Chord melody что это
Обновлено: 03.05.2024
Chords don't always have to be played as static blocks of harmony. You can add movement - melody - through the chord to give it more intricacy and colour.
The most logical place to begin is with the open position chords we learn as beginners, as they can accommodate a lot of movement due to their economical fingering and use of open strings. In this lesson I'll show you how to economise your fingering further to incorporate melodic lines/phrases through and around your chords.
Watch the presentation below for an introduction to this chord melody technique and then scroll down for exercises to help you practice and get the most out of it.
Oleo. Jazz Guitar Cover
Данное видео будет полезно тем, кто еще не разобрался с обыгрыванием аккордовых последовательностей Rithm Change. Для удобства в Ютюбовском плеере есть функция замедления.
Также ниже есть соответственный backing track
Share Your Thoughts.
Have any questions, thoughts or ideas about this lesson? Let us know using the comments form below.
Relative Minor Triads
For both major and minor keys, we can also add in another 1 4 5 relationship, using minor triads, giving us more voicing options within our key.
This time, we're focusing on the minor chords within the diatonic key as our relative minor key 1 4 5.
Just like the three major triads, the three minor triads, each with their three inversions, will cover every tone in our scale and diatonic key.
Starting with the vi chord, F♯m in this case.
The ii chord, or Bm.
Just like before, these minor triads can be scaled out and used to harmonise a melody over all the chords in the diatonic key. Here we start in the major key and resolve to the relative minor.
You'll notice that the difference in how these minor triads interact with chords, vs the major triads in the same position, can be subtle. For example, here's a sequence using the major 1 4 5 triads over A major.
And here's a similar sequence, with the same melodic line , using the relative minor triads.
Another example over D major, starting with major triads.
Now with the relative minor triads.
This kind of basic reharmonization, switching between major and minor 1 4 5 triads over a given chord, is a great initial ear training exercise for picking out these subtle harmonic colours.
Of course, we'll naturally end up combining them in sequences, choosing the appropriate shape for serving the melody.
All of me в простом chord melody изложении
В данном видео я демонстрирую простой вариант chord melody стандарта All of me.
Legato Embellishment
Below is a phrase built around the open C major chord. As shown in the video below, I'm simply hammering on the open 4th, 2nd and 1st strings to create some movement in the chord.
Faster example.
Now try adding in some pull-offs to the phrasing.
Faster example.
And just like with the lead/solo technique, we can use quick successions of hammer-pulls for more of a legato effect in our chord phrases.
Faster example.
Experiment with this technique using other open chord shapes you know and see how you can spice up those basic chords.
Once you're confident with adding melody to individual chords, it's time to work on forming melody through chord changes.
Everlasting Love. (Easy Chord Melody Ballad)
Одна из двенадцати мини пьес сборника "Рождественские открытки".
Chord melody на тему Isn't she lovely
В этом видео я показываю один из вариантов Chord Melody песню Steve Wonder Isn't she lovely. Я намеренно выбрал другой стиль для того, чтобы всунуть больше аккордов. Также я поменял тональность на фа мажор для того, чтобы легче было сыграть соло. (Я сыграл два квадрата импровизации после). Ноты и файл band in box под видео.
Chord melody что это
Один из двенадцати джазовых стандартов, которые вошли в сборник "Solo Jazz Guitar Jazz standards Vol.1"
Ноты и табулатуры под видео
Chord Melody на On Green Dolphin Street
На видео Chord Melody на стандарт Green Dolphin Street. Достаточно популярный стандарт, который очень часто играется на джемах. Решил, что будет полезным Вас ознакомить с ним.
Тем более что играть его тему в Chord Melody достаточно легко, так как используется много похожих и даже одинаковых аппликатур. Ноты и BB файл под видео.
Love me tender chord melody, часть 2
В этом видео Вы можете узнать как можно усложнить гармонию песни Love me tender, используя аккорды Drop 2 и не только.
Использование вводного уменьшенного септаккорда
В этом уроке Евгений Пугачев показывает как можно использовать уменьшенный септаккорд как вводный аккорд к другим аккордам. Очень полезное видео!
Melody Through Chord Changes
Every chord has the potential to be melodically embellished. Every melody has the potential to be harmonised.
