Magazine article Guitar Player

Five Steps to Chordal Ear Training

Magazine article Guitar Player

Five Steps to Chordal Ear Training

Article excerpt

DESIGNED to familiarize you with various jazz harmonies, the following vamps can be played with a bass part as simple as a repeated eighth-note G; each goes back and forth between two of the three fundamental chord families: major and minor (the third is dominant). Put them on tape; use the tydian mode to improvise over the major chords, and Dorian for the minors.

For maximum tonal warmth, Ex. 1 employs two-note voicings. I always refer to these as "chord defining intervals," because they outline the harmony with just two pitches. They're a huge part of Jim Hall's accompaniment approach.

Ex. 2 should be played in whole notes, implying a top-voice melody. I associate these types of chords with players like Wes Montgomery, Kenny Burrell, and Jim Hall. presents McCoystyie voicings applied to the guitar in a call-and-response approach. The Bb/C was derived from studying pionist Chick Corea's Latin jazz left-hand voiciangs. …

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