HARMONIC CONCEPTS
Covering modern voicing techniques and chordal construction as well as concepts of harmonic substitution, re-harmonization, chord-melody arrangements and everything that has to do with the harmonic navigation on the instrument through a series of books, technical studies and etudes and chordal substitution guides.
MODERN VOICINGS & CONTRAPUNTAL STUDIES
OPEN (MODERN OPEN STRING VOICING COLLECTION)
by Hristo Vitchev
In this harmonic study I concentrate on the very unique chordal shades and hues that we can capture on the guitar when utilizing open strings in the development of our voicings.
Here I present to you 100 of my favorite chords that utilize a combination of fretted and open strings.
They are presented in a chromatic order and in different chordal qualities dependent on the relationships of the open strings against the root.
Once you get familiar with the voicings presented here you can augment your harmonic vocabulary even further by using the tonal relative major/minor and tritone substitution relationships to get more milage out of each chord shape.
For example, all the voicings presented for Emaj7 can be used for C#min7 and vice-versa all chord shapes for C#min7 can also function as Emaj7 because they are relative major/minor of each other.
By the same token all voicings for C#7alt can also function as G7 because they are tritone substitutions of each other.
POINT OF ENCOUNTER (CONTRAPUNTAL HARMONIC EXPLORATIONS)
by Hristo Vitchev
In this short technical study I illustrate some of the ways in which I like to use contrapuntal movement when playing chords and comping in order to create more dynamic and interesting harmonic passages.
This type of chordal playing/comping (which you can hear in most modern jazz pianists) has always been very attractive to my ear and my musical personality.
I do believe it is a great way to develop the necessary techniques and skills needed to transition between your melodic and harmonic voices on the instrument in the smoothest possible way. It is also great in establishing a very good linear harmonic control of your instrument.
Here you will find 7 phrasing examples for 3 different types of chords: min7, Altered Dominant 7 and maj7.
The examples can be practiced separately and can also be put together to outline a ii-V7-I progression by choosing different phrases from each one of the three chord types.
You can also combine multiple phrases from each chord quality and create longer contrapuntal lines within the same harmony.
POINT OF ENCOUNTER (CONTRAPUNTAL WARM UP EXERCISES FOR GUITAR)
by Hristo Vitchev
In this technical study I want to present to you some of the different ways in which I like to practice contrapuntal lines and phrases within a major scale system.
I find these to be some of the most fun and challenging practice ideas when it comes down to warming up before a concert, recording session, or simply to keep your chops up and get some more interesting and creative output from your scalar practice.
To get the best out of the exercises presented here it is essential to pay attention to the notation of each contrapuntal line and sustain each note for its full value. This can sometimes create challenging finger stretches and finger coordination issues but it is extremely important in the separation of both voices and for the development of the maximum finger independence.
All exercises are presented in the key of G Major but I always suggest to start transposing them to other scales like the melodic minor and the harmonic minor once you get comfortable with the material.
TONS OF GUIDE TONES (A MODERN LOOK AND APPLICATION)
by Hristo Vitchev
In this book I present a comprehensive way to look at “guide tones” and their physical evolution on the fretboard through all mode positions so we can build a strong and comfortable command of these essential harmonic elements.
I divide guide tones in two categories. Primary Guide Tones are the 3rd and 7th of each chord (the notes responsible for all harmonic movement and voice-leading in the Western music system) and Secondary Guide Tones are the root and 5th.
Once we can freely visualize and access these two sets of guide tones over every chord quality and position of the fretboard we can really expand our harmonic playing by simply adding an extra note to create 3 Note Harmonic Structures representative of the sound, color, flavor and harmonic direction of the original chord.
The book presents Primary and Secondary guide tones for 4 types of chords; maj7, min7, Dom7 and Dom7 alt. Over each chord type you will see 3 types of examples/exercises in all mode positions.
POLYPHONIC MODES - PENTATONICS (VOLUME 3: SUSPENDED DOMINANT)
by Hristo Vitchev
The concepts and ideas presented in the following pages represent my absolutely favorite way to think harmonically on the fretboard.
By cataloguing and organizing our chordal vocabulary in a systematic way which is directly connected to the physical distribution, arrangement and execution of the modes (of a tonal system) we can access all harmonic information faster and more efficiently.
That in turn can make the transition between chordal and melodic playing much smoother, elegant and sophisticated.
In this volume (volume 3) I will be exploring the suspended dominant chords and their modal evolution through the minor pentatonic scale. This process of chordal exploration is essential in building a vastly rich, multi-hued and colorful chordal library while staying rooted in the efficient navigational system of the melodic geometry of the modes.
Here I present to you my very favorite voicings for suspended dominants (D7sus4) through all positions of the modes of the A minor pentatonic scale both in the melody and bass ranges.
POLYPHONIC MODES (VOLUME 2: ALTERED DOMINANT)
by Hristo Vitchev
The concepts and ideas presented in the following pages represent my absolutely favorite way to think harmonically on the fretboard.
By cataloguing and organizing our chordal vocabulary in a systematic way which is directly connected to the physical distribution, arrangement and execution of the modes (of a tonal system) we can access all harmonic information faster and more efficiently.
That in turn can make the transition between chordal and melodic playing much smoother, elegant and sophisticated. In this volume I will be exploring the altered dominant chords and their modal evolution.
This process of chordal exploration is essential in building a vastly rich, multi-hued and colorful chordal library while staying rooted in the efficient navigational system of the melodic geometry of the modes.
Here I present to you my very favorite voicings for altered dominants (G7alt) through all positions of the modes of the Ab Melodic Minor scale both in the melody and bass ranges.
POLYPHONIC MODES (VOLUME 1: MINOR)
by Hristo Vitchev
The concepts and ideas presented in the following pages represent my absolutely favorite way to think harmonically on the fretboard.
By cataloguing and organizing our chordal vocabulary in a systematic way which is directly connected to the physical distribution, arrangement and execution of the modes (of a tonal system) we can access all harmonic information faster and more efficiently.
That in turn can make the transition between chordal and melodic playing much smoother, elegant and sophisticated.
In this volume I will be exploring the minor chords and their modal evolution. This process of chordal exploration is essential in building a vastly rich, multi-hued and colorful chordal library while staying rooted in the efficient navigational system of the melodic geometry of the modes.
Here I present to you my very favorite voicings for minor chords (Dmin7) through all positions of the modes of the C Major scale both in the melody and bass ranges.
MODAL X-ING (3 NOTE HARMONIC FRACTALS) HARMONIC TRIANGULATION
by Hristo Vitchev
In this chapter of the Modal Crossing concept development I will be exploring yet another possible way in which we can extract interesting three note chordal textures from the major scale and its modes. Here we will be concentrating in possible harmonic textures produced by the combination of the Left and Central elements of the scale only.
The first formula will be Central, Central, Left and the second one will be Left, Left, Central. Each one of the two formulas will have three variations of HARMONIC TRIANGULATIONS as the highest note in the three note voicing can change strings and physically be positioned on the other two of the three participating strings in the subset.
As the six strings of the guitar can be divided into four groups of adjacent three string sets we will end up with 12 possible “3 note harmonic fractals” in each mode position.
The resulting chordal textures are a great tool that can be used in situations where you want to color and explore a certain harmony in a more detailed way. They are also great vehicles for connecting different positions of the fretboard in a harmonic passage and serve as a wonderful technical workout and fretboard visualization exercise.
MODAL X-ING (3 NOTE HARMONIC FRACTALS) PIVOT NOTE HARMONIC WORKOUT
by Hristo Vitchev
In this harmonic study I will be illustrating some of my favorite ways to practice the material presented in my MODAL X-ING (3 Note Harmonic Fractals) book through a series of modal exercises that not only help the assimilation of the concepts and ideas into our playing styles but also work extremely well for left hand finger independence, strength and coordination.
All the following exercises work on the concept of a “Pivot Note” - a note that is common between two different voicings/harmonic fractals. As we execute the exercises we also want to play close attention to such “Pivot Notes” as physically we need to keep the finger that is responsible for playing the note on the fretboard (sustaining the note) as the other two voices rotate around it to form the new harmony.
This creates all sorts of technical challenges and great practice rudiments that will serve in the development of a precise, accurate and smooth chordal technique.
All exercises are presented in they key of G Major and all 3 note harmonic fractals can be used to suggest any diatonic chord of such tonality. The strongest candidates are always the ii-7, IVmaj7(#11), V7sus4, and vi-7 chords.
