, I'm always up for help.

Really glad your getting a chance to play through them. And yea... like I said I'm giving all I have, just may take a while.

Many of my posts and simple looking info... can have many layers of applications and organization.

I'll keep them coming.

No, that's cool. Just making sure . Because you're juxtaposing things on a few different levels. :-)

[destinytot]

007... it can be a F#-9 or C#- my mistake not B-, the voicing could be use for B- but that's not the usage in this approach... the point of Expanded Diatonic relationships... Up and down a diatonic 3rd from the target chord.

Amaj7 is the I chord, the tonic. (not Ab) So up to C#- or down to F#-
Amaj7..... A C# E G#

Not sure which voicing your talking about....

X X 7 9 9 9... like a F#-9 because it is the related diatonic VI- chord in reference to Amaj. Just with no Root.
A E G# C# same notes... F#-9 would be F# A C# E G#, take away the root or F#.

X X 14 14 14 16 or X X 2 2 2 4
E A C# G# Same approach those note are or could be a F#- or C#

I changes my original post...

sean... OK... but it still only works in context and with right notes and the chord is always the same chord, just part of a chord pattern... generally 4ths can fake their way through many changes.

Anyway here are a few more vids... their rough but.. I'm lazy sorry. The first one is Agua De Berber... lots of II V's and the seconds on is Broadway... more blusy.... again I'm not using any hip voicings and not that many. I didn't use a pick... trying to not play as much... I'll keep adding tunes... Sorry about being so loose with feels... not in much of a groove... but who cares, it's about the voicings

Great stuff, Reg. I think these demonstrate the concept behind beautiful sounds that are familiar and recognisable, but for which the term was new to me (at least) until you kindly introduced it here (for which, thank you): 'modal interchange'.

[matt.guitarteacher]

Here are basic straight Dominant voicing I use for chord movement... I'll put them in Bb. Try and hear all the lead line possibilities... I only put in one #9 but you can create different lead lines with blue notes or whatever the style your playing implies. You can create the lines in same area of voicings.., or as I do move around, I use octave transposition and juxtaposition all the time.... I jump around with the voicings... just like soloing with single lines.

All these voicings are derived from my very basic diatonic voicing constructed on root 6th,5th and 4th strings... that I have posted before.

Don't get these basic voicing mixed up with how I use these voicing with my expanded diatonic relationships application... of using these voicings All these voicings are with reference to Bb dominant, Bb7

Basic Bb13

6 X 6 7 8 8
X 5 6 5 6 6

X X 6 5 6 4
X X 8 7 8 6
X X 9 8 9 7
X X 8 7 8 6

6 X 6 7 8 X
X 5 6 5 6 X

X X 6 5 4 4
X X 6 5 3 3
X X 6 5 4 6
X X 6 5 3 6

X X 6 7 8 8
X X 6 7 8 6 or X X 6 5 6 6... from X 5 6 5 6 6
X X 6 7 8 9
X X 6 7 8 6 or X X 6 5 6 6

X X 8 10 9 10
X X 8 8 9 8
X X 8 8 9 10
X X 8 8 9 11
X X 8 8 9 8

X 11 12 12 13 13
X X 10 10 11 11
X X 12 12 13 13
X X 13 13 13 15
X X 12 12 13 13
X X 10 10 11 11

down 8vb or stay up there,

X X 1 1 1 3
X X 6 5 4 6
X X 6 7 8 9
X X 6 7 8 8
X 5 6 5 6 6

Reg, I think this post is just tremendously helpful. It really gives context to all the videos. I'll admit to being overwhelmed by the speed and number of voicings you put into a few bars. But this post alone just greatly reduces the number of "what was that?" moments while viewing them.

Thanks so much for the time spent.

[Reg]

Hey Matt... cool. So should I go through this process with all basic changes, 27 chords from three minors, dim and whole tone etc... I generally use basically same voicings with small changes for different Mal/Min chords, Harmonic min really is just used for creating major functional movement with Minor references. Melodic minor is generally used for the same but with more of a reference to Dorian and with more modal applications.

I think I have some vids of using Gmaj and chords built on each scale degree... with examples of how to create movement using both Tonic Dominant , Tonic Subdominant... and both with relationship to each chord... Gmaj7, A-7 etc...

Suggestions more than welcome

[matt.guitarteacher]

Sure. I'd love to see all of it. Digestible amounts of info would be my concern.

I think I have some vids of using Gmaj and chords built on each scale degree... with examples of how to create movement using both Tonic Dominant , Tonic Subdominant... and both with relationship to each chord... Gmaj7, A-7 etc...

If I had to guess, I would think that this approach might be a good bolt-on to what you've already done in the other post, though I don't really know enough to be sure. :-)

What do you think about the minor applications in reference to your above "scale degrees of G major example"? Is harmonic minor a better basic reference for simple dominant applications, or is melodic minor better for being more commonly used or broader application to major etc?

