The concept of guide tones should be nothing new to any bass player. We
expect the bass player to follow the roots of the harmonic progression. He
connects an invented line but has specific pitches that are expected at
specific times. Maybe the term "guide tone" is new.
One aspect of creating interesting improvised melodies over the bass line
is to try and arrive at different pitches at those junctures with the bass
line. In other words, if the chords are Dm7 - G7 - C, we might not want to
over emphasize the roots of the chords by playing them on the down beats
with the bass. This is just a doubling of the bass line in a different
octave. Finding other notes to aim for in the same way the bass player aims
for the roots makes for more interesting counterpoint. If I played an F
(the 3rd of Dm) while the bass plays a D, the listener hears a Dm chord
(whether the piano player is playing a chord or not). The B (the 3rd of G)
over the G chord and the E (the 3rd of C) over the C chord have the same
harmonic clarity. A C (7th of Dm7) over the Dm7 chord leads to the G7; the
F (7th of G7) leads to the C chord. These are basic guide tones. They can
be helpful in constructing melody lines. They are not melody lines by
themselves any more than the roots of a progression are a good bass line.
They are good reference points for harmonic clarity.
>The important rule is that the "guide" melody would have to sound
>like music.
Of course. This is where individuality and creativity comes in.
_______________________________________
Bert Ligon
Director of Jazz Studies
_______________________________________
School of Music
University of South Carolina
Columbia, SC 29208
Voice: (803) 777-6565
Fax: (803) 777-6508
bligon@mozart.sc.edu
_______________________________________