Chords for Harmonic Soloing Masterclass - James Graydon
Tempo:
80.6 bpm
Chords used:
G
C
D
Em
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
[A] Hi everybody, it's James Graydon here, and welcome to Inside the [Em] Harmony.
[A] [A]
[G] We're going to be exploring the concepts behind harmonic [A] soloing.
Firstly, using intervals like thirds, sixths and tenths [C] to harmonise your melodic lines, as well as using pedal [D] tones.
[D]
[E] Next, we get under the hood a little bit and look at shell voicings, two [B] and three note voicings,
that perfectly encapsulate [C] what the chord's trying to say, [Am] in as eke and octave a way as possible.
[G] It opens up a completely new different world of possibilities.
In solo playing, whether you're doing [C] jazz, blues, rock, [Em] all sorts really, even folk and [C] country.
Also, if you're playing in a band setting, [Am] it's particularly useful.
[G] Learning how to interact [Am] properly with bass players and [B] keyboard players,
knowing which notes to leave out, [D] to leave some of that space in the lower mid-range [Em] of the music.
[G]
[A] [C] [D]
[G] [A] [C]
[G] After that, we'll be looking at inner lines.
[Em] These are melodic fragments that run within the chord, [G] giving an extra sense of depth and maturity to the playing.
[D] Also using dissonance or close [A] voicings that keyboard players often use.
We can use them to great effect [D] in the middle of a chord or on the outer reaches of [G] the chord,
to add some tension and resolution to the playing.
A lot of the time, music is about what you leave out, not just what you put in.
In the additional PDF, we'll be looking at some of the theory behind [Bm] chord structure.
[C] You'll learn that all notes are not equal when it comes [G] to chords sometimes,
[C] and you can leave certain things out to create a sense of clarity in your playing.
When [G] we hear players like John Schofield, [B] or Panathenae in a trio [Em] setting,
[D] or even the Police and the Red Hot [G] Chili Peppers, they've [Em] all mastered this art of economy.
[C] Finally in part 3, I'll be [G] taking you through step-by-step a solo I've constructed,
for a [Em] new track written especially for [Am] this path.
It's called Between the Lines, [G] and encompasses all of the [B] theory and all of the techniques.
[Em]
[G] [Em] [C] [A]
[D] [Em]
[C] [G]
[Bm] [B] [Em]
[Em] [C] [A] [D]
[G] Even if you take a little bit of this [Gm] knowledge and slowly incorporate it into your own [G] playing,
I can assure you you're going to start thinking about lead lines in a different way,
with [D] the implied harmony underneath.
It's going to give [G] you a completely different perspective on your soloing.
Enjoy!
[A] [C] [G]
[A] [G]
[F] [G] [F]
[D]
[A] Hi everybody, it's James Graydon here, and welcome to Inside the [Em] Harmony.
[A] [A]
[G] We're going to be exploring the concepts behind harmonic [A] soloing.
Firstly, using intervals like thirds, sixths and tenths [C] to harmonise your melodic lines, as well as using pedal [D] tones.
[D]
[E] Next, we get under the hood a little bit and look at shell voicings, two [B] and three note voicings,
that perfectly encapsulate [C] what the chord's trying to say, [Am] in as eke and octave a way as possible.
[G] It opens up a completely new different world of possibilities.
In solo playing, whether you're doing [C] jazz, blues, rock, [Em] all sorts really, even folk and [C] country.
Also, if you're playing in a band setting, [Am] it's particularly useful.
[G] Learning how to interact [Am] properly with bass players and [B] keyboard players,
knowing which notes to leave out, [D] to leave some of that space in the lower mid-range [Em] of the music.
[G]
[A] [C] [D]
[G] [A] [C]
[G] After that, we'll be looking at inner lines.
[Em] These are melodic fragments that run within the chord, [G] giving an extra sense of depth and maturity to the playing.
[D] Also using dissonance or close [A] voicings that keyboard players often use.
