2017 FRONT ENSEMBLE RHYTHM SECTION PACKET - …risepercussion.org/wp-content/uploads/2013/07/RiseRSPacket-17... · 2017 FRONT ENSEMBLE RHYTHM SECTION PACKET ... Piano Chord Voicings

Rise Percussion - Rhythm Section Packet

2017FRONT ENSEMBLE

RHYTHM SECTION PACKET

- GUITAR AND SYNTH EDITION -

Rise Percussion - Rhythm Section Packet

OVERVIEW

This Rhythm Section Packet will focus on the warmups and exercises surrounding the Front Ensemble Mallet Warm-Ups, as well as additional information specific to Guitars and Piano/Synth. As the season progress’, we will continue to define rolls for each instrument to give you a clear idea of what you are expected to do during warmups.

Individual Audition Requirements

For your individual audition, you should be familiar with the warmups and technique/style information in this packet. You should also prepare a solo that is specific to the instrument you are auditioning on. You may also perform a Solo-type piece with the accompaniment of a recorded track.

For an example, check out: https://www.youtube.com/watch?v=GVzSDKSxNFQ

Bass and Guitar

For Guitar and Bass, you will be expected to know and be able to perform all major/minor scales and chords. Keeping this in mind, it would be in your best interest to review your scale permutations and alternate fingering patterns to increase your efficiency in achieving these requirements. As far as the warmups and exercises are concerned, you will find that a lot of the parts are extremely basic and sparsely written out, accompanied by chord changes. This is so that you have the chance to improvise and communicate and logical and musical rhythm section pallet on your own via a “Road Map” (chord changes) and communication.

Piano and Synth

Synth/Piano players should also have a general understanding of scale fingerings, basic root/1st and 2nd position chords as well as some basic “Jazz Piano Voicing’ knowledge. As with the guitar players, you will be asked to improvised accompaniment for various warmups on occasion to avoid multiple synth players playing the same part.

Piano Chord Voicings for jazz combo

The pianist has a few functions in a jazz combo.

First, he comps for, and interacts with, other players as they solo.

Secondly, he acts as a soloist himself.

Therefore, he needs two different types of voicings.

#1: TWO HANDED VOICINGS are used when other players solo and during

the melody (often called the “Head”).

#2: ONE HANDED VOICINGS are played in the left hand, while the right hand

solos.

We are going to start with voicings for three types of chords: Major, minor,

and dominant 7th.

Let’s look at scale degrees for these three types of chords so that we can

create voicings.

Thanks, but I couldn’t have done it without the support of

my left hand man

Understanding scale degrees

Lets look at the C Major scale.

We are going to number each note. We’ll get the numbers 1-8.

When we change to C Dominant scale, we change the 7th to a b7.

Now, we are going to construct the scale for C minor 7th.

Minor scales have b3 and b7.

Throughout this packet, we will show you voicings in two

categories: Category A and Category B.

We will call voicings with the 3rd of the chord on the

bottom CATEGORY A.

We will call voicings with the 7th of the chord on the bottom CATEGORY B.

We are going to start out with Major 7th voicings.

For C Major, our two handed voicing looks like this:

-----

Let’s try the Major 7th voicing in one other key.

Here is the voicing for FMaj7:

3 6 9 5 1

3 6 9 5 1

MAJOR 7TH TWO HANDED VOICING Category A

Tricks of the Trade Put your right hand pinky on the root of the chord and continue DOWN in 4ths.

Or..

Put your left hand pinky on the 3rd of the chord, and continue UP in 4ths

.

Category B Voicings

Next, we are going to move on to voicings with the 7th on the bottom.

We are going to call these voicings CATEGORY B.

Like our Category “A” voicing, this voicing is all fourths.

For C Major, our two handed voicing looks like this:

Here is this voicing for FMaj7:

7 3 6 9 5

7 3 6 9 5

Tricks of the Trade Notice that this voicing descends and ascends in fourths.

Put your Right hand pinky on the ROOT, and descend in fourths. Or,

Put your Left hand pinky on the seventh, and ascend in fourths.

