Ex­am­ple 6 Joe Pass Jazz Style Chord melody

Guitar Techniques - - Arranging -

Ex­am­ple 6 takes the idea of re-har­mon­i­sa­tion to the next level. We can change the har­monic con­text of the melody from Do­rian to Mixolyian mode by sim­ply chang­ing the chords we use for the ac­com­pa­ni­ment. For this jazz style ar­range­ment in 3/4 we are go­ing to use G7 as the first chord with the melody start­ing on the 5th of the chord. It is fun and stylis­ti­cally ap­pro­pri­ate to har­monise the melody us­ing some func­tional har­mony ( V- I ca­dences). Bars 5- 8 have been har­monised us­ing a I-Vm-VI7- IIm-V7 chord pro­gres­sion in G. These are G (I), Em7 ( VIm), Am7 (IIM) and D7 V7). To strengthen the sound the Em7 is changed to E7#9 and the D7 is changed to D7#9. This pro­vides two V- I ca­dences (E7-Am, D7- G). In bars 10-12 the melody has been har­monised us­ing 4ths (quar­tal har­mony) Quar­tal har­mony sounds ex­pen­sive and spa­cious. Bar 15 and 16 use open voiced tri­ads and to add some move­ment the 5th in­ter­val is al­ter­nated with the 4th. The Ab ma­jor 7#11 chord in bar 22 is chro­matic and smooths the tran­si­tion be­tween Am7 and G7. This is a tricky ar­range­ment but per­se­vere and it will sound im­pres­sive!

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