contrapuntal concepts - david oakes · contrapuntal concepts written by jimmy wyble 1 ... our...

1Contrapuntal Concepts written by Jimmy WybleCopyright © Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal ConceptsFor

Electric and Classical GuitaristsBy Jimmy Wyble - Edited by David Oakes

The infinite possibilities of our instrument, the guitar, are astounding! No other instrument offers such a wide variety of styles.As growing guitarist there are basic challenges: the area of technique, the forever expanding concept of harmonic awareness, and reading music.As we progress in our musical environment, we must investigate new sounds, research the works of other guitarists, and seek new ways and constantly try new ideas. The more challenging and varied our musical environment, the more we grow in technique, musical expression, harmonic awareness and style.Generally, we improvise over chord changes with a single melodic line but the “Etudes” have the added component of the second voice. In the two line contrapuntal etudes, there is a fusion of the two voices. Examples 1 through 24 illustrate designs based on ½ step, whole step scales now known as diminished scales. There are also exercises based on familiar chord shapes combining voices within the chord and then moving them in opposite directions. Our technique must be expanded to a finger-style approach, in order to deal with the two line contrapuntal etudes.

======================& 44C diminished scale 1/2 step - whole step:

_̂««««Half Whole

b«̂««« b«̂««« n«̂««« #«̂««« «̂««« «̂««« bœ»»»»ll ll ””

======================& 44C diminished scale whole step - half step

_̂««««Whole

«̂«««

Half

b«̂««« «̂««« #«̂««« #«̂««« «̂««« œ»»»»ll ll ””

Examples 1-4 are based on the diminished scale.

Editors note: The following scales did not appear in Jimmy’s original text. I have put them in just for reference. Jimmy has discussed with me the importance of scales that use whole and half steps as one of the most important sounds in the jazz vocabulary. He felt that as musicians, this is one sound that we should be very familiar with.

Contrapuntal Concepts

� Contrapuntal Concepts written by Jimmy WybleCopyright © Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Fingering explanation: Here we will use standard classical guitar notation:• Numbers around the note heads represent left hand fingering• Circled numbers are the string that the note is played one.• Right hand fingering: p – thumb, I – index finger, m – middle finger, a – ring finger.

Example 1: Top line descending whole step, half step. Bottom line up a half step and then down a minor 3rd. Strict alternation of the right hand fingers (p – m , then i – a ), This is a very awkward feeling right hand technique at first, but with practice becomes a very natural move.

=======================& 44œ1å

ÜÖ

5

1

œ»»»»bœ_̂_««««

pm

àá

2

nœ»»»»b_̂««««

ia

ÜÖ1

_̂««««bœ»»»»pm

àá

2

nœ»»»»«̂«««

ia

œ_»»»»

2

#«̂«««

6

ÜÖ

mp

«̂«««bœ»»»»

3

áà

ia

œ__»»»»b«̂«««2Ö

Ümp

àb«̂«««b œ_»»»»

3

áai

ll ll ll ll

=======================& 44œ2å

Descending half steps, whole-step.

5

1

Öàbœ»»»»_̂_««««

pm

Üá œ»»»»_̂««««

ia

Öàœ_»»»»_̂««««

mp

Üá#«̂«««œ»»»»ia

2

6

Öàœ__»»»»#«̂«««

mp

áÜn«̂«««œ_»»»»ia

Öà# œ___»»»»#«̂«««

pm

áÜ n«̂«««b œ__»»»»ia

ll ll ll ll

=======================& 44œ3å

á

3

6

àb œ__»»»»«̂«««

pm

2

«̂«««ÖÜ# œ___»»»»ai

3

áàœ_»»»»#«̂«««

mp

Ö

2

Ü n«̂«««n œ__»»»»ia

œ»»»»#«̂«««3

áà

mp

œ_»»»»#«̂«««Ö

2

Ü

ai

áà _̂««««2

5

nœ»»»»mp

bœ»»»»_̂««««Ü1

Ö

ai

ll ll ll ll

Descending half steps, whole-step.

