Contrapuntal Concepts

Electric and Classical Guitarists

By Jimmy Wyble - Edited by David Oakes The infinite possibilities of our instrument, the guitar, are astounding! No other instrument offers such a wide variety of styles. As growing guitarist there are basic challenges: the area of technique, the forever expanding concept of harmonic awareness, and reading music. As we progress in our musical environment, we must investigate new sounds, research the works of other guitarists, and seek new ways and constantly try new ideas. The more challenging and varied our musical environment, the more we grow in technique, musical expression, harmonic awareness and style. Generally, we improvise over chord changes with a single melodic line but the Etudes have the added component of the second voice. In the two line contrapuntal etudes, there is a fusion of the two voices. Examples 1 through 24 illustrate designs based on step, whole step scales now known as diminished scales. There are also exercises based on familiar chord shapes combining voices within the chord and then moving them in opposite directions. Our technique must be expanded to a finger-style approach, in order to deal with the two line contrapuntal etudes. Editors note: The following scales did not appear in Jimmys original text. I have put them in just for reference. Jimmy has discussed with me the importance of scales that use whole and half steps as one of the most important sounds in the jazz vocabulary. He felt that as musicians, this is one sound that we should be very familiar with. Examples 1-4 are based on the diminished scale.

For

4 b 4 # l===================== & b n l = b _
C diminished scale 1/2 step - whole step: Half Whole

4 = 4 _ # # l===================== & b l
C diminished scale whole step - half step Whole Half
Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts Fingering explanation: Here we will use standard classical guitar notation: Numbers around the note heads represent left hand fingering Circled numbers are the string that the note is played one. Right hand fingering: p thumb, I index finger, m middle finger, a ring finger. Example 1: Top line descending whole step, half step. Bottom line up a half step and then down a minor 3rd. Strict alternation of the right hand fingers (p m , then i a ), This is a very awkward feeling right hand technique at first, but with practice becomes a very natural move. Editors note: If you come from a classical background, you might be tempted to us the bar or even a partial bar. Follow the fingerings marked. They might be awkward at first, but they do facilitate the technique. Stay with it and you will be rewarded with greater facility.
2 2 2 3 3 _ b_ _ 1 _ # b 4 b b 4 n l====================== l l & l _ _ b n _ b_ = b 5 6 1 2 1 m p a i m p a i m p a i m p a i

Descending half steps, whole-step.

2 _ _ _ _ # 2 # n # n 4 4 b l====================== l l & l _ _ _ #_ b _ = _ _ _ _ 5 6 1 m p a i m p a i m p a i m p a i

Descending half steps, whole-step.

Ascending whole step, half-step:

3 2

# _ n # _ 3 4 # l====================== l l &4 _ l _ n b = b _ #_ _ n _ _ _ _ 5 6
3 2 3 2 2 1 m p a i m p a i m p a i m p a i

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts Whole step/half step design supported by ascending minor 3rds in the bass:

b n # # 3 # # l b # =l l 4 b _ l====================== & _ _ _ #_ _ 4 5
2 4 3 6 m p i m p i m p i m p i m p i m p i

Whole step/Half Step design supported by ascending minor 3rds in the bass:

Same fingering as #4 played backwards: Same fingering as #4 played backwards:

2

4 # n 3 4a 3 # b n # # n 4 l====================== l l & # b l _ _ b = _ #_ _ _ 4 5 6 i m p i m p i m p i m p i m p i m p

The wide spread intervals are typical of the contrapuntal guitar etudes. Examples 5 and 6 illustrate the technique of keeping one finger down as the remaining fingers move across the fingerboard.
Pivot on the 3rd finger. The third finger does not Observe Observe the differences in the right Pivot on 3rd finger. The third finger does not release. release. the differences in the right hand fingering from measure to measure.
1

# # # _ _ 5 # 3 l===================== & 4 _ b_ l _ b_ l # _ l # _ = 4 4 5
5 5 5 a p i m p a i p a i a p i m p a i p a i

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts

Fingers move across the fingerboard with no pivot and yes, the right hand fingering is correct. Fingers move across the fingerboard with no pivot and "yes", the right hand fingering is correct. This will This some take some work! take will work!
1 1 3

2 # 6 # b # 2 l b b l l===================== l l &4 _ l = b_ l _ 4 5 m p i p a i m p i p a i m p

Variations of the scale. The 1/2 step moves upwards to the high "E", descending in whole steps step Variations of the scale. The 1/2 step moves upwards to the high E, descending in whole from D to A. from D# to A.
1 2

