- Shopping Bag ( 0 items )
Ships from: Trafalgar, IN
Usually ships in 1-2 business days
Ships from: Miamisburg, OH
Usually ships in 1-2 business days
Ships from: Skokie, IL
Usually ships in 1-2 business days
About the Author:
Bruce Arnold is from Sioux Falls, South Dakota. His educational background started with 3 years of music study at the University of South Dakota; he then attended the Berklee College of Music where he received a Bachelor of Music degree in composition. During that time he also studied privately with Jerry Bergonzi and Charlie Banacos.
Mr. Arnold has taught at some of the most prestigious music schools in America, including the New England Conservatory of Music, Dartmouth College, Berklee College of Music, Princeton University and New York University. He is a performer, composer, jazz clinician and has an extensive private instruction practice.
Currently Mr. Arnold lives in New York and is performing with his own "The Bruce Arnold Trio", and "Eye Contact" with Harvie Swartz, as well as with two experimental bands, "Release the Hounds" a free improv group, and "Spooky Actions" which reinterprets the work of 20th Century classical masters.
The principle used in reharmonized progressions is based on the following: For every chord type there is a list of chord tones and available tensions that can be used. If we take all these notes and recombine them in different orders we will find many other chords. For example, C7 contains the chord tones 1,3,5,7 (C,E,G,B) and has the available tension of 9,#11,13 (D,F#,A). If we recombine these notes we find that C,E,G,A, forms a C6; D,F#,A,C forms a D7 chord; E,G,B,D, forms a E7 chord, F#,A,C,E forms a F#7b5 chord. Therefore you can use these chords as replacements for the C7. Furthermore many of the voicings you have learned in this book do not contain the complete chord structure but will also work as a substitution because the notes contained in their specific voicing all have notes that are available. For example a four note voicing of an Ab7#5add#11 would have to contain C,E,G, and D with the root left out. This Ab7#5add#11 specific voicing would work as a substitute for C7 because all of the notes present in the chord are available notes on a C7 chord. You can see that this opens up a whole new world of sound possibilities. With this new world comes the task of creatively and musically applying these chords to a given situation. Extreme care must be taken when using these reharmonized chords. Each musical situation is unique so you must use your ear and common sense when attempting to use these reharmonizations.
Chord Workbook for Guitar Volume 1 always had the root of each chord as the lowest note. This is also called the bass voice. Volume 2 will examine these same chords but will place other notes of the chord in the lowest voice. When a chord places notes other than the root in the lowest voice it is said to be an "inversion". When a chord's lowest note is the root it is said to be in root position. It is common to call a chord with the 3rd in the bass 1st inversion, with the 5th in the bass 2nd inversion and when the 7th is in the bass 3rd inversion.
If a chord contains tensions it is also possible to place these notes in the bass. The example below shows a C79 with the 9th in the bass. As more tensions are added to a chord it gets increasingly difficult for a guitarist to play all the notes indicated. Therefore you will find many of the chords presented here have certain notes deleted. The 5th and the root are the most common notes to be left out. It is important to remember that every chord in this book always contains the 3rd and 7th of the chord, with the exception of 7sus4 which has the 4th and the 7th, and the 6th chords which have the 3rd and the 6th. All chords should first be practiced cycle 5: C,F,Bb,Eb,Db,Gb,B,E,A,D,G. This will help your knowledge of the fingerboard immensely and will also help your hands develop dexterity. All IIVI chord progression sequences should also be practiced cycle 5. As always, applying these chords in performance situations is the best way to work these sounds into your playing.
All chords marked with an (*) are voicings which require a finger stretch. Care should be taken not to over practice these chords at first in order to avoid injury. As your hand grows more accustomed to these shapes they will feel natural.
For the beginning guitarist the Chord Workbook for Guitar will help them to understand the basic building blocks of music i.e. music theory, and their direct application on their instrument. The student is not just learning fingering patterns, they are applying chords to songs and experiencing how they sound in a musical situation. The theory section is written in a style that anyone can understand. This gets the student off on the right foot to absorb what they are doing when they play chords or music in general. Students find the method I use to help them learn and remember chord forms is hard for a couple of weeks but eventually it really pays off; they find that they are able to remember large numbers of chords and know their exact names. My method involves two stages: learning where the root notes of each chord are on the guitar and then applying these chords to common song forms to hear the chords in a musical situation. These common song forms include the Blues, Minor Blues and Rhythm Changes. The Blues, Minor Blues and Rhythm Changes forms are also explained in another theory section so that the student understands what the component structures of these important contemporary music forms are.
The intermediate guitarist is usually a student who has holes in their knowledge of theory- they are familiar with a number of forms and progressions, but may not understand the underlying structures. This book contains the information the student needs to analyze and create progressions.
The advanced guitarist should know most of the chord voicings found in this book, but will find the harmonic superimposition theory section to be fascinating and useful. The theory section presents the 3 ways a dominant chord can resolve along with extensions that can be placed in front of a dominant chord. The progressions presented allow the student to see first hand how to apply this information. They include 12 versions of the blues, minor blues and rhythm changes, one in each key. It is also recommended that an advanced student use these progressions to create solo lines using the superimposed progressions as templates. Students in the New York University program are also required to sing through these progressions using solfge while strumming the root chord of the key. This develops not only an ability to understand how progressions relate to a key but helps to improve the ear and thus make the progression more part of one's musical language.