Steve Khan – Contemporary Chord Khancepts
Стив Хан: “Современные аккордовые концепции”.
Теория, ноты для гитары, аккордовые диаграммы, звуковые примеры.
Для гитаристов всех стилей – от рока, латин и фанка до кантри, джаза и альтернативы.
Contemporary Chord Khancepts presents information for guitarists of all styles-from Rock, Latin, and Funk to Country, Jazz, and Alternative. Steve shares his approach to chord construction, an area he has become known for on guitar. In this book, he has taken a complex subject and broken it down into simple building blocks and small study units.
You will learn to extend your sense of harmony by the superimposition of chord forms which are familiar, as well as a world of new ones. Your ability to express yourself and create textures and musical moods will improve immediately. The text is accompanied by two CD’s full of performed examples, play-along tracks, and five completely new compositions by Steve only available in this package.
Well constructed book with great backing tracks as well as great compositions by Steve. Every jazz guitarist should have this book as an absolute necessity. Anyone familiar with Steve’s work with Steely Dan and his solo works and works with numerous other artists know what a tasteful guitarist he is…
If you already know your basic chord theory, know all your barre chords and jazz chords, play well from lead sheets, etc… then you are ready for this book. Kahn discusses the use of leading tones and the basic triad as tools for playing guitar in a combo setting. He does a good job of covering the no-man’s land between rhythm guitar and lead guitar.
The book is well written, in an easily accessible style, by someone who really knows what he is talking about. There are many gems sprinkled throughout these pages. If you are a beginner or weaker intermediate player, pass on this book for now and come back to it later.
Useful material here, with plenty to keep you going for a long time. Steve gives you lots of examples on how to use triads and extensions and not just a bunch of theory. The CD’s are very helpful in hearing the applications. After all, it is music and having an opportunity to hear what the material should sound like was a great aid in helping me understand the ideas.
pdf + mp3. Вес файла 55 mb, zip архив. На английском языке. 1997 г.
Источник
Alfred’s — Steve Khan : Contemporary Chord Khancepts
English | PDF + MP3 | 73 pages | 57 MB
Contemporary Chord Khancepts presents information for guitarists of all styles-from Rock, Latin, and Funk to Country, Jazz, and Alternative. Steve shares his approach to chord construction, an area he has become known for on guitar. In this book, he has taken a complex subject and broken it down into simple building blocks and small study units.
You will learn to extend your sense of harmony by the superimposition of chord forms which are familiar, as well as a world of new ones. Your ability to express yourself and create textures and musical moods will improve immediately.
The text is accompanied by two CD’s full of performed examples, play-along tracks, and five completely new compositions by Steve only available in this package.
Well constructed book with great backing tracks as well as great compositions by Steve. Every jazz guitarist should have this book as an absolute necessity. Anyone familiar with Steve’s work with Steely Dan and his solo works and works with numerous other artists know what a tasteful guitarist he is… If you already know your basic chord theory, know all your barre chords and jazz chords, play well from lead sheets, etc… then you are ready for this book. Kahn discusses the use of leading tones and the basic triad as tools for playing guitar in a combo setting. He does a good job of covering the no-man’s land between rhythm guitar and lead guitar. The book is well written, in an easily accessible style, by someone who really knows what he is talking about.
Источник
Steve-Khan-Contemporary-Chord-Khancepts.pdf
