the complete guide to chord melody

MATT WARNOCK GUITAR

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The Complete Guide to Chord Melody

Chord melody playing is one of the most popular topics of study with Jazz guitarists, and forgood reason.

Being able to play chords, bass notes, licks, and other items over a melody line can lift anyJazz standard from the mundane to new levels of excitement in your playing.

Though you may love to listen to the great chord melody and solo guitar players, such as JoePass, Ted Greene, and Ed Bickert, it may seem like learning to play chord melody is out ofyour reach.

This isnt the case.

By studying the arrangements and concepts in this lesson, youll not only expand your chordmelody repertoire, but also learn how to build your own chord melodies.

Which is a very cool thing to be able to do.

In this lesson, youll study chord melody and solo guitar arrangements of the Jazz standardAfter Youve gone, which is in the public domain.

More importantly, extract the concepts and techniques from this lesson and apply them toother chord melody tunes youre working on in the practice room.

This way you not only learn these arrangements, but you build the skills needed tocreate your own chord melodies.

Now, enough talking, time to play!

Free Jazz Guitar eBook: Download a free Jazz guitar PDF thatll teach you howto play Jazz chord progressions, solo over Jazz chords, and walk basslines.

The Complete Guide to Chord Melody | MATT WARNOCK GUITAR http://mattwarnockguitar.com/chord-melody

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Contents (Click to Jump to a Section)

What is a Chord MelodyChord Melody Step by StepChord Melody ArrangementSolo Guitar ArrangementChord Melody SubstitutionsSolo Guitar SubstitutionsJoe Pass Chord Melody StyleBassline Chord Melody Ted Greene

What is a Chord Melody

To begin, lets take a minute to define the term chord melody so that you understand how itsused in the context of this lesson.

In conversation, the term chord melody can refer to both group and solo guitar arrangements.

But, to make things clearer, those two approaches will have their own definition in this lesson.

Youll learn more about that comparison below.

For now, lets define a chord melody.

A chord melody arrangement is built by harmonizing a melody line by addingchords, double stops, octaves, bass line, or other harmonic devices below that line.

It sounds so simple when you put it on paper.

If only it were that simple to apply to the fretboard!

Now, lets take a look at a chord melody in action as you compare four bars of single notes tofour bars of chord melody.

Heres the first four bars to After Youve Gone written out as a single note melody.


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Click to hear VmP

Now, heres that same melody line played in a chord melody arrangement.

Click to hear VmP

The difference is pretty easy to hear.

One is played in a single-line approach, and the other is that same line harmonized by addingchords underneath the melody line.

As you progress through the material in this lesson, youll learn how to harmonize melodylines, as well as explore variations to this technique that will expand both your chord melodyand solo guitar arrangements.

Besides knowing how to define a chord melody, its also important to know the differencebetween chord melody and solo guitar playing, which youll explore in the next section.


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Chord Melody vs. Solo Guitar

As you just learned, its important to understand how chord melody and solo guitararrangements compare before studying them in the practice room.

Both of these approaches share similar outlines and approaches, which is whytheyre sometimes referred to as the same thing in conversion.

But, there are some fundamental differences between chord melody and solo guitar playingthat will make learning these two styles of guitar playing easier in your practicing.

To begin this comparison, here are a number of characteristic elements of chord melodyplaying to note.

Played with a small group duo, trio, quartet, etc.Uses smaller chord shapes, often without the root includedAdheres to the form of the tune directlyKeeps in time with the band and count inUsed to replace the single-note head, then leads into the solo sections

Now, here are the elements that characterize solo guitar playing and arranging.

Played in a solo guitar situation, no bandUses more root-based and larger chord shapesThe form becomes flexible for interpretationTime and tempo are at the discretion of the performerCan be played as a stand alone song, or as the intro to a combo version

As you can see, though both of these approaches involve harmonizing a melody line, they usedifferent musical approaches, and are played in different musical situations.

Understanding these differences will help you decide on the right approach for your nextchord melody or solo guitar arrangement.

Now that you have an understanding of these two approaches, its time look at how to preparea tune for a chord melody or solo guitar arrangement.


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Chord Melody Step by Step

While putting together a chord melody isnt as easy as putting together Ikea furniture, if thatseven easy, there are steps you can take to make this process easier to accomplish.

In this section, youll learn 4 steps that you can use to help you organize your chord melodypractice routine.

By following these steps, youll provide yourself with the direction and focus you need toarrange any Jazz standard for chord melody or solo guitar performance.

