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➧ CHOPS G U E S T

➧

G U R U

Kurt Rosenwinkel’s Colorful Chords BY JUDE GOLD

➧

Am11

ööö ==== & = ö T A B

#

Ex. 2

Ex. 1 Freely

Uptown riffs— Rosenwinkel with his D’Angelico New Yorker.

few other guitar players, Rosenwinkel has a knack for pulling new harmonies out of the fretboard without using any outboard gear at all. “Want to find some new chords?” prompts Rosenwinkel. “One simple thing you can do is start with a chord you’re familiar with, or that everybody plays all the time, and move each tone in that chord diatonically up the scale. For instance, let’s start with Am11, spelled A, Ex. 1]. First, think of a scale that G, C, and D [E this chord might come from, such as C major. Then, just move every note in the chord up one Ex. 2]. In our key of C, scale degree at a time [E the second chord will be Bm11, spelled B, A, D, and E. Move the notes in that chord up a scale tone and you get Cmaj11, and so on. Now, instead of having one voicing, you have as many as seven. You might find that this is a helpful way to come up with new songs or chord progressions. “Perhaps a more exotic example of this approach would be to think of Am11 chord as not coming from the key of C , but from a different scale. Let’s say, for example, that Am11 is built off of the second degree of a G melodic minor scale [which is spelled G, A, Bb, C, D, E,

“I THINK PART OF THE NEW LANGUAGE of music right now is the use of samples and real-world ambience on records to generate new harmonic language,” observes Kurt Rosenwinkel. “It’s very different from traditional harmonic approaches to writing music. Being a player who’s very much steeped in the language of chords, scales, and cadence, it’s very interesting to be in a world where instead of writing in a conventional way, the harmonies I’m playing over are maybe the result of two samples being placed on top of each other. When that’s the case, the challenge becomes figuring out what that harmony is and translating it back into the language of chords and scales.” To hear the results of this adventurous approach, check out Rosenwinkel’s new disc, Heartcore [Verve], an entrancing contribution to the modern jazz guitar lexicon. Co-produced by Rosenwinkel and hip hopper Q-Tip (of A Tribe Called Quest fame), the disc does feature harmonic, sonic, and melodic material that Rosenwinkel generated using an Akai MPC3000 sampler/drum machine. But that in no way means that the Brooklyn-based guitarist relies entirely on technology for new inspiration. Like

3 5 5 5

ööö öö ööö ö ö ö ö ö ö ö ö ö ö ö ö ö = ö =================== & öö ö ö ö ö Freely

T A B

Am11

Bm11

Cmaj11

Dm11

Em11

Fmaj7 11 G7add11

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8 8 GUITAR PLAYER NOVEMBER 2003 guitarplayer.com

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jump the chord up a third, you get Fmaj7 [F, A, C, E]—a chord that, with three notes in common with Dm7, makes a great substitute for Dm7. In fact, if the bass player is holding a D, then the harmony you actually hear is Dm9. Jump up another diatonic third and you get Am7—or Dm11 against a D bass note. They’re all sort of the same chord. “Things get more interesting when you have, say, a minor II-V-I progression in C, such as Ex. 5a] and you plug in new Dm7b5-G7b5-Cm7 [E Ex. 5b]. Take Dm7b5, for inversions of the chords [E example, and shift it diatonically up the C natural minor scale, and you get Fm7. This means that anytime you see Dm7b5, you can simply substitute in an Fm7 voicing. Now, using Fm voicings you probably already knew, you have two or three

F#]. Shift the chord up that scale one scale degree at a time and you get a whole different sequence Ex. 3]. You can use this process to of chords [E generate new chords from ones you already know, and you don’t have to go looking in book or anything— you’re generating them from yourself. “Because chords are typically stacked in thirds, the next logical step in this approach is to try transposing a chord up the scale, skipping Ex. 4]. When you do every other scale degree [E this, you’ll find that, in a way, you’re creating inversions of the original chord—or, at least, chords that are very compatible with the first one. A closed-voiced Dm7, for instance, is spelled D, F, A, C. If you’re in the key of C and Ex. 3

times as many voicings for Dm7b5 as before! “The trickiest part of this progression is finding a substitution for that altered V chord, G7b5. By definition, altered chords derive from the seventh degree of a melodic minor scale, so if you have G7b5, we can say it came out of the Ab melodic minor scale [Ab , Bb , Cb , Db , Eb , F, G]—which you can think of as a G altereddominant scale. This gives you two 3s to choose from—a minor 3, Bb and a major 3, B [Cb spelled enharmonically]. Building off of B , we get Bmaj7b5, a cool sounding substitute for G7b5.” Last but not least, substitute in Ebmaj7 for Cm7, and you have an alluring substitute II-V-I in C minor. g

b # C7 #11 D7add11 Em11 F #m7 b11 ööö ööö ööö # ööö b öö n ööö ö ö b ö ö ====================== & #ö nö = ö ö ö ö ö Freely

T A B

Gm/maj7,11 Am11

B maj7 11

1 3 4 3

5 7 7 6

3 5 5 5

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Ex. 4

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11 14 14 14 Ex. 5b

Ex. 5a

b ö ö n öö öö öö úú öö bb 4 ööö n b öö úú ööö ö ö ö b b ú b ööö # ö 4 ú ö ö ö =================== & ú = ============ & ö ö ú nö ö Freely

T A B

Dm7

(Dm9)

(Dm11)

(Dm13)

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Freely

T A B

b

b

(II) Dm7 5

(V) G7 5

(I) Cm7

(II) Fm7

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2 4 3 3

4 3 5 3

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b

(V) Bmaj7 5

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(I) E maj7

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November ’03 Guitar Player Master Class: Lords of the Ring—Ten Wicked Ways Guitar Gods Use Open Strings Within Riffs November ’03 Guitar Player Guest Guru: Kurt Rosenwinkel—Colorful Chords Over 1,000 archived Guitar Player lessons available for immediate download

November ’03 Guitar Player Chops Skips and Slides Tap-Tempo Secrets Hot Guitarist Alert!—Robert Lowe Reader’s Challenge—Barre Hopping

at GuitarPlayer.TrueFire.com. Visit today and get $10 worth of TrueFire cash! Net scrapers: To decode GP’s music notation visit the Lessons Page at GuitarPlayer.com.

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NOVEMBER 2003 GUITAR PLAYER 8 9