MAJOR 7TH TWO HANDED VOICING Category A

TECHNIQUE

As with any repetitive, fine motor skill work you do, ergonomics and efficiency is the name of the game. Instruments, including bass and guitar, are no exception. Even experienced players should expect to experience some level of discomfort following long practice sessions or gigging schedules, but it’s important to know what kind of pain is normal and expected, and what kind of pain should signal a bright red flag.

Normal discomfort may include raw and tender skin on your finger tips, mildly sore muscles in the base of your thumb/palm of your left hand, and mildly sore muscles along the forearm. This sore muscle feeling is very similar to the type of sore muscles you get after a work out session at the gym, but much less severe. The reason being, is that the muscles are being exercised and trained just like your biceps would after lifting, but your muscles in your hands are much smaller and require much less work to be strengthened. This type of soreness should absolutely decrease with experience, and if it continues for longer than a few days following or during an extended time of practice, give yourself a break and allow time for yourself to heal. Besides, it’s always fun to take a break from something, just to come back magically stronger, faster, and more agile.

ABNORMAL discomfort is anything that is more than moderate. Signs of harmful and potentially irreversible damage include joint movement that is non-smooth, creaky, painful, or difficult. This could be an inflammation of your tendons, otherwise known as tendinitus; loss of significant amount of strength for extended periods of time; locking joints; or of course bleeding. Non of which are cause for immediate concern on the first occassion, but a reason to listen to your body and slow down for a week or two.

Considering the recognition of normal discomfort versus abnormal pain, we can take steps to reduce the damage to your hands while extending your chance to ROCK AND OR ROLL.

Begin with your left hand to your side. Relax everything from your shoulder down, and let your body interact with gravity as it naturally tends to. You should see a straight line from your forearm. From there, your fingers should bend slightly in toward your palm, with your thumb resting straight to the side of your palm. If you freeze this hand position, bend your elbow, and turn your palm upward, this should be your relaxed, resting position if the neck of the guitar were laying right in between your thumb and palm. The most important things to keep in mind are the straight wrist, and gently arching fingers.

As you’ll notice in this second photo, this is very similar to the position we’ll use while playing. The wrist remains straight, and fingers remained curved. The thumb may open up slightly, toward the head of the instrument. To reiterate, the most important thing above all else is to remain comfortable. This grasping position provides comfort, ergonomics, strength, and agility once it is mastered and made familiar. And remember, keep your palm floating off the neck, and only “pinch” between your thumb and around your first two fingers. Don’t allow the thumb to wrap around the top, planting your palm into the wood. It’s not a baseball bat!

LEFT HAND

As for your fingers, they should generally be perpendicular to the fretboard. Of course, this can change slightly depending on the chord you’re playing, or location on the neck. This holds especially true, however, when playing scales or fast scale-based licks.

PRO TIP: Your dog may want to help learn guitar. Whatever she tries to say to convince you otherwise, rememebr she is NOT the best helper around. :)

jasonreid

Bass/Electric Guitar Information

RIGHT HAND

Now let’s discuss some common mistakes when it comes to fretting chords. Below are some examples:

*A NOTE ON GUITAR STRAPS:When we first pick up a guitar and decided to learn, many of us have that dream of being just like (INSERT ROLE MODEL HERE), and to look just like the guy who wears his bass guitar below his belt. Nothing mentioned so far will be possible to apply with a guitar position like this. Set yourself up for success, and adjust your strap correctly. First, sit down on a chair with your back straight and shoulders back. Place the guitar on your leg as if you were about to play sitting down. This, is the correct guitar strap height, ALWAYS. For guitar AND bass. It provides the most effective angles to play ergonomically, and doesn’t force you to practice one way, and perform standing up with a completely different technique. Some might say that one can measure the experience of a guitar player by the height of his guitar....

