Download Howard Roberts - Chord Melody PDF

TitleHoward Roberts - Chord Melody
TagsMusical Techniques Musical Compositions Harmony Chord (Music) Performing Arts
File Size2.3 MB
Total Pages56
Document Text Contents
Page 2

FOREU/ORD My objective in writing this collection of
studies is to outline some chordal techniques that
have practical application in contemporary styles
of guitar playing, value in fingerboard exploration
and the development of a sense of musical coher-
ence.

I have chosen to do this through example
rather than a discussion of harmonic theory with a
view that a lot is to be learned simply by producing
the sounds under our fingers and in our ears.

Many guitarists accumulate a large repertoire
of "guitar chords" which, in themselves, are
pleasant sounding and, perhaps, well suited to
rhythm playing and various accompaniments. But a
repertoire of "isolated" chords may remain in the
players mind as disconnected chunks of harmony,
not easily applied to chord melody playing. The
main academic point of this book is the resolution
of this problem.

One improves his musical and instrumental
techniques by accepting the challenge of more and
more difficult material. Therefore, the examples in
this book have been developed, not for their
simplicity, but for their direct usefulness in con-
temporary music thereby representing some of the
facets of advanced gtritar playing. ln view of this, I
believe the reader is embarking on an adventure
both musically and personally rewarding.

My thanks to Mike Anthony for his contr ibu-
t ion of Example 38.

Page 28

Ex. 33 (cont'd)

u
ffi!
t+lu]
ll.t+f.l

ffi

mm"

Ab13

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i-tt+uuuu
t-{-{-t+-l
FFI-FH

r I l . . . l . ' . l . ' .U

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Abr

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, f-- i -r---

, 7
I

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rrrrn fffffl
t-ft-tgl l-{-i.#

drtr trtr
Dts

-.e,s -t
ttt+r5|(3)'

Page 29

Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies. This i: d1.'
to the addit ion of extensions. i .e. +5, +9, etc. You wi l l a lso observe that notes other than the roor rr :
frequently used to form the bass line. These help to produce harmonic textures present in some of the mor:
recent jazz forms. In this example, make a special effort to sustain as many of the chordal tones as possib,le.

Ex. 34

fr
t a t ? l l

Llt-fil
l-l-FfH e?+a
ffilTl -

,*ar7r-
I A s ,

Ff
ffftt1
rfffh

sffil
-

ffiD'oo(e)

ffi
f11+t1
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l - l t \ *

f i , ,
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F+-t-+iF{
I t t ? ? lrrrrn
HM

wtrF

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a t a i l l
|.#
ta I I t(t,mx
t-+-{-.I-+-l
stl

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29

Page 55

Ex. 66 (c

(x)
m
i l t t l l
ffi

I i l i l l
ITTII]
I t r t l l

en't

ffi
t{+u.l
HJ+N
ffi
$)

a - l

-+"
l-tiFt+i

LT'IU
t++t#
ffitl

4 -

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.>

FFFFF

t-tfti-t m
ffit Hffll
l l l l l l | - . #
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l i l i l l
l - t - l t l t + i l l l l l l
t t t t t l. g i l l | l

Cnq FneT

It
m

l i l t r

a t a i l l
I ]T1Tl

c't-

r

ffi
ffi
4 .

ffi

g

ffiffiffi
,,ffff,0b'-......_.....

fr
U]JJ]

ffitr
u-l+1..1

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t3t*zE^ '

Page 56

! L r
flTTN

ffi

l ? t t | l
|#

H+]+l
Htffi
l | | t

!

l-I-n]t
I a a I a t
rHffl
FFF**I

t+++#
H+f+l
l ' l F . ghbs

Ex. 66 (cont'd)

\\-/-f 3

tl%
4 ;l.at

Amf>f1(
o . '1 f f1 t

fi"t
arT?dffi

Itr.
[f]Tn
t t t t e a
t-ft-l-F1rrnTl
| | t l
nnn
c6/q

ffir l l ? l l
H++l
H+u.]
nrfl-l
Gt?

Fffi
ff,Tf1

flm
ffi
9ttl

#rn
rrfn
ftffij

ffit
[fi|
*r{

IIt
TTITN
FRTT
ffffn
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H-i-i-F
ffnn
Cn;7

@ @ @ ' 6

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