Ascending whole step, half-step:

Editors note: If you come from a classical background, you might be tempted to us the bar or even a partial bar. Follow the fingerings marked. They might be awkward at first, but they do facilitate the technique. Stay with it and you will be rewarded with greater facility.


�Contrapuntal Concepts written by Jimmy WybleCopyright © Jimmy Wyble 1978 revised 2008 - All Rights Reserved

=======================& 34

Whole step/Half Step design supported by ascending minor 3rds in the bass:

œ4å 4

6

ÜÖ«««« ««««bˆ# œ___»»»»pm

á ˆ

i

àáœ__»»»»#«̂««« ««««

pm

3

Ö#ˆ

i

5

ÜÖ œ̂_»»»»«««« ««««

pm

á ˆ

i

àá «̂««« ««««bœ»»»»

pm

2

Ö ˆ

i

4

ÜÖ #œ»»»»«««« ««««bˆ

pm

ànˆ

i

àá «««« ««««#œ̂»»»»

pm

Ö #ˆ

i

ll ll ll ll

=======================& 34œ4¡a¡å «««« ««««

Same fingering as #4 played backwards:

Ö #œ2

»̂»»» »»»»

i

#ˆá4

œà

pm

«««« ««««»»»»»» »»»»ànœ̂

i

Ü #œbˆÖ

mp

ˆnœ»»»»»» »»»»«««« ««««Ö

i

á 3

ˆbœà5

mp

á »»»»»» »»»»«̂««« ««««œ

i

Ü ˆÖ œ_

pm

Ö«««« ««««# »̂»»»»» »»»»œ

i

à œ__á

6

4

#ˆ

pm

ánœ»»»»»» »»»»«««« ««««ˆ

i

Ü # œ___bˆÖ

mp

ll ll ll ll

The wide spread intervals are typical of the contrapuntal guitar etudes. Examples 5 and 6 illustrate the technique of keeping one finger down as the remaining fingers move across the fingerboard.

Pivot on the 3rd finger. The third finger does not release. Observe the differences in the right

======================& 34

Pivot on 3rd finger. The third finger does not release. Observe the differences in the right hand fingeringfrom measure to measure.

œ5å

5

1áà#«̇«««œ_»»»»pa

œ»»»»i

45

ÖÜàb œ_»»»»«̂«««

pm

àá#«̇«««œ_»»»»ia

œ»»»»p

ÜÖàb œ_»»»»«̂«««

ai

5

àá#«̇«««œ»»»»pa

#œ»»»»i

45

ÖÜàœ_»»»»_̂««««

pm

àá#«̇«««œ»»»»ia

#œ»»»»p

ÖÜàœ_»»»»_̂««««

ai

ll ll ll ll ””

Whole step/half step design supported by ascending minor 3rds in the bass:

Same fingering as #4 played backwards:



======================& 24œ6å

Fingers move across the fingerboard with no pivot and "yes", the right hand fingering is correct. This willtake some work!

5

1

áÜ#«̂«««_̇»»»»pm

3àb«̂«««

i

4

ÜŒœ»»»»

p

1

Öàb œ_»»»»«̂«««

ia

áÜ# «̂«««b »̇»»»

pm

2

Ö «̂«««

i

ÜŒœ»»»»

p

Öàbœ»»»»«̂«««

ia

áÜ#«̇«««_̇»»»»pm

ll ll ll ll ll ll ll

======================& 44

Variations of the scale. The 1/2 step moves upwards to the high "E", descending in whole stepsfrom D# to A.