Although little is at risk in terms of injuring your right hand while playing guitar, we can still discuss some tips in playing more accurately, quickly, and with a better sound. Personally, I prefer heavy, sharp picks (picks shown below are Dunlop 412.R1.14 Tortex Sharp 1.14mm). This of course comes down to personal preference, but I prefer and recommend these picks because they are durable, allow you to be ultra precise, and with the right technique they produce little to no string noise that you commonly hear from other picks scraping along the strings.

Here is an example of a great ‘C’ chord. We see arched fingers, a floating palm held by a relaxed thumb, and a pinky who is primed and ready for action, sitting only millimeters away from the fret board. The strings are pressed only as hard as they have to be, and touching only the strings they are intended to touch. This position could be held all day with out causing pain or fatigue, it can be moved to and from other chords quickly and efficiently, and it will sound great.

The Run Away Finger: The Scared, Hiding Finger The Mushy Fingers The ‘Body Builder’ Fingers

Allowing unused fingers to float away increases stress on your

hands, as well as increases energy AND time required to

move the finger back down to be used again.

Allowing unused fingers to tuck down under the fret board also

increases stress, time, and energy to use the finger again. It also creates a ‘bias’ against using

your pinky as often as you should.

Collapsing the knuckles speeds the process of fatigue, and requires huge amounts of

energy to ‘bear’ grip the neck. Fingers will almost certainly

mute unintended strings,and most importantly this is a quick

way to injure yourself.

Over-squeezing the strings wastes huge amounts of energy,

speeds the process of fatigue, and can cause injury. Slamming the strings into the fret and/or

pulling the strings down as shown will result in sharp pitches

and undesirable sounds.

Thumb Position:Generally flat against the

largest end of the pick, leaving the point of the pick staright to

the side.

Index Finger Position:Generally flat against the other

side of the largest end of the pick, pointing as straight down

the tip of the pick as comfortably possible.

Thumb/Index Combined:This shows how the pick is held

considering the thumb and index finger positions. The

middle finger can rest alongside the index finger in

some cases, but should not be relyed on for functionality.

String position:HERE IS THE IMPORTANT PART. Hold the pick at a slight angle

to the string, with only a minimal amount of the tip of

the pick going below the plane of the strings. Think about barely ‘cutting’ through the

strings with the tip to minimize contact time.

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6

1 2

3

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Major Scale, 3-3-2, E/A String Pattern

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FingeringsVariant Pattern

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Major Scale, 3-3-2, D String Pattern

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Major Scale, 2-3-3, D String PatternMajor Scale, 2-3-3, E/A String Pattern

*This fingering DOES require a slight pivot of the hand around the thumb, setting you up for the higher notes around the fretboard

SCALES

There are many ways to play a major scale, and none of which are “more correct” than the other. These variations are simply specialized, fine-crafted “tools” for more specialized “jobs.” Additionally, they provide somewhat of a structural framework in order to begin wrapping your mind around the Greek Modes and how they relate to one another on the fretboard, as well as theoretically.

The most standard pattern for playing the major (Ionian, if referring to the Greek Modes), is what I personally like to refer to as the “2-3-3” variant. This is in reference to the number of notes played per string--the first 2 notes are played on one string, skip to the next string to play the next 3 notes, then skip to the next string to play the final 3 notes, including the top octave. This was likely the first scale you have learned, maybe only second to the pentatonic scales. This scale generally looks like this:

This leaves 2 important patterns within the “2-3-3” variant of the major scale to pay attention to, as seen below. These arbitrary dot illustrations of scales are really the meat of the point I’m trying to make which is to say this is how I am memorizing, thinking of, and conceptualizing scales when I play scales on guitar (read: everything I play on guitar ever). It’s a mental picture for me to associate with certain scales, patterns, and more importantly, modes.

The other main variant of the major scale is what I call the “3-3-2” variant. This follows the same concept as the “2-3-3” variant, meaning you play 3 notes, then 3 notes, then 2 notes per respective string. This of course produces an enharmonic, or harmonically identical sounding scale.