MODAL X-ING (3 NOTE HARMONIC FRACTALS)
by Hristo Vitchev
Modal Crossing: I have been researching and studying the concepts and ideas presented in this book for the last ten years. To me they open a whole new world of harmonic exploration and conceptualization on the guitar and also serve as a great way to fully develop a well anchored and solid navigational sense on the fretboard.
The main idea consists of extracting three note voicings from the geometrical layout of the modes of a given tonal system. I refer to these harmonic clusters as “fractals” and in this book I will be only concentrating on their extraction and development from the major scale.
Each “Harmonic Fractal” always has one static note which serves as the anchor and two movable notes which always rotate in a similar fashion as the crossing lines in the letter “X”. (Hence the name of the book MODAL X-ING) Not only that, but the static note can also shift places within the geometry of the shape by being on an outside string or sitting on an inside string. Because of that, the geometry of the two movable elements will also be stretched in different ways. And last but not least, the static element can also change planes from functioning as a Left Element, a Central Element, or a Right Element.
UNORTHODOX SUSPENSION (CREATIVE SUS4 VOICINGS FOR THE MODERN JAZZ GUITARIST)
by Hristo Vitchev
Most of my students often ask me about different ways one can voice a SUS4 chord. It seems like many guitar players have a much easier time internalizing and memorizing voicings for extended and altered dominants but when it comes down to the SUS4 variation of such chords they know two or three different shapes at most.
To me the SUS4 is a special sonority. It has a very pastel like sonic color and possesses a rather etherial and open sound which can be adapted to fit any musical context. Here I present to you a few of my favorite ways to voice the SUS4 chords on the fretboard and how to use them throughout the entire range of the instrument.
All examples are presented in the key of F Major as C7sus4 harmonies but I advise you to transpose them to all 12 keys and try to insert them in harmonic movements and progressions that you are already familiar with.
PENTATONIC VOICINGS
by Hristo Vitchev
In this book I present to you some of the ideas and concepts I have been using to extract harmonic information from the pentatonic scale.
Being one of the most universal scales and used often by most guitar players, its chordal applications come in handy to add color and enhance the sounds and hues of our existing harmonic vocabulary.
Here I have extracted some of my favorite voicings from the “A minor” pentatonic scale. The usage and application of these voicings can happen in many different ways. Amin7, Dmin9, Cmaj7, Fmaj7, Bbmaj7(#11), and F#7alt are amongst my favorite candidates, but I invite you to explore substituting these new harmonic structures for any chord over which you use the “A minor” pentatonic melodically.
The study and explorations of the concepts should start in one key (harmony) and then progressively move through all keys and standard harmonic progressions to develop a full and comfortable application for any musical situation.
ADD9 TRIAD WORKOUT (MAJOR / MELODIC MINOR)
by Hristo Vitchev
These diatonic Add9 triad exercises present a very comprehensive way to look at the fretboard through a vertical and horizontal perspective and to understand the shortest voice movement necessary for their execution.
All exercises are presented in the key of F major and F melodic minor.
OFFSET QUARTAL VOICINGS FOR GUITAR
by Hristo Vitchev
The concept presented in this book is something that I have been fascinated with for a very long time. The sound of chord structures and sonorities build in fourths (instead of thirds as in conventional harmony) has been always attractive to my ear. It is a sound that has played an essential role in the harmonic signature of modal jazz and modern jazz in particular.
The voicings presented here are some of my favorite variations and re-arrangements of the classic quartal voicings that many call “So What” voicings as they were the primary chord structures of the legendary Miles Davis album “Kind of Blue” where the tune “So What” was first recorded.
By moving the four different notes of the chord throughout the many possible octave displacements we still retain a structure that is build by four notes (a diatonic fourth apart form each other) but with their “offset” now we can produce a myriad of different textures and sounds that enrich and paint a whole new personality of the well know harmonic character.
"10 TONAL EXERCISES" (VOLUME 1: HARMONIC)
by Hristo Vitchev
The following exercises are specifically designed to target and help improve a few specific areas of our playing. They are great to achieve finger independence, stretching and strength in the left hand, understand modal sequences and melodic motif transposition over the entire fretboard and develop creative ideas for polyphonic playing.
They are very useful for warming up before concerts and recording sessions and are rather enjoyable and fun to play. It is very important to pay attention to how they are notated and make sure we sustain the notes of all voices for their full value/duration.
For the purpose of this book all exercises are presented in the key of C major but I strongly encourage you to transpose and move to all 12 keys and also try them in different scalar systems; melodic minor, etc.
8 CHORDAL ETUDES FOR JAZZ GUITAR
by Hristo Vitchev
The chordal études presented in this book are specifically designed to augment and enrich the chordal vocabulary of the player while working on voice-leading, stretching, coordination, dexterity and strength training for the left hand. The many different voicings I have used throughout the text are the result of years of exploration of the fretboard and represent some of my favorite ways to interpret harmony on the guitar.
All études are composed over the chord progressions of famous jazz standards which would facilitate the implementation of these very common harmonic movements into any musical situation.
For the practice and execution of the material presented here I welcome each one of you to come up with different rhythmic and stylistic ways of playing the études and transform them into your own playing styles and personalities. Playing them rubato, arpeggiating, with straight eights feel, or a specific swing rhythm, etc. I have notated them in the simplest possible way so that all the attention and concentration can fall over the study of the specific voicings at play.
More than anything it is my hope that everyone can find some new ways to think harmonically over the fretboard and develop some of the ideas into concepts of their own.
8 CONTRAPUNTAL ETUDES FOR JAZZ GUITAR
by Hristo Vitchev
The études presented in this book are specifically designed to target a few different areas of contemporary jazz guitar playing techniques. It is my goal to help you improve coordination, flexibility, stretching, dexterity, articulation, and overall voice balance over the entire range of the instrument. The études are composed using well known chord progressions found in many popular jazz standards and they can also help you develop a two-voice harmonic and melodic language that can be applied in a multitude of situations in your own playing.
The main goal when practicing and playing this études is to sustain the full value of the notes written especially when the two voices get further apart on the fretboard and therefore present a higher technical difficulty on the instrument.
BETWEEN THE VOICINGS
by Hristo Vitchev
In this text I cover my main approach for building chords and constructing piano-like voicings on the guitar.
The chord structures are divided in 3 types: Left, Central, and Right Expansion and throughout the book we uncover all possible sonorities on the fretboard.
260 pages of unique and very interesting chord shapes for guitarists of all levels.
HARMONIC /THE-SAU-RUS #5 (MODERN VOICING COLLECTION) - 3 NOTE VOICINGS
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears. Then I will present these structures (and some of their variations) on all different string sets and positions on the fretboard so that we can fully assimilate their sounds and maximize their usage.
Part 5 presents some of my favorite 3 Note Voicings for Maj7, min7 and 7alt harmonies. Horizontally they are positioned over the root, 3rd, 5th and 7th degrees of the chord and vertically they are positioned as starting on the 4th, 5th and 6th string. In my opinion these particular chordal structures are ideal for any musical situation where one seeks a more etherial, open, and light sound.
Materials Included: PDF of "Harmonic Thesaurus #5" - 3 Note Voicings (TAB and Standard Notation). 3 Backing Tracks: maj7, min7 and 7alt harmonic background.
HARMONIC /THE-SAU-RUS #6 (CYCLIC II-V7-I WORKOUT IN MAJOR KEYS)
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears.
Then I will present these structures (and some of their variations) on all different string sets and positions on the fretboard so that we can fully assimilate their sounds and maximize their usage.
Part 6 presents a great harmonic workout idea that takes us through all twelve ii-V7-I progressions in all major keys. The idea behind this type of practicing is to try to stay relatively in the same physical position on the fretboard and as you go through the tonal centers try to implement as many different chord voicings as possible so that each key has its own harmonic character.
Materials Included: PDF of "Harmonic Thesaurus #6" - Cyclic ii-V7-I Workout (TAB and Standard Notation). Backing Track. HD Video/Audio of full study.
HARMONIC /THE-SAU-RUS #7 (CYCLIC II-V7-I WORKOUT IN MINOR KEYS)
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears.
Then I will present these structures (and some of their variations) on all different string sets and positions on the fretboard so that we can fully assimilate their sounds and maximize their usage.
