Figure 4 – Melody with more notes harmonised

Audio for Figure 4

With a similar approach we could now just harmonise every note of the melody, which you can see in the figure below.

Figure 5 – Melody with all notes harmonised

Figure 5 – solo piano
Figure 5 – piano and lead sax

There is only the first bar left so I adopted a chromatic descent again but, in order to preserve the freshness of the harmonic movement, I’ve made some changes. Note the second bar – there is now F diminished rather than Db7b9. Since the Db7b9 is a disguised F diminished, the harmony remains intact, however, the chromatic movement in the bass now ascends rather than descends. The chromatic motion in the first bar is by no means subtle; both the bass line and the middle harmony (starting on E) descend chromatically and the upper melody in the bass clef moves to maintain the seventh interval of the chords which are all dominant (minor sevenths) except for the first chord. In a similar fashion as before, I’ve employed the use of a diminished sounding harmony for (what can in isolation be considered as) the approach notes on the second and fourth beat of the bar. I opted to play the altered dominant for the last chord of the bar, but Ab7b9 or C#dim/A would be fine.

The altered dominant is derived from the seventh mode of the melodic minor, otherwise known as Locrian #2 or Superlocrian, and contains both a b9 and #9, major 3rd, #11, no fifth, b13, and minor 7th. Truth be told, this is one of my favourite chords. It’s basically a dominant seventh with all the wrong notes, but it sounds so nice. It has a luscious, yet dark sounding quality.

Figure 6 – B Altered dominant scale (7th mode of C melodic minor)

Compare those chord tones now with the half-step/whole-step diminished scale from which the V7b9 chord is built. Besides the fifth, the important difference between them is the 13th, otherwise they possess the same chord tones. A7b9′s 13th is F# whereas the A7alt has the b13 (F) meaning I stay on the F and there is a chromatic descent from F to the C# of the A7b9 at the end of the second bar.

Figure 7 – B half-step/whole-step diminished scale

The other embellishment of harmony shown is my addition of more tensions, especially to the dominant sevenths. All these tensions add colour and depth. However, the decision as to which tensions to use in a given situation can be quite daunting theoretically and sometimes it’s best to use your ears to decide what sounds better and what creates the best effect for its purpose, i.e. the next note/chord it resolves to. The most common alterations are b9, alt and #11. The V7b9 alteration I tend to use in order to voice a diminished harmony, but I may just use the diminished chord; my choice usually depends on what I want the bass line to do. However, when using the V7b9 in this respect, it is important to note that it does not sit well if the melody note is a 9th or flatted 13th (since neither are part of the half-step/whole-step diminished scale). The alt and #11 are interchangeable since they are tritone substitutions of the each other in the same key. The lydian dominant is derived from the fourth mode of the melodic minor and the altered dominant from the seventh mode.

A short word on tritone substitution. It is a basic reharmonisation technique applicable to dominant seventh chords and involves the substitution of a dominant chord with another dominant a tritone away. This works because the 3rd and 7th of the chord (the chord tones that best describe the quality of the chord) are a tritone apart and become the 7th and 3rd of the dominant chord a tritone away. Using tritone substitution can give a chromatic bass line and sometimes make the melody note prettier as a more interesting tension, but this is not always the case and it pays to be judicious regarding the use of tritone substitution.

The last bar contains a minor II – V – I cadence… sort of. It started out as one with D half-diminished, G altered dominant and C minor-major seventh, but since the original key was C major, it sounded better ending with a major tonality. Adding a minor II – V just gives the harmony a bit more texture and variety, as well as leaving scope for use of other melodic minor chords. Yet I decided not to end on the tonic – it’s left open by moving it up a semitone to Db. This is a trick I’ve heard many times and never grew tired of, so I incorporate into my endings now and then. This doesn’t mean you have to, but if you want to, it’s an option. It can be unexpected, but remember to keep the unexpected just that. If you start ending all your pieces with the same progression, it loses the magic.