We can use them to great effect [D] in the middle of a chord or on the outer reaches of [G] the chord,
to add some tension and resolution to the playing.
A lot of the time, music is about what you leave out, not just what you put in.
In the additional PDF, we'll be looking at some of the theory behind [Bm] chord structure.
[C] You'll learn that all notes are not equal when it comes [G] to chords sometimes,
[C] and you can leave certain things out to create a sense of clarity in your playing.
When [G] we hear players like John Schofield, [B] or Panathenae in a trio [Em] setting,
[D] or even the Police and the Red Hot [G] Chili Peppers, they've [Em] all mastered this art of economy.
[C] Finally in part 3, I'll be [G] taking you through step-by-step a solo I've constructed,
for a [Em] new track written especially for [Am] this path.
It's called Between the Lines, [G] and encompasses all of the [B] theory and all of the techniques.
[Em]
[G] [Em] [C] [A]
[D] [Em]
[C] [G]
[Bm] [B] [Em]
[Em] [C] [A] [D]
[G] Even if you take a little bit of this [Gm] knowledge and slowly incorporate it into your own [G] playing,
I can assure you you're going to start thinking about lead lines in a different way,
with [D] the implied harmony underneath.
It's going to give [G] you a completely different perspective on your soloing.
Enjoy!
[A] [C] [G]
[A] [G]
[F] [G] [F]
[D]
Key:
G
C
D
Em
A
G
C
D
[D] _ _ _ _ _ _ _ _
[A] _ _ Hi everybody, it's James Graydon here, and welcome to Inside the [Em] Harmony.
_ _ [A] _ _ [A] _ _ _
[G] We're going to be exploring the concepts behind harmonic [A] soloing.
Firstly, using intervals like thirds, sixths and tenths [C] to harmonise your melodic lines, as well as using pedal [D] tones. _
_ _ _ _ [D] _ _ _ _
_ _ _ [E] Next, we get under the hood a little bit and look at shell voicings, two [B] and three note voicings,
that perfectly encapsulate [C] what the chord's trying to say, [Am] in as eke and octave a way as possible.
[G] It opens up a completely new different world of possibilities.
In solo playing, whether you're doing [C] jazz, blues, rock, [Em] all sorts really, even folk and [C] country.
Also, if you're playing in a band setting, [Am] it's particularly useful.
[G] Learning how to interact [Am] properly with bass players and [B] keyboard players,
knowing which notes to leave out, [D] to leave some of that space in the lower mid-range [Em] of the music.
_ _ [G] _
[A] _ _ [C] _ _ _ _ [D] _ _
_ _ [G] _ _ _ [A] _ _ [C] _
_ _ _ _ [G] _ _ After that, we'll be looking at inner lines.
[Em] These are melodic fragments that run within the chord, [G] giving an extra sense of depth and maturity to the playing.
[D] Also using dissonance or close [A] voicings that keyboard players often use.
We can use them to great effect [D] in the middle of a chord or on the outer reaches of [G] the chord,
to add some tension and resolution to the playing.
A lot of the time, music is about what you leave out, not just what you put in.
In the additional PDF, we'll be looking at some of the theory behind [Bm] chord structure.
[C] You'll learn that all notes are not equal when it comes [G] to chords sometimes,
[C] and you can leave certain things out to create a sense of clarity in your playing.
When [G] we hear players like John Schofield, [B] or Panathenae in a trio [Em] setting,
[D] or even the Police and the Red Hot [G] Chili Peppers, they've [Em] all mastered this art of economy.
[C] Finally in part 3, I'll be [G] taking you through step-by-step a solo I've constructed,
for a [Em] new track written especially for [Am] this path.
It's called Between the Lines, [G] and encompasses all of the [B] theory and all of the techniques.
