In this lesson, I am showing you how to use Block Chords on the guitar by breaking down an arrangement of the melody to Solar.
Playing Block Chords is quite demanding on guitar but at the same time Chord Solos, and Block Chord Harmony is a big part of the Jazz Guitar Tradition. There are countless great Block chord solos by Wes Montgomery, George Benson, and Joe Pass. It is in some ways the highest level of putting chords to a melody.
I made The Chord Melody arrangement using some of the core principles in harmonizing melodies with block chords. This also links a bit to the Barry Harris 6th diminished scale system, though that system has a lot of other aspects as well.
Harmonizing the melody – Simple Rules
It is really quite simple:
The core principle that I am using for this harmonizing is that I am splitting the melody up in notes that are chord tones and notes that are leading notes.
You harmonize The Chord tones with voicings that are for the chord itself. The leading or passing notes you can harmonize with a chord that can resolve to the chord itself.
Block Chords for the first line
For the first chord The melody notes are C, B, D and G.
You can harmonize C and G with Cm6 voicings. B and D are harmonized with G7 or in this case rootless G7(b9) chords, also known as B dim chords.
The final note in the 2nd Cm bar is an A leading up to Gm7. I harmonized that as a leading note to a Gm7 chord using F#dim.
The Gm7 and C7 melodies are harmonized in the same way. Alternating between Gm7 and F#dim voicings. The first note on C7 is played as a C7sus4, which is really a Gm7/C. This is because that works really well with having a preceding F#dim voicing. Later in the bar, I resolve the sus4 to C7(b9).
Making Exercises for the different chords
You can create exercises for each chord alternating the chord with a diminished chord belonging to the dominant of the chord. I wrote This out here below for Cm6:
You can also check out some of the similar exercise I use in this lesson:
Taking the Passing note strategy a little further
I am using the same approach to harmonize the Fmaj7 line. Here the melody notes are A, G#(or Ab), Bb and C.
The A and C I harmonize with Fmaj7 voicings. For the low C, I am using an Am triad because a four-note Drop2 is a bit heavy.
The Bb is again the dim chord associated with C7(b9: E dim. The Ab is harmonized with a C7alt voicing. The Ab is a chromatic leading note and there are many ways that you can harmonize it, but in this case I find that the C7alt sounds better than for example an Emaj7.
The Fm7 Bb7 bars are harmonized exactly like the Gm7 C7 so I am not going to break that down.
Faster melodies and other strategies
For the last four bars of the melody I am using another more practical strategy.
When the melody starts moving in 8th notes it becomes very difficult to change chord for each note. This is not impossible, but not easy and also tends to sound a little too busy.
Instead I am using a static chord and move the melody on top of that.
In this case, the entire chord is 3 notes, so the static part is just two notes. If you listen to Bill Evans you will hear him do this quite often as well. On Piano that is playing a melody with the right hand and a chord in the left hand. His recording of Beautiful Love has a long section of the solo like this.
For the Ebmaj the underlying chord is the 5th and 3rd of the chord. That is also what I use on the Dø. The Ebm7 Ab7 bar has the 7th and 3rd as the static part of the chord.
Download the Solar Chord Melody Arrangement
If you want to download a Pdf of the entire arrangement then fill in the form here below to get a mail with a PDF link.
Up Your Chord Melody with some solo improvisation skills!
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