œ7å

w___Œ

p pm

5

1

áÜ«««« ««««œ#_̂»»»» »»»»

ia

4

àÖ _̂#œ

pm

5

áÜ»»»» »»»»#_̂_«««« ««««œ

ia

àÖ_̂__œ

pm

àá«««« ««««nœ»»»»_̂_ Ü#_̂_

i

Öá«««« ««««»»»» »»»»#œ_̂

pm

6

2

àÜ œ__̂

3

ÜÖ«̇«««U._̇_»»»» .

ia

pm

ll ll ll ll

======================& 44

A variation of #7 with some octave displacement. Notice how similar the right and left handfingering stayed the same in both examples 7 and 8.

œ8å Œw___p

mp

5

á1

«««« ««««Üœ#_̂»»»» »»»»»

ai

4

Öà#œ_̂

mp

2

6

áÜ»»»» »»»»#ˆœ__«««« ««««

ia

Öà# œ__ˆáàn œ__»»»»«««« ««««ˆ

mp

Ü #ˆ

i

Öˆ# œ___»»»»«««« ««««

m

3

Ü ˆ

p

5

á _̇»»»» .«̇«««U.

i p

ll ll ll ll

======================&# 44

A variation of the whole/half scale imposed on an altered V - I phase:

2

3

áÖ #«̇«««œ»»»» »»»» »»»» »»»»

œ9å

pm

D7(b5,#5,b9)

bœ

i

œ

p

œ

i

(#5)

4

3

à áÜ ÖÖ «̇«««#œ»»»»» »»»»» »»»»» »»»»pm

bœ

i

œ

p

b œ__i

(b5)(b9)

65

à Ü Ö

3

áÖ«̇«««_̇_»»»»pm

G

Óll ll ll ll

Fingers move across the fingerboard with no pivot and “yes”, the right hand fingering is correct. This will take some work!

Variations of the scale. The 1/2 step moves upwards to the high “E”, descending in whole step from D to A.

A variation of #7 with some octave displacement. Notice how similar the right and left hand fingering stayed the same in both examples 7 and 8.

A variation of the whole/half scale imposed on an altered V - I phase:



======================&# 44

œ1¡0¡å

A variation of the whole/half scale imposed on an altered V - I phase. Notice the contrary motion of thelines. Find and mark the altered 5ths and 9ths in this phrase.

6

3àÖ«̇«««b œ__»»»»pa

D7(b5,b9)

bœ»»»»á

i

45

ÜÖ «̂«««œ»»»»

pm

5

àá œ»»»»«̂«««

ia

6

2

ÜÖn œ__»»»»b«̂«««

pm

àÜb œ__»»»»n«̂«««

ia

àÖ#«̇«««_̇_»»»»pm

Gmaj7

ll ll ll ll

======================&# 44

Analyze for both chord tones and the half whole movements of the top line. Rememberto observe the right and left hand fingerings. Also, find the contrary motion in the lines.

3

2

áÜ «««« ««««œ»»»» »»»»

œ1¡1¡å ˆ

pm

D7(b9)

4

àÖbœ̂

ia

5

àá œ_»»»»b«̂««« ««««

pm

1Ü#ˆ

i

4

3

ÜÖ »̂»»» »»»»«««« ««««œ

pm

5

àá œ_̂

ia

6

àÖ«««« ««««# œ___»»»»ˆ

pm

2

Ü ˆ

i

w__Öà wU

ap

G6

ll ll ll ll

======================&## 44

Another V - I example this time in the key of "D". Notice the upper voice descendingin whole and half steps:

3

1

àÜ_̂««««»»»» »»»»bœœ1¡2¡å

pm

A7(b9,#5, b5)

œ

i

23

ÑÖ œ̂»»»»«««« ««««

pm

Önˆ

i

4

Ñá nœ»»»»«̂««« ««««

pm

2

à ˆ

i

ÜÖ »»»»» »»»»bœ̂««««

pm

œ__

i

5

ÑÜá «̇«««w__w

pm

D

ll ll ll ll

A variation of the whole/half scale imposed on an altered V - I phrase. Notice the contrary mo-tion of the lines. Find and mark the altered 5ths and 9ths in this phrase.