Now, it will take some time to get this process down in your studies.

So, if youre new to chord melody, or Jazz guitar, and these steps seem out of your reach fornow, not to worry.

Read about these steps, and make notes of what you dont understand quite yet.

Then, learn the arrangements below and read about how theyre built.

After that, come back and see if these 4 steps are clearer.

From there, with a bit of elbow grease, youll be ready to arrange chord melodies on yourown.

Step 1 -Choosing a Key

The first preparatory item youll need to decide upon is the key youll use for your chordmelody or solo guitar arrangement.

Changing the key of a standard is more applicable to a solo guitar version, where you have thefreedom to move around more in your performance.

But, if a melody line is too high or too low in a certain key to build a chord melody, feel free tochange the key for that tune to make it easier.

Youll see an example of this approach in the Joe Pass solo guitar version below.

After youve picked a key, youre ready to set up the melody line for your arrangement.

Step 2 Melody on Top 2 Strings

The next thing youll need to do is take the melody line to the top two strings, only using the


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third string when necessary.

Doing so will provide you the space you need to add chords below the melody line in yourarrangement.

To see how this works, check out this phrase from After Youve Gone in the original lead sheetoctave.

Click to hear VmP

Youll note that theres not much room to play with when adding chords below that melodyline.

Heres that same phrase up an octave, on the top two strings as a comparison.

Click to hear VmP

Much better right?

So, before moving on to any of the chord melody arrangements in this lesson, take a minute


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and learn to play the melody to After Youve Gone on the top two strings.

Thisll give you a sense of the melody line before exploring the chord melodies below.

As well, itll show you how to be flexible with a melody line in your chord melodies.

When working through the arrangements below, youll notice that notes get movedaround to fit different chords and bass notes on the guitar.

So, when working out the melody on the top two strings, dont think of that as dogma as far asthe fingering.

Be flexible, and dont be afraid to take a note you played on the second string and move it tothe first string if needed.

After Youve Gone Backing Track VmP

Click to hear VmP


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Step 3 Picking Hand Choices

The next choice youll have to make in preparation for a chord melody is which pickingtechnique youll use to play the arrangement.

Here are the three choices for picking when it comes to chord melody and solo guitar playing.

Pick OnlyFingerpicking OnlyHybrid Picking (Fingers and Pick

If you choose picking only, youll nail the single notes, but might have trouble with certainchords or bass line phrases.

Fingerpicking is great for chords and basslines, but lags behind on single-notes with mostplayers.

Lastly, hybrid picking tends to be the best of both worlds, but can take some time gettingused to in your playing.

No matter which option you choose, there are pros and cons to work through in thewoodshed.

So, try each of these picking hand variations out and see which one suits your playing stylethe best.

From there, you can stick with that picking approach, or use it most of the time with the otherscoming into play when the situations calls for it.

Step 4 Adding Chords to the Melody

Now comes the tough part, adding chords on top of the melody line.

As youll see in the arrangements in this lesson, you can choose to harmonize some or all ofthe notes in a chord melody.

When doing so, the best way to find the right chord for a melody note is to identify theinterval of the melody note.

From there, you find a chord shape you know that has that interval at the top


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note, and thats the chord you use over that melody note.

For example, if the melody note is A, and the chord is F7, you play an F7 chord with the 3rdon top, such as a root position Drop 2 chord.

If you need a refresher on voicings and inversions, check out these Jazz guitar chord lessons.

Each of these lessons has the notes written out as intervals on the fretboard, which will bevery helpful for your chord melody study.

Jazz Guitar Chords The Ultimate GuideDrop 2 Chords for GuitarDrop 3 Chords for GuitarDrop 2 & 4 Chords for Guitar

After youve put the chords under each melody note, or as many melody notes as you feel issufficient for your arrangement, youre ready to play your chord melody.

With these steps in mind, you could now take a standard and come up with your ownarrangement, or move on to learn the sample arrangements in the lesson below.

Chord Melody Arrangement

Now that youve studied chord melody and solo guitar arrangements on paper, its time to takethat knowledge to the fretboard.

Heres a chord melody version of After Youve Gone that you can learn, both with ametronome and over the backing track, in your studies.

As you work on this arrangement, make notes of any elements that stand out to you.

It might be a chord voicing you like, or a right-hand technique that grabs your ears, circle thosenotes on the page or make a note of them for further study.

Lastly, as is the case with any arrangement in this lesson, chord melody or otherwise, themusic on the page is a starting point, not an ending point.

