free pdf – Modern Music Theory Improvisation and Application

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Hi Guys,

Today, we will take a I Vi [VI] ii V V I cadence and re-harmonise it with fusion chord substitutions/slash chords

jazz-fusion-guitar-chords-reharmonisation-slash-chords-lesson-example

To begin with, we will make the chord of C Major into a C6/9 voicing that will resonate well on the guitar.

We, will now employ a slash chord for A7. Here, we will move a flattened 5th away and employ an Eb Triad over an E natural bass.

Let’s now exploit the Dm7 chord. For this we will use a 2nd inversion C Major triad over an F bass note. [Dm9 with an 11th in 1st inversion]

Now, let’s take the first Dominant substitution and go a flat 5th away once again. We will employ a Db Triad over a B bass: [as in an altered 1st inversion]

To manipulate this next Dominant chord we will put the flattened 5th [Db] in the bass and exploit a G triad on top:

To complete the sequence we will resolve back to the tonic chord of C Major but colour it with an F# to make it C Maj7#11

In terms of improvisation we can weave in and out of the re-harmonisation. Here, is an example for an improvised line:

john-mclauglin-guitar-chords-improvisation-licks-examples

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Hi Guys,

Today, a look at how to create colourful and interesting jazz/fusion chords:

Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian:

Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops].

Now, we will add another note a 5th above the root and create triads.

We have now harmonised the Mixolydian mode.

As you will hear it doesn’t sound very jazzy or have a fusion-esque sound.

So what do we do?

Well, we will add another note and manipulate the chord “Voicing’s”. Let’s exploit 4ths, flattened 5ths and Major 3rds.

Ascending Chord Scale:

Descending chord scale:

THE DORIAN MODE:

Now, we will apply this to the C Dorian Mode which has another flat note, this being Eb.

C Dorian Chord Scale : Harmonisation idea:

CREATING MUSIC:

Now, let’s play these chords in a sequence and make a bit of music from them:

EXAMPLE: Notice-Motifs and melodic movement from the chord voicings:

Melodic minor quartal harmonisation

Finally, to really get that “Fusion” exoticism let’s now exploit the melodic minor scale:

Below, we have the A melodic minor scale: Notice it’s just like the A Major scale but with the 3rd flattened: [In this case C natural]

Again, we will try out some ideas to harmonise the scale with some interesting chord voicing’s:

Here is a really nice set of chords built from from the scale.

jazz-fusion-guitar-chords-lesson-melodic-minor

From here it’s a good idea to play re-harmonised chords from chord scales in sequences like:

ii V7 I

Vi ii V I

iii Vi ii V7 I

IN CONCLUSION:

This was just a basic look at how to create interesting chords from scales and modes and how to create interesting and unique voicing’s.

At the end of the day it really comes down to your own ears and imagination and sense of creativity. But, this is how easy it is to create chords from scales and then put them into sequences for composition and re-harmonisation.

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