Analyze for both chord tones and the half/whole movements of the top line. Remember to ob-serve the right and left hand fingerings. Also, find the contrary motion in the lines.

Another V - I example this time in the key of “D”. Notice the upper voice descending in whole and half steps:



======================&# 44

3

2

áÜ »»»»» »»»»«««« ««««bˆœ1¡3¡å œ

pm

D7(#9.b9)

4

àÖ nˆ#œ

ia

5

àá#ˆbœ»»»»«««« ««««

pm

1

Ü _̂

i

4

3

ÜÖ »»»» »»»»«««« ««««œ̂

pm

5

àá œ̂

ia

6

àÖˆœ__»»»»«««« ««««

pm

2Ünˆ

i

àÖ#ww__

pa

Gmaj7

ll ll ll ll

======================&# 44

œ1¡4¡å

Top line half/whole diminished scale, bottom line in a dim7 arpeggio, the lowerchord voicings are a reference showing the harmonic structure that the design isbuilt from.

3

Ü ˆbœ»»»» »»»»««««« ««««« «««« ««««Öpm

á œ_̂à

ai

œ___»»»»ˆÖà

mp

2

ˆÜ

i

Üá œb »̂»»»» »»»»««««« ««««« ««««« ««««

mp

œnˆÖà

ai

»»»» »»»»œ#à̂ámp

1

œ_̂ÖÜ

ai

2

à «̇«««Ö »̇»»»mp

======================&# 44

6

àáÜÖ _̇̇___b˙̇»»»»»»»»»

D13(b9)

5

áÜÖÖ ˙̇̇b »̇»»»»»»»

D7(b9)

5

ÜàÖ »̇»»»»»»»»̇˙Gl

lllll l

lllll l

lllll l

lllll

hand fingering from measure to measure:

In the classical/jazz approach, two lines are extracted from chord stacks using combinations of voices.

Top line half/whole diminished scale, bottom line is a dim7 arpeggio. The lower line of chord voicings are a reference showing the harmonic structure that the design it was built from:

Editors note: The following exercises break four note chords up into two - 2 note teams. In the file “A Lesson From Jimmy Wyble”, he also shows some other examples of how he breaks up chords into two note combinations. This is very fundamental to his technique aa well as a technique that he practices every day. I have also witnessed Jimmy spending time practicing this technique with the students at Musicians Institute as well. The temptation to use a bar on these exercises is great. Don’t do it especially on the Bmi7 chord. Remember 4 notes - four fingers in both the right and left hands.



======================&# 44

Examples 15a - 15b - 16 and 17 are extracted from the chords below. Observethe fingerings, 4 fingers for 4 notes - no bars:

œ1¡5¡å

ÖÜáà

5

2»̇»»»»»»»˙b˙̇

Em7(b5)

ÖàÜá »̇»»»»»»»˙̇̇

Dmaj7

àÜáÖ»̇»»»»»»»˙̇#_̇

C#m7(b5)

ÖÜáà »̇»»»»»»»˙̇̇_

Bm7

ll ll ll ll

==============&# 44

5

Ü œ»»»»»»»»»» »»»»

»»»»»»œ1¡5¡a¡¡¡å ««««

« «««« «««««« ««««ˆ

Ömp

4

23

àáˆbœ

ia

Ü œÖ#ˆ

mp

àá œ̂ai

ÜÖ ««««« «««« ««««

«« ««««»»»»»»»»»» »»»»

»»»»»»nˆ# œ_mp

àá œ̂ai

ÜÖ œ̂_mp

àá œ̂ai

ll ll ll

==============&# àá

4

2

»̂»»»»» »»»»»»»»»» »»»»

œ1¡5¡b¡å «««« ««««« ««« «««««œ

pm

ÖÜ5

3

œ_̂

ia

àá œ̂

pm

Ö Ü ˆ# œ_

ia

àá œ̂»»»»»» »»»»»»»»»» »»»»