I know it's probably somewhat contrived to limit to one type.

Then again, is it maybe easier to start with basic minor tonalities, as opposed to applying the minors to major?

[Reg]

Hey Matt...

So maybe I'll make up a minor version. There are different versions right, natural minor, which relates to Harmonic Minor when performing standards etc...

And I tend to use Dorian when relating to Melodic minor.

I think maybe just the basic minor voicings... which will relate to the same ones I use with Dominant chords'

I don't usually use Harmonic minor... as in modal usages. I generally don't use... say the 2nd mode of Harmonic Minor, ( Har. Min. scale starting on 2nd degree)... and then use the characteristic pitch of that mode... locrian #13 or Min.7 b5 b9 Nat13 however we call the chord...generally just min.7b5... anyway I don't create a functional organization based on that Mode in it's self. I usually use standard Maj/Min functional harmony. Blue notes are embellishments of some type etc... and really don't use modal interchange.... basically don't perform in what I consider to be in a Jazz style.

I do with Melodic minor use in modal style... and also use modal interchange for organization of where I pull blue notes etc...
And also use melodic minor as just one big chord with inversions... with basically the same functional value as the chord being used. By that I mean I can use all the chords constructed from the scale degrees of melodic minor and sub them as I want. There are obviously guidelines.... melody and context etc... always needs to be considered. (as with everything).

It's really only been in the last 20 years that more modal concepts have been applied to the rest of the scales and modes. European musicians have taken these concepts much further.... ever play out of The European Real Book... I'm sure there are European guitarist on this forum than can give more info on these approaches... but there is a difference.

OK enough BS... I'll put some things together and post...

[matt.guitarteacher]

I think maybe just the basic minor voicings... which will relate to the same ones I use with Dominant chords'

That sounds great. I think this kind of thing provides a really solid starting reference. As you say, it's pretty different from a lot of common approaches to comping. Because of that, it LOOKS pretty different when you're watching it as a student. Harder to follow the whole when you don't have the components in place. I think you're building that component part here, and I very much appreciate it.

[matt.guitarteacher]

I've been playing through the dominant voicings Reg posted earlier.

I also looked at "Broadway", today. Here's what I get (mostly) from the first 8 of the Broadway video. Unsure of the bold one. There may be other mistakes as well:

X6566X, X4554X, X4554X, X6566X, X4554X|
X4554X, 6X566X, 6X666X|
X6466X, 4X456X, 4X456X, X6466X, X3434X|
X3434X, X646(6)X, X646(6)X|
XX1113, XX8786, 7X788X, 6X677X|
X6767X, X6767X, X5656X|
X5656X, X4554X, X4554X, 9X999X, 8X788X|
7X777X, 7X677X, 7X777X,

I divided mostly by measure, but crosses a lot of bar lines. I just left 8ths on the "& of 4" in the actual measure as opposed to the next. The note in parenthesis is the pull off to 4 for the melody...

Let me know what you think.

[bediles]

The Barry Galbraith comping book is great for meat and potatoes drop 2 and 3 comping over standards. working out why the chords and their various inversions are used in the locations that they are used in is part of the learning process of the book b/c there's no written instruction just musical examples. search it on Google, ...it's available...

[Irez87]

The Barry Galbraith comping book is great for meat and potatoes drop 2 and 3 comping over standards. working out why the chords and their various inversions are used in the locations that they are used in is part of the learning process of the book b/c there's no written instruction just musical examples. search it on Google, ...it's available...

That book was my comping bible for a good while. I still go back to it. Barry was a freaking genius. No book since compares to teaching comping quite like Barry's. Learn to read notation and start flying high! He even hints at some of the George Van Eps triads here and there. Those endings that Barry does on the tunes are really hip as well.

[e_del]

Although more chord-melody oriented, I think Randy Vincent's "Jazz guitar voicings" is also worth looking at.

[Irez87]

Randy Vincent's book is also great because he harmonizes scales to show how chords move. A lot of guitar chord bs books (encyclopedia of Jazz Bullshite) don't do that. Chords don't operate in isolation, they help create movement (even in modal situations). Randy shows how the chords connect, plus his paragraphs of incite are helpful and funny "I would write these out for you, but then you wouldn't really learn them yourself"

He's right.

[Reg]

So... what are examples of where and why some chords and inversions are used in some locations...

What makes no books since compare to Barry's teaching of comping...
( I do like that he notated everything out)

I know Randy... great player, great person... but what makes chords move as compared to the school of BS.

Not trying to put you all on the spot... but I'm really curious as to what makes you make these commits.

If you have trouble verbally breaking down... which I know I do... post something.

[bediles]

So... what are examples of where and why some chords and inversions are used in some locations...