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48th Avenue Miami, Ft 3:l0l4 Anv ccpf ins of d:rs materia.l in n’hole ul n pan r+rthout tne elpress l Table ofContent Introduction Unit1 Superimposition oftheiimTonUZChords Unit2 Triads Unit3 Guide Tones Derivation Unit5 Rhythm andBlues/Gospel ChordalApproach q!il 6 Harmony BuiltAcross theStrings Unit7 iimT-V7-17-Vl7 Over a Pedal UnitI Modes inGhords Reference Unit9 Chordal Study Derived Froma Linear Exercise Unit10 Ghoosing a Style Unil11 McGoy Tyner Left-Hand SUlePiano Voicings Unit12 Ghord Tones asMelodies Unit15 Major-Minor Erercise Unit16 Ghord Ghanges lorStandards Unit17 Gm7-Smai7(il4) Exercise Unit18 0ctaves withThirds lnside Unit19 G7PedalGhordal Reference Unit20 AbouttheGD upegalInanKs people: Thanks tothelollowing Myvery Special generosity, . . . foryourfriendship, talents, andtireless AlGorgoni effoGinlrlpingrneassemble grace CDsandwhich have and which these been a partofmyclinics sequences theplay-along private years. tnveclone l’msograteful andcouldNOT thiswithout forthepastseveral teaching you,oryourfamily. MikeSelverne, Aaron TomRoed, BobSherwin, Andto:RobWallis, Stang, Michael, RobMounsey, Felicia 0scar Martin, Malcolm andNinaPollack, Fruko, Christine White, Reuben, Blanca Lopez, MarcQuifrones, Lynne Gloria Clifford Manolo Badrena, Hernandez, David Tan, Rano Viviana Mike Workshop, NedShaw, Johal, Gibelli, National Guitar Summer Carter, Morillo, YunyReyes, EdRak,DanSeeff, Billand AnitaPadilla, Lilibeth Landy, ColinSchofield, Ruben Rodriguez, Patrizio Anthony DanKeller, Jackson, JohnHarris, Kristin Hart,StanSmith, Robin D’Leon, Sergio George, Gould, Oscar Inaoka, andSeth0rnstein, Kenny Sabina Chioza, Bernie Williams, Derek Bernie Minoso, Bayamo, Julian Gorgoni, Zerbib, Adam Gorgoni, Freddy TheShapiros, Donn Birnbaum, Ellen andBarry Dennis Chambers, Puerto RicoAll-Stars, Jeter, Fischer, Poncho Reyna Astellia Diaz, Clare Carpio, RonCarter, JuanLuisGuena, Cunningham, Flores, Folon, Esther and Anton, Jean-Michel Demont-Rahiou, Jimmy West, Betty Doug Sanchez, Locke. John Acknowledgme (Roger (Jimmy Guitars Sadowsky Archy), DeanMarkley Strings(RichFriedrich), Gibson Guitars (Bob AudioElectronics Woods), Amps(Walter Custom Walter Woods andKenFallon), Sadowsky (Masaaki (Mitch (Alex Yamaha Korg/Marshall Colby), Aguilar), Electronics Aguilar Bradshaw), (Carla (John Reyes), and TheLatinOuarter K.Music Services, Lomas), Danny Naito), lbanez (The Family). Manny’s Goldrich Dedicatio Gloriaandto mysister, to mymother, withloveandgratitude Theworkinthisbookis dedicated son,Heath. . . . and, asalways, tomydear Laurie Corresponden great tohearfromyou! Please feelfreetowrite,it’salways Write to: Khan Steve P.0.Box1308 N.Y.C., NY1m11 postage. youmustinclude return lf you’dlikea response, Credits Stang Wallis andAaron Edilorc:Robert Music Engraving Chelsea andBookLayouUllesign: ilusicEngraving C0t6 CoverDesign:H6l0ne NedShaw BackCoverlllustration: Inlormalion: CDRecording Khan Steve Produced by: Pollack AlGorgoni andMalcolm Producers: Associate RobWallis Producer: Executive AlGorgoni, Gorgoni Khan, andAdam by: Steve andSequenced Programmed 4 and7,1996 Lightstream Studios, October Recorded at: Pollack Malcolm by: Recorded andMixed RobMounsey Additional Sequencing: Monkey Studios Flying at: Sequenced Michael Felicia Monkey Assistant: Flying Room TheReview Post-Production: Mike Landy Engineer: lntroductio ourinstrument, inthewortd ofpopandrock music, there ft geqms Stfangethatwith c0ul0 exrst sucha thingasa «rhythm guitai’player. A guitarist whojustplays thechords. And,a «lead guitai’player, onewhoonlyplays solos, titis,andlicts. I findfliisold’tecause I betieve that youmusttryto playALLoftheinstrument asbestyoucan.0bviously, you’llhavestrong andweak points, butdon’tletyourshortcomings getthebestofyou.YouCntldevetop intoa well-rounded musician andguitarist. ’80s, ’60s, Since the music education hasadvanced faster thanonecankeep upwith.During the whenI wastryingto learnhow. youhadprivate to playtheguitar, tbaci’rers, a fewbilots,ino exchanges of information withfriends,butmainlyYOUHADYOUR EARST liyou couldn’t’trear youwere qulqlly, lost.Noplayalong CDs, io instructionat books withcassettes, no lI!$ «REAL ‘JAZZ videos, 800K,» andnoJamey Aebersold’s AIDS’ service. Asa teacher I’vebeen amazed atthetechnical advances ontheinstrument. Never hastherebeenso manyplayers withsuchincredible technique. 