Welcome back! In this second installment we'll add an extra chord by way of IV minor to I cadences and continue our study of inner line motion. The IV minor chord gives us one note that is outside the diatonic key, providing extra tension. This non- diatonic note is the 3rd of the chord or the flat 6th of the key. For example, in the key of C the IV minor chord is F minor. The 3rd of F minor is the note Ab which is the flat 6 in the key of C. Play any F minor chord followed by a C major chord and you will hear a nice tension- release.

Each example begins with a simple interval on two non-adjacent strings before an inner line is introduced between the sustaining interval. In all but two of the examples the 3rd beat utilizes a fuller chord for the following reason: Within the 1st two beats a 3 to 4 note chord is formed gradually. Each of these voices seeks resolution on or near the 3rd beat. Examples 1 and 10 are exceptions in that the I chord is built up gradually.

For the minor chords in each example I've used either the natural minor, melodic minor, or the dorian mode for the inner line. A component of most of the major chord voicings here is the occurrence of the major or minor 2nd interval which is most common in piano voicings. In the example descriptions I indicate certain intervals to observe.

In examples 7A and 8 the fingertip must be flattened while holding down a note on one string to add a second note on the next adjacent string up. This is often referred to as a "rolling" technique. Strive to sustain the bottom note while the fingertip flexes to add the upper note.

The following are very general guidelines:
The thumb ("p") is used for the bottom note of the interval on beat 1 and 3. The upper note of the interval/chord can be played with "i" index, "m" middle or "a" ring. If the chord contains 5 notes as in example 6, the pinky needs to be used for the highest note. For the eighth-note line I'd recommend trying to alternate "i" and "m". In the long run, don't be overly concerned with strict i m i m alternation at all times. As long as it sounds good it is good! Joe Pass' right hand technique was in his own words "a mixed bag."

In examples 9A and 9B the I chord this time is minor; IV minor to I minor triads are very common in minor key songs and entirely diatonic. (Notice that there are no accidentals in examples 9Aor 9B.) In several instances the examples are shown with two different fingerings in two different positions. Much of this material is demanding on the left hand, but is good training in achieving greater independence and improving digital dexterity.

If you find some of the music theory confusing, never fear! Pick up your guitar and play through these short examples and your ear will certainly grasp what this is all about.

Next month I'll conclude this three-part series by expanding the examples into exercises utilizing three chords. Then in July, the focus is on 7-string guitar!

Happy practicing!

Steve Herberman