[Em] _ _
_ [G] _ _ [Em] _ _ [C] _ _ [A] _
[D] _ _ _ _ _ [Em] _ _ _
_ [C] _ _ _ _ [G] _ _ _
_ [Bm] _ _ [B] _ _ _ [Em] _ _
_ [Em] _ [C] _ _ _ [A] _ _ [D] _
_ _ [G] _ Even if you take a little bit of this [Gm] knowledge and slowly incorporate it into your own [G] playing,
I can assure you you're going to start thinking about lead lines in a different way,
with [D] the implied harmony underneath.
It's going to give [G] you a completely different perspective on your soloing.
Enjoy! _ _
_ [A] _ [C] _ _ _ _ _ [G] _
[A] _ _ _ _ [G] _ _ _ _
_ [F] _ _ _ _ [G] _ _ [F] _
[D] _ _ _ _ _ _ _ _
[A] _ _ Hi everybody, it's James Graydon here, and welcome to Inside the [Em] Harmony.
_ _ [A] _ _ [A] _ _ _
[G] We're going to be exploring the concepts behind harmonic [A] soloing.
Firstly, using intervals like thirds, sixths and tenths [C] to harmonise your melodic lines, as well as using pedal [D] tones. _
_ _ _ _ [D] _ _ _ _
_ _ _ [E] Next, we get under the hood a little bit and look at shell voicings, two [B] and three note voicings,
that perfectly encapsulate [C] what the chord's trying to say, [Am] in as eke and octave a way as possible.
[G] It opens up a completely new different world of possibilities.
In solo playing, whether you're doing [C] jazz, blues, rock, [Em] all sorts really, even folk and [C] country.
Also, if you're playing in a band setting, [Am] it's particularly useful.
[G] Learning how to interact [Am] properly with bass players and [B] keyboard players,
knowing which notes to leave out, [D] to leave some of that space in the lower mid-range [Em] of the music.
_ _ [G] _
[A] _ _ [C] _ _ _ _ [D] _ _
_ _ [G] _ _ _ [A] _ _ [C] _
_ _ _ _ [G] _ _ After that, we'll be looking at inner lines.
[Em] These are melodic fragments that run within the chord, [G] giving an extra sense of depth and maturity to the playing.
[D] Also using dissonance or close [A] voicings that keyboard players often use.
We can use them to great effect [D] in the middle of a chord or on the outer reaches of [G] the chord,
to add some tension and resolution to the playing.
A lot of the time, music is about what you leave out, not just what you put in.
In the additional PDF, we'll be looking at some of the theory behind [Bm] chord structure.
[C] You'll learn that all notes are not equal when it comes [G] to chords sometimes,
[C] and you can leave certain things out to create a sense of clarity in your playing.
When [G] we hear players like John Schofield, [B] or Panathenae in a trio [Em] setting,
[D] or even the Police and the Red Hot [G] Chili Peppers, they've [Em] all mastered this art of economy.
[C] Finally in part 3, I'll be [G] taking you through step-by-step a solo I've constructed,
for a [Em] new track written especially for [Am] this path.
It's called Between the Lines, [G] and encompasses all of the [B] theory and all of the techniques.
[Em] _ _
_ [G] _ _ [Em] _ _ [C] _ _ [A] _
[D] _ _ _ _ _ [Em] _ _ _
_ [C] _ _ _ _ [G] _ _ _
_ [Bm] _ _ [B] _ _ _ [Em] _ _
_ [Em] _ [C] _ _ _ [A] _ _ [D] _
_ _ [G] _ Even if you take a little bit of this [Gm] knowledge and slowly incorporate it into your own [G] playing,
I can assure you you're going to start thinking about lead lines in a different way,
with [D] the implied harmony underneath.
It's going to give [G] you a completely different perspective on your soloing.
Enjoy! _ _
_ [A] _ [C] _ _ _ _ _ [G] _
[A] _ _ _ _ [G] _ _ _ _
_ [F] _ _ _ _ [G] _ _ [F] _
[D] _ _ _ _ _ _ _ _