0ften-times thatabilityhascomeattheexpense ota comprehensive knowledge ofmusic: harmony andtheory. Inmyexperience, thathastranslated into students allowing theirchordal knowledge tolagfar,taiOenind. Sd,asa teacher. t’vetrieO tobring intheextremes andshare myconcepts aboutbeingableto putto useallthepossibilities ineguitai offers formore complete expression. AfterI hadmoved toNewYorkCityinJanuary of1970,I began toslowlyaddmoreguitarandmusic «Chord books purchasing tomylibrary. I recall several pubiications, Dictionary» some withasmany ‘How as80,000 chords. I remember thinking, posiibiy coutd there beTHAT many chords?» Asi studied these books andcontinued to learnabout theguitar, I realizdd thatmostoffliesechords lust fulfilled a number inthebookbutproved to bevirtually useless whenmaking music withother -presented musicians. Inthisbook, I’vetriedmybestto make certain thateverything hasthe potential tobeusedinavariety ofsettings. I wouldbethefirsttoadmitthetI hai/;notcovered every posibility, single but,thework assembled here willcertainly serve asanexcellent source towhich torefer anytime. . t. Ina sense, formybwnqqploSch, I’vetriedto viewthingsin a morepianistic manner. Thepianist canaccompany theirright-hand lineswiththeirleft-hand. So,in part,I’veworked at playi’ng the guitarwiththiskindofapproach in mind, but, the key difference for’me is NEVER view ttie tbt-iranO «just aspect as a bunch ofchords!’ Theconcept is to ALWAYS hearthetopnoteofanychordas having melodic content. This.is of crucial importance. Yourlinesandyourchords areof equil import andcanlunction beautifully together inyourhands. Mymethod forsharing thisconcept isactually a complete contradiction totheendresultwehopeto achieve. 8ythatI mean, I treatchords astotallyseparate fromthelinearwork.Atthestart,thetwo are. onlyjoinedbyharmonic theory. And,astheworkprogresses, thelinesandchords slowlybegin tofunction together. Astherearemanyexcellent books andvideos whichconcentrate onth6tin6ar sideoftheinstrument andimprovising, I have chosen tofocus ona chordal approach which can jointhose lines. It’smysincere hopethatyouwillworkslowlythrough thismethod fromthebuilding blocks tothe moresophisticated concepts. Approach thingsinsmallstudyunitsbymaking a series ofshortterm — somethiry goalsforyourself y9uCftttaccomplish in a reasonable amount of time.youmight findit difficult to placea specific timeframe forthemastery oftheseconcepts, butpatience anda steady course willsurely winoutintheend. Allthebest, To thg eyes and ears 0f many, therange ofrheguitar, atitsouter reaches, canar times likeit rivals seem thepiccolo. lf thefollowing diagram isstudied carefully, thetruthabout where ourinstrument really functions canbecome clear.lf we’re tobehonest withourselves thenwe willreadily admit that,in ourlower register, we’re operating in theterritory of mostbass instruments; and,inourmiddle to upper registers, we’reessentially operating inthecenter ofmost keyboards. Whether we’re (thesoloist) theprincipal melodic instrument orsimplypartofa basic4piece (keyboard(s)/guitar/bass/drums), rhythm section it’sessential to gainanunderstanding of howourinstrument best functions. Throughout recent decades therehavebeena multitude of chordbooksoffering thousands upon thousands fortheguitar.lt is myexperience of chordshapes thatin thecontext 0f making music «E» withother instruments, mostofthechord voicings which employ the and»A»strings are essentially useless. Thereason being, thatwhen we’re using these twostrings, we’re likely tobein thewayofthebass, andpotentially clouding thelowerregister ofthekeyboard. lf oneexamines the styleofWesMontgomery, it’sobvious thatheusedfullsounding voicings asanactivepartof his styleandsounded tremendous. BUT,hewastheLEADFR, andthearrangements werebuiltaround whathewasplaying. Pianists knew, andorganists or learned, howto stayoutoftheway.ln many rock,heavy metal, country, andfolkmusics, it’sstylistically important fortheguitarto usethelower Inthelongrun, strings. always trytodowhat’s right forthemusic asawhole! Asthisbook I hope unfolds, tomake a strong case forusing 2,3,and4-note voicings which lay yourD-G-B-Estrings. across Asyouworkatdeveloping anevolved sense ofharmony andtheory, I believe thatyou’llfindthisconcept extremely in,firstly,justplaying useful witha bassist, andlater youwithasmanyoptions withtheaddition ofa keyboard. I have triedtosupply aspossible. When youputthese concepts touse,it thenbecomes a mafter ofyourownsense ofharmony andtaste. pick pickandfingers lingen whichwasfundamentally AsI worked mypersonal approach, for groups withouta at amending player, I gradually keyboard began toadjust allmyfingerings. Thisbecame especially trueforthe2These forms, whenplayed and3-note chordformations. aspartofa voicing employing a bassnote «E» «A» would befingered inthetraditional onthe or strings manner. I chose to