Mostly, this harmonisation would be more than adequate for all our arrangement needs, perhaps even superfluous to our requirements. Not all of the notes need to be harmonised: the fundamental harmony can be kept quite simple, but knowing the possibilities that are shown in here, some overlap and variation in use of tensions can really lift a piece by injecting a bit of ear-candy.

I appreciate that there is a fair amount of theory within this article and unless you are familiar with the major, melodic minor and diminished scales and their modes, it can seem as though there is a lot to take in – at least that was the way I used to (and still sometimes do) feel. Nevertheless, a lot can be gained by just understanding the way in which to build chords and add tensions – experimentation and critical listening can go a long way. Using your own ears and musical instinct makes the experience more personal and eventually more intuitive.

Thanks for taking the time to read this article. The next article in the series will conclude Developing Harmony; we will look at a different approach to harmonising a melody using slash chords. Until then, please leave a comment and feel free to ask any questions.

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The sounds of the brass instruments are made by “blowing raspberries” into a mouthpiece. This works in the same way that the reeded woodwinds do where the lips, or embouchure, acts like the vibrating reeds. Due to this, similarities in phrasing, range/register characteristics, and articulation are similar; most of the articulations such as tonguing can be performed on the brass instruments. Rest periods are recommended especially after demanding a brass instrument to play at one of the extremes of their range – not only do brass instruments require a bit more breath, the lips and muscles of the mouth are used to their full extent. Also important are the dynamic possibilities of the instruments. Higher registers can be strenuous and cannot realistically be played quietly. Articulations of particular note are the sforzando or forte-piano where the dynamics can quickly and drastically be altered such as a loud burst that immediately dies down. Dynamic consideration is crucial when writing for the brass section in conjunction with the rest of the orchestra – their ability to overpower the orchestra must be realised. Another factor of the brass is the use of mutes; they not only reduce the dynamics of a brass instrument but also change their tone. This shall be covered in a later article
The horns and trumpets (except the C trumpet) are transposing instruments whereas the trombones and tuba/euphonium are usually non-transposing.

Horns

The horns are the original member of the brass in the orchestra and come in two flavours: the natural horn and the valved horn. The valved horn is now the standard of the modern day orchestra and is the only type I shall discuss here. The range is vast as illustrated below.

Example of the Horn’s range

The pedal notes can be difficult to execute and discretion is advised in scoring parts using them or writing faster passages in the lower register. Sustained passages in the higher register should also be avoided if possible, or at the very least should be accompanied with enough rest periods. The lower half of the range sounds deep and resounding, the middle register has that “hero” sound and the upper register has a clear brilliance to it. The four horns in an orchestra are normally divided into pairs, one pair to take the lower parts, the other the higher parts. Large interval leaps and extreme jumps into different registers should be avoided as well as fast runs that are not idiomatic.
Here’s a famous example of the solo horn:
Mozart’s Horn Concerto excerpt

The sound of the horns can be altered in many ways with the hand that protrudes the bell or with manufactured mutes that can be inserted. The horn can also perform nuances such as a “rip” that is a rapid ascent to a note through the overtone series or playing “cuivré” by blowing harder with more lip tension in order to vibrate the metal, or “bouché” which is playing with the hand stopped into the bell. The following example demonstrates a horn rip that was used in a well known TV theme:
Black Beauty Theme

Trumpets

Of the trumpet family, there are many varieties such as the piccolo trumpet, the trumpet in C, D and Bb, the bass trumpets, the cornet, and the flugelhorn. However, we will concern ourselves only with the trumpet here. The C and Bb tend to be employed in today’s orchestra over the F trumpet which was used in earlier classical music due to balance – the F trumpet, although, resounding, can carry the sound too much. The range for the C trumpet is shown below