The key thing to listen out for when trying out your ideas through chord changes is how the melody flows into the proceeding chord.
Most often, the more smoothly and seamlessly the melody flows through the changes, the better. This means in most cases, the melody will move stepwise (that is, in half and whole steps).
Many musicians like to first hum a melody while playing through various chord changes and then try to translate that melody on to the instrument.
Start simple. Here I'm phrasing around A minor before changing to D major (D7 to be exact), where we strum as normal.
Remember, not every chord needs to include melodic phrasing. It's your creative decision as to when and where you apply this technique.
Here's an example of a movement between G and C major.
Moving from Am to D7 to G.
You could even start with just the single melody line, on the top three strings for example, and then experiment with linking it up with different chords. The same melody can often be connected to several chord options.
However you approach it, the longer you spend playing through chords in this way, the more naturally it will become a part of your songwriting.
Girl From Ipanema Guitar Chord Melody
Chord melody на стандарт Girl From Ipanema. Это уже довольно избитый среди музыкантов стандарт все же остается актуальным, как ни крути. Потому что такие вещи джазовым гитаристам стыдно не знать.
Chord Melody взят из сборника Easy Chord Melody Vol.1
Take The Next Step (When You're Ready).
In the next part (see further below), we'll be expanding on this concept, moving our chord melody up the neck using movable forms.
By using both open and movable forms, we'll have access to numerous "harmonic destinations" we need to harmonise our melody in different ways.
Please also don't forget to check out my Patreon, as I'll be expanding further on this concept (and others) with exclusive content.
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Autum Leaves. Chord melody
В этом видео я демонстрирую корд мелоди на тему Autumn Leaves в тональности Em
Стандарт "Like someone in love" с использованием аккордов drop 2&4 voicings.
В данном видео Евгений Пугачев демонстрирует применение аккордов Drop2&4 voicings в аранжировке джазового стандарта Like someone in love.
Chord Melody - Basic Scale Harmonization
Now, there are a few avenues we could take in terms of developing this concept. But in this lesson we're going to explore a simple scale harmonization technique, initially using those familiar triad forms, that will allow us to more fluidly connect harmony and melody through common chord changes and keys.
Watch the video below for an overview and then scroll down to take it at your own pace.
One String at a Time
Let's begin with A minor, which I'm sure you're familiar with.
We could of course simply strum/pick this chord as normal. But to make it more interesting, we could choose a single string from the shape and create a simple movement using two or three notes.
In the below example, I'm using the 2nd/B string, alternating between its normal A minor position (1st fret) and its open (unfretted) position, creating a simple phrase around that A minor chord shape (melody notes marked in blue).
So all we're doing there is lifting and re-fretting that 1st/index finger on the 2nd string.
We could also add in another movement on the same string to the 3rd fret.
We're using our available 4th/pinky finger on the 3rd fret to help shape the melody line.
Now let's look at a two-finger variation of open G major.
Place your attention on the 1st (high E) string. We're going to try some simple melodic movements across that string while strumming or picking the chord.
There's a particular kind of muscle memory involved in moving your fingers around a fixed chord position like this. So it may feel a bit awkward at first. But like with anything, it'll get easier the more you practice and explore it.
Now let's try something similar using the 2nd string.
3rd string melody.
Not only is this a good exercise for developing finger dexterity, it also gets you thinking about combining your chord playing with melodic phrases, also known as harmonising the melody.
Использование аккордов drop 2&4 в стандарте skylark
Пример использования аккордов drop 2&4 в chord melody аранжировке джазового стандарта Skylark
Melodic Phrasing Across Multiple Strings
Once you're confident with adding melody across single strings within a shape, try phrasing your melody across multiple strings.
In fact, this can be a good way of figuring out a suitable vocal melody for your chords.
Practice this technique with other open chords. Get comfortable with using any free fingers around the chord shape.
For example, here we're applying the same technique to the open A minor chord.
1 4 5 Over Chords In The Diatonic Key
Before we start expanding our melodic roadmap, let's take some time to explore how the 1 4 5 harmonic foundations we've built correspond to different chords in the key.
These 1 4 5 triads we learned will work over all the chords in a natural or diatonic key. To demonstrate this, first, let's assign each chord in the scale (A major in this case) its most closely related triad, out of 1, 4 or 5.
