From Tim Lerch’s 2/17/2007 SJGS workshop.
As guitarists, we are both single line and chordal players. We need to build a rich harmonic vocabulary. Tim Lerch discussed and demonstrated a list of 13 techniques to bring more color to playing chords. Here are just two:
- Color Extensions and Inversions. When presented with the following chords, experiment with using extensions – you can use any combination of the extensions for each chord. Tonic Major (6, 9, maj7, #11). Dorian Minor (6, 9, or natural 11). iii Minor (b9, b6). Dominant V7 (9, 13, natural 11, b9, #9, b5, #5). Also, spend time practicing these chords in all their inversions (i.e. root on bottom, 3rd on bottom, 5th on bottom, 7th on bottom).
- Diatonic Substitutions (Replacements and Additions). There are “families” of sounds that share many of the same notes in common and therefore can be substituted for one another. The related sounds are:
- Tonic Sounds: I – iii – vi
- Sub-Dominant Sounds: IV – ii
- Dominant Sounds: V7 – vii half diminished
- For example, consider the Tonic Sounds. C major 7th is spelled C, E, G, B. The vi chord in C major (which is Am7) is spelled A, C, E, G. Both chords share C, E, and G in common. When presented with a Tonic Major chord (i.e. C major 7th in the key of C), substitute it with a vi chord (i.e. Am7 in the key of C). Likewise, if presented with a vi chord, you can substitute it with I (tonic major).
Integrate these colors into your chord comp’ing and chord melodies. It can add interesting textures to your playing.
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