Example of Trumpet range

Although some players are able to play higher than this, the high C should remain the limit when composing and scoring parts of trumpet. It is the soprano member of the brass. Below the low C the sound can be a little dull, but the remaining registers have a very clear and brilliant sound that can cut through the orchestra very effectively (too effectively if one is not careful). The middle register offer the safest region of playing with the greatest amount of control achievable. It is a bright instrument and quiet dynamics are not easy but are manageable by more able trumpeters. Naturally, the highest register cannot be played quietly. Staccato articulations are most forthcoming on the trumpet and it can be considered one of the most agile instruments of the brass sections.
The trumpet is often synonymous with fanfare music, as demonstrated by one of the most famous fanfare themes:
Gonna Fly Now (Rocky Theme)
However, the solo trumpet can also sound very brooding and somber, as perfectly utilised in this classic:
The Godfather theme excerpt

Trombones

The trombone is a valveless brass instrument. Pitch is altered by adjusting the length of two connected U-shaped tubes. The present day orchestra usually uses two tenor trombones and a bass trombones, however, the alto trombone has made appearances and one should be aware of its usage.

Example of Trombone range

The sound of a trombone is a very strong, earthy tone that can be majestic or sonorous or sombre depending of the quality required and the dynamic used. It is possible for notes higher than the Bb to be played but it is very difficult and should not be expected of all trombone players. The bass trombone is pitched much the same as the tenor trombone, however, it has a slightly different quality from its larger bore and bell size. Its lowest notes resound much stronger than those of the tenor trombone.

A familiar example of the solo trombone in classical repertoire occurs in Ravel’s Bolero:
Trombone solo from Ravel’s Bolero

Single, double and triple tonguing are all possible but are more difficult to execute articulations than on the trumpet due to the larger mouthpiece and these articulations are not as effective in the lower register. A characteristic that is unique to the trombone amongst the brass is its ability to perform a natural (microtonal) glissando up or down. This technique has become a little too common though and its use should be done in taste.

Before I discuss the last member of the brass section, it is worth noting that the trumpet/trombone and trumpet/horn combination are a popular choice for anthemic filmscores, especially when doubling up in unison (an important topic that I shall cover in another article). The trumpet/horn sound can give a “hero” theme sound, such as the Superman theme. The trumpet/trombone unison combo is quite a power house though and one of my favourites. When you recall this particular theme, you’ll understand it menacing tones. I provide the example with both the full orchestra and also the brass section on their own for comparison.
The Imperial March – Brass only
The Imperial March – Tutti

Tuba

The tuba is a relatively new addition to the orchestra, first employed (and conceived) by Wagner. It was to support the horns and provide the bass for the trumpets and trombones. A whole family of tubas were used in his composition The Ring, but outside of Wagner’s music, the need for an entire family of tubas is rarely required. The C and double Bb tubas are the most commonly found instruments in the orchestra nowadays. They are non-transposing instruments – the classifications refer to the instrument range, not key.

Example of Tuba range

Despite some sluggishness in the extreme lower range, the tuba can be quite agile and produce a good dynamic range but, again, consideration must be made for rest periods due to the amount of breath required to play this, the largest instrument of the brass family. The instrument has been stereotyped from its use in military and festival brass bands but the instrument can in fact produce very lyrical, melodic sounds as well as a blended support for the orchestra. For example, the opening of Bydlo from Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition gives a wonderfully melodic example of the lyricism the tuba can offer. Its sound exemplifies how the instrument is really an extension of the horn.
Bydlo excerpt

Whilst double and triple tonguing or fluttertongue techniques are rarely found for the tuba due to the large mouthpiece and looseness required of the lips, that is not to say these techniques are impossible – just not usual. Wagner’s tenor tuba tends to be replaced by an instrument related to the tuba called the euphonium, although it is not the most commonly called for instrument. Its range is the same as the bass trombone.

