EXAMPLE8 THE ‘TOP-DOWN’ HAR­MON­I­SA­TION AP­PROACH

Guitar Techniques - - JAZZ-ROCK -

[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.

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