The Galbraith book taught me how to make nice sounding comping melodies with chords that I had previously learned while using rhythms that swing. When I first learned all my drop 2s and 3s I would try to sound legit in combos or jams but my comping sounded pretty poor. The book contains actual real music and gave me push in the right direction toward musical sounding comping not just a 'plug and play' approach. The study: "Blues in 12 keys" has a lot of great stuff in the first chorus alone. This book along with lots of listening got me started toward some form of competency (pardon the pun).

with that being said...
The possibilities involved in chord playing are endless but it really depends on what you want to sound like/what you hear in your head. You could study every combination of intervalic structure or all the drop voicings (Ben Monder had some freely available worksheets on that stuff) or the Wes/Barry Harris thing. All or parts of these things could be valid and are totally interconnected. Most guys that I know use bits of every "method" for lack of a better term. Usually depends on how traditional they want to sound.

[matt.guitarteacher]

I've been playing around with the dominant lead-line voicings reg posted. Refreshing perspective going top-down for a while.

Love this one from Broadway, just 2 chords really, melody leads:

7X788X
6X677X
X6767X
X5656X

[matt.guitarteacher]

So... what are examples of where and why some chords and inversions are used in some locations...

What makes no books since compare to Barry's teaching of comping...
( I do like that he notated everything out)

I know Randy... great player, great person... but what makes chords move as compared to the school of BS.

Not trying to put you all on the spot... but I'm really curious as to what makes you make these commits.

If you have trouble verbally breaking down... which I know I do... post something.

Back to movement? :-)

I'm really keen on learning some reg blue note applications myself. I notice you do a lot of weak-side MM stuff which I'd like to get a handle on.

I wonder......if you illustrated some basic "movement" lead lines, using dominant-to-altered from your previous dominant-type voicings for example, if that wouldn't be a good next step, in terms of looking at MOVEMENT.

I'm assuming you use some of the same basic MM patterns just applied in different ways, (further "out" etc.) I just wonder if altered might be a good first access point for eventually looking at subs of subs and other modal interchange concepts etc.

I'd be willing to post homework examples for critique etc. I think posting examples might be cool. Need some participation...

[55bar]

Back to movement? :-)

I'm really keen on learning some reg blue note applications myself. I notice you do a lot of weak-side MM stuff which I'd like to get a handle on.

I wonder......if you illustrated some basic "movement" lead lines, using dominant-to-altered from your previous dominant-type voicings for example, if that wouldn't be a good next step, in terms of looking at MOVEMENT.

I'm assuming you use some of the same basic MM patterns just applied in different ways, (further "out" etc.) I just wonder if altered might be a good first access point for eventually looking at subs of subs and other modal interchange concepts etc.

I'd be willing to post homework examples for critique etc. I think posting examples might be cool. Need some participation...

Hey Matt,

Not sure if this helps but it certainly is helping me, and it's only one tiny morsel of information:

•take your extensions on altered chords from the original key you are in.

A good example is say in The key of F:

If you have a 1-6-2-5

•Any of the dominant subs say an Eb7 going to the D-7 or (D7alt) or D type chord. "Can" take an alterations from the tonic key.

These are a good starting, point but by no means and end.

Approaching the II Ab#11 (D) from F
Approaching the I Gb#11 (C) from F

Their 2 chords Ebm (MM) can bring a C into that chord (6th)

(Also remember or be aware that Eb minor 6/9 is Ab13 everything starts to be interchangeable)


•a D (the major 7th) on the Eb minor
•a F (the 9th) on the Eb minor

These will all function and sound good as a starter.

Modal interchange from what I'm understanding will bring "blue" notes in not diatonic to the key, this is where you can borrow from MM.


The Ab7#11 could become an Ab7#5 #9

Introducing a B natural into the mix

Or the Gb7#11 could become a Gb7 13

Introducing an Eb into the mix.

You can make these subs ANY chord type you please some sound Hipper than others I'm loving sus chords at the moment!


Reg / Matt or anyone please correct me if I'm incorrect or you feel like I'm confusing things rather than making them simpler.

I'm here to make friends and learn

[mrcee]

Here are basic straight Dominant voicing I use for chord movement... I'll put them in Bb. Try and hear all the lead line possibilities... I only put in one #9 but you can create different lead lines with blue notes or whatever the style your playing implies. You can create the lines in same area of voicings.., or as I do move around, I use octave transposition and juxtaposition all the time.... I jump around with the voicings... just like soloing with single lines.

All these voicings are derived from my very basic diatonic voicing constructed on root 6th,5th and 4th strings... that I have posted before.