In conclusion, the brass offer quite a lot of agility as well as power; in fact, it can be quite easy to drown out the entire orchestra with the brass so it’s wise to be aware of their dynamics. However, with intelligent scoring, the brass can provide stunningly powerful music. To end with a fine example, I provide an extract of Holst’s Mars. The rest of the orchestra provide a driving rhythm whilst the brass deliver the goods. In this short example, after fours bars of a sustained chord the trombones and tubas deliver a 2 bar line and repeat as the horns and trumpets echo with a harmony, afterwhich they take over to finish the melodic line with all the brass joining in for the last two bars. I provide the example both with and without the rest of the orchestra so you can appreciate what the brass section is doing.
Holst’s Mar excerpt – Brass only
Holst’s Mars excerpt – Tutti

I hope you’ve enjoyed this article as well as the series. Please feel free to leave a comment below in discuss this article in the forums. Look forward to the next article, which will be the last in the series where I shall be giving an overview of the percussion section.

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The following families consist of the listed instruments:
Flute family (non-reeds): piccolo, flute, alto flute, bass flute
Oboe family (double reeds): oboe, oboe d’amore, English horn, heckelphone, bassoon, contrabassoon
Clarinet family (single reed): clarinets, alto clarinet, bass clarinet, contrabass clarinet, bassett horn
Saxophones (single reed): sopranino, soprano, alto, tenor, baritone, and bass saxophones

All these instruments possess unique timbres but some are more ubiquitous throughout classical music than others and it is only these that I shall discuss here. The most commonly used instruments of the woodwind section include the flute, oboe, bassoon, clarinet, and bass clarinet.

The are a number of colours and articulations common to these instruments, including vibrato, legato and staccato phrasing, where staccato notes can be made by cutting off the breath (air supply) to the instrument or “tonguing” (using the tongue to stop air flow). For faster passages, double or triple tonguing can be performed. A similar effect to the violin tremolo can be accomplished with a technique called “fluttertongue”. This is usually achieved by a rapid roll of the tongue whilst blowing, similar to rolling ones “R’s” but without employing the vocal chords. Some of the woodwinds can play a muted effect by stuffing a cloth at the opening (obviously not the flutes). There are also a number of other special effects that have seen use in more contemporary writing, such as whistletones on the flute, key clicking sounds, non-tone/note articulation (i.e just breathing into the instrument). These peculiarities are not so common but they are worth mentioning.

Flutes
Range:

Flute’s Range

Here is a famous example of the flute, involving double-tonguing:
Saint-Saens’ Voliere

The sound of the flute has a very breathy, lyrical quality stemming from the method with which it is played – it is the only woodwind instrument that is not played with a reed. The lowest note that can be played is the C, however, flutes with a “B-foot” are able to play the B natural below. From the lowest note to the G above is the lowest register and it has a fairly weak but resonant quality. The next register to the G an octave above has a melodic quality but, again, does not carry very well. The next octave is the highest register which has a clear brilliance that can carry well. Above this G, notes can be quite strenuous to produce and the sound becomes quite piercing and shrill. Since the instrument requires quite a good deal of “puff” it is worth remembering to give rest periods to the instrument and be cautious when composing longer, sustained passages.

The piccolo is an octave transposing flute and can often be used in doubling up with the flutes. Naturally, it’s sound carries forward the higher registers of the flute and extends its range an octave higher, so it can be very piercing. Although, it’s lower registers have a mellow tone and similar to the flute, does not carry as well as the higher registers. Besides the piccolo, the alto and bass flutes can be used to complete the flute family as an integral choir, however they are not so commonly called upon.

Oboes
Range:

Oboe’s Range

The oboe is a double reeded instrument and possesses a very unique, characteristic sound. It produces quite a “reedy” sort of sound and I believe that, of all the woodwind instruments, it has a quality that is the most descriptive of a “wood-wind” instrument. Overall, oboe passages can have a beautiful, melancholic sound. Its lower register from the Bb to the F above it has a rather thicker texture and can be a little unstable, but its middle register from the G to the A an octave higher, has the most warmth. The upper register is a little thinner but its sound is very clear.

