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Concepts & Compositions: Janek Gwizdala Design, Music Copywork, & Editing: Chelsea Stevens

Bass Player's Guide to the Galaxy

Chordal Harmony VOLUME 2

VOICINGS, CHORD MELODY, & REHARMONIZATION BY JANEK GWIZDALA Copyright © 2019 by Janek Gwizdala, LLC All rights reserved

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INTRODUCTION This book highlights some of the most important harmonic building blocks I’ve discovered so far in my career. I’ve laid them out in what I believe to be a logical path, and encourage you to slowly build them into the fabric of your process and your playing. The book is split into three main sections, starting with some of my favorite chord voicings. We then move through chord melody exercises, and on to reharmonization. My biggest piece of advice for chordal harmony: don’t underestimate the power of a single bass note, and a single melody note. Chordal Harmony Volume 1 laid the groundwork for being in control of the fundamentals of two-note chords, and highlighted that this technique of playing just two notes at a time has great clarity on our instrument. You can play just about any song ever written with two simple notes outlining the harmony. Then, when you add in some of the more complex a more dense harmonic concepts covered in this book, you will be well on your way to being able to play anything you hear, and with a huge dynamic range.

Table of Contents Part one: voicings

(TAB)



1. Major Voicings (4-String) …………………………………………………… 10

(43)



2. Minor Voicings (4-String) …………………………………………………… 10

(43)



3. Dominant Voicings (4-String) ………………………………………………. 11

(43)



4. Voicing Etude (4-String) …………………….………………………………. 12

(44)



5. Major Voicings (5-String, Low B) ……………………………....…………… 14

(44)



6. Minor Voicings (5-String, Low B) ……………………………………..……. 15

(45)



7. Dominant Voicings (5-String, Low B) ………………………………………. 16

(45)



8. Voicing Etude (5-String, Low B) ……………………………………………. 17

(45)



9. Major Voicings (5-String, High C) ………………………………………….. 18

(46)



10. Minor Voicings (5-String, High C) ………………………………………… 19

(46)



11. Dominant Voicings (5-String, High C) ……………………………………. 20

(47)



12. Voicing Etude Voicings (5-String, High C) ……………………………….. 21

(47)



-- My Favorite Voicings ………………………………………………………... 22

Part two: CHORD MELODY





(TAB)



13. Exercise 1 …………………………………………………………………… 24

(49)



14. Exercise 2 …………………………………………………………………… 24

(49)



15. Exercise 3 …………………………………………………………………… 25

(49)



16. Exercise 4 …………………………………………………………………… 25

(50)



17. Exercise 5 …………………………………………………………………… 25

(50)



18. Exercise 6 …………………………………………………………………… 26

(50)

Part Three: reharmonization







(TAB)



19. Chromatic Root Reharm: Exercise 1 ……………………………………… 28

(52)



20. Chromatic Root Reharm: Exercise 2 ……………………………………… 30

(53)



21. Chromatic Root Reharm: Exercise 3 ……………………………………… 31

(53)



22. Chromatic Root Reharm: Exercise 4 ……………………………………… 31

(53)



23. Chromatic Root Reharm: Exercise 5 ……………………………………… 32

(53)



24. Chromatic Root Reharm: Exercise 6 ……………………………………… 32

(53)



25. Live Reharm: Choice 1 (High C) …………………………………………… 33

(54)



26. Live Reharm: Choice 1 (Low B) ……………………………………………. 33

(54)



27. Live Reharm: Choice 2 (High C) …………………………………………… 34

(54)



28. Live Reharm: Choice 2 (Low B) ……………………………………………. 34

(54)



29. Live Reharm: Choice 3 (High C) …………………………………………… 34

(55)



30. Live Reharm: Choice 3 (Low B) ……………………………………………. 34

(55)



31. Live Reharm: Multi-key……………………………………………………… 35

(55)



32. Melody Reharm with Chromatic Bass Line ………………………………. 36

(56)



33. Live-Looping Reharm: Exercise 1 ………………………………………… 37

(57)



34. Live-Looping Reharm: Exercise 2 ………………………………………… 37

(57)



35. Live-Looping Reharm: Exercise 3 ………………………………………… 38

(57)