Part 7 presents a great harmonic workout idea that takes us through all twelve ii-V7-i progressions in all minor keys. The idea behind this type of practicing is to try to stay relatively in the same physical position on the fretboard and as you go through the tonal centers try to implement as many different chord voicings as possible so that each key has its own harmonic character.
Materials Included: PDF of "Harmonic Thesaurus #7" - Cyclic ii-V7-i Workout (TAB and Standard Notation). Backing Track. HD Video/Audio of full study.
12 VOICING STUDIES (OVER A 12 BAR BLUES)
by Hristo Vitchev
In this book I am showcasing some of my very favorite ways to practice harmony and work on expanding my chordal vocabulary on the guitar.
I have selected the basic 12 bar blues form (in the key of F) as the canvas over which I will be presenting the different voicing studies and exercises.
Each one of the 12 harmonic etudes presented here is specifically designed to target and help improve key areas of our polyphonic navigation and control of the instrument.
Materials Included: 12 Voicing Studies (Over a 12 Bar Blues) book (PDF file - TAB and Standard Notation). HD video with performance of all 12 studies . Two backing tracks: 12 bar blues in F (at tempo and slowed down).
HARMONIC DAYDREAMS (3 NOTE "ECM" STYLE VOICINGS HARMONIZING THE MAJOR SCALE)
by Hristo Vitchev
"3 Note" harmonic structures (which could be triads in their various inversions or more modern close interval/cluster voicings) are some of the most balanced and open/ethereal ways guitarist can voice chords.
I have always been fascinated with the overall balance and harmonic color as well as the melancholic and reflective mood present in all recordings and album releases by the famous German jazz label - ECM and in this study I want to present 4 different ways in which I like to harmonize a major scale using specific 3 note voicings that are suggestive of that sound and feel.
Materials Included: Harmonic Daydreams (3 Note "ECM" Style Voicings Harmonizing the Major Scale) study (PDF file - TAB and Standard Notation). HD Video/Audio of the presented material.
HARMONIC /THE-SAU-RUS #8 (QUARTAL ALIGNMENT) - VIDEO MASTERCLASS
by Hristo Vitchev
Part 8 presents an easy and very interesting concept we can apply in order to create harmonic tension and release using quartal voicings (chords constructed using the interval of a 4th instead of a 3rd).
To illustrate the idea I am selecting the “D Dorian” mode and harmonizing it using quartal harmony. All resulting harmonic structures will be functioning as Dmin7 chord and will serve as our consonant/inside sound selections. To create tension against them we will implement a number of different techniques which will produce contrasting chord voicings that will then serve as our dissonance/outside sound selections.
In the accompanying video tutorial I will be covering step-by-step how each one of these “quartal alignments” is produced and the architecture behind it.
Materials Included: "Harmonic Thesaurus #8" - Quartal Alignment study (PDF file - TAB and Standard Notation). Backing Track. 40 mins. "HD Video" Tutorial Masterclass.
HARMONIC /THE-SAU-RUS #9 (DIFFRACTED II-V7-I USING QUARTAL ALIGNMENT TECHNIQUES) - VIDEO MASTERCLASS
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure or chordal concept/technique that I find attractive and interesting to my ears.
Part 9 presents an easy and very unique concept we can apply in order to create harmonic tension and release when comping over ii-V-I progressions. This way of diffracting the original basic harmony of any progression is fully based on the techniques and concepts of “Quartal Alignment” which were covered in Part 8 of the “Harmonic Thesaurus” series.
In the accompanying Tutorial Video Masterclass I will be discussing in detail the architecture and development of this type of playing (harmonic diffraction) as well as analyzing the first 4 phrases slowly so you can see and hear first hand my thinking and approach when constructing these chordal lines. The second video contains all ten phrases performed at tempo with a backing track that has a bass line playing the original ii-V-I changes so you can hear the tension and release that is created when the two parts are superimposed.
Backing Track included.
GEOMETRY OF HARMONIC TENSION PART 2 - MELODIC MINOR (ENCAPSULATED QUINTAL CLUSTERS AND THEIR II-V7-I APPLICATION)
by Hristo Vitchev
In this study and video masterclass I will be presenting different ideas as to how we can use three unique modal voicings (RRL, RLC and RCR) to represent all diatonic harmonies of the melodic minor scale as well as the application of such chordal textures when they are incorporated within ii-V7-i harmonic passages in a minor key.
I will be exploring the three different polyphonic geometries (which are based on revolving intervals of a 5th) through all string sets and mode positions on the fretboard. This approach to “chordal playing” is based purely on the geometry and visual architecture of a chordal structure (abstract geometrical shapes that can be easily recognized on the fretboard) and does not particularly relate to the conventional harmonic principles and teachings of the western music tradition. The study will also present and analyze in great detail 5 different (4 measure) modern chordal phrases over a ii-V7-i progression in the key of C minor.
Materials Included: GEOMETRY OF HARMONIC TENSION Part 2 - melodic minor (Encapsulated Quintal Clusters and their ii-V7-i Application) study (PDF file - TAB and Standard Notation). Backing Tracks (E7alt modal practice and ii-V7-i cycle). 90 mins. "HD Video" Tutorial Masterclass.
HARMONIC /THE-SAU-RUS #10 - CHROMATIC II-V7-I (DESCENDING)
by Hristo Vitchev
Part 10 presents a fun and intricate way to practice your ii-V-I voice-leading and chord patterns over a descending chromatic melody line. Forcing oneself to be able to voice any ii-V-I progression anywhere on the fretboard and over any possible melody note is a great tool and important harmonic technique that can bring a degree of comfort and harmonic understanding of the instrument that is essential for the development of the modern chordal improviser.
As the descending chromatic melodic line is bound to present certain melody to chord relationships that are outside of the main key/chordal structure we need to voice at each point of the progression, when such melodic tensions arise we will simply use the harmonic options presented to us by the tritone substitution of the original progression. So, if a melody note does not function as a regular chord tone or chord extension/alteration of the harmony at play then we will use the tritone substitution of such chord which will always find a functioning role for that same melody note/chord degree in question.
Materials Included: "Harmonic Thesaurus #10" - Chromatic ii-V7-I (descending) study (PDF file - TAB and Standard Notation). "HD Video" of all harmonic phrases at tempo and slowed down.
POLYPHONIC TWINS - VOLUME 1 (3 NOTE VOICINGS)
by Hristo Vitchev
In this chordal study I will be exploring a very fun way to look at harmony on the guitar from a geometrical and pattern oriented perspective. The basic concept behind this way of harmonic navigation is to find unique physical shapes (patterns) for certain voicings of your choice and then try to move the same finger pattern up and down the fretboard as well as reposition it on different string groups to find out the many different chord qualities that can share the same geometry (physical layout of your fingers) in all ranges of the instrument. The most important thing to remember when you move these shapes around is that you are not transposing their intervallic skeleton but rather just moving around the shape itself. Obviously the same finger pattern would contain different intervals when moved across the different string groups of the guitar while its physical shape stays constant.
Here I concentrate on showcasing how we can find multiple chord applications for each one of these twins over a ii-V7-I-VI7 chord progression but there are so many other possible options for the usage of these harmonic clones that I invite all of you to continue exploring the concept past this simple progression.
Materials Included: "Polyphonic Twins Volume 1" chordal study (PDF file - TAB and Standard Notation). "HD Video" of all examples and harmonic phrases. Backing track.
SHORT CHORDVERSATIONS #1 (HARMONIC DENSITY - MIN7)
by Hristo Vitchev
In this mini-lesson series my goal is to share with all of you some of the fun and interesting practicing concepts I enjoy working on when I study harmony on the guitar.
Part 1 covers a way of finding new voicing interpretations for minor chords at different density levels where we define any minor sonority with a single note and then gradually increase its harmonic density all the way up to four notes. Once we reach the maximum density we start reducing it by one note at a time until we get back to a single note representation for such chord.
In this short study I will be illustrating these ideas through 7 variations of harmonic density development over a Dmin7 harmony.
Materials Included: "Harmonic Density" chordal study (PDF file - TAB and Standard Notation). "HD Video" of all Harmonic Variations. Backing track.
SHORT CHORDVERSATIONS #2 (DYADIC SHIFT: II-V7-I) VIDEO MASTERCLASS
by Hristo Vitchev
In this mini-lesson series my goal is to share with all of you some of the fun and interesting practicing concepts I enjoy working on when I study harmony on the guitar.
