Welcome back to another installment of "That Can Be Arranged." We are going to take a look at “City Blue,” an original written for this column. We are going to look at chord voicings, chord alterations, chord texture, ornaments, syncopation, tritone 7th and tritones used as altered dominate sounds. We will also discuss implied harmony. At times these points of topic may overlap, because multiple things can happen at once.
Implied Harmony
When dealing with harmony, one could say that a chord has to have the major or minor third to define the quality of the chord, and that is true in a textbook definition. In the real world of hearing music, whether or not a chord is major, minor, diminished, altered, etc. is often determined by the context; what follows or precedes is just as important, if not more important. Perception becomes reality because our ear perceives the sound. This perception is not only based on what precedes and follows a sound but is also affected by the expected harmony of the key center we are in at the moment.
A few examples of implied harmony are as follows:
Measures 1 through 8 imply a harmony, even though it’s just a bass line with no chord or full chord structures. This is a perfect example of implied sound. It’s about where the line leads and what precedes it.
Notice the chord symbols in these measures and see if you agree.
In measure 9 the chord symbol indicates C minor; however, there is no minor third in the chord. Why does it sound minor? The answer is in the preceding bass line and with what follows. The second chord in measure 9 is indicated as an Ab7. Why does this imply the sound of Ab when there is no Ab note in the chord? The answer is in the key center which contains Ab. The flat 7th and third that follow also affect the perception. It’s about context and perception. You’ll see the very same thing happen on the G7 in measure 10.
The last implied sound I will point out is an altered sound that happens in measure 12. On beat three, you’ll see the chord symbol G9#5. The altered sound happens on the upbeat. This sound is perceived as an altered G only because of the reference of G that happens in the first beat of the measure. You see, we retain that musical reference. If I had played the same notes alone you might hear it as a B7th chord – why? They contain the same notes. The answer is reference; in other words, implied harmony. As you play other arrangements and arrange for yourself, keep it in mind to look for these implied sounds and use them to your advantage.
Syncopations
Syncopations are nothing more than playing the note or chord on the upbeat, a.k.a. the weak beat. They can be cut short or tied over into the following downbeat. Musicians refer to this as a ‘push.’ You can make the personal choice as to pushing the top of the chord, bass only or whole chord. For single note references take a look at the intro. Chord syncopations happen in several places within “City Blue.” First, take a look at the Ab7 in measure 10 going into measure 11 and then, take a moment to spot other syncopations. I encourage you to start using syncopations in your arranging and playing. It’s really a feel thing. Don’t overthink it, feel it.
Chord Voicings
Chords can and should vary in texture, meaning density or number of notes played. At times I choose to play full chords and other times just two or three notes. I like to vary the texture. This is always a choice done by ear. Use your ear but be aware of the choices you have.
Chord Texture
I only used a couple notes to outline the chord sounds in measure 9. As it moves into measure 10 ,you’ll see three note chords. In measure 14, you’ll see a four note chord on the Amin7 b5 and at the end of the piece in measure 35. I used several five note chords for a bigger and more dramatic ending.
Tritones
A tritone is an interval a raised 4th. This interval distance is created and found in all dominate 7th chords. The interval of a tritone happens between the third and the flat 7th of the chord. It’s a great tool to use and understand that we can outline the sound of a 7th chord by only using those two notes. The root of the chord can be left out. Take a look at the Ab7 in measure 9 and the G7th in measure 10. Look for the tritone shapes on the fingerboard. They are very useful; built off of the 6th, 5th, and 4th strings.
Tritone Used as Alterations
I’ve found that the tritone shapes can be moved around the guitar to imply altered sounds. The key is to first establish the the chord sound, as I did in measure 12. Beat one outlines the G7th while a tritone shape moved up to D# and A outlines the sound of G9 (#5). This is a powerful tool! If you incorporate it into your arranging and writing you’ll be amazed at the sounds you’ll find.
Ornaments
Ornaments are slides, slurs, hammer-ons and pull-offs that can really help the phrasing and feel off the music. Especially when it comes to the blues sound. Where would Ray Charles have been without slurring into the notes, both in his voice and piano? Where would B.B. King be without the bent slurs? In “City Blue” I do not use bent notes, but I do use many other ornaments.
