Experience the thrill, shock and novelty of improvised music with The Missing Ones, in Kyoto, Japan.
We kick off the Kyoto Live Series with our first show at UrBANGUILD, on 11/8; free entry, shows at 7:30pm and 9pm.
The Missing Ones are Dan Cosley on guitar, Dave Moss on bass, and Patrick Golden on drums. The UrBANGUILD and Zac Baran shows will feature Andy Couzens on synths and electronics, and Video art by [sic]).
I’m very excited to announce the publication of my new book on drop chord voicings!
THE DROP VOICING BOOK FOR GUITAR: A Complete Guide to Drop 2, Drop 3, Drop 2&3 and Drop 2&4 Chord Voicings & Inversions
“A superb piece of work, which deserves ample success and lasting impact.” – Ricardo Iznaola
THE DROP VOICING BOOK FOR GUITAR is a comprehensive text covering the logic behind “drop” voicings and their application to harmonic progressions and voice-leading. This ground-breaking resource investigates/includes:
How “drop” voicings are formed, and their application to the guitar
Four types of drop voicings on nine string sets
The art of spacing or voicing chords
Six “core” 6th & 7th chord qualities
How to derive voicings from elemental forms
How to move beyond mere memorization and recitation of shapes and voice-lead harmonic textures spontaneously
Nine comprehensive studies on the Autumn Leaves chord progression
Reductive techniques to tailor density & register to ensemble/context
Using chordal knowledge to improvise harmonically-specific melodies
Harmonizing melodies: “chord-melody” playing
Extended tertian harmony
Substitution & superimposition theory and techniques
Alteration techniques to create an enormous palette of additional chord qualities
Free audio downloads
TAB, standard notation, diagrams, and comprehensive charts for practice and reference
This post explores voice-leading major & minor 6th & 7th chords, dominant♭5, dominant♭9 & fully-diminished 7th chords, and more, through Bebop Major, Bebop Minor, Bebop Dominant, & Bebop Dominant♭5 scales, along with one & two octave scale fingerings, chord alterations & substitutions.
The following examples show various four-note triadic constructions with doublings and suspensions moved through a “D” Harmonic Minor scale.
The first chord is a commonly played triad with a duplicated root. The intervals, stacked vertically, are as follows: 5th, 4th, & 3rd. The intervallic construction is maintained and moved through the harmonized scale:
Next, the 3d is suspended (replaced with a diatonic fourth) and the resulting 5th, 4th & 4th construction is moved through the scale:
The second voicing type is a triad with a duplicated 3rd. The intervals, stacked vertically, are as follows: 3rd, 4th, & 3rd. The intervallic structure is maintained and moved through the harmonized scale:
Next, the upper 3d is suspended (replaced with a diatonic fourth) and the resulting 3rd, 4th & 4th construction is moved through the scale:
The third construction is a triad with a duplicated 5th. The intervals, stacked vertically, are as follows: 4th, 3rd, & 3rd. The intervallic structure is maintained and moved through the harmonized scale:
Next, the 3d is suspended (replaced with a diatonic fourth) and the resulting 4th, 4th & 2nd construction is moved through the scale:
Try finding additional four-note triads with duplicate notes or “doublings.” Here are two other possible starting chords:
Also, try transferring these voicings onto other string sets. Here is one of the previous chords transposed down an octave and placed on string set 5432:
Finally, experiment with various scales. Harmonic Minor is particularly useful, however, as it contains Major, Minor, Diminished, and Augmented triads.