Due to the double reed, the instrument is very responsive, demanding quite a lot of control on the part of the musician; there is tendency for it to honk and squeak by lesser able musicians. Although, the extra sensitivity means that a good oboe player can sustain notes for longer than a flautist, but it is worth giving equal consideration for rest periods.

Single tonguing technique can also be used for staccato effect, but double or triple tonguing are rarely called for and are not advisable. Trills and tremolos are also possible but capabilities vary considerably with the instrument model.

Here is a very famous example of the solo oboe:
Tchaikovsky’s Swan Lake

There are auxiliary members of the oboe family that can extend the range downwards such as the heckelphone and baritone oboe, but these are rarely used. However, a relation of the oboe called the English Horn is worthy of mention since is slightly more common place and has a more subdued, sombre, sonorous quality. It is considered the alto instrument of the oboe family. Its name is a bit of a misnomer; it is neither English nor resembles anything from the horn family. It is a transposing instrument, sounding a fifth below what is written (an F instrument).

Bassoon/Contrabassoon
Bassoon range:

Bassoon’s Range

And for a great example of the bassoon, look no further:
Dukas’ Sorcerer’s Apprentice

Contrabassoon range:

The bassoon is also a double reeded instrument but it is not classed as a member of the oboe family due to it different timbre. Its sound has a more wooden, open texture but it can have just as much expressive quality as the oboe. However, its resonance can get lost when played in combination with other instruments – its sound tends to get “lost in the mix”. Despite this, it’s extreme registers have quite unique tones; the lower register (Bb to G above it) with its brooding richness and its higher register (D an octave higher and above) with its thin, clear intensity.

Single tonguing can be used for staccato, but similar to the oboe, double and triple tonguing are rarely used. Trills can be performed but it is not recommended to score them in the lower register and tremolos are not generally called for. It is also worth remembering that the dynamics of the lower register can only be effectively loud and the upper register is quite quiet.

The bassoons counterpart for extending the range downwards is the contrabassoon and is similar in most respects, especially regarding its lower range of notes; they are sonorous and they require a particularly considerable amount of “puff” power. Their tonal quality is often used to solidify passages in doubling with the cello and/or double basses. Due to the amount of breath required, staccato articulation should not be expected.

Clarinets/Bass Clarinet
Bb Clarinet range:

Bass Clarinet range:

Bass Clarinet’s Range

The clarinet is a single reeded instrument and the fingering system is the same for all instruments of the clarinet family – a clarinet player is able to play the Bb, A or bass clarinet etc. by simply switching instrument and playing as written. Unlike the other woodwind instruments, whose tonal character changes depending on the register played, the clarinet’s tone is maintained across its entire range. Also, the dynamic range is greatest and least limited on the clarinet. The clarinet’s tone is best described by its name “clarinet” which comes from the Italian word, “clarinetta”, meaning “little trumpet”. It’s tonal character is quite mellow and perhaps sultry.

Clarinets can be found to play in unison or play completely different parts and all the articulations and techniques previously described are possible. One particular technique that the clarinet can perform effectively is an upward microtonal glissando (such as can be achieved on a violin or trombone). The best and most famous example of this can be heard in the beginning of Gershwin’s Rhapsody In Blue, which also demonstrates the range of the instrument.

Although there are a number of auxiliary instruments of the clarinet family that can extend the ranges of the clarinet, the most commonly used is the bass clarinet which is usually a Bb instrument. Extensions can sometimes be used to produce a low C (sounding Bb in concert pitch) but this is not always available and so the range should generally be considered as going from the low E (concert pitch Db). The tone quality is richest in its lower registers, with a sinister or mysterious sound.