Part 2 covers an interesting and challenging harmonic exercise which consists in trying to voice a ii-V7-I chord progression where you select a four note ii (min7) chord and you are only allowed to move two of its voices/notes in order to produce the V7 (dominant) chord that should follow. Once you are at the V7 chord you are once again allowed to only move two of its four voices in order to produce the expected resolution to you Imaj7 (tonic) chord. After we arrive at the tonic you are once again allowed to only move two of its voices in order to produce a new ii (min7) chord and start the whole harmonic cycle again. The challenge is to try to continue this Dyadic Shift as much as possible until you completely run out of chordal options or it is no longer possible to produce the desired harmony with only a two note movement. In the following pages and Video Masterclass I present 11 of these ii-V7-I cycles which are produced only by the starting four note harmony and the allowed two voice movement between each chord.
Materials Included: "Dyadic Shift: ii-V7-I" chordal study (PDF file - TAB and Standard Notation). "20 mins. HD Video Masteclass." Backing track.
SHORT CHORDVERSATIONS #3 (CONTRARY MOTION: II-V7-I-VI7)
by Hristo Vitchev
In this mini-lesson series my goal is to share with all of you some of the fun and interesting practicing concepts I enjoy working on when I study harmony on the guitar.
Part 3 explores a very fun contrary motion chordal exercise which consists of voicing ii-V7-I-VI7 harmonic passages where the relationship between your lowest note (bass) and highest note (melody) moves in contrary motion (opposite directions) at all times. Here I will be demonstrating how you can find new and exciting chord voicings when your bass always descends in a stepwise motion (by a half or whole step) and your melody always ascends in a stepwise motion (by a half or whole step).
This kind of movement also presents quite a few technical challenges when applied on the guitar and so these type of exercises are very helpful not only to augment your harmonic vocabulary but also to improve your finger independence, coordination, strength and endurance.
All examples are presented in the key of C Major.
Materials Included: "Contrary Motion: ii-V7-I-VI7" chordal study (PDF file - TAB and Standard Notation). "HD Video of all Harmonic Cycles." Backing track.
SHORT CHORDVERSATIONS #4 (STATIC MELODY: II-V7-I-VI7)
by Hristo Vitchev
Part 4 is an evolution to the contrary motion chordal exercise presented in part 3 but this time we select a static melody note which will not move throughout the voice-leading of all four chords of the ii-V7-I-VI7 harmonic passage.
This melodic and physical limitation forces us to get very creative in finding all remaining chordal ingredients for each element of the progression and in a way ensures that we achieve an interesting and contrary motion between the remaining voices of all harmonies. To get the full spectrum of harmonic possibilities we will select each one of the 7 notes of the diatonic tonal center we occupy and use them as a possible static notes over which to voice all four chords of our progression. Therefore, we will end up with 7 different “static melody” cycles for the entire harmonic cadence.
If at times the static note becomes a melodic degree against any of the chords that can not be harmonized we can simply substitute that chord with its Tritone Sub and that will always ensure a proper relationship for harmonization.
Materials Included: "Static Melody: ii-V7-I-VI7" chordal study (PDF file - TAB and Standard Notation). "HD Video of all Harmonic Cycles." Backing track.
SHORT CHORDVERSATIONS #5 (RUNAWAY BASS)
by Hristo Vitchev
Part 5 presents a short, simple and fun harmonic exercise that is very effective in improving your left hand chordal technique: stretching, voice independence, dexterity and endurance.
It consists of extracting “3 note” harmonic structures from the physical mode fingerings of a given key on the top three strings on the guitar and using all the remaining diatonic alternate bass notes (on the 4th, 5th and 6th string) in a descending/ascending melody line which will be played under the sustaining harmony.
This creates a lot of challenges for the left hand in maintaining and even and balanced sound between the two parts and lets us see all the possible fingerings of such harmonic structures that are needed in order to accommodate for each note of the scale becoming the lowest note. It also works great for our ear training as we can directly taste the relationship and effect that each bass note has on the sustaining chordal structure within the modality of the key center.
Materials Included: "Runaway Bass" chordal exercises (PDF file - TAB and Standard Notation). "HD Video" lesson and concept explanation.
SHORT CHORDVERSATIONS #6 (INTERVALLIC POWERS OF THE 7TH KIND)
by Hristo Vitchev
Part 6 presents an approach through which we can study the unique sound and character of a given interval and use it as a prism or sonic filter that would let us visualize and re-imagine any harmonic structure within that interval’s own sonic spectrum.
Here I will be concentrating in exploring these possibilities through the specific textural nuances of the “major 7” interval. The study explores many different ways in which we can capture the sound of a dominant 7, major 7 and minor 7 chords by only using major 7 intervals as our building blocks. I will also illustrate how we can voice entire ii-V7-I progressions with the exclusive use of such interval.
As you will notice in the following pages there are a few chord alterations that I incorporate over some of the basic harmonies you are all familiar with that might be a bit unorthodox to many. However, I really like the uniqueness of their sound especially when used within the dissonance of the major 7 interval. These are the regular 7th (in conjunction with the b7th) degree over the Dominant chord as well as the #9th degree over any Maj7 chord. I will be addressing more on that in the short tutorial video that comes with the study.
Materials Included: "Intervallic Powers of the 7th Kind" (PDF file - TAB and Standard Notation). "HD Video" Lesson and Concept Explanation. "HD Video" of all Harmonic Phrases at tempo.
CHORD FLAKES #1 VIDEO MASTERCLASS
by Hristo Vitchev
In this new harmonic mini-lesson series I seek to explore in detail the different voicings and chord shapes that have inspired me in one way or another over the years and that have helped me shape my harmonic personality on the instrument.
I also seek to demonstrate the different exercises and workout concepts that have helped me construct a challenging, fun and very efficient practice routine that allows for the quick internalization and implementation of such harmonic material.
Part #1 starts with a beautiful minor 9 voicing that has an intervallic architecture of a root, b7, 9 and b3.
Materials Included: CHORD FLAKES #1 study (PDF file - TAB and Standard Notation). Link to "HD" Video Masterclass on Hristo Vitchev's official YouTube channel.
Watch Sample Video
CHORD FLAKES #2 VIDEO MASTERCLASS
by Hristo Vitchev
In this new harmonic mini-lesson series I seek to explore in detail the different voicings and chord shapes that have inspired me in one way or another over the years and that have helped me shape my harmonic personality on the instrument.
I also seek to demonstrate the different exercises and workout concepts that have helped me construct a challenging, fun and very efficient practice routine that allows for the quick internalization and implementation of such harmonic material.
Part #2 explores a beautiful minor 9(11) voicing that has an intervallic architecture of a b7, 9, b3 and 11.
Materials Included: CHORD FLAKES #2 study (PDF file - TAB and Standard Notation). Link to "HD" Video Masterclass on Hristo Vitchev's official YouTube channel.
SHORT CHORDVERSATIONS #7 (UNWINDING CHORDS)
by Hristo Vitchev
Part 7 presents an approach through which we can execute any harmony or chord as an “unwinding” melodic line which will contain simultaneous elements of different rhythmic durations.
This in turn will create a contrapuntal harmonic tapestry as some of the notes of the unwinding melody will be sustained for different amounts of time. In my opinion this way of articulating chords is the closest we can get the guitar to sound like a piano.
Working on these techniques will also improve our fluency when it comes to transitioning between melodic and fully harmonic playing as we will be able to visualize any harmony in a melodic way and any melody in a harmonic way.
The accompanying video tutorial explores each phrase in great detail and carefully covers the unique sustain value of all notes of each harmonic passage as well as the specific fingerings and left/right hand techniques in use.
Materials Included: "Unwinding Chords" (PDF file - TAB and Standard Notation). 30 mins. "HD" Video Masterclass.
SHORT CHORDVERSATIONS #8 (IRREGULAR SYMMETRY - DIMINISHED)
by Hristo Vitchev
Part 8 explores a unique technique for harmonizing a whole-half diminished scale by using what I call “diminished diads” - two note harmonic clusters. Even though the whole-half diminished scale is a completely symmetrical scale the irregularity in these diads will come from the fact that the lower voice will always move through the diatonic sequence starting on the whole step interval and the higher voice will always move sequentially starting on the half step interval.