36. Live-Looping Reharm: Exercise 4 ………………………………………… 38

(57)



-- My Loop Progressions……………………………………………………… 38



37. Compositional Reharm: Exercise 1 ……………………………………… 39

(58)



38. Compositional Reharm: Exercise 1 ……………………………………… 39

(58)



39. Compositional Reharm: Exercise 1 ……………………………………… 40

(58)



40. Compositional Reharm: Exercise 1 ……………………………………… 40

(58)



-- My Composition Ideas ……………………………………………………. 40

the listening list Before we get into any voicings, chord melodies, or reharmonization, I want to focus on the importance of listening. No matter what book you might work from, or who’s teaching you might be inspired to follow, you must first follow your own curiosity, and ask yourself what it is that excites you about chords and harmony. I’ve included a playlist of some of my favorite recorded harmonic progressions, reharmonization, and melody-to-chord relationships, and even if the things on this list aren’t quite your cup of tea, I hope they will give you an idea of the depth and range I recommend getting into when you listen to music. There are a variety of different styles and genres on the list, from classical to pop to jazz to folk, and even some rock and roll. So no matter if you’re listening to a 70 piece orchestra or a duet between an upright bass and a trumpet, I would recommend starting to look for two specific things right away, to help train your ear for the foundation of understanding, and more importantly hearing chordal harmony: the root motion, and the melody. 1. Wynton Marsalis “The Party’s Over” Standard Time Vol 5 2. Charlie Haden “American Dreams” American Dreams 3. Johannes Brahms “Poco Allegretto” Symphony No. 3 in F Major 4. Till Brönner/DieterIig “A Thousand Kisses Deep” Nightfall 5. Kenny Garrett “Sing a Song of Song” Songbook 6. Sting “Bring on the Night/When the World is Running Down” Bring on the Night 7. Gustav Mahler “Adagietto” Symphony No. 5 In C Sharp Minor 8. Pat Metheny “Always and Forever” Secret Story 9. John Scofield/Pat Metheny “The Red One” I Can See Your House From Here 10. Michael Brecker “Song for Bilbao” Tales from the Hudson 11. Michael Brecker “Chime This” Michael Brecker 12. Kurt Rosenwinkel “Number Ten” Enemies of Energy 13. Kurt Rosenwinkel “Zhivago” The Next Step 14. Chris Cheek “So It Seems” Vine 15. The Yellowjackets “Freedomland” Greenhouse 16. The Yellowjackets “Greenhouse” Greenhouse 17. The Yellowjackets “Geraldine” The Spin 18. Gabriel Faure Pavane, Op. 50 19. José Gonzalez “Heartbeats” Veneer 20. Nick Drake “One of These Things First” Bryter Layter 21. Sturgil Simpson “Just Let Go” Metamodern Sounds in Country Music 22. Sting “Ghost Story” Brand New Day 23. Sting “Shape of My Heart” Ten Summoners’ Tales 24. Mike Stern “Still There” Voices 25. Mike Stern “Wing and a Prayer” Between The Lines 26. Mike Stern “Bird Blue” Big Neighborhood 27. John Patitucci “Bate Balaio” Mistura Fina 28. John Patitucci “Two Worlds” Sketchbook 29. Gary Burton/Chick Corea “Crystal Silence” Crystal Silence 30. Chick Corea Quartet “Time Warp” Time Warp

Part 1: Voicings

9

PART ONE

voicings These are some of my favorite voicings for three main areas of harmony: major, minor and dominant chords. They are also essential elements for your vocabulary to create a broad spectrum of options in composition, voice leading, and reharmonization. Work them through the instrument in all twelve keys, and pay close attention to the fingerings on your fretting hand. It’s important to build up a repertoire of shapes that feel most comfortable to you, so you’re taking all the thinking out of the process, and are able to get to any voicing completely by feel. Repetition is your friend in this pursuit: I recommend setting a metronome up at a relatively slow tempo for discipline, and then playing each chord at least four times before moving to the next. When you can cycle through each set of voicings in all twelve keys, without having to think about where your fingers are going, this will be a great indicator that you’re making progress, and can increase the tempo and the complexity of the chord progressions.

