Ex­am­ple 5 Wes Mont­gomery style dou­ble oc­taves

Guitar Techniques - - Arranging For Guitar -

So far we have con­structed our ar­range­ments in the con­ven­tional time sig­na­ture of 3/4. Let’s try a com­pletely dif­fer­ent ap­proach for this ex­am­ple. Chang­ing the time sig­na­ture to 4/4 will al­low us to ac­cess the full gamut of 4/4 grooves and I’ve cho­sen a funky drum pat­tern as the foun­da­tion. As the melody is cre­ated from notes of one mode (A Do­rian) the har­mony can be sim­pli­fied. This ar­range­ment uses a re­peat­ing riff that out­lines the tonal­ity of A mi­nor 7. The chords G and C are played over the riff to give us the chords G/A and C/A. This riff acts as an an­chor point and the har­mony can be im­plied by the melody and also with these slash chords. The melody has been rhyth­mi­cally re-imag­ined to fit into 4/4. To add some in­ter­est for the ear, it has also been ar­ranged us­ing dou­ble oc­taves. Gui­tar play­ers like Wes Mont­gomery of­ten played melodies in oc­taves and dou­ble oc­taves and this ap­proach helps the melody to stand out. The use of ap­proach notes and fin­ger slides are also an im­por­tant fac­tor here. The same fin­ger­ing is used for the dou­ble oc­tave and the notes can be plucked or strummed with the thumb.

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