The resulting harmonic structures can be used in the place of a Dominant 7 chord as long as we start the whole-half diminished scale a half step above the root of such harmony.
The accompanying video masterclass explores each harmonic phrase in great detail and covers (step by step) all concepts at play in the construction of these modern chordal lines.
Materials Included: "Irregular Symmetry - diminished" study (PDF file - TAB and Standard Notation). 20 mins. "HD" Video Masterclass. Backing Tracks: B7alt modal groove / ii-V7-i in the key of E minor.
SHORT CHORDVERSATIONS #10 (HARMONIC CASCADES - MAJ7 / MIN7)
by Hristo Vitchev
Part 10 features a technique for interpreting and capturing the flavor of major and minor sonorities by having the top note/voice of a chord sustain while the lower voices cascade down like a melodic stream that gently caresses the different chord tones and extensions of the harmony. This approach creates a rather pianistic sound on the guitar and also serves as a wonderful exercise for stretching, finger independence and fretboard navigation.
In this study I have presented my favorite ways to harmonically cascade within the maj7 and min7 sonorities starting on each possible chord tone and extension of the harmony at a horizontal level as well as presenting such concepts with the melody notes positioned on the 1st, 2nd and 3rd string. You will also find exercises that will combine the different harmonic cascades from each string group within a vertical modal position which will help widen the control and comfort of this type of harmonic navigation on the instrument. The accompanying video masterclass contains each phrase at tempo and slowed down as well as an in-depth analysis and explanation of the construction and architecture of all material presented in the study.
Materials Included: "Harmonic Cascades - ma7/min7" study (PDF file - TAB and Standard Notation). 50 mins. "HD" Video Masterclass.
6 CASCADING 2516
by Hristo Vitchev
In this short harmonic study I demonstrate how we can apply the concepts and techniques covered in my SHORT CHORDVERSATIONS #10 (Harmonic Cascades - maj7 / min7) publication over a basic ii-V7-I-VI7 progression.
The technique of cascading through any given sonority consists of having the top note/voice of a chord sustain while the lower voices fall down like a melodic stream that gently caresses the different chord tones and extensions of the harmony.
If you want to study this in more detail you can find more information and many interesting exercises in my SHORT CHORDVERSATIONS #10 (Harmonic Cascades - maj7 / min7) study and Video Masterclass available here: https://gum.co/raazif
All examples are presented in the key of C Major and the different cascades used over each harmony move through the mode that best captures and brings out its specific and unique flavors.
Materials Included: "6 Cascading 2516" study (PDF file - TAB and Standard Notation). "HD" Video of All Harmonic Cascades (solo and with rhythm section). Backing Track.
HARMONIC CROSSFIT (VOLUME 1 - RHYTHM CHANGES)
by Hristo Vitchev
In this short harmonic study I present to you one of my very favorite chordal workouts that targets (in a very intense way) the development of new harmonic vocabulary, chording technique and fretboard navigation.
In Volume 1 I will be concentrating on the standard “Rhythm Changes” harmonic progression and exploring its many different voice-leading possibilities available to us on the guitar. There are 4 different studies included here that can give you a good sense as to how I like to structure my practice when learning a new tune or working out a standard harmonic passage. Each study should be performed as a slow arpeggiation exercise first where the chords are played by layering each note one at a time in a rubato (freely) fashion so our ears and fingers can have the chance to absorb and internalize the specific voice-leading and its sonic texture. Once familiar with the chordal vocabulary of each study our goal is to try to play the etude “in time” and in a faster tempo where the voicings are sounded in a piano-like style (all pitches articulated at the same time).
Materials Included: Harmonic Crossfit Volume 1 - "Rhythm Changes" study (PDF file - TAB and Standard Notation). "HD Video" of All Examples and Studies (at tempo and slowed down). Backing Tracks.
SHORT CHORDVERSATIONS #11 (ALTERED BRIDGES - ALTERED DOMINANT HARMONIC WORKOUT) + VIDEO MASTERCLASS
by Hristo Vitchev
Part 11 features a great and fun way I use to expand my chordal dictionary which consists of selecting a traditional chord voicing I am very familiar with to start a harmonic sequence which will finish on the same voicing but an octave higher (staying on the same string group/string selection as the first chord). The chordal bridging between these two octave-apart chords will be produced by trying to discover what other voicings (for the original chord I selected) could I derive in a stepwise manner by simply concentrating on the voice-leading and what I think sounds the most beautiful within each particular transition.
Once I come up with a final sequence I like, my objective will be to practice it very slowly and meticulously so I can remember and play it in the same manner that I would play a scale. I simply remember how many elements I have used to construct my chordal bridge and what physical chord shapes represent each one of the different elements.
These bridges can contain from 2 all the way to 7 elements or in certain cases even more (especially if you desire to have very intricate inner voice movements in your voice-leading).
Materials Included: "Altered Bridges" chordal study (PDF file - TAB and Standard Notation). 40 mins. "HD" Video Masterclass.
ALL THE CHORDS THERE ARE (HARMONIC VOICE-LEADING WORKOUT OVER THE CHANGES TO "ALL THE THINGS YOU ARE")
by Hristo Vitchev
In this harmonic voice-leading workout I demonstrate how I like to structure my harmonic practice routines when exploring tunes or learning new repertoire. For the foundation of this study I have selected the harmonic progression of the great jazz standard "All The Things You Are."
The main goal of the exercise is to concentrate in different physical positions of the fretboard and try to voice all the chords of the tune while exploring interesting chord voicing options and fingerings that are particular to the range and string selection you have chosen.
The study consists of 4 different harmonic etudes over the entire form and chord progression of "All The Things You Are." Each etude is designed to explore a different part/range of the fretboard and the sonic/textural possibilities such range has to offer. Variation #3 also illustrates a chordal exploration of the progression using 3 note harmonic structures.
Materials Included: "All The Chords There Are" Harmonic Voice-Leading Workout (PDF file - TAB and Standard Notation). "HD Video" of all Harmonic Variations (in time and rubato). 2 Backing Tracks.
QUINT-ESSENTIALS (MODAL 3-NOTE QUINTAL VOICINGS)
by Hristo Vitchev
In this harmonic study I present a very easy and effective way to modernize your chordal playing on the guitar by extracting 3-Note Quintal Voicings (voicings build with intervals of a 5th instead of the traditional tertian harmonic approach) from any major tonality and using these new sonorities to represent different diatonic chords of the same key.
Quintal Voicing are very open and etherial sounding structures and are a great tool to texturally spice-up any other conventional chord voicing when used in conjunction. They are also rather easy to execute and do not require any big stretching or uncomfortable fingerings. That makes them ideal for chord coloring, fast harmonic phrases and transitional chordal passages.
The accompanying Tutorial Video explains all the concepts and implementation of this type of harmonic architecture in great detail.
Materials Included: QUINT-Essentials (Modal 3-Note Quintal Voicings) study (PDF file - TAB and Standard Notation). "HD Video" of all Examples, Exercises and Phrases (At Tempo and Slowed Down). "HD Video" Tutorial - Explanation of Concepts. 2 Backing Tracks.
Watch Sample Video
CONTRARY 251S (II-V7-I HARMONIC VOICE-LEADING WORKOUT USING STEPWISE CONTRARY MOTION)
by Hristo Vitchev
In this short harmonic study I present a fun and intricate way to practice ii-V-I voice-leading and a great way to discover new and exciting chord patterns when we use a contrary stepwise motion between the lowest and highest voice of each harmony.
There are 2 variations of the contrary motion exercise. In the first one the Melody will always be ascending in a stepwise manner and the Bass will always be descending with a stepwise motion.
In the second variation we will flip this relationship and now the Melody will descend and the Bass will ascend in a stepwise fashion as the ii-V7-I progression cycles throughout the entire range of the instrument.
All ii-V-I examples are presented in the key of C major but I highly recommend to try it in all 12 keys once you get accustomed to the exercise.
Materials Included: “Contrary 251s” study (PDF file - TAB and Standard Notation). "HD Video" of all Harmonic Phrases.
HARMONIC /THE-SAU-RUS #11 - 9TH ON TOP (MINOR)
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure or chordal concept/technique that I find attractive and interesting to my ears.
Part 11 presents 28 of my very favorite ways to voice a min9 chord that has its 9th degree as the highest note (soprano voice). All voicing examples presented in this study are for a Emin9 harmony (with the note F# as the highest note) but once you get them under your fingers you can use them as chord voicings for Gmaj7(#11) or A13sus4 just as easily.