10

Part 1: Voicings

four-string bass

major voicings

minor voicings

Part 1: Voicings

dominant voicings

11

12

Part 1: Voicings

four-string voicing etude Now we’ll take what you’ve already learned from these first three exercises and begin to create some music. Especially if you are new to creating your own chord sequences (or simply are new to extended chord-voicings in general), it is very important that you take each etude associated with this first section of the book and really deconstruct their movement. It can be especially helpful to write in each note’s function in the chord to fully understand its role in the voicing. Once you have this under your fingers, read on for some deep insight on my harmonic analysis, chord processes, and compositional mindset.

Practice Tip: Use 2 bars of this etude per day for 10 minutes, cycling through all 12 keys to improve consistency in your ability to move between voicings. Use both the cycle of 4ths (moving the key up by the interval of a 4th in sequence through all 12 keys, until you arrive back where you started), and also moving chromatically up and down the neck.

Part 1: Voicings

13

etude: a compositional breakdown When analyzing the “Voicing Etude for 4-String,” you can see how simply it starts out. Our melody note is a B natural, and the chord is a spread G triad (“spread” meaning you take the middle note of a triad, and raise it by an octave, no matter which inversion you might be in). This is incredibly effective on the bass, and is something you’ll hear me do a lot, and also use as the basis for a lot of voicings in this book. The melody note stays the same for the second voicing in Bar 1, and we change the middle note of the triad to a sharp 5. The same can be said for other sections of the etude, when you have examples of voice leading with a denser harmonic rhythm. We start to hint at this movement in the end of bar three, and then bars four through the end of the piece really have a lot more going on both in melodic and harmonic interest. It’s important to remember that every melody note does NOT need a chord, a reharm, or a fresh bass note. The music needs to breathe, and not become too dense. You can see this in action at the ends of bars five and seven, where the chord is just an 8th note, allowing the melody to take center stage. The contrast of this, and the following bar which is more legato and sustained, is effective both for composition and improvisation. Let’s shift a little from technical to harmonic analysis for a moment, and really break down the function of all of the chords used in this short piece. The first line is completely diatonic to the key of G, and I hear this as our I chord in the first bar, going to the V chord (albeit over the third, making it a first inversion), and “vi” chord in the second bar. Bar three takes a departure from diatonic harmony, with a triad from the flat 7 of our key of G (F Triad). An incredibly common cadence is flat VI, flat VII, I. Bars 3 and 4 have elements of this progression as well, with the use of the F triad in bar 3, and the Eb6 chord in bar 4. They don’t appear in the same sequence in this instance, but the same reasoning might help explain why those chords do function harmonically when they appear to be so far away from our tonic of G. Another favorite harmonic device of mine is the V-minor chord. Here in the key of G, the V-minor chord would be D minor, and that’s what we get to in bar 5. If you play these two chords back and forth; a G major triad, and a D minor triad; you’ll notice how distinctive this sound can be. It might not be something you’ve immediately thought of as an option when you’re improvising or writing, which can allow you to break away from this book to create your own progressions and compositions. (Another great harmonic function is a G triad to an Eb triad—this sound might remind you of a lot of classic movie scores!) So in bar 5, our D minor (or V minor) moves to G# diminished and B diminished, eventually dropping us off at A minor. G sharp diminished and B diminished are simply components of an E7-flat 9 dominant sound. I used these two diminished chords instead of one E7 chord because of the melody, and they voice-lead perfectly into the melody note of the A minor chord. For the last line of the piece, we’re back to our F triad, and then to perhaps the most harmonically dense moment of the composition. Again, the melody notes were the dictators for me when it came to the harmony. Our last three chords all contain notes of our dominant chord of D7, while not actually being labeled D7 at any point. B7-sharp 9 has the 13th, flat 9, 5th, and root of D7. Ab/A has the 5th, flat 9, sharp 11, and 7th. Ab7-sharp 9 (a tritone substitution for our dominant chord of D7) has the sharp 11, 7th, 3rd and 13th. Experiment with these three chord voicings in relation to the V chord of the key you’re playing in. And if this is all a lot to take in, don’t forget to take small segments of this etude and move it around your instrument in 12 keys—your brain will start to do the work, and before you know it all of these sounds and shapes will feel natural.