Because of this, youll hear slight variations in the audio examples throughout this lesson.

These could be slides added in, picking-hand variation, and other guitar techniques appliedto the written chord melody.


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Take this approach in your own chord melody and solo guitar playing.

Treat the arrangements like lead sheets. Learn the notes on the page, and thenadd in your own interpretation of those notes.

This will help you learn chord melody concepts, and bring a personal touch to anyarrangement you study in the woodshed.


Click to hear VmP


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Solo Guitar Arrangement

After learning the chord melody for After Youve Gone, you can now explore a solo guitarversion of this tune in your studies.

As you learned earlier, youll now have more of a focus on lower bass notes in this version.

And you have more freedom to explore phrasing and pauses in this arrangement.

In the audio, youll hear one approach to the phrasing of this solo guitar standard.

But, dont let that be the only approach to the tune that you work on.

Instead, learn the version below as is.

Then, come up with your own way of phrasing, slowing down, speeding up, and addingpauses to the arrangement.

With the freedom that solo guitar allows, its these musical choices that makes any chordmelody personalized in your playing.

Click to hear VmP


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Chord Melody With Substitutions

Now that youve worked out a combo and solo guitar version of After Youve gone, youreready to apply a few chord substitutions to this Jazz standard.

When playing chord melodies, you can use many of the same chord subs thatyou would use when comping or soloing over that same tune.

In this arrangement, youll study three main chord substitutions that you can take out of thiscontext and add to your own chord melody arrangements.

Youll notice that none of these subs steps too far outside the given key, but that they add newinterest to the arrangement compared to only using diatonic chords.

Chord subs dont have to be highly chromatic to be effective, they just need to be musicaland applied to the right moment for that sub to work.

Secondary Dominant Chords

With these chord subs, youre replacing a diatonic chord with the V7 of the next chord in thetune.

An example of this would be if you had a Cm7 to F7 progression and you replace Cm7 withC7.

This creates a V7/V7 to V7 progression, commonly called a secondary dominant, as

its the dominant 7th of another chord besides the tonic in that key.

As well, this could also mean seeing C7 for a bar, and moving between C7 and G7 over thatmeasure.

This creates the same secondary dominant sound, but this time over a static chord rather thana chord progression.

Adding secondary dominants to your playing is an effective way to spice up a chord melody


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arrangement.

It can be overdone, so be careful, but it can also create interest in tunes with repetitive ii V and

ii V I progressions as you alter those in each chorus of chord melody.

Secondary ii V Chords

You wont see this approach in the chord melody arrangement below, but it will show up in theJoe Pass version of After Youve Gone in a lower section.

This an extension of the secondary dominant substitution, only now you insert a ii V instead ofonly the V7 chord in your chord melodies.

To do so, when playing Cm7 to F7, you can now play, Gm7 C7 to F7.

This replaces the Cm7 chord with a secondary dominant chord, C7, and its related iim7chord, Gm7.

As well, you can use this approach over a static chord in your playing.

As you added C7-G7-C7 over a static C7 chord, you can also play C7-Dm7 G7-C7, to create asecondary ii V progression.

Because the iim7 and V7 chords are so closely related, you can use them as a combo, or one

at a time, when using them in a chord substitution situation.

Dim7 as 7b9 Chords

The final chord substitution used in this lesson is playing a dim7 chord over a 7th chord, whichimplies a 7b9 sound over that change.

This was a favorite Wes Montgomery chord technique, especially when paired up withsecondary dominants, among other great players.

Whenever you see a 7th chord in a tune, you can play a dim7 chord from the b9 ofthat change.

This turns that 7th chord in a rootless 7b9 chord shape.


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Not only does this bring a new harmonic color into your playing, but it gives you some tensionto play with over that chord change.

The important part is then resolving that tension so that it sounds musical and not like amistake in your chord melody.

Now that youve learned about the theory behind these concepts, its time to hear and playthem in a musical situation.

As you go through the following chord melody study, notice how the chord subs alter thesound of the tune as compared to the version you learned earlier.

Its not a drastic change, but one that brings new interest into the arrangement.


Click to hear VmP


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Solo Guitar With Substitutions

You can now add chord substitutions to a solo guitar version of After Youve gone.

When doing so, youll use the same concepts that you explored in the chord melody versionabove.

But, you now have more of a focus on the bass movement, and freedom to play with the timeand phrasing with this approach.

As youre playing more bass notes in your chords during a solo version vs. acombo version, the bassline becomes more important when choosing chordsubstitutions.