Starting with our tonic chord, A major, we can connect this to the 1 triad, A major itself.
The ii chord (Bm in this key) can be connected to the 4 triad.
The iii chord (C♯m) can be connected to the 5 triad.
The IV chord (D major) can be connected to the 4 triad.
The V chord (E major) can be connected to the 5 triad.
The vi chord, and relative minor tonic, (F♯m) can be connected to the 1 triad.
The vii chord (G♯dim) can be connected to the 5 triad.
This alone demonstrates just how versatile these three simple 1 4 5 triads are in harmonizing the key.
Taking it further, we can move around these central triads using 1 4 5 as a means of creating a more melodic expression of the chord in question.
For example, here I'm playing over the ii chord, Bm.
This sequence could also get reharmonized comfortably over the IV chord, D major. So same sequence as above, but different backing chord.
To really hear how 1 4 5 aids the melodic voice of our harmony, we can try them over a diatonic chord progression. For example.
So we can use 1 4 5 as the basis of our block chord melody for accompaniment. Spend time learning the 1 4 5 positions in other keys and you'll have a strong harmonic foundation for creating flowing, multi-part melodic movements over common chord progressions.
Darn that dream ( Сhord Melody )
В этом видео Евгений Пугачев демонстрирует применение аккордов Dropped 2 в аранжировке стандарта Darn that dream.
Building Our Harmonic Foundations
For this example, A major will be our key center (as the tonic or I chord). But as always, the sequence of shapes we use can be repositioned for different keys and chords. More on that later.
As we learned in the previous part, we can play this same major triad in three inversion positions up the neck.
We're now going to add two additional major triads from the A major scale. The first being the 4th degree ( IV ) chord of the scale, D major in this case. Just like with the tonic A major, we can play the 4th degree D major in three inversion positions, using the familiar triad shapes.
The other additional major triad is built on the 5th degree ( V ) of the scale, E major in this case. Once again with the three positions.
If we sequence the inversions of these 4 and 5 chords along the neck, resolving around the 1, we can create a simple harmonization of the scale and key.
Try different sequences to familiarise yourself with the triad positions. At the same time, be aware of the melody that forms on the 2nd string as you move through the shapes. An example.
Tip: In that example, I used slides, hammer-ons and pull-offs to move between some positions, using a barred index finger where necessary. When playing in a chord melody context, think about involving techniques typically used for lead playing between chord positions.
So every tone of the major scale, and any melody that might come from it, can effectively be harmonised around the three inversions of the 1, 4 and 5 triads. This also includes its relative minor scale and modes, which we'll get to later.
See if you can pick out the shapes in the below scale diagram and think about their place within the scale.
Adding Melodic Movement
Using these triad positions as harmonic destinations, start by playing around with some simple melodic movement between them on the 2nd string, for example.
Obviously the aim is not to limit ourselves to creating melodies and harmonies from the major scale. But it does give us a practical and accessible starting point for developing our chord melody skills.
Additional Shapes
Go through the same process for the top three strings, first by harmonising the scale using 1 4 5.
Four-Part Harmonization
And as the shapes above can be seen as connected to the lower three-string shapes from earlier, we also have the option of a four-part harmonization of the scale, or making the 1st string available for the melody when needed.
So our harmonic foundations so far can be seen as a basic three or four-part harmonization of the scale.
O Lady be Good ( chord melody )
Демонстрация и разбор Chord melody на стандарт "O Lady be Good" . Ноты + табы + файл аккомпанемента для Бенд ин Бокс под видео внизу! Больше корд мелоди на стандарты в сборнике
What is chord melody?
I've heard the term "chord melody" used by a jazz player acquaintance of mine, but I'm not really certain what he is describing or how it works. Would someone please give me a definition in easy to understand language and describe how it works?
7,562 2 2 gold badges 17 17 silver badges 41 41 bronze badgesСеминар с Евгением Пугачевым ( часть4)
Четвертая часть вебинара с Евгением Пугачевым посвященная chord melody.
В лесу родилась елочка. Chord Melody с легкой регармонизацией
Легкая регармонизация "В лесу родилась елочка" . Аппликатуры аккордов.
