EXAMPLE8 THE ‘TOP-DOWN’ HARMONISATION APPROACH
[Part 8a] This exercise comes from a challenge issued by the fusion-blues master Scott Henderson. Can you take a solitary note, say the note of A on the first string, and build a chord with every single chromatic root note but with A as the highest voice? Fusion harmonisation is often ‘top-down’, meaning that it [Part 8c] And here’s how Holdsworth gets in on the act. A device he employs often is to create an intervallic form chord shape and move the lower voicings about to shift in and out of parallel while the is the melody note that acts as the ‘glue’ between two or more harmonic events, rather than in straight-ahead jazz, where melody is viewed as decoration or extension to the underlying fixed harmony, give or take the odd chord substitution. Here’s my solution, what’s yours? [ part 8b ] No look at jazz-rock would be complete without showing you the ‘Scofield chord’, a first inversion add9, otherwise known as a m7#5 that crops up in so many of his compositions from the Loud Jazz era. Once again, it’s the common high tone that acts as the connecting device between the changes. highest voice in exactly the same place. This is simple and highly effective and you should try it with any chord shape you know, since it’s a great way to create catchy elements to your compositions.