14

Part 1: Voicings

Five-string bass (low B) The concepts, analysis, and treatment of these voicings and etudes remains largely the same for everyone working with a five-string bass (strung with either a low B or high C). “Low-B” players, with basses strung B to G, will have to decide where they think their voicings start to sound muddy in the low register of the instrument, and adjust the octave of certain voicings accordingly.

major voicings

Part 1: Voicings

minor voicings

15

16

Part 1: Voicings

dominant voicings

Part 1: Voicings

five-string (low B) voicing etude

17

18

Part 1: Voicings

Five-string bass (high c) “High-C” players with basses strung E to C, like myself, are going to have several benefits when it comes to the clarity of both the melodic element of an improvisation or composition, and the ability to play crunchy, close-harmony voicings, and inner moving parts. The half-step and whole-step intervals in the center of some of these voicings are able to sound much clearer with the higher register that you’re able to play them in.

major voicings

Part 1: Voicings

minor voicings

19

20

Part 1: Voicings

dominant voicings

Part 1: Voicings

21

five-string (high c) voicing etude

No matter how your bass is strung, things to consider when working on chords are the setup of your bass, string gauge, neck radius, fret size, intonation, scale length, and the tone you’re using. It’s not just about playing the right notes and working on the technical components of the music! The sound and time with which you play these musical concepts is going to have a huge effect on how successful your performance is. A typical popular slap tone, for instance, with lots of lows and highs but hardly any mids, is perhaps not the most optimal setup for creating delicate chords with intricate inner moving parts. Practice Tip: Know your goal by listening as much as possible and figuring out exactly how you want your music to sound, and then be aware of all the components that go into making that a reality. Don’t overlook the fundamental building blocks of the process. Time and sound over everything.

22

Part 2: Chord Melody

My favorite voicings Once you’ve completed this section of the book, write down a few of your favorite voicings, discoveries, and ideas here to keep them safe and to get them into your practice routine for the future.

Part 2: Chord Melody

23

PART TWO

CHORD MELODY This section of the book may seem short, but is efficiently packed with a few essential elements of voice leading, considering both your melody note as well as the inner-moving parts within your chords. To this end, we have to understand that the melody doesn’t always have to happen on the top of the voicing. When you listen to classical music, there are so many incredible examples of melodies moving in the middle of a voicing, often creating a contrapuntal melody to what’s going on on the top of the voicing. There are some common conventions when it comes to voice leading, one of the most prominent being that you should move each voice the shortest distance possible. Convention telling us that we should keep that interval to a minor third or less. I encourage you to break all the rules when it comes to these conventions. Use these exercises and “rules” as guidelines to understand the fundamentals, and then branch out as far as you possibly can to find what works to your ear. I think the most valuable part of understanding the rules, and being able to execute them on your instrument, will be your improved ability to identify what is happening on recordings you listen to. This process of learning the exercises and methods on your instrument will accelerate your ear training, and give you far better real-time reactive skills when it comes to transcribing, improvising, and general performance.

24

Part 2: Chord Melody

exercise 1 Our first example shows the melody descending in whole steps while our inner moving part creates both a counter melody and some harmonic tension, with the sharp 5 resolving up to the 7th on each major 7 chord.

exercise 2 For this second exercise, we take something quite conventional in terms of the “rules.” Both the melody and bass line are descending, while the inner moving voice rises and falls. This is something that’s great for training the fingers of your fretting hand to be available in the right place at the right time. Nailing those inner parts, while still keeping the foundation of a bass line and clean melody, is the basis for almost all chord-melody situations you will find yourself in.

Part 2: Chord Melody

25

exercise 3 I’ve always loved the sound of a melody note played first, and then the harmony layered underneath it. I encourage you to check out Wynton Marsalis’ Standard Time Vol 5, The Midnight Blues. The first track, “The Party’s Over,” is a great example of this. The melody is stated a cappella and sustained, and then descending voicings are played underneath. This exercise is a simplified version of what can be heard on the Wynton Marsalis track, and is something you can use to great effect when you don’t want an overly dense sound in your arrangement.

exercise 4 & 5 Having a two-note voicing—such as the interval of a fifth, in these two exercises—and changing the root note is an incredibly effective way of creating interest and motion in your chordal playing. This can be especially useful when you’re improvising and are looking to move to a different tonal center. I’m always looking for ways to link from one idea to another, and having lots of these transition shapes in your vocabulary will help with that greatly.

