Improvising in the harmonic sequence
The harmonic sequence is very commonly used, both in pop and in jazz. In its fundamental form, the harmonic sequence is studied by someone who is just learning to play the guitar. Who has never played, for instance, a song like Stand By Me, which is one of the best known songs based on the harmonic sequence.
In this session, we will look at improvisation based on the four chords that make up a standard harmonic sequence, harmonized in a more modern key.
Working on the harmonic sequence in C major we have the succession of chords C, Am, Dm and G7. As you can see, it is a harmonically poor sequence, that can be processed in such a way to embellish the chords with notes that enrich the harmonic content.
A first line of accompaniment can be obtained using the fingerings of chords that we will see shortly, played in arpeggio with the pick, chords that will be distributed in the bars using the system analyzed below. A clean sound is best, maybe with the addition of some chorus and reverb. Let's first look at the fingerings for the harmonized chords.
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As you can see, the harmony of the chords is more elaborate. The C chord is enhanced with the ninth addition (Cadd9), the Am becomes Am11 (includes the seventh and eleventh flat). The Dm changes into its relative major (F), this also with the ninth addition (Fadd9). Finally, the third of the G7 is eliminated to make room for the fourth (G7sus4). |
Another piece could develop rhythmics that allows us to work on an accompaniment, where harmonic knowledge would be important for the improvisation. The base that we have chosen is a funky-dance-ballad style, with a sixteenth rhythmic shuffle. The speed of the metronome is 75 bpm and every chord lasts two bars. Each chorus therefore lasts eight bars.
In the base there are two accompaniment tracks included, one played with muted single notes, the other in chords. Lets look at the first one.
Muted note rhythmics
This rhythm requires the use of a series of single notes stopped with palm-muting, which is with the inside part of the palm of the right hand that rests on the bridge. The division that you see written in the score is sixteenth quatrains, and is played with the classical use of the polyrhythm. In fact we have a group of three notes that are cyclically moved into a formation of four notes. To better understand the procedure, look at the first bar.
In the first movement of the bar we play the first two sixteenths (C note) on the 5th string and the third sixteenth on the 4th string (G note). Now play the series of three notes again, but this time the first C will be found on the fourth sixteenth, and the next C on the first sixteenth of the second bar, the G on the second, and so on. This is easier to understand after looking at the score. The purpose of this procedure, used frequently in rhythmics, is to obtain a constant variation in the succession of the notes that simulates tercet rhythmics to "deceive" the ear. For this reason, it is very interesting from a rhythmic point of view.
The two bars of every chord are identical, except for the last note of the second bar. This difference, though minimal, is important for the accompaniment, because it creates a conclusion to the harmonic line of that chord.
The riff on every chord is played by alternating the root in the system analyzed before (which will obviously change with the base chord) with the G note. This is intended as a fixed pedal for the entire duration of the chorus.
Muted note rhythmics
Another piece could be played using a rhythm of very simple chords, which requires the use of the following proposed fingerings, and that develops a sequence in sixteenth in the weak movements (second and fourth) of the bar, leaving the first and the third movement in pause.
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The harmony of the chords is similar to the part seen above, even if the different disposition of the fingerings changes the sound. The only harmonic difference is in the A chord, which is played in this case as Am9. Besides the similarity of the fingering of the Fadd9, you will notice that it is identical to that used in the part in arpeggio. |
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In this case, it's interesting to note how the fingerings are placed on the four upper strings. In fact it is necessary to work in an open area (the high notes), so that you don't "interfere" with the part already occupied by the other two accompaniment tracks. Besides, using the first strings, the high notes tend to "exit" with respect to the others, helping the overall sound of the base.
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The rhythm is played using this spequence developed in all the bars. The sound of the guitar must be clean, with a good medium-high emphasis. It's important to precisely develop the relationship between the rests and the played notes. |
Try to study these three rhythms in order to completely understand the harmony on which we will work. Now we can analyze various possibilities of improvisation on the base, something that we will start working on in the next page.
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