Don't get these basic voicing mixed up with how I use these voicing with my expanded diatonic relationships application... of using these voicings All these voicings are with reference to Bb dominant, Bb7

Basic Bb13

6 X 6 7 8 8
X 5 6 5 6 6

X X 6 5 6 4
X X 8 7 8 6
X X 9 8 9 7
X X 8 7 8 6

6 X 6 7 8 X
X 5 6 5 6 X

X X 6 5 4 4
X X 6 5 3 3
X X 6 5 4 6
X X 6 5 3 6

X X 6 7 8 8
X X 6 7 8 6 or X X 6 5 6 6... from X 5 6 5 6 6
X X 6 7 8 9
X X 6 7 8 6 or X X 6 5 6 6

X X 8 10 9 10
X X 8 8 9 8
X X 8 8 9 10
X X 8 8 9 11
X X 8 8 9 8

X 11 12 12 13 13
X X 10 10 11 11
X X 12 12 13 13
X X 13 13 13 15
X X 12 12 13 13
X X 10 10 11 11

down 8vb or stay up there,

X X 1 1 1 3
X X 6 5 4 6
X X 6 7 8 9
X X 6 7 8 8
X 5 6 5 6 6

Nice, Thanks

[Reg]

Yea... nice post 55bar,

So matt.... in somewhat short... Using chord relationships to create sources of blue notes.
55 was giving examples of how to organize your sources...

The application aspect is what is the tonal reference... the tonal target,

So as 55 was using... key of F. F G A Bb C D E

basic blue notes...
b3 or #9......Ab or G#
b7...............Eb or D#
b5 or #11....Cb or B

So all his applications are for finding the blue notes from chordal relationships... with an organization... subs and modal interchange. The trick personally becomes....
1) the target, what is the use of the blue note in relationship to... tonal target

2) the other aspect is how I use the blue notes... whatever the tonal target, in relationship to the basic harmonic rhythm pattern of whatever I'm playing. ... basically different chords have different Blue Notes.

The use of modal interchange as 55 was doing to change source of new chord etc... needs to also be organized.
And the organization has a few levels... rhythm will generally force almost anything to work.... as long as you have the skill.
By that I mean to always have an overall Spatial Form that will or would repeat... which basically just spatially keeps the organization balanced. the groove etc... makes the patterns FEEL right.

The other two organizational aspects are Harmony and melodic. You seem to get how I use basically melodic groove lines on top to also organize... both with harmonic rhythm, how the melodic lines organizes the chords or voicing I play... and the same with the Blue Notes... the melodic line helps organize the Blue Notes , through use of spatial location and accents.

It will all comedown to just saying I play what I hear and feel... but I have put in the time to understanding what and why I hear and feel. And can mechanically breakdown.... and I can repeat what I play in different situations. From understanding what I'm playing.

[55bar]

Yea... nice post 55bar,

So matt.... in somewhat short... Using chord relationships to create sources of blue notes.
55 was giving examples of how to organize your sources...

The application aspect is what is the tonal reference... the tonal target,

So as 55 was using... key of F. F G A Bb C D E

basic blue notes...
b3 or #9......Ab or G#
b7...............B or Cb
b5 or #11....Eb or D#

So all his applications are for finding the blue notes from chordal relationships... with an organization... subs and modal interchange. The trick personally becomes....
1) the target, what is the use of the blue note in relationship to... tonal target

2) the other aspect is how I use the blue notes... whatever the tonal target, in relationship to the basic harmonic rhythm pattern of whatever I'm playing. ... basically different chords have different Blue Notes.

The use of modal interchange as 55 was doing to change source of new chord etc... needs to also be organized.
And the organization has a few levels... rhythm will generally force almost anything to work.... as long as you have the skill.
By that I mean to always have an overall Spatial Form that will or would repeat... which basically just spatially keeps the organization balanced. the groove etc... makes the patterns FEEL right.

The other two organizational aspects are Harmony and melodic. You seem to get how I use basically melodic groove lines on top to also organize... both with harmonic rhythm, how the melodic lines organizes the chords or voicing I play... and the same with the Blue Notes... the melodic line helps organize the Blue Notes , through use of spatial location and accents.

It will all comedown to just saying I play what I hear and feel... but I have put in the time to understanding what and why I hear and feel. And can mechanically breakdown.... and I can repeat what I play in different situations. From understanding what I'm playing.

Reminded me of this quote. Can't remember who it's by.


"The man who tries methods, ignoring principles, is sure to have trouble"

[matt.guitarteacher]

Reg / Matt or anyone please correct me if I'm incorrect or you feel like I'm confusing things rather than making them simpler.

I'm here to make friends and learn

. ha. Thanks for including me in that, but I think you're a level up on me in most of these things. I've learned just enough to ask a good question. :-)

[55bar]

. ha. Thanks for including me in that, but I think you're a level up on me in most of these things. I've learned just enough to ask a good question. :-)

We are all still learning so always equal