Not only can you choose subs based on their sound quality and harmonic effect, but on thebass movement they create as well.

Adding in different diatonic and chromatic chords is not only an effective way to createharmonic interest in your chord melodies; it will allow you to bring a bigger sense of melody tothe bassline as well.

After youve learned this arrangement, apply substitutions to any solo guitar standard youreworking on in the practice room to use this concept in your own playing.

Click to hear VmP


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Joe Pass Chord Melody Style

Any study of chord melody wouldnt be complete without looking at playing style of the mostrecognized solo Jazz guitarist, Joe Pass.

Joe turned the Jazz guitar world upside down with his Virtuoso recordings, and many fansand players still consider them to be the pinnacle of solo Jazz guitar.

To help you bring a bit of the Joe Pass solo guitar style to your own chord melody repertoire,heres a Joe Pass style arrangement and breakdown of the concepts used in that study.

Musical Textures

The first Joe Pass solo concept is an often-overlooked one, compared to the technical items,and thats Joes use of textures.

When listening to a Joe Pass solo performance, youll notice that he mixes together full chords,broken chords, arpeggios, scales, octaves, Blues riffs, etc. as he navigates even one tune.

In the example below, youll see many of these textural variations applied to After YouveGone.

As you go through the study, dont just make note of chord choice and single-note runs.

Keep an eye out for the different textures used in this arrangement to get your ears in tunewith recognizing that side of chord melody.

From there, go back to your favorite Joe Pass recording and make note of the various texturesthat you can hear in Joes solo guitar arrangements.

Moving from a 2 to 3 note voicing can seem like a small choice, for example.

But, its these small textural details that often make Joes playing stand out amongst the rest.

Phrasing

The next element of Joes solo guitar playing that you can add to your own vocabulary is his


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focus on phrasing.

Joe was a master at Jazz guitar phrasing, as he never played run-on lines even though he hadto the technique to easily do so.

By working definitive phrases, lines with a beginning-middle-end structure tothem, youll lead the listener through your arrangement as opposed to constantlythrowing notes at them.

As well, a big part of Joes phrasing was his ability to put in pauses, slow down phrases, andspeed up lines in his playing.

One of the best parts of playing solo guitar is that you dont have to worry about a bandfollowing you, and vice-versa.

If you feel the phrase needs to slow down, then you slow it down.

If you want to hold a pause a bit longer than normal, go for it.

These are the types of small musical choices that can make solo Jazz guitar so effective, andso much fun to play.

And Joe was a master of making those choices in just the right moments.

Deciding on the Right Key

When learning the solo guitar arrangement below, youll notice that its in a new key, D majorcompared to Bb major in the other arrangements.

One of the coolest things about playing solo guitar, and something Joe Pass tookadvantage of, is you can change the key without worrying about how that affectsother instruments.

To make a melody line easier to harmonize, use certain areas of the fretboard for bass notes, oreven bring open strings into your arrangement, feel free to change the key.

This is something youll see in many of Joe Pass solo guitar arrangements, including hisfamous version of Round Midnight played in E compared to the original Eb.


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Chord Substitutions

Joe also loved to spice up his chord progressions when playing Jazz guitar using all, andmore, of the substitutions you learned about earlier in this lesson.

In the study below, youll apply ii-V, secondary dominant, dim7 as 7b9, and more Jazz guitarsubstitutions to After Youre Gone.

One of the things that made Joe such a genius on the guitar, is that he never really usedadvanced substitutions in his playing.

At least not on a regular basis.

Instead, he went for what was easy, and most importantly, what sounded the best for thatmusical situation.

Studying Joe Pass solo guitar arrangements is a big lesson in subtlety and how to effectivelyuse a few key substitutions for maximum results.

As youve already studied these subs in earlier chord melody arrangements, see if you canspot them in this Joe Pass chord melody.

If you get stuck, or want to check your work, post your thoughts in the comments sectionbelow.

Odd Meter Bars

Heres where Joe really puts his stamp on playing chord melody and solo guitar.

For Joe, the line hes playing always trumps the form of the tune.

Not to say that he ignored form, he didnt.

But.

When he was playing a melodic phrase, he let the phrase play out rather than shorten it to fitthe bar he was playing over.

This meant adding in bars of 5/4, 2/4, 3/4, etc. when playing solo guitar arrangements.

You can see an example of this approach in the study below, where a bar of 5/4 is used at toextend a long, single-note run.

Again, when playing solo guitar you have the freedom to extend your lines in this fashion.


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Give it a try, but dont overdo it.