Materials Included: "HARMONIC /the-sau-rus #11" - 9th on Top (minor) study (PDF file - TAB and Standard Notation). "HD Video" of All Voicing Examples. Backing Track.
HARMONIC /THE-SAU-RUS #12 - 11TH ON TOP (MINOR)
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure or chordal concept/technique that I find attractive and interesting to my ears.
Part 12 presents 18 of my very favorite ways to voice a min11 chord that has its 11th degree as the highest note (soprano voice).
All voicing examples presented in this study are for a Emin11 harmony (with the note A as the highest note) but once you get them under your fingers you can use them as chord voicings for Gmaj7(9/#11/13) or A9sus4/A13sus4 just as easily.
Materials Included:
"HARMONIC /the-sau-rus #12" - 11th on Top (minor) study (PDF file - TAB and Standard Notation).
"HD Video" of All Voicing Examples.
Backing Track.
HARMONIC /THE-SAU-RUS #13 - 6TH ON TOP (MINOR)
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types. Each installment will concentrate on a specific intervallic harmonic structure or chordal concept/technique that I find attractive and interesting to my ears.
Part 13 presents 18 of my very favorite ways to voice a min6 chord that has its 6th degree as the highest note (soprano voice).
All voicing examples presented in this study are for a Emin6 harmony (with the note C# as the highest note) but once you get them under your fingers you can use them as chord voicings for Gmaj7(9/#11/13) or A7/A13 just as easily.
Materials Included:
"HARMONIC /the-sau-rus #13" - 6th on Top (minor) study (PDF file - TAB and Standard Notation).
"HD Video" of All Voicing Examples.
Backing Track.
POINT OF ENCOUNTER (CREATIVE COUNTERPOINT IDEAS OVER II-V-I PROGRESSIONS)
by Hristo Vitchev
In this short contrapuntal study I illustrate some of the ideas I use in developing two-voice contrapuntal phrases over ii-V-I progressions in major keys. This type of contrapuntal movement is ideal when combined with our regular comping styles in order to create more dynamic and interesting harmonic passages.
Here you will find 10 contrapuntal ideas over a ii-V-I progression in C Major. I start each phrase by establishing a "Harmonic Box" within which the two-part contrapuntal movement will be developed. A Harmonic Box is a specific area on the fretboard within which we select a unique set of voicings to use for every one of the chords in our harmonic progression.
Materials Included: POINT OF ENCOUNTER (Creative Counterpoint Ideas over ii-V-I Progressions) study (PDF file - TAB and Standard Notation). "HD Video" of All Phrases (At Tempo and Slowed Down). Tutorial "HD Video" (Explanation of Concepts).
POINT OF ENCOUNTER (CREATIVE COUNTERPOINT IDEAS OVER II-V-I PROGRESSIONS) VOLUME 2 - MINOR
by Hristo Vitchev
In this short contrapuntal study I illustrate some of the ideas I use in developing two-voice contrapuntal phrases over ii-V-i progressions in minor keys. This type of contrapuntal movement is ideal when combined with our regular comping styles in order to create more dynamic and interesting harmonic passages.
Here you will find 10 contrapuntal ideas over a ii-V-i progression in C minor. I start each phrase by establishing a "Harmonic Box" within which the two-part contrapuntal movement will be developed. A Harmonic Box is a specific area on the fretboard within which we select a unique set of voicings to use for every one of the chords in our harmonic progression.
Materials Included: "POINT OF ENCOUNTER (Creative Counterpoint Ideas over ii-V-I Progressions) Volume 2 - minor" study (PDF file - TAB and Standard Notation). "HD Video" of All Phrases (At Tempo and Slowed Down).
SHORT CHORDVERSATIONS #12 - AMPLIFIED DIMINISHED
by Hristo Vitchev
Part 12 concentrates in exploring the many different ways in which we can extract chordal textures from the "whole step-half step diminished" scale. Many guitar players depend too much on the basic non-invertible diminished chord voicings that repeat in minor 3rd intervals on the fretboard with exactly the same fingering, but the diminished harmonic landscape is so much richer and more captivating than what these harmonic structures have to offer.
In this study and in-depth video masterclass I illustrate 7 of my favorite ways to re-interpret the whole-half diminished scale harmonically and use these new chord voicings to not only amplify our diminished chord dictionary but also to re-imagine our dominant 7 harmonic palette.
There are many more ways in which we can practice and implement this material but the ones included here should be enough to get you started on your own harmonic journey.
Materials Included:
"Amplified Diminished" chordal study (PDF file - TAB and Standard Notation).
55 mins. "HD" Video Masterclass.
Backing Track (G7 harmony).
COFFEE TALK SHED #1 (MAJOR CASCADES) VIDEO MASTERCLASS
by Hristo Vitchev
This short Video Masterclass series is meant to illustrate and cover in detail how I like to practice and work on developing different melodic and harmonic ideas on the guitar. Think of it as an informal session where over a cup of coffee we get to discuss very unique and interesting approaches to harmony, melody, theory, improvisation and technique.
In Episode 1 I cover one of my favorite ways to develop and practice piano-like harmonic techniques for the guitar.
The way in which I will lay out the different concepts in this series is designed with the idea in mind that such material could be internalized and easily assimilated within 20 to 30 minutes. These sessions will be short, creative, fun and to the point!
Materials Included:
Coffee Talk Shed #1 (Major Cascades) study (PDF file - TAB and Standard Notation).
20 mins. HD "Video Masterclass."
COFFEE TALK SHED #3 (HARMONIC CARBON COPIES) VIDEO MASTERCLASS
COFFEE TALK SHED #4 (DOMINANT DANCER) VIDEO MASTERCLASS
by Hristo Vitchev
This short Video Masterclass series is meant to illustrate and cover in detail how I like to practice and work on developing different melodic and harmonic ideas on the guitar. Think of it as an informal session where over a cup of coffee we get to discuss very unique and interesting approaches to harmony, melody, theory, improvisation and technique.
In Episode 3 I present another very creative way to enrich and expand your chordal palette on the instrument. This concept involves the implementation of engaging and sonically atractive intervallic clusters that can represent a multitude of different harmonies in any position and on any string grouping of the fretboard without changing the fingering or "chord shape."
The way in which I will lay out the different concepts in this series is designed with the idea in mind that such material could be internalized and easily assimilated within 20 to 30 minutes. These sessions will be short, creative, fun and to the point!
Materials Included:
Coffee Talk Shed #3 (Harmonic Carbon Copies) study (PDF file - TAB and Standard Notation).
43 mins. HD "Video Masterclass."
Backing Tracks.
by Hristo Vitchev
This short Video Masterclass series is meant to illustrate and cover in detail how I like to practice and work on developing different melodic and harmonic ideas on the guitar. Think of it as an informal session where over a cup of coffee we get to discuss very unique and interesting approaches to harmony, melody, theory, improvisation and technique.
In Episode 4 I present a fun way to augment our Dominant chordal vocabulary especially when playing over one chord vamps, intros, outros and modal sections of tunes. The concept consists of mapping out all mode positions of a key with the vertical set of available "quartal voicings" (using the interval of a 4th as the construction mechanism) within each mode position and using these as contrasting chordal textures (clusters) against a basic reference voicing for the V7 chord in the respective key (tonal center).
The way in which I will lay out the different concepts in this series is designed with the idea in mind that such material could be internalized and easily assimilated within 20 to 30 minutes. These sessions will be short, creative, fun and to the point!
Materials Included:
Coffee Talk Shed #4 (Dominant Dancer) study (PDF file - TAB and Standard Notation).
40 mins. HD "Video Masterclass."
Phrase Ideas HD Video.
Backing Track.
TECHNICAL STUDIES & ETUDES
HARMONIC /THE-SAU-RUS (MODERN VOICING COLLECTION) #3
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types.
Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears. Then I will present these structures (and some of their variations) on all different string sets and positions on the fretboard so that we can fully assimilate their sounds and maximize their usage.
Part 3 explores 3 Note harmonic textures over a basic ii-V7-I-VI7 progression in the key of C Major.
I find these 3 Note voicings to be ideal for comping over standard progressions in fast tempos as well as using them as a vehicle for improving our voice-leading skills on the instrument.