«««« ««««« ««« «««««

pm

ÖÜ #œ̂

ia

àáˆbœ

pm

ÖÜ œ̂

ia

ll ll ll

==============&# 44à

4

2

áœ1¡6¡¡¡å bœ»»»»»» »»»»

»»»»» »»»««« ««««« «««« ««««

«ˆ

mp

5

3

ÖÜ œ̂

ia

áà œ̂mp

ÖÜ#œ̂ai

áà «««« ««««« «««« ««««

««»»»»»» »»»»

»»»»»» »»»»œ̂mp

ÜÖ nˆ# œ_ai

àá œ̂mp

ÜÖ œ̂_ai

ll ll ll

==============&#

5

Öàœ1¡7¡å2ˆ»»»»»»»»»»»» »»»»»

»»»»»»»«« «««« ««« ««««œap

4

áÜ3

bœ̂

mi

àÖˆœap

áÜ #œ̂

mi

Öà# œ_ˆ»»»»»»»» »»» »»»»»

«««« «««««« ««««« ««««

««

pa

áÜ nœ̂

im

áÖˆœ_

pa

àÜ œ̂

mi

ll ll ll

Examples 15a - 15b - 16 and 17 are extracted from the chord progression below. Observe the fingerings, 4 fingers for 4 notes - no bars:



=======================& 44œ1¡8¡å

6

»»»»»»»»»

«̇«««b œ_Ü

2

Ö

pm

œ

i

œ»»»»»»»»»»

p

œ

i

63

áœ__«««« ««««

5

à »»»»»»»»»»á

à3

#ˆÖ

pm

4

2

à #œ̂Ü

ia

5

àbœ»»»»«̂««« ««««

Ü

pm

_̂á1

a

_̂««««Ö «̇«««à

pm

3

#«̂«««á

i

_̂U«̂«««««Ü

a

Œ

=======================& 44 à á ˙# ˙b _̇˙̇»»»»»»»»»

E7(b5,b9)

ÖÜÖ ÖÜà

àÖá œn œ_»»»»»»»»»»»œ__nœ# œ# œA13 áàÖÜ bœ

œœœ_»»»»»»»»»

A9(b5) àÜáÖ

_̇»»»»»»»»»».#˙ .˙ .˙ .

Dmaj13

l

llllll l

llllll l

llllll l

llllll

=======================& 446

3

œ1¡9¡å ÜÖ _̇»»»»«̂«««

pa m

Ü «««« «««««ˆ

i

5

à #ˆ

p

án Œ̂«««« ««««

i

4

Ü ˆ

pm

3

2

á Öœn«̂«««»»»» »»»»

i

œ4

Ü3

àÖ #œ»»»» »»»»«̂««« .

pm

nœá

i

»»»» »»»»œ

p

5

Ü Ö‰bœ

i

ÖÖ œ»»»» »»»»n«̂««« .

pa

n œ_i

œ_»»»» »»»»p

Ü6

áà á

«̂«««jb œ_ia

bww__àÖpm

=======================& 44 áÖÖÖ»̇»»»»»»»̇_̇#˙Bm7

áàÜÖ n »̇»»»»»»»»̇_̇˙Bm7(b5) Ö w# wwb w_Ü

E7(b5, #5, b9)

áà ÜÖ# w# ww__bwAmaj7(b5)

áàl

lllll l

lllll l

lllll l

lllll l

lllll

The upper and lower voices are derrived from chord tones to form this line. The lower chords are for reference and the the first E7 chord uses George Van Eps technique of barring across the fret. Learning to play that chord is not the goal of this lesson.

Editors note: The following pages “Chords as a source of contrapuntal lines” will be shown in depth in the file called “Harmonic Awareness”. Some of the following material was also present-ed in the file “A Lesson From Jimmy Wyble” as well. Jimmy has used this material quite a bit in his lectures at Musicians Institute.



Chords as a source of contrapuntal lines. Exercises 21, 22, 23 and 24 use chord scales.