The diversity of the sounds that the woodwinds can create in combination are vast, as are their use in music. Examples range from the instantly recognisable floaty flutes of Dance of the Mirlitons from the Nutcracker Suite to the nuances present in the opening of John Williams’ E.T. Theme. I leave you with a well known example of a combination of the clarinet, bass clarinet and bassoon outside the realm of the orchestra.
When I’m Sixty Four

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Strictly speaking, reharmonisation is the substitution of an existing harmony with an alternative one, i.e. chord substitution, but in actually it encapsulates harmonic embellishment too. So rather than thinking of just putting one chord in place of another, it’s more accurate and more sensible to think of adding greater melodic development into the harmony. With that in mind, I’ll start backwards. Figure 3 shows where we left off in part II.

Figure 3: Melody and harmony using seventh chords of the major scale

My preferred approach to reharmonisation is to identify the target notes and stuff harmonies in-between these. Having a goal or destination makes any journey more meaningful than just aimlessly wandering around. Moreover, one avoids the danger of getting lost. So, the most obvious target note is the last note. This last note, the root (C), is preceded by the III – VI – II – V. It’s common for the VI to be played as a dominant chord (VI7) because not only are there more tensions available for use when using a dominant chord as opposed to a minor seventh, the VI7 wants to resolve down a fifth to II much more strongly. In truth, it’s also common to make all the chords dominant sevenths – then the world becomes an oyster. In Figure 2, the extended dominants are applied to III (E7) and VI (A7). The passage in Figure 2 exemplifies extended dominant chords, chord tensions, and reharmonisation in terms of inserting more harmonic changes in the second bar and developing ideas in the third bar – aspects that I shall introduce in this article. These ideas will be further developed and discussed in Part IV of this series.

Figure 4: Melody with more notes harmonised

Audio for Figure 4

Before I discuss the passage in Figure 2, a word on tensions and funny looking chords often found in jazz. It can be quite daunting at times, scanning a page to read things like “F#7b9#11” and “Absusb9” and having to read, play and perhaps improvise over these chords at a million miles-per-hour. However, the majority of these scary chords are descriptive of a particular scale or mode and they begin making more sense when they are understood in such terms and in context with the music and melody, rather than in isolation. The topic of all the different scales and modes is beyond the scope of just one article unfortunately, but I shall highlight one scale in particular; the diminished scale. The V7b9 is often synonymous with the scale as we shall see. First, though, let’s dispel the mysticism of chord symbols.

The third and seventh notes of a chord strongly define the character of the chord, major and minor sounds being unmistakably distinguished when there is a major or a minor third. With the seventh, the chord can be well defined as a major seventh, or minor seventh, or dominant seventh type chord. The exceptions are the diminished type chord, where the tritone is characteristic, and suspended type chords where the second and/or fourth bear the characteristic sound of the chord. The following tables recap the chord formulae
Table 1 Triad formulae

Table 2 Seventh chord formulae

Just from the different combinations of stacked thirds (thirds, fifths, and sevenths) we can obtain a lot of different sounds. You’ll notice that by adding one more note to a triad, it becomes more complex – another dimension is added. Yet another dimension can be added by way of the note we missed whilst stacking thirds – those notes in between, i.e. 2^nd , 4^th , and 6^th intervals. However, it is more logical to think of these tensions in terms of notes arrived at beyond the octave by stacking thirds. Thus, a ninth is found two notes up (diatonically) from the seventh, which is the same as the second, for example, in the C major scale, a ninth would be a D.

Therefore, it follows that

9^th = 2^nd (D in C major scale)

11^th = 4^th (F in C major scale)

13^th = 6^th (A in C major scale)

Bear in mind that this notation is interchangeable, eg. CΔ#4 is the same as CΔ#11, however it is more common to see the higher numbers. Just be aware of the relationship between them. Similarly, the symbols denoting whether a tension is sharpened or flattened (augmented or diminished) is usually with a “#” or “b” preceding the number but sometimes the “+” and “-” signs are used to denote the same thing.

Now, looking back at the example, I decided on a chromatic motion of the bass line from D to Db in the third bar, implying a C where the E7 chord is, which makes this chord stand out a little. The ear expects to hear a C major but instead hears the E7 yet the transition sounds smooth because the flatted ninth (D natural) becomes the seventh of the E7, which the Db also resolves to chromatically, whilst the Ab(fifth) and B (seventh) remain, becoming the G# (third) and B (fifth) of E7. If this seems a little confusing, just play the two chords and listen to the effect, then play the individual melodic lines of the harmony and hear how they move.