Our dot patterns continue as follows:

4 5

6

1

8(1)

2

3

7

This scale works every where on the fretboard in this specific pattern when you begin on the low E-string or A-string. Therefore, let’s call it the E/A String Pattern (I know, super creative). Once our 6-stringed friends want to begin a scale on the D-string, however, to continue the “2-3-3” pattern of notes per string you must start including the pesky “B” string--the one string that is not tuned to a perfect 4th above the neighboring string. Of course, we’ll call this the D String Pattern. In order to compensate for the relatively “flat” string, all the B-string notes need to be shifted 1 half-step up. Then all expected patterns continue from there. This is demonstrated below, along with how the two patterns relate to each other within a common scale.

So why consider these dot patterns and seemingly pointless combinations of numbers that represent fingerings, scale degrees, so on and so forth? Because you guessed it... Modes!

Modes are everywhere. They are hiding in every chord change of every tonal piece of music in every key. Especially in jazz, they mark and help define micro key changes that happen as often as every chord change. Some purists even argue that jazz shouldn’t be notated as being in a parent key, because modes drive them to so many key centers so often. So when we think of a song in the key of C major, we are often setting ourselves up for getting stuck in a corner with the C Ionian mode. A mode, by definition, is simply a group of notes. Take the pitches found in the key of C Major: C, D, E, F, G, A, B, and the octave, C. One way to arrange these intervals in order into a group of notes is from C to C.

We of course can continue explaining the combinations of intervals that are found within all 7 modes, or groups of notes. But before we do, we can see that a pattern is emerging. These combinations of intervals are all unique to each other, but the 1st mode of one key has the same combination of intervals as the 1st mode of another; the 2nd mode of one key has the same combination of intervals as the 2nd mode of another; so an and so forth.

These patterns are what can be translated to the guitar very, very well. Therefore, we can use our dot patterns to learn these modes in a very effective way when compared to the major scale. Please keep in mind that as mentioned earlier, there are always more than one way to play scales. These patterns below only apply when starting a 3-3-2 variation on the low E or A string. This is often an excellent chart to use to REMEMBER a mode and it’s starting point.

The only thing sepcial about this Ionian mode, or 1st group of notes within C major, is that it is often the resolution. It would mean nothing without the other groups of notes, or modes. It is simply one of many.

So let’s consider another set of notes. What if we arrange these pitches in order, starting with G? We get G, A, B, C, D, E, F, (G), which can be written in intervals as such: whole, whole, half, whole, whole, half, whole (W-W-H-W-W-H-W). Because this set of notes starts with the 5th note of the Ionian mode, it is the 5th group of notes, or Mixolydian mode.

C D

W W H HW W W

E F G A B (C)

G A

W W H WW W H

B C D E F (G)

1st Group(Ionian Mode/Major Scale)

Group(Mode)

Modification fromMajor Scale

Resulting scale degressrelative to Major Scale

Fretboard Patterns (3-3-2, E/A String Pattern)Overlaid on Major scale

1, 2, 3, 4, 5, 6, 7, (8)

1, 2, b3, 4, 5, 6, b7, (8)lowered 3 & 7

1, b2, b3, 4, 5, b6, b7, (8)lowered 2, 3, 6, & 7

raised 4

lowered 7

lowered 3, 6, &7

lowered 2, 3, 5, 6, & 7

1, 2, 3, #4, 5, 6, 7, (8)

1, 2, 3, 4, 5, 6, b7, (8)

1, 2, b3, 4, 5, b6, b7, (8)

1, b2, b3, 4, b5, b6, b7, (8)

2nd Group(Dorian Mode)

3rd Group(Phrygian Mode)

4th Group(Lydian Mode)

5th Group(Mixolydian Mode)

6th Group(Aeolian Mode/

Minor Scale)

7th Group(Locrian Mode)

Major Scale, 3-3-2, E/A String Pattern

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2017 FRONT ENSEMBLE RHYTHM SECTION PACKET - …risepercussion.org/wp-content/uploads/2013/07/RiseRSPacket-17... · 2017 FRONT ENSEMBLE RHYTHM SECTION PACKET ... Piano Chord Voicings