When used properly, as Joe did, using odd-meter bars can be highly effective.

But, if overused, these moments can become predictable and long-winded.

Finding the right moments for these lines, and using them sparingly, is key to finding successwith changing time signatures in your chord melody tunes.

Riffs vs. Melody Line

The last Joe Pass solo guitar concept youll study in this lesson is the use of riffs vs. themelody line.

This isnt the same as putting lines in between the melody line, which Joe was also fond ofdoing.

Its replacing the melody line with a chord or single-note run.

When doing so, Joe played a run and left that section of the melody out of his arrangement, atleast in that chorus of the tune.

As always, this can be a highly effective concept to use in your chord melody playing.

But, if overdone you can lose the sense of melody all together, causing the arrangement tosound like a solo and not a tune at all.

So, notice where these moments occur in the arrangement below, where the melody line ismissing and a lick is in its place.

Then, go back and listen to your favorite Joe Pass album and notice the moments when Joereplaces the melody line with a line of his own.

Doing so will give you an idea, and the confidence, to properly use this concept in your ownchord melodies.

Now that youve studied the Joe Pass chord melody concepts in this study, its time to take thisstudy onto the fretboard.

Itll take you some time and practice to get this chord melody under your fingers.

But, itll open new doors in your playing, and prepare you to learn a full Joe Pass solo guitararrangement as you move forward in your development.


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Click to hear VmP


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Bassline Chord Melody

The final approach to building a chord melody, although a very minimal one, is to use awalking bassline underneath the melody line.

While adding a bassline gives you a new texture to play with in your solo-guitarvocabulary, it can also provide a new technical challenge to overcome in thewoodshed.

This approach can be found by the late, great, guitarist Ted Greene on his Solo Guitar album,and is quite effective when playing a longer set of chord melody standards.

In the example below, youll be adding a walking bassline underneath the melody line,keeping the melody mostly on the upper 2 strings and the bass notes on the lower 2 strings.

By doing so, youre leaving yourself room to add in some chords, 3rds and 7thsmostly, in between those lines if you feel up for the challenge.


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As is the case with any chord melody, youll need to be flexible with your melody fingering.

Here, there are times when the melody needs to be adjusted from the original fingering to fitthe bassline.

As well, the melody line will drop down to the 3rd string when needed to make the basslinework more smoothly underneath that line.

If you decide to put chords in between the bass and melody lines, then you might reconsidersome of those fingering choices to make the chords easier to squeeze in between.

But.

For now, you can begin by learning how to play this example chord melody with a walkingbassline in your studies.

Then, when youre ready, take a melody you know, pop it up on the top strings, and start toadd bass notes below that melody line.

It may seem like a difficult technique to pull off, and it can be, especially from a fingeringperspective.

But, with time, and some experience in the woodshed, youll be able to add this new chordmelody approach to your combo and solo-guitar repertoire.

Click to hear VmP


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Do you have any questions about chord melody? Share them in the comments section below.

7 Comments

Al B., August 21, 2015:

Matt,Another excellent study piece. Ive gotten more out of your exercises than any other andhave totally enjoyed them. I start off fumbling but after a bit can actually produce somedecent playing. Your approach works for me and Im very grateful for your offerings.Always looking forward to the next study. Thank you.Cheers, Al B.

1.

Dave, August 21, 2015:

I liked the Joe Pass section, thanks. I have to ask, whats going on with all the bold font?

2.

Matt Warnock, August 21, 2015:

Thanks Dave. Because the lesson is so long I use bold so people can skim down, find theimportant words in each sentence, and get what they want quickly. It helps so that peopledont have to read the whole lesson, since its long, to find what they need. Cheers.

3.

Marat, August 22, 2015:

Hey Matt! Your lessons are totally awesome! Never seen anything like that with that levelof analysis and ease of instructions. Here, in the chord melody first sample, I dont quiteget why the C-F-Bb chord appears in the first fret on top of Bb note. Seems that its an Fbut why with 4th note? Its F11 then? Or its just sus4 chord which uses one note fromnext chord? Can you please clarify? Seems Im missing something here Thanks!

4.

Matt Warnock, August 22, 2015:

Thanks Marat. Thats an Eb6/9 chord, so the C is the 6th, the F is the 9th, and the Bb isthe 5th. Cool chord to check out. Cheers.

5.

Marat, August 22, 2015:

Thanks Matt!

6.

Laurence Balmer, August 25, 2015:

Thanks Matt a great resource

7.


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the complete guide to chord melody

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