26

Part 2: Chord Melody

exercise 6 This last chord melody example is possibly one of my favorite sounds when it comes to motion in chords. I got this from listening to piano players like Herbie Hancock, Bill Evans, Chick Corea, and Keith Jarrett. I hear it as being based around a diminished triad, because it moves in minor thirds, and uses tonalities from the halfwhole diminished scale. When playing this over a dominant chord, you want to anchor the root notes on the major third, fifth, b7, or b9. You only have to practice it in three keys, essentially, and you’ll have every position covered. You then have to be able to relate it to all 12 dominant chords, but armed with the knowledge of the starting points for each shape (and there are only four of them on each chord), and provided you know the third, fifth, flat 7 and flat 9 of every dominant chord, you’re all set to be able to play this in 12 keys.

Part 3: Reharmonization

27

PART THREE

REHARMONIZATION Reharmonization is an immense topic, and sometimes can be a daunting one to tackle if you’ve not had much experience with it before. Let’s get started with something I use all the time onstage when I’m improvising, in the studio when I’m writing, and also as a great warm-up for my practice routine every day. To begin with reharmonization: take all twelve key centers, pedal the tonic as your melody, and then play a descending chromatic scale as a bass line. This will set you up perfectly for what is coming in this section, and also highlight that ANY bass note works with ANY melody note. That may sound counterintuitive, because there are all these rules in harmony, right? But no: you can relate any melody note to any bass note, and then fill in the fundamentals of the chord once you’ve decided on the quality of the harmony. Even if the relationship is a half step/flat 9, a tritone, a flat 6… all of them work, I promise you.

28

Part 3: Reharmonization

chromatic root reharm

exercise 1

Part 3: Reharmonization

29

30

Part 3: Reharmonization

exercise 2 Let’s start out simple, with a single melody note. If you’ve ever come to a show, or seen a video of me looping live, I’ll often take a single note as an ostinato, repeat it a bunch of times in the looper, and then layer harmony underneath it. This example is a great way to take the same four chords, and switch a couple of them in the sequence to extend the form past two bars. I take the second and third chords and reverse them in bars 3 and 4, giving me four bars of harmony instead of two. These voicings can easily be played on a standard 4-string bass, and I encourage you to experiment with moving this sequence around to all 12 keys to find where the voicings sit best on your instrument.

Time for some 5-string voicings. These concepts apply to both low-B and high-C stringing; just remember to be aware of the potential for muddy chords when you get too low in the register on your particular instrument. Building upon our first exercise of this section of the book, which used a static melody note with a chromatic descending bass line, this first 5-string example uses that exact concept while also filling out some harmony between the bass note and the melody. Notice how the shape of the first chord contains a very simple minor-7 voicing, if you take away the melody note. This is basically a G minor 7 chord, with an Eb in the melody. Notice that this exact shape moves down a half-step to create our next chord. With the Eb on top as the melody note, and our minor-7 chord shape moving down a half step underneath it, we are left with a quite crunchy sounding minor-13 chord in F#. We continue down another half step with that same minor 7 voicing, and now have F minor 7; finally resting on E Major 7 to complete our chromatic bass line walk down. I’ve also included a subtle variation for these four chords to highlight how little you need to change a voicing to create a completely different effect. Our second chord, which was F# minor 13 in the first line, becomes a dominant chord by simply making the third major. Our F minor 7 chord now has a little more crunch in the middle parts, with the substitution of the 9 for the flat 7. I’ve lowered the third in our final chord to give us a completely different mood with a minor/major 7 sound.