finger these voicings in anindividual way,notasif I hadsimplyliftedoffthefingerwhichwouldhavebeen playing in doingthiswastotryandsmooth thebassnote.Myreasoning out- make aslegato as possible theflowfromonevoicing intoanother. I feelconlident, thatif giventhetimetosinkin, will giveyougreatresults, usage of myfingerings especially if you’renothappy withthecunent movements. state ofyourchordal youbecome Nomatter howproficient in playing witha pick,asyourabilities withchords broaden will’be there times when the»pick theuseofeither andclaw» technique orfingers alone willprove moreexpressive. Theadvantage ofthese techniques is theabilityto bringoutthetopvoiceofany chord andinsure thatitspeaks clearly voice. asa melodic youstrikeacross Byusinga pickonly,nomatter howquickly a chord, thehigher voices willalways youcanpluck bemilliseconds late. Byusing thepickplustwoorthree fingers orfingers only, all perhaps thestrings simultaneously and, best ofall,bring outthetopvoice a liftle more. playing So,if you’re lineswitha pickandsomechords withfingers only,howdoesonesolvethis «While years youwere playing, back andforthproblem? Several ago,ata clinic, someone asked, I noticed every sooftenyourpickwoulddisappear whenyouplayed chords, where didit go?»Atthat moment, I honestly whathewastalking didnotknow about. AtfirstI asked if I’dputthepick between myteeth. Hesaid,»N0.»So,I triedto recreate thecircumstances and,after a while, I realized thatlwouldslipthepickbetween the1stand2ndfingers of myrighthand inthearea between the2ndknuckle andwhere thefingerjoinsthehand.So,whenplaying a 4-note chord, the «D» «8»string, 1stfinger thumb strikes the string, the»G»string, 2ndfinger the and the finger 3rd is «E» lreetobring outthetopvoice onthe string byapplying a littlemore force. lt willtake a lotof practice, consistent butyouCAN doitl UnitOne superimposition ol lheiimTonV7chords It seems so simple thata teyooaro wourd looxata chord Drayer ptayed voicing acro twohands andseeit as,forerample, someformofGi chord.0ftenonguitar.wecanitayonlya portion ofthechord.voicing. Forexample: Wemrghtplayonlywhattheflght-hand oftfr’ekilyboir isplaying-apartofthatG7chord. We might viewourvoicing asperhapsiDm7overthebassist «G,» oranynumber ofother options. Indiscusstons trere. andwithone’another, it’sfinet0lookat things inthisrather separated manner. Justdont losesightofwhat prctu thetarger harmonic really is. Inthisbook your wewillbuild chordal vocabulary from, (guide a)a2-note tones) approach, b)through traditional andextended 3-note voicings, c)andfinally to4-note chords allbuilt upon upper extensions ofbasic chord. Throughoutthe book,l’ll berelerring to iimTandVZchords asbeingrelated andinterchangeab lt youbuildchordvoicings upfromthe5thdegree of G7(D)youwoutdconstruct om,omi, Dmg etc.Insodoing1ogryogld beextending theharmony ofGi byadding the9th(A),the11th(c),and (E):G7:GBDF the13th C h oT r do n e1s3:5 b 7 91 11 3 Dm9:DFACE ‘l b3 bZ Tones: Chord 5 I Erample 1:G7ChordTones Dm7(iim7): Root ll weimprovise usingDminorvoicings we’dconstantly create these extensions ofG7andprobabl produce, what I would attempt todescribe asavery majestic feeling inthemustc. asfunctioning inthekeyofCmajor, then»G»istheV7(dominant Zth)and l[ve.se9allthisactivity «D» «majestic» istheiim7,lnorder to produce this you’re harmonic effect always superimp6 iimT chord voicings over ther00t 0ftheV7. Erample 2: Harmonized MajorScale CMajorScale: Root I Major] Asmyownconcept playa guitarvoicing hasevolved, I findthatI rarely utilizing mylow»A»or «E» I’vefoundthatthiskeeps strings. player’s meoutofthebass way,and,seems tofre’eusboth.More importantly, it expands ourimprovisational boundaries. Thisbookwill notdealwiththetradition guitar chords which utilize voicings where thelowestnote isonthe»A»or»E»strings. lf youfeelth part need your to shore-up this of knowledge, therearemanyexcellentpublications whichtreatthis areaindetail. Toname a fewoftheauthors: Mickey Baker, JoePass, andTedGreene. AsweexDan progressively onthisconcept andintroduce more andmore ambiguous 3-and4-note you’ll voicings, findthatthebasspartandthemusicgrowfreerandfreerbecause thepossibilities forspontaneo reharmonization ofanychord youandyour become endless. And, music willbenefit most! Example 3: G Triads Topvoiceon»E»Sting tqnq 2p VealSofteacirins, itstillamazes methat somany exceptionany gifred ll$ gullarlsts great could devel0p technical facility_ Источник