3 U _ _ _ #_ _ _ #_ _ _ _ _ # _ _ 7 4 4 # n # _ _.. l=====================l l & l = _ _ _ _ w 4 5 5 p m p a i m p a i m p i m p 6 a i m p

A variationof #7 with some octave displacement. Notice how similarsimilar the right and left hand A variation of #7 with some octave displacement. Notice how the right and left hand fingeringstayed the same in in both examples 7 8. 8. fingering stayed the same both examples 7 and and
1

_ _ 2 # # 8 3 U 4 . # 4 _ # _ _ _ l=====================l l & _ _ _ l _ _. = _ _ # n _ w #_ 4 5 5 6
p m p a i m p a i m p i m p i p

A variation ofof the whole/half scale imposed on anan altered -V phase: A variation the whole/half scale imposed on altered V I - I phase:
D7(b5,#5,b9)
2

G 3 3 (#5) 9 (b9) (b5) # 4 # b # 4 b _ l _ l=====================l l & b_ = _ 3 4 5

m p i p i m p i p 6 i m p

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts A variation of the whole/half scale imposed on an altered V - I phrase. Notice the contrary motion of the lines. Find and mark the altered 5ths and 9ths in this phrase.
A variation of the whole/half scale imposed on an altered V - I phase. Notice the contrary motion of the lines. Find and mark the altered 5ths and 9ths in this phrase. D7(b5,b9) Gmaj7 2 10
3

n # # 4 b l=====================l l & 4 b_ b l n_ b_ _ = _ _ _ _ 5 4 5
6 6 a p i m p a i m p a i m p

Analyze for both chord tones and the half/whole movements of the top line. Remember to observe thefor both chord tones and the half whole movements of the top line. Remember Analyze right and left hand fingerings. Also, find the contrary motion in the lines.
2 b # 3 11 # 4 U w b l=====================l l & 4 _ l _ = _ #_ _ _ _ w 3 4 5 4 5 1 2 m p a i m p i m p a i 6 m p i a p

to observe the right and left hand fingerings. Also, find the contrary motion in the lines. D7(b9) G6

Another V - I example this time in the key of D. Notice the upper voice descending in whole Another V - I and half steps: example this time in the key of "D". Notice the upper voice descending

12

2 _ ## 4 b n 4 n _ w l=====================l l & _ = b _ l _ w 3 2 3 4
D
1 5 m p i m p i m p i m p i m p

in whole and half steps: A7(b9,#5, b5)

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts

13

n # _ 3 n #w # 4 b _ l=====================l l & 4 # b l _ = _ _ w 3 4 4 5 5
1 2 2

# b D7( 9. 9)

Gmaj7

6 m p a i m p i m p a i m p i a p

Top line half/whole diminished scale, bottom line is a dim7 arpeggio. The lower line of chord voicings are a reference showing the harmonic structure that the design it was built from:
2 _ 14 # 4 b n # l=====================l l & 4 b _ _ _ = l _ l l ll m a m i m a m a l l m ll p i p p i p i p l # lG ll D b D b b 4 l=====================ll ll ll 4 b l& = _ _ _ 5 5 1 3 2
13( 9) 7( 9)

Top line half/whole diminished scale, bottom line in a dim7 arpeggio, the lower chord voicings are a reference showing the harmonic structure that the design is built from.

Editors note: The following exercises break four note chords up into two - 2 note teams. In the file A Lesson From Jimmy Wyble, he also shows some other examples of how he breaks up chords into two note combinations. This is very fundamental to his technique aa well as a technique that he practices every day. I have also witnessed Jimmy spending time practicing this technique with the students at Musicians Institute as well. The temptation to use a bar on these exercises is great. Dont do it especially on the Bmi7 chord. Remember 4 notes - four fingers in both the right and left hands. hand fingering from measure to measure: In the classical/jazz approach, two lines are extracted from chord stacks using combinations of voices. Contrapuntal Concepts written by Jimmy Wyble  Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts Examples 15a - 15b - 16 and 17 are extractedfrom the chords below. Observe Examples 15a - 15b - 16 and 17 are extracted from the chord progression below. Observe the fingerings, 4 fingers for 4 for 4 notes -bars: the fingerings, 4 fingers notes - no no bars:
15
2 # 4 b 4 l=====================l l & l #_ = _

Em7(b5)

Dmaj7

C#m7(b5)

Bm7

15a # 4 b # n 4 #_ _ l l l============== &

3 2 5 m p 4 a i m p a i m p a i m p a i

15b

# # b l==============l l & _ #_
2 3 4 m p 5 a i m p a i m p a i m p a i

16 # 4 # b n l l 4 l============== & #_ _
2 3 4 m p 5 a i m p a i m p a i m p a i