======================&

5th, Root, 3rd, 7th voicing. The 7th moving down the scale with chordtones supporting the downward motion.

œ2¡0¡å àáÖÜ˙̇̇_̇__««««««««

Cmaj73

ÜÖ ˙̇_«««««« Ü

4

à ˙̇««««« áàÖÜ

˙̇̇_̇_««««««««

Dm73

ÖÜ ˙̇«««««« 4

áÜ ˙̇«««««

ll ll ll

======================& àÖáÜ˙̇̇_̇««««««««

Em73

áÖ ˙̇«««««« 4

áÜ ˙̇«««««

ÜàÖá ˙̇̇_̇««««««««

Fmaj7 3

ÖÜ ˙̇«««««« 4

àÜ ˙̇«««««ll ll ll

======================&àÜáÖ˙̇̇«̇«««««««G7

2ÜÖ »̇»»»»»̇3

àÜ »̇»»»»̇àÖáÜ»̇»»»»»»»˙̇̇

Am7

2

ÜÖ »̇»»»»»̇3àá »̇»»»»̇ll ll ll

============&àÖáÜ_̇»»»»»»»»˙̇̇

Bm7(b5)2

ÜÖ »̇»»»»»̇Ü 3à ˙̇»»»»»ll ””

5th, Root, 3rd, 7th voicing. The 7th moving down the scale with chord tones supporting the downward motion.


10 Contrapuntal Concepts written by Jimmy WybleCopyright © Jimmy Wyble 1978 revised 2008 - All Rights Reserved

======================&œ2¡1¡å

5

àáÜÖ

Root, 5th, 7th, 3rd voicing. The root moving up the scale with chordtones supporting the movement.

˙̇̇_̇««««««««

Cmaj73

ÜÖ «̇«««««̇ 4

àÜ ˙̇««««« áÜàÖ

˙̇̇«̇«««««««

Dm73

áÖ ˙̇«««««« 4

áà ˙̇«««««ll ll ll

======================& ÖáÜà »̇»»»»»»»˙̇̇

Em7 3

áÜ ˙̇«««««« 4

àá ˙̇««««« àÜáÖ

_̇»»»»»»»»˙̇̇

Fmaj73

ÜÖ »̇»»»»»̇4

àÜ ˙̇«««««ll ll ll

======================&4

ÜàáÖ_̇»»»»»»»»˙̇̇G

72

áÜ ˙̇»»»»»»3

àÜ »̇»»»»̇ àáÜÖ_̇_»»»»»»»»˙̇̇Am7

2

áÜ ˙̇»»»»»»3

àá ˙̇»»»»»ll ll ll

============&àáÜÖ _̇_»»»»»»»»_̇̇̇Bm7(b5) 2áÜ_̇»»»»»»̇

3àÜ »̇»»»»̇ll ””

Root, 5th, 7th, 3rd voicing. The root moving up the scale with chord tones supporting the move-ment.


11Contrapuntal Concepts written by Jimmy WybleCopyright © Jimmy Wyble 1978 revised 2008 - All Rights Reserved

======================&5

œ2¡2¡å áàÜÖ˙̇̇_̇«««««««««Cmaj7 2

áà«̇«««««««̇

2

áÖ ˙̇«««««««

5

ÜáàÖ˙̇̇_»»»»»»»»»̇

Dm72àá»̇»»»»»»»̇

2

áÖ »̇»»»»»»̇ll ll ll

======================&5

áàÜÖ˙̇̇_»»»»»»»»»̇

Em72àÜ_̇»»»»»»»»̇

2Öá »̇»»»»»»̇5

àÜáÖ_̇̇̇__»»»»»»»»»̇

Fmaj72

Üà _̇»»»»»»»»̇

2

áÖ _̇»»»»»»»̇ll ll ll

======================&5

áÜàÖ_̇̇̇__»»»»»»»»»̇

G72àá ˙_̇_»»»»»»»»