Finger Economy
The fewer fingers required for the chord, the more fingers you have available for building a melody around that position.
Using a barre can help with this, such as with A major, with a barred index finger.
And D major (or Dmaj7 to be precise).
So in both these chords, your index finger becomes the "base" of the chord structure and you are free to build a melody on proceeding frets using your 2nd, 3rd and 4th fingers.
For chords with a 6th/low E string bass, some players find using their thumb to fret the 6th string bass is an effective way of freeing up an extra finger. However, depending on how you're built (or how fat the guitar neck is), you may find this even more restrictive, as the leverage in your fingers can be compromised from curling your thumb over the neck.
The thumb should be positioned around the back of the neck for maximum fret-hand leverage. But as always, find what's most comfortable/convenient for you!
You should also be aware of how each chord you play can be reduced to its most important notes/strings. For example, E minor can be played without fretting any strings. Just leave out the 4th and 5th strings.
E major can be played with two fingers instead of the standard three by leaving out the 5th/A string.
C major can also be played using just two fingers by leaving out the 4th string.
Of course we can always add in the unused strings as part of the melody. But just knowing that you can free up your 2nd finger from the standard shape and not ruin the chord is useful.
A lot of the experimentation around this technique will involve economising your chord fingering to accommodate these melodic movements. In short, don't be afraid to change your fingering, even switch fingerings as you play, to allow you to reach new places on the fretboard.
Allow yourself some flexibility with which fingers you use to play certain frets/notes, depending on the situation at hand.
Share Your Thoughts.
Have any questions, thoughts or ideas about this lesson? Let us know using the comments form below.
2 Answers 2
Songs have a melody that's harmonized with chords. A chord melody is an arrangement that places the melody note in the soprano of each chord (and plays individual non-harmonic melody notes above the chord of the harmony).
On the guitar, that means choosing specific chord voicings that have the melody note as the highest tone.
Take this simple melody (Happy Birthday):
A simple chord melody arrangement might look like this:
In some spots it can mean reharmonizing (I used a G chord on beat 2 of the sixth measure instead of the F) and in spots it can look like a reharmonization (in measure 1, beat 2 you can view the soprano A as a non-harmonic tone over the C chord, or you can think of it as a substitution of C6 for C)
I did this off the top of my head, so I kept all chords playable within the first four strings. If I was writing an arrangement that I'd actually play, I'd put more thought into the voicings, use more of the guitar's range, and perhaps have a counterpoint in the bass line. but it should give you the basic idea.
EDIT: It occurred to me that you might wonder why the arrangment has the melody an octave higher.
The guitar is a transposing instrument, sounding an octave lower than written. As I was writing it out as a guitar part, I move the notes without even thinking about it - the third space C in the chord melody will sound as middle C, so the melody/soprano is actually identical in both examples.
Игорь Бойко - "Comping" в аккомпанементе
В этом видео показан аккомпанемент с применением "Comping" на примере 12-ти тактового минорного блюза в тональности Cm.
Still To Come.
With our harmonic foundations in place, we can now start to expand our melodic landscape around them.
Each harmony part can be connected to a related scale pattern. By breaking up the scale into segments or boxes surrounding the triad positions, any melodic note will be within reach and in close proximity to our chord shape.
In a coming part, we'll start to use these patterns to further colour and connect movements of harmony and melody. In the meantime, keep exploring and building on the harmonic foundations we've established.
Remember, if you're finger picking solo, you can always use the lowest 3 strings as the open bass for your chord changes, typically played with the thumb. In standard tuning alone, the 4th, 5th and 6th strings can be used as the bass for a number of progressions, here detailed with their respective scale.
You can try different sequences of the three chords. For example, A D E, D A E, E D A etc. This will allow you to explore the three and four-part shapes we've looked at, solo.
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Простое chord melody на стандарт Mack The Knife
В этом видео я демонстрирую простое chord melody на тему стандарта Mack the Knife
Игорь Бойко - Децимы с вспомогательными тонами
В этом видео показано: построение децим по До-мажорной гамме с добавлением вспомогательных тонов и применение децим на практике.
Love me tender chord melody, часть 1
В этом уроке Вы можете увидеть как гармонизовать известную песню Love me tender, используя аккорды Drop 2.
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