Part 3: Reharmonization

exercise 3 (high C)

exercise 4 (low b)

31

32

Part 3: Reharmonization

Now we can work on the same concept, but with the bass line ascending chromatically as well. Here is an example of that, with the same starting chord of Eb/G (or Bb/D for low-B instruments), ascending chromatically to a rather nice voicing of Bb minor 11 (or F minor 11).

exercise 5 (High C)

exercise 6 (low b)

Part 3: Reharmonization

33

live reharm These are the concepts I use during “live,” in-the-moment situations: whether that’s at home in my daily practice, or on a massive stage creating brand new chordal harmony in front of an audience for the first time. The next few examples will give you an idea of just what is possible when using only one note in the melody. Variation in your practice routine, along with listening to lots of interesting and inspiring harmony, is the key here when building your vocabulary in this language. Your homework, and the way you will get the most out of this material, is to start creating your own melodies, and to find the hippest chord-voicings to go with them. Don’t be afraid of trial and error, or experimentation of any kind. You won’t know if something works until you try it, and these exercises and musical examples should act as a catalyst for you to leap in the unknown, trying as many weird and wonderful sounds as you can find.

choice 1 (high c)

choice 1 (low b)

34

Part 3: Reharmonization

choice 2 (high c)

choice 2 (low b)

choice 3 (high c)

choice 3 (low b)

Speaking of weird and wonderful, here’s an example of some slightly less common voicings; again with just one melody note, and laid out here in eight of our twelve key centers. This is something I recommend adding to your practice routine consistently, when you’re concentrating on assimilating as much chordal vocabulary as you can. It will promote fluidity with uncommon shapes, and build your ear and your muscle memory for tying together harmony in sequence.

Part 3: Reharmonization

live reharm: multi-key

35

36

Part 3: Reharmonization

melody reharm with chromatic bass-line To further bolster the point about any melody note working with any bass note, the next example uses a seven-note melody with a chromatic bass line to harmonize it. We then slowly add more harmony and substitutions to the center of the chord. Before you know it, you have four different ways to play the same melody, all the while using the same bass line.

Part 3: Reharmonization

37

live-looping reharm Let’s dive deeper into the techniques I use when I’m live-looping and composing. I want to give you examples of reharmonization that are simple, compelling to listen to, and really fun to play over as an improvisor. Whenever I’m setting up a loop, or creating motion in harmony, there is always a melodic or improvisational concept not too far away. When I improvise, I’m looking to play melodies that could stand up on their own as compositions. So the more familiar I am with all of my harmonic options, and the more repetition I have dedicated to working on them, the better. The following examples are typical of how my mind and ear work, whether I’m in a live playing situation or a home-studio/composing setting. You’ll hear things in these chordal phrases that could easily be a part of a “Last Minute World Tour” solo improvisation, an interaction with Bob Reynolds where he gives me space to loop and create new chord changes on the spot, or perhaps some of my own compositions—a lot of which began life in my loop pedal, using exactly the concepts we’ve been covering throughout the book.

exercise 1

exercise 2

38

Part 3: Reharmonization

exercise 3

exercise 4

my loop progressions

Part 3: Reharmonization

39

compositional reharm Finally, I want to leave you with something that is most important to me when it comes to composition. In order to be effective as a writer, I don’t have to create these dense landscapes of through composed music, or write the most complex harmony and angular melodies—not that any of those components aren’t valid methods of expression on their own. I want to highlight just how effective you can be without any of them. These last examples are of a composition of mine that started with a very simple chord progression. The song was originally recorded on an album that was never released, but now I’m experimenting with reharmonization to give it some new life, and hopefully make it a contender once again for an upcoming recording session. You’ll notice that through all four versions of the melody, there are no super dense or crazy complex chords—but they all sound quite different. It’s that simplicity in reharmonization that really excites me, and I hope it will do the same for you.

exercise 1

exercise 2

40

Part 3: Reharmonization

exercise 3

exercise 4

my composition ideas

Part 3: Reharmonization

41

in conclusion parting words If you start every loop, improvisation, or composition maxed out a density of 10, you have nowhere to build to. Having a simple melody, and a rich understanding of the harmonic possibilities for each note in that melody, can give you a lifetime of compositional tools—and when you do add something dramatic, harmonically dense, or melodically angular, it will be so much more effective. That doesn’t mean you have to start everything you do at 1, which can also become repetitive and obvious. But being in control of the entire range of sounds and emotions that resonate on that dynamic scale is more powerful than any complex chord, or any burning line you can rip in a solo. I think the same is true for the way you use chordal harmony: be that in your compositions, your improvising, your practice routine, or in your role as a bass player in a band. Know as much as you possibly can, but always make your choices for the music, not for your ego.

