Tech­niqueFo­cus

Modern­har­mon­i­sa­tion

Guitar Techniques - - Play: Gypsy Jazz -

Whenap­proach­ingth­is­tune,many­mod­ern­play­ers adopt­abebopde­vice,byaddin­gaIIm­chord­be­fore eachV7.This­givesasense­of­mo­tion,ten­sio­n­and re­leasea­gain­steach­chord­lastingabaror­more. So,while­herewe­con­sid­erthe­firstchordinthe se­quence­to­beDb9,al­beitover­anAb­bass,mod­ern chart­soft­en­stateit­to­beAb­m7­toDb9,cre­at­ing aIIm-V.In­some­in­stances,theV7re­solvestothe Ichord­forap­er­fect­ca­dence,cre­atin­gaIIm-V-Iin the­p­ro­cess.Th­ese­can­goinone­oft­woways:IIm7V7-Ima­j­for­ma­jor;orIIm7b5-V7-Im.In­this­tunewe al­soseeavari­a­tion–the‘de­cep­tiveca­dence’.Here, we­as­sume­be­cause­oftheini­tial­chord­sthatweare goingi­nonedi­rec­tion­butchange­tack­atthe­fi­nal res­o­lu­tion;so,whileGm7b5nor­mal­lyindi­cateswe re­sol­ve­toFmviaC7,here,we­trav­el­not­toFm­but toF.Th­e­sei­deasa­reeasier­to­hearthantode­scribe, solis­ten­tothe­mo­tion­be­tween­the­chord­sand­look out­forthe­basslinemove­men­tandthe­con­nec­tion be­tween­the3r­dand7thofeach­chord.Django’s oth­er­secretweapon­washis­use­of6ths;learn­these andy­ourGyp­sy­jaz­zwill­sound­more­con­vinc­ing.

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