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How to Use Three-Note Voicings and Beyond to Improve Your Jazz Guitar Playing
Three-Note Voicings and Beyond is a book by Randy Vincent that teaches jazz guitarists how to use three-note chords and related topics to create beautiful harmonies, comping, chord melodies and improvisations. The book covers a wide range of topics, such as:
Three-note \"shell\" voicings and special derived comp voicings
Compete triad review including all close and open inversions on all strings
A section on developing \"walking\" guitar voicings, harmonized bass lines perfect for accompaniment in situations where no bass or keyboard is present
Sections on triad applications such as \"slash\" chords, Upper Structures, hexatonic triad-pairs and special \"hybrid\" voicings
Quartal and Secundal voicings perfect for modal comping and soloing
Drop-2 reductions perfect for melody harmonizations
A method to simulate lush \"Shearing\" style block chords on guitar
And much more!
The book is suitable for intermediate to advanced players who want to expand their harmonic vocabulary and improve their jazz guitar skills. The book contains hundreds of examples in both music notation and guitar grids, as well as endorsements from jazz legends such as Pat Metheny, Jim Hall, Mike Stern, Ben Monder and Mark Levine.
If you want to learn more about the book, you can visit the publisher's website[^1^] or download a sample PDF[^2^]. You can also watch a video of Randy Vincent demonstrating some of the concepts from the book on YouTube[^3^].
Three-Note Voicings and Beyond is a valuable resource for any jazz guitarist who wants to master the art of three-note harmony and beyond. It will help you develop a dynamic and versatile approach to playing jazz guitar that will enrich your musical expression.
In this article, we will explore some of the topics from the book in more detail and show you how to apply them to your jazz guitar playing. We will focus on three main areas: three-note \"shell\" voicings, triad pairs and quartal harmony.
Three-Note \"Shell\" Voicings
Three-note \"shell\" voicings are the simplest and most essential chords for jazz guitar. They consist of the root, the third and the seventh of a chord, omitting the fifth. For example, a Cmaj7 chord can be played as C-E-B on the 5th, 4th and 3rd strings. These voicings are easy to play and move around the fretboard, and they provide a clear and concise harmonic outline of the chord progression.
One of the advantages of using three-note \"shell\" voicings is that they leave space for adding other notes on top or below them. For example, you can add a melody note on the 2nd or 1st string, or a bass note on the 6th or 5th string. You can also modify the \"shell\" voicings by altering or substituting some of the notes. For example, you can play a Cm7 chord as C-Eb-Bb or C-Eb-B (with a major seventh) on the 5th, 4th and 3rd strings.
The book shows you how to use three-note \"shell\" voicings in various contexts, such as cycles, II-V-I progressions, turnarounds, blues and rhythm changes. It also shows you how to derive other comping voicings from them, such as rootless voicings, drop-2 voicings and inversions.
Triad pairs are another powerful tool for jazz guitar harmony and improvisation. They consist of two triads that share a common tone and form a hexatonic (six-note) scale. For example, C major and D major triads share the note E and form a C Lydian scale: C-D-E-F#-G-A. Triad pairs can be used to harmonize or solo over various modes and chords.
One of the benefits of using triad pairs is that they create a strong tonal contrast and avoid the avoid notes (the notes that clash with the chord). For example, over a Cmaj7 chord, you can use C major and D major triads to emphasize the Lydian sound and avoid the B note (the major seventh). Over a C7 chord, you can use C major and Bb major triads to emphasize the Mixolydian sound and avoid the B note (the minor seventh).
The book shows you how to use triad pairs in different situations, such as major modes, melodic minor modes, dominant chords, altered chords and tritone substitutions. It also shows you how to combine different types of triads, such as major, minor and diminished triads.
Quartal harmony is another interesting concept for jazz guitar harmony and improvisation. It is based on building chords and scales from fourth intervals instead of thirds. For example, a C quartal chord can be played as C-F-Bb-Eb on the 5th, 4th, 3rd and 2nd strings. Quartal harmony creates a more open and modern sound than traditional tertian harmony.
One of the advantages of using quartal harmony is that it is very versatile and adaptable to different modes and chords. For example, a C quartal chord can be used over a Cmaj7 chord (with a Lydian sound), a Cm7 chord (with a Dorian sound), a C7 chord (with a Mixolydian sound) or a Cm7b5 chord (with a Locrian sound). Quartal harmony also allows for more chromatic movement and voice leading than tertian harmony.
The book shows you how to use quartal harmony in various contexts, such as modal comping and soloing, drop-2 reductions, secundal harmony (based on seconds instead of fourths) and pentatonic scales.
Three-Note Voicings and Beyond is a comprehensive guide to jazz guitar harmony that will help you develop your harmonic vocabulary and improve your jazz guitar skills. The book covers many topics that are essential for aa16f39245