HARMONIC /THE-SAU-RUS (MODERN VOICING COLLECTION) #2
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types.
Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears.
Then I will present these structures (and some of their variations) on all different string sets and positions on the fretboard so that we can fully assimilate their sounds and maximize their usage.
Part 2 presents some interesting selections for D7 altered (Super-Locrian) harmonies rooted in D. You can also use all voicings presented here as Ebmin(maj7) and Ab7(#11) harmonic textures.
HARMONIC /THE-SAU-RUS (MODERN VOICING COLLECTION) #1
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types.
Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears.
Then I will present these structures (and some of their variations) on all different string sets and positions on the fretboard so that we can fully assimilate their sounds and maximize their usage.
Part 1 presents some interesting selections for Lydian (#11) harmonies rooted in F.
You can also use all voicings presented
here as Dorian (min6) harmonic textures rooted in D.
SHARPEN UP (BINARY HARMONIC CELLS)
by Hristo Vitchev
This short technical study explores the two-note harmonic structures I call - Binary Cells.
These cells are made only using the intervals of a 2nd and 5th and are based on the chord degrees/arpeggio of the harmony at play.
They are ideal as a connective tissue between some of the more conventional chord voicings we use often in our playing and can be a great bridge between the melodic and fully harmonic usage of the instrument.
In this study I present these Binary Cells over minor 7, Dominant 7 and Major 7 harmonies. For the Altered Dominant variations of these two-note clusters we can simply use the regular Dominant Binary Cells a TRITONE away from the root of the altered chord.
Materials Included: PDF of "Binary Harmonic Cells" Technical Study / Warm-Up Exercises (TAB and Standard Notation). Backing Track: Gmin9 (Dorian).
SHARPEN UP (HARMONIC WEBS) II-7 V7ALT IMAJ7 APPLICATION
by Hristo Vitchev
This short technical study presents my concepts and ideas of "Harmonic Webs" (3 simultaneous voices that together weave a harmonic web that spans the entire range of the instrument) applied over seven different ii-7 V7alt Imaj7 phrases.
This way of playing harmonically on the guitar can give us a whole new set of sonic colors and textures that are in between the contrapuntal and conventional way of comping within the modern jazz guitar idiom.
Materials Included: PDF of "Harmonic Webs" ii-7 V7alt Imaj7 Application Technical Study / Warm-Up Exercises (TAB and Standard Notation). Backing Track: ii V7 I (Key of C Major).
SHARPEN UP (WARM-UP AND MELODIC VOCABULARY) HARMONIC WEBS
by Hristo Vitchev
This technical study presents some of my favorite concepts and ideas when it comes to multi-voice harmonic playing and improvisation on the guitar.
These exercises are designed to help you visualize any key/tonal center in 3 simultaneous voices that together weave a harmonic web that spans the entire range of the instrument.
These harmonic webs can be weaved horizontally and vertically through the different mode patterns and positions of the tonal center.
The material in the study illustrates this concept in a major tonal system (key of A major) and in a minor pentatonic tonal system (G minor pentatonic).
Materials Included: PDF of "Harmonic Webs" Technical Study / Warm-Up Exercises (TAB and Standard Notation). Backing Track: D Lydian (Key of A Major).
MODERN VOICES - CHORDAL ETUDE (HOW DEEP IS THE OCEAN)
by Hristo Vitchev
In this harmonic study series (“Modern Voices”) I seek to explore the vast array of possibilities that the guitar has to offer when it comes down to modern/contemporary harmony and chordal construction and its implementation over standard chord progressions and tunes from the Great American songbook.
In this Chordal Etude I present to you some new ideas and possible chord voicings over the chord progression of one of my favorite medium tempo standards by Irving Berlin - “How Deep Is The Ocean.”
Materials Included: Chordal Etude (PDF) in standard notation and tablature. HD Video/Audio of the Chordal Etude at tempo. Backing track for practice.
MODERN VOICES - CHORDAL ETUDE (BLUE IN GREEN)
by Hristo Vitchev
In this harmonic study series (“Modern Voices”) I seek to explore the vast array of possibilities that the guitar has to offer when it comes down to modern/contemporary harmony and chordal construction and its implementation over standard chord progressions and tunes from the Great American songbook.
In this Chordal Etude I present to you some new ideas and possible chord voicings over the chord progression of one of my favorite jazz ballads - the beautiful tune by pianist Bill Evans “Blue In Green.”
Materials Included: Chordal Etude (PDF) in standard notation and tablature. HD Video/Audio of the Chordal Etude at tempo. Backing track for practice.
MODERN VOICES - CHORDAL ETUDE (DARN THAT DREAM)
by Hristo Vitchev
In this harmonic study series (“Modern Voices”) I seek to explore the vast array of possibilities that the guitar has to offer when it comes down to modern/contemporary harmony and chordal construction and its implementation over standard chord progressions and tunes from the Great American songbook.
In this Chordal Etude I present to you some new ideas and possible chord voicings over the chord progression of the well known jazz standard “Darn That Dream.”
Materials Included: Chordal Etude (PDF) in standard notation and tablature. HD Video/Audio of the Chordal Etude at tempo. Backing track for practice.
SHORT TECHNICAL STUDY #14 (ALTERED PENTACHORDS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar.
Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
In Study #14 I present to you a fun system by which you can extract chord voicings from pentatonic scales to create a rich and smooth modal harmonic canvas all over the fretboard. For this study I will concentrate on the “Altered Pentatonic Scale” as presented in my book “Paint-A-Tonic: Abstract Dominant 7 Pentatonic Sketches.”
This scale contains the root, #9th, 3rd, #5th/b13th and b7th of the chord. (See Pentatonic Modes diagram attached)
To extract chord voicings from it we can pretty much select any 3 or more notes from the scale and then transpose each voice (note) of the resulting harmony through the five modes of the altered pentatonic scale to produce its modal sequence.
SHORT TECHNICAL STUDY #11 (ENCAPSULATED HEXAGONAL CLUSTERS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar.
Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #11 focuses on extracting three note harmonic clusters from any major key and its diatonic modes. These three note clusters are produced with the interval of a 6th as their nucleus.
The resulting chordal textures can be used as embellishing harmonic structures to the regular diatonic chords of the key. In this study I am extracting the clusters from the F Major tonal center and using them as colorations over a "Gmin7" harmony.
By playing through this set of exercises we can work on stretching, endurance, strength, coordination and dexterity in the left hand as well as fretboard logic and tonal center navigation over the entire instrument.
VITCHEV + 1 "HARMONIQUE" CHORDAL ETUDE FT. WILL BRAHM (GUITAR)
by Hristo Vitchev
With the material presented in this series (Vitchev + 1) I seek to compose technically challenging and creative etudes with a specific player in mind.
The studies will be a great vehicle to practice different concepts and ideas that are inspired and borrow from the idiomatic vocabulary of each instrument featured.
"Harmonique" is a chordal etude that specifically works on two harmonic techniques: playing sustained chord voicings with continuously articulated melody notes on top and also sustaining a static melody note while moving continuously articulated chord voicings under it.
The etude was written for the world renowned jazz guitarist Will Brahm. (New West Guitar Group, Arturo Sandoval, Honemaje)
Includes: "Harmonique" chordal etude for Concert Key (Standard Notation + Tablature), Backing Track, Audio and Video recording of full etude featuring Hristo Vitchev (guitar) and Will Brahm (guitar).
SHORT CHORDAL ETUDE (DREAMING OF VERONA)
by Hristo Vitchev
This etude is inspired by Gilad Hekselman's composition "Verona" and works on sustaining a pedal note while chords are changing below it.
The high E (1st string open) is sounded over every harmony of the etude and the goal is to be able to transition smoothly between all voicings without touching, muting and preventing the first string from ringing.
The etude also works on chordal technique, stretching, finger independence and dexterity in the left hand.
MODAL X-ING (3 NOTE HARMONIC FRACTALS) SHORT HARMONIC ETUDE: THE DAYS OF WINE AND ROSES
by Hristo Vitchev
In this short harmonic etude I demonstrate how to use the different types of "3 note harmonic fractals" (that can be extracted from the modes of the major and melodic minor scales) to comp over the changes of the well known jazz standard "The Days of Wine and Roses."