Another way of appreciating this is by understanding the close relationship between the V7b9 chord and the diminished chord/scales. Take Db7b9 chord and play it as a rootless voicing (Figure 5).

Figure 5: Db7b9 and relation to Fdim

The notes are the same as F diminished – the Db comes from the fact that the chord is built from the half-step/whole-step diminished scale. The two diminished scales (half-step/whole-step and whole-step/half-step) are symmetrical and there are no avoid notes; the chords and scales are interchangeable at intervals of a minor third, i.e F diminished is equivalent to Ab, B, and D diminished. It follows that  Db7b9 is equivalent to E7b9, G7b9, and Bb7b9; just the root changes. Given this flexibility, you’ll appreciate it’s versatility and use to blend chords together. The diminished sounds work well when blending approach notes. An example is the “four way close” harmonisation of a scale, in particular the bebop scales, where every other note is a diminished. More on this another time. So it could be viewed that the Db7b9 is a tritone substitution for G7b9, which would make it a II-V cadence. A tri-whatty substi-thingy? Yes, tritone substitution. We’ll come back to this in part IV. For now, if this seems like a little too much theory in one sitting, just try to appreciate the change from the standpoint of melodic movement within the harmonies. If you are unfamiliar with the diminished scales, then just take it as written for now and be aware of their tense, unfinished/leading sound.

In the second bar you’ll notice that I’ve added harmonies to the other two notes to make a smoother transition from F major7 to E minor7, and from Em7 to Dm7 in the next bar. This is just an exercise in voice leading. Em7 to A7 you should now recognise as a II – V cadence with the A7 resolving down a fifth to D in the next bar. The F7 provides a nice step from the F major7 to the E minor7 because of the Eb. Look closely at the whole bar and the middle harmony. There’s a chromatic descent: E – Eb – D – Db (C#) to C in the next bar.

In the next article we shall continue with the same theme and harmonise every note of the melody. I will explain tritone substitution and discuss common tensions used with dominant seventh chords.

Thanks for reading and please feel free to leave a comment.

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Beginner guitar lessons – beginner guitar chords part 2

Learn to play guitar with our new beginner guitar lesson! Our database of online guitar lessons will help you to reach your guitar goals.

Todays lesson is one of the beginner guitar lessons. It requires you to play 5 beginner guitar chords using picking and strumming patterns. .

Check out the main video of our new beginner guitar lesson!

To read a full description about this lesson, download main, spoken and slow videos for this lesson along with backing track, guitar pro and PDF file, follow the link bellow!

http://www.pedjazz.com/beginner-guitar-chords-part-2/

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Beginner guitar lessons – beginner guitar chords part 1

Learn to play guitar with our new beginner guitar lesson! Our database of online guitar lessons will help you to reach your guitar goals.

Todays lesson is one of the beginner guitar lessons. It requires you to play 5 beginner guitar chords using picking and strumming patterns. .

Check out the main video of our new beginner guitar lesson!

To read a full description about this lesson, download main, spoken and slow videos for this lesson along with backing track, guitar pro and PDF file, follow the link bellow!

http://www.pedjazz.com/beginner-guitar-chords-part-1/

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Learn to play guitar with our new member guitar lesson! Our database of online guitar lessons will help you to reach your guitar goals.

Todays lesson is one of the advanced guitar lessons. It requires you to play blues licks using faster rhythms with techniques such as alternate, economy picking, bending and slides.

Check out the main video of our new member guitar lesson!

To read a full description about this lesson, download main, spoken and slow videos for this lesson along with backing track, guitar pro and PDF file, follow the link bellow!

http://www.pedjazz.com/5-must-know-blues-guitar-licks-part-3/

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