2

áÖ _̇»»»»»»»̇

5

àáÜÖ_̇_̇̇___»»»»»»»»»̇

Am7 à 2á ˙_̇_»»»»»»»»

2Öá ˙̇__»»»»»»»ll ll ll

============& ÜÖ

5

àá _̇_̇_̇___»»»»»»»»»̇

Bm7(b5) à 2

Ü_̇__»»»»»»»»̇

Ö 2á _̇_»»»»»»»̇ll ””

Root, 7th, 3rd, 5th voicing. The 5th moving down the scale while the root moves up the scale.


1� Contrapuntal Concepts written by Jimmy WybleCopyright © Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Root, 7th, 9th, 11th voicing. The 11th moves up a half step while the 7th moves down a half step in each voicing:

======================&œ2¡3¡å ÖáàÜ

1

5

˙̇̇_̇«««««««««

Cmaj9(11)

ÖÜ#˙̇b ˙̇_««««««««« ÖàáÜàá ˙̇̇

«̇««««««««D11

Üá#˙̇n ˙̇««««««««« àÖ

ÖÜàá_̇»»»»»»»»»˙̇˙

E11(b9)

Ü#_̇»»»»»»»»»Ö̇b ˙̇ ÖÖ ÖáàÜ

_̇»»»»»»»»»˙̇˙

Fmaj9(#11)

áàÜÖ_̇_»»»»»»»»»˙b˙̇ll ll ll

======================&ÖàáÜ1

5

_̇_»»»»»»»»»_̇̇˙

G11

áÖÜ#_̇_»»»»»»»»»_̇̇˙ áÖàÜà _̇_»»»»»»»»»

_̇̇̇Am11 Ü

á#_̇_»»»»»»»»»_̇b ˙̇ àÖ ÜàÖá_̇

__»»»»»»»»»_̇_̇_̇

Bmi11(b9)ÖÜ _̇__»»»»»»»»»_̇_b_̇̇ ÖÖ àÖáÜ

w___w__w_wCmaj9(11)

ll ll ””

Root, 3rd, 7th, 9th voicing. The 7th moves down a half step while the 3rd moves up a half step in each voicing:.

======================&œ2¡¡4å

2

àÖáÜ5

˙̇̇̇_««««««««

Cmaj9

ÖÖÖ˙̇b ˙̇_««««««««

ÜÖ Öàá ˙̇̇̇««««

««««Dm9

áàn˙̇# ˙̇«««««««« ÜÖ Ü

«̇«««««««Öà ˙̇̇á

Emi7(b9)

Öb ˙̇««««««««Üb˙̇ àÖ Ü

»̇»»»»»»»án˙Ö ˙Ö ˙

Fmaj9

b ˙̇̇»»»»»»»»Öb˙Ö ÖÖll ll ll

======================&2

áà

4

ÜÖ ˙̇_»»»»»»»»˙̇G9

àÜÖá ˙̇_»»»»»»»»˙̇ áàÖÜ ˙̇_

»»»»»»»»˙̇

Am9

áà# ˙̇_»»»»»»»»#˙̇ ÜÖ ÖÜàá ˙̇_

_»»»»»»»»_̇̇

Bmi7(b5, b9) ÖÜb ˙̇__»»»»»»»»b_̇̇ áàÖÖÖ Ünw

w__w_wCmaj9

ll ll ””

Editors note: The concept below is simply to discover sounds as voices move and to get used to moving different voices. This is fundamental to Jimmy Wybles technique of contrapuntal im-provisation. It is also to develop the minds ability to see a chord as voices and to move lines in different directions. Jimmy has spent a lot of time in his lectures at Musicians Institute having students make these kinds of moves. Some of the chords need to be played with a bar and this is one of the few times I have ever witnessed Jimmy use a bar in his playing.

contrapuntal concepts - david oakes · contrapuntal concepts written by jimmy wyble 1 ... our...

Documents