MODAL X-ING (3 NOTE HARMONIC FRACTALS) II-7 V7ALT IMAJ7 HARMONIC PHRASES
by Hristo Vitchev
In this study I demonstrate how to use the different types of “3 note harmonic fractals” (that can be extracted from the modes of the major and melodic minor scales) in producing intricate and captivating “ii-V7-I” harmonic phrases in a major key.
All examples are presented in the key of C Major.
HARMONIC /THE-SAU-RUS #4 (3 NOTE VOICINGS ETUDE) - "ALONE TOGETHER"
by Hristo Vitchev
In this harmonic study series I will be presenting some of my favorite voicings for a number of different chord types.
Each installment will concentrate on a specific intervallic harmonic structure that I find attractive and interesting to my ears.
Part 4 presents some ideas for applying the 3 Note harmonic textures covered in the previous Volume #3 over the form of a standard tune. This is a chordal etude based on the changes of the great jazz standard "Alone Together."
Materials Included: PDF of "Harmonic Thesaurus #4" 3 Note Voicings Etude (TAB and Standard Notation). 2 Backing Tracks: 1) drums, bass and guitar melody included. 2) only drums and bass (no guitar melody) HD Video/Audio of full etude.
SHORT TECHNICAL STUDY #10 (ENCAPSULATED QUINTAL CLUSTERS) - APPLICATION OVER II-V7-I PROGRESSIONS
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #10 illustrates how to use the "encapsulated quintal clusters" presented in Study #9 when voicing ii-V7-I progressions in major keys. These three note harmonic textures are perfect to add a different flavor and color to your chordal vocabulary when playing over basic chord progressions. All examples presented in the key of C Major.
By playing through this set of exercises we can work on stretching, endurance, strength, coordination and dexterity in the left hand as well as fretboard logic and tonal center navigation over the entire instrument.
SHORT TECHNICAL STUDY #9 (ENCAPSULATED QUINTAL CLUSTERS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #9 focuses on extracting three note harmonic clusters from any major key and its diatonic modes. These three note clusters are produced with the interval of a 5th as their nucleus. The resulting chordal textures can be used as embellishing harmonic structures to the regular diatonic chords of the key. In this study I am extracting the clusters from the F Major tonal center and using them as colorations over a "Gmin7" harmony.
By playing through this set of exercises we can work on stretching, endurance, strength, coordination and dexterity in the left hand as well as fretboard logic and tonal center navigation over the entire instrument.
SHORT TECHNICAL STUDY #8 (INTERVALLIC QUARTAL VOYAGE)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #8 focuses on quartal voicings and their execution over the entire range of the instrument. Instead of thinking of the quartal harmonization of a scale on a specific string set and moving each harmony horizontally up and down the key center I like to harmonize each specific mode fingering of a given key in position (vertically) and utilize different string sets of the quartal harmony so they align with the same physical movement and space as the melodic execution of the mode. Once we get comfortable with the specific fingerings and chord shapes we can practice all quartal voicings within the mode in diatonic 3rds.
By playing through this set of exercises we can work on stretching, endurance, strength, coordination and dexterity in the left hand as well as fretboard logic and tonal center navigation over the entire instrument.
CONTRARY MOTION CHORDAL ETUDE - "MY FOOLISH HEART"
by Hristo Vitchev
This etude is designed to work on chordal technique, stretching, finger independence and dexterity in the left hand.
It features a stepwise descending bass line and a stepwise ascending melody line over the chord changes of the well known jazz ballad - "My Foolish Heart".
SHORT TECHNICAL STUDY #3 (STATIC NOTE PROGRESSIVE HARMONIZATION) - DOMINANT 7
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #3 focuses on chordal practice and the concept of being able to harmonize any given melody note as any degree, extension or alteration of a chord. Here we focus on the "Dominant 7" sonorities and select the note "B" as the static melody note we will be harmonizing.
SHORT TECHNICAL STUDY #2 (STATIC NOTE PROGRESSIVE HARMONIZATION)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #2 focuses on chordal practice and the concept of being able to harmonize any given melody note as any degree, extension or alteration of a chord. Here we focus on the "Major 7" and "minor 7" sonorities and select the note "B" as the static melody note we will be harmonizing.
10 PENTATONIC VOICINGS "II-V7ALT-I" VOICE LEADING STUDIES
by Hristo Vitchev
In these 10 voice leading studies I explore some of my favorite ways to combine and insert pentatonic voicings within my regular chord voicing vocabulary over a standard ii-V7alt-I progression in the key of C Major.
These pentatonic harmonic structures (which are covered in full detail in my "Pentatonic Voicings" book) are great to add different hues of chordal textures over any chord or chord progression.
6 MINIMALISTIC MAJOR SCALE HARMONIZATIONS (STATIC MELODY NOTE)
by Hristo Vitchev
These harmonic warm up exercises are designed around the concept "less is more" - bringing out the elegance, space and beauty found in a more minimalistic approach to constructing diatonic harmonies. They are presented in the key of "G Major" in 6 different variations (with a static melody note) and work on interesting voice-leading, stretching and chordal vocabulary development.
4 "DIATONIC HARMONIZATION" WARM UP EXERCISES (MAJOR SCALE)
by Hristo Vitchev
These harmonic warm up exercises cover all diatonic chords of the key of "D Major" in four different areas of the fretboard and work on interesting voice-leading, stretching and chordal vocabulary development.
STATIC BASS CHORDAL ETUDE - "SOMEDAY MY PRINCE WILL COME"
by Hristo Vitchev
This etude is designed to work on chordal technique, stretching, finger independence and dexterity in the left hand. It features a static bass (pedal on the note "F") and moving inner voices and melody over the chord changes of the well known jazz standard - "Someday My Prince Will Come".
STATIC MELODY CHORDAL ETUDE - "ALL THE THINGS YOU ARE"
by Hristo Vitchev
This etude is designed to work on chordal technique, stretching, finger independence and dexterity in the left hand. It features a static melody note (the note G) while the bass and inner voices move around it. The etude is composed over the chord changes of the well known jazz standard - "All The Things You Are".
CONTRARY MOTION CHORDAL ETUDE - "SOMEDAY MY PRINCE WILL COME"
by Hristo Vitchev
This etude is designed to work on chordal technique, stretching, finger independence and dexterity in the left hand. It features a stepwise descending bass line and a stepwise ascending melody line over the chord changes of the well known jazz standard - "Someday My Prince Will Come".
SHORT TECHNICAL STUDY #6 (HARMONIC INTERVALS) - MAJOR / MELODIC MINOR
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #6 focuses on harmonic intervals (5ths, 6ths, 7ths, octaves, 9ths and 10ths). This is one of my favorite ways to warm up before a concert or recording session and by playing through this set of exercises we can work on stretching, strength, coordination and dexterity in the left hand as well as fretboard logic and tonal center navigation over the entire instrument.
3 HARMONIC VARIATIONS
by Hristo Vitchev
3 Harmonic Variations - Short Harmonic Voice-Leading Study concentrating on the usage of interesting 3 Note Voicings and their application over the bridge chord progression of the song "James" by Pat Metheny.
Materials Included: 3 Harmonic Variations study (PDF file - TAB and Standard Notation). HD Video/Audio of the presented voice-leading harmonic variations. Backing track.
CHORD SOLI (CHORDAL SOLOING PHRASES OVER A I VI7 II V7 PROGRESSION)
by Hristo Vitchev
In this chordal study my main goal is to explore some of the techniques, chord voicings and ways in which we can capture on the guitar the densely rich harmonic textures present in reed and brass section "soli" playing within the big band style and idiom.
The study explores five different "8 measure" chordal phrases over a basic I VI7 ii V7 progression in the key of C major. Each phrase utilizes a different set of harmonic devices for coloration, chromatic harmonic motion and secondary harmonic cadences that help us paint a much more vivid and captivating sonic landscape over the basic harmony at play.
Materials Included: CHORD SOLI (Chordal Soloing Phrases Over a I VI7 ii V7 Progression) study (PDF file - TAB and Standard Notation). HD Video/Audio of all chordal soloing phrases at tempo and slowed down. Two backing tracks: at tempo (168bpm) and slowed down (115bpm).
HARMONIC EVOLUTION (CHORDAL EXPLORATIONS OVER THE CHANGES OF "BRIGHT SIZE LIFE" BY P. METHENY)
by Hristo Vitchev
In this harmonic study I present a concept I really like to use for my voicing vocabulary practice on the guitar which I call "Harmonic Evolution." It consists of carefully studying a tune and learning to navigate through