I’ve discussed several topics in this article that I believe will make you a better player and arranger/composer. I personally use this every time I pick up a guitar. Give it consideration and, if you apply it, you’ll open new and exciting possibilities for your music.
Download PDF of notation - Download MP3 of "City Blue"
However intellectual we get about chords and voicings, it’s safe to admit to learning things visually. The “big three” of triad shapes are fairly memorable on the guitar: D, F, and Bb. If we assign more than one job to a chord shape, we’re left with less to teach our fingers, ending up with nice, easy chord forms to play when the chord that is called for on the lead sheet is, say, Bbmaj7(#5).
Upper structure triads usually refer to the three notes that form the high end of a 7th chord with added tensions on it. This month, we’re going to look at triads that are contained in 7th chords, with or without extensions or tension added.
There’s that D triangle. What we’re really playing on the first three strings is a D major triad in the second inversion, or A, D and F#. Let’s suppose we’re playing with a bass player, who is responsible for playing the root of a chord. We can now call that triangle B-7 (B-D-F#-A) if we hear it in the context of B in the bass. Similarly, F can function as a D-7 and Bb can function as a G-7. Let’s move those two triad shapes up the neck to get two more inversions of a D major triad.
There’s the shape that looks like Bb in example 1, but now it is a D major triad in the root position, or D-F#-A at the 5th fret. Following that is the shape that we called F in example 1, but now it is a D major triad in the first inversion, or F#-A-D at the 10th fret. Either of these D triads make a nice B-7 as well.
Consider the notes in that B%maj7(#5): Bb-DF#- A. There’s our friendly D major triad again on the top three notes, so any of our D majors will give us the right chord sound if our trusted bass player lays down a B%.
Looking for a cool way to grab an E9sus4 (E-A-B-D-F#)? Our D major triads work nicely here, too. Our bass player will give us the E root, and will often play the 5th at some point, too.
These D triads can make a nice Gmaj9, too, but we need to be a little careful here. Gmaj9 is G-B-D-F#-A. We’ve got the upper structure covered just fine, but the all-important third of the chord is missing. Still, it will work if we have already established the major tonality and we’re just complimenting it some by moving around the neck.
The following examples show what happens when we use the other three triad types (minor, diminished and augmented) this way. The fun of the match game comes from recognizing that the chord which you just used as B-7(b5) works quite nicely as Bbmaj7, not to mention a D minor triad. For practice, find your way around lead sheets using only triad shapes. Be creative and transpose to your heart’s content. 
A Wee Little Amp
This is another odd little item that when the guys at PG handed it to me, I thought, “Oh boy, here we go… wacko-city.” The 22 Caliber is a small-sized stomp box with an 18V power supply that’s almost as big as it is. It’s not a box that runs on batteries, so you have to use the power supply. To me that suggests they should build it in, yes? Anyway, that’s just a nitpick. Obviously, there is no way this thing can work… right? Class D 22 watts in a little stompbox, no way?
Well, it does actually work. The 22 Caliber has a Volume knob and a Bright switch, end of story. I plugged it in to a Redstone Audio single 8" cab and an Egnater Tourmaster 2x12 (not at the same time), and not only does it work, the darn thing is loud. The tone tended to be on the bright side even without the Bright switch on. The switch is subtle, but it does add the expected top end. While bright, there really is no lack of low end, and overall the sound is quite balanced. The 22 Caliber has a surprising amount of headroom and stayed clean way louder than I would’ve expected it to. When it’s really cranked it does break up, but not in a way I found thoroughly appealing. Again, I started with the idea that there was no way this thing could do what it claimed. I was wrong.
What Do I Do with It?
This was a bit perplexing to me, and I had to think about what the possible applications for this might be. One idea would be a no-brainer: just keep one in your gig bag as a backup in case your main amp dies on the gig… could be a gig saver. For the musician who likes to travel light, you could just slap this puppy on your pedalboard with a little preamp and a reverb (or whatever you use), carry a little cab, and you’d be all set. For a street price of $99 this is a darn handy and clever little invention.
Buy if...
you want a powerful and very small power amp.
Skip if...
you live for your combo amp, and it will never fail.
Rating...
MSRP $132 - Electro-Harmonix - ehx.com |