17 # # n b l==============l l & #_ _
2 3 5 a p 4 m i a p m i a p m i a p m i

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts The upper and lower voices are derrived from chord tones to form this line. The lower chords are for reference and the the first E7 chord uses George Van Eps technique of barring across the fret. Learning to play that chord is not the goal of this lesson.
1 2 2

U 3 _ _ # 18 _ # 4 # 4 _ _ b l======================l l & b l = _ l l ll 3 4 5 5 6 6 l l m ll m m a m a i a p i p i p i p l l p ll b l E b b l Dmaj ll #nA _ A_ . _. l 4 l #. ll # n 4 # _ b l& ======================l l _ l . = b _

3
7( 5, 9) 13 9( 5) 13

19 n . . bw 4 j l # n b n 4 _ # n n_ _ _ l _ l======================l l & = b _ l w l l ll 3 4 5 6 6 l l m l m ll a m i i m a a p p p i p i p i p i p i p l lE b # b l Amaj b ll b Bm Bm n l 4 lw l # bw ll w 4 # _ _ #_ w # _ =l l w l & ====================== lb w l w _ w

3 2 3 5 4
7 7( 5) 7( 5, 5, 9) 7( 5)

Editors note: The following pages Chords as a source of contrapuntal lines will be shown in depth in the file called Harmonic Awareness. Some of the following material was also presented in the file A Lesson From Jimmy Wyble as well. Jimmy has used this material quite a bit in his lectures at Musicians Institute. 
Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts Chords as a source of contrapuntal lines. Exercises 21, 22, 23 and 24 use chord scales. 5th, Root, 3rd, 7th voicing. The 7th moving down the scale with chord tones supporting the downward motion.
5th, Root, 3rd, 7th voicing. The 7th moving down the scale with chord tones supporting the downward motion. 20

l===================== l & _ l _ = _ _ _
Cmaj7
3 4

Dm7

4 l===================== l & _ l _ =

Em7

Fmaj7

G Am 2 3 3 2 l===================== l & l =
7 7

2 3 _ l=========== & =

Bm7(b5)

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts Root, 5th, 7th, 3rd voicing. The root moving up the scale with chord tones supporting the move5th, 7th, 3rd voicing. The ment. Root, supporting the movement. root moving up the scale with chord tones
Cmaj7
7

Dm 3 4 4 3 21 l===================== l & _ l =
5

3 _ l===================== l & l =

Em7

Fmaj7

G 2 Am _ _ 3 3 _ 2 l===================== l & l =
7 7

2 _ 3 _ _ l=========== & =

Bm7(b5)

10

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

Contrapuntal Concepts Root, 7th, 3rd, 5th voicing. The 5th moving down the scale while the root moves up the scale.

22

2 2 _ l===================== l & _ l = 5

Cmaj7

Dm7

2 2 _ _ _ _ _ _ l===================== l & l =

Em7

Fmaj7

G 2 2 2 2 Am _ _ _ _ _ _ _ _ _ _ _ _ l===================== l & l =
7 7

2 2 _ _ _ _ _ _ _ _ l=========== & =

Bm7(b5)

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved

11

Contrapuntal Concepts Editors note: The concept below is simply to discover sounds as voices move and to get used to moving different voices. This is fundamental to Jimmy Wybles technique of contrapuntal improvisation. It is also to develop the minds ability to see a chord as voices and to move lines in different directions. Jimmy has spent a lot of time in his lectures at Musicians Institute having students make these kinds of moves. Some of the chords need to be played with a bar and this is one of the few times I have ever witnessed Jimmy use a bar in his playing. Root, 7th, 9th, 11th voicing. The 11th moves up a half step while the 7th moves down a half step in each voicing:

_ _ #_ _ b _ 23 # # b b n = l===================== l & _ _ l
1 5 1 _ _ _ w _ _ _ _ w _ #_ _ b#_ _ _ w b_ _ _ _ w l===================== & l =

Cmaj9(11)

D11

E11(b9)

Fmaj9(#11)

G11

Am11

Bmi11(b9)

Cmaj9(11)

Root, 3rd, 7th, 9th voicing. The 7th moves down a half step while the 3rd moves up a half step in each voicing:.

24

b n b b b b n = # l===================== l & _ l _
Cmaj9
2

Dm9

b Emi7( 9)

Fmaj9

w _ _ w _ _ _ _ _ b_ nw _ _ # b # w l===================== & l =
G9
2

Am9

Bmi7(b5, b9)

Cmaj9

1

Contrapuntal Concepts written by Jimmy Wyble Copyright Jimmy Wyble 1978 revised 2008 - All Rights Reserved