42

TAB: Voicings

PART ONE

TAB:

voicings

TAB: Voicings

four-string bass

major voicings

minor voicings

dominant voicings

43

44

TAB: Voicings

four-string voicing etude

Five-string bass (low B)

major voicings

TAB: Voicings

minor voicings

dominant voicings

five-string (low B) voicing etude

45

46

TAB: Voicings

Five-string bass (high c)

major voicings

minor voicings

TAB: Voicings

dominant voicings

five-string (HIGH C) voicing etude

47

48

TAB: Chord Melody

PART TWO

TAB:

CHORD MELODY

TAB: Chord Melody

exercise 1

exercise 2

exercise 3

49

50

TAB: Chord Melody

exercise 4

exercise 5

exercise 6

TAB: Reharmonization

PART THREE

TAB:

reharmonization

51

52

TAB: Reharmonization

chromatic root reharm

exercise 1

TAB: Reharmonization

exercise 2

exercise 3 (high c)

exercise 4 (low b)

exercise 5 (high c)

exercise 6 (low b)

53

54

TAB: Reharmonization

live reharm

choice 1 (high c)

choice 1 (low b)

choice 2 (high c)

choice 2 (low b)

TAB: Reharmonization

choice 3 (high c)

choice 3 (low b)

live reharm: multi-key

55

56

TAB: Reharmonization

melody reharm with chromatic bass-line

TAB: Reharmonization

live-looping reharm

exercise 1

exercise 2

exercise 3

exercise 4

57

58

TAB: Reharmonization

compositional reharm

exercise 1

exercise 2

exercise 3

exercise 4

Bass Player's Guide to the Galaxy

Chordal Harmony VOLUME 2

VOICINGS, CHORD MELODY, & REHARMONIZATION

also by

janek gwizdala

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about the author

London-born, US-based bass player and record producer Janek Gwizdala has been on the international music scene for over twenty years, touring as a band leader and working as musical director or sideman with some of the most respected names in the industry. These include: Randy Brecker, Carlos Santana, Hiram Bullock, Mike Stern, John Mayer, Airto Moreira, Chuck Loeb, Peter Erskine, Flora Purim, Pat Metheny, Billy Cobham, Bob James, John Patitucci, Bob Mintzer, Marcus Miller, Jojo Mayer, Paul Shafer, Dennis Chambers, Gary Novak and Wayne Krantz. As a recording artist and band leader, Janek has released eight albums as a leader; as an author, published nine critically acclaimed books; and has toured the world extensively with music while also touring as a lecturer and clinician at the world’s leading educational establishments.

Chordal Harmony: Volume 2 is the long-awaited sequel to world-renowned bassist Janek Gwizdala’s most popular book to date. Matching the original Chordal Harmony’s innovative approach, rigorous and thoughtful exercises, and attention to detail, Volume 2 will take you far, far deeper into the new and challenging world of chords on bass. Travel through Janek’s in-depth processes for finding the most creative voicings, creating effective chord melodies, sparking and building upon new compositional devices, and even his best techniques for live performances and effective looping. The first Chordal Harmony gave you the tools. Volume 2 is here to help you build the castle. London-born, US-based bass player and record producer Janek Gwizdala has been on the international music scene for over twenty years, touring as a band leader and working as musical director or sideman with some of the most respected names in the industry. These include: Carlos Santana, Randy Brecker, Hiram Bullock, Mike Stern, John Mayer, Airto Moreira, Chuck Loeb, Peter Erskine, Flora Purim, Pat Metheny, Billy Cobham, Bob James, John Patitucci, Bob Mintzer, Marcus Miller, Jojo Mayer, Paul Shafer, and Dennis Chambers. As a recording artist and band leader, Janek has released ten albums as a leader; as an author, published nine critically acclaimed books; and has toured the world extensively with music while also touring as a lecturer and clinician at the world’s leading educational establishments.

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