Me me aA CREATIVE a a ce pOcUMENT CONTIENT UN pisQue COMPACT VERIFIER ‘SA PRESENCE LORS pu RETOUR wiganCONTENTS CD TRACKS INTRODUCTION CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5 APPENDIX Reference Pages Voicing Etudes Arpeggio Permutations GMC Permutations Possibilities and Practice Concept and Origins (by Mick Goodrick) ABOUT THE AUTHORS 25 a7 59 73 87 95INTRODUCTION What Is GMC? Gen pression (GMC) is a new system of studying harmony that allows guitarists to discover fresh and! ofien unusual chord voieings for accom. Paniment in a group setting or for solo guitar playing. Itis based on nique and principles that, with study and practice, will broaden the guitarists harmonic vocabulary, leading to heightened creative endeavors. Our goal is to provide the guitarist with tools to develop new vocabulary for chordal harmony. GMC isa system that accomplishes this goal. Simply, when we remove the root (compression) from a7-note scale/mode n be separated into two sets of three are left with six notes. These six notes c pitches. These three pitches are organized into five These families are: Triad 7th no 3 usd Cluster pairings. these five families are combined together int These pairings are Triad Triad triad/7th no Triad/7th no3 sust/Sust sust/7th no 5 sust/7th no 3 Cluster/Cluster Cluster/7th no 5 Cluster/7th no 3 7th no 5/7th no 3os” NTRODUC Tg mbined to complete the scale:in this This chart shows these pairs can be con lest to most is a different chord pair, ordered from sim ‘case, € major. Each row complex. Under each chord is an example in C malor Viino5) 671005) susi | Brsusa jw al al | rep_|ac if 513 Gre _ 54 ack V NOTE ABOUT CHORD SYMBOLS Chord symbols were designed to reference traditional azz triadic harmony. Some of ese harmonies, such as quarial structures and clusters, don't conform exactly to traditonal contradictory in a traditional system, chord symbols. For example, ~sus4 would seem set ‘3 (-) while also indicating that the 4 is substituted for any 3, Refer both specifying the flat tions about how to interpret these nontraditional to the chart above, if you have any que: ‘chord symbols. When the guitarist creatively combines these chordal pairings with a bass player or bass note playing the root of the chord, the entire scale can be heard. his can lead to rich, detailed chordal accompaniment, which you can hear at work in track 1, “GMC Example Piece.” Observe the step-by-step process of putting GMC into practice: oO Step 1. Choose a scale/mode. Step 2. “Compress” it, omitting the root, so that you have six notes to Tak work with, Step 3. Organize the compressed mode into two groups of three notes. ‘Step 4. Create your part using these two groups. es and etudes present pitches, organized with this prin- The following exerci ciple, based on a common jazz chord progres ip jazz. chord progression, Use your own rhythms to arts and solos, and practice them along with the recording develop comping, elCHAPTER 1 Reference Pages GMC VOICINGS IN C IONIAN The following charts show C lonian in close and open vo \gs for all ten GMCClose GMC Voicings ‘Triad/Triad oes Triaa/Tth n0 5 ‘Triad/Tth no 3 ® 6 Sus4/Sus4 1es= © Sern ® ¢ 3 = = eearees 0ée = ss 4 Cluster/Cluster . ot === Ft — : se 06s ot Cluster/7th no 3 beReference Pages Open GMC Voicings in C Ionian 6: : z 5 : : o¢: SS = 1 = SSS SSS * - (Ss * ai 3 SS + 0 S888 SSS Iqi nT GMC Voicings in the Standard Tune ‘The reference pages in this section present all the possible chord combinations for the chords of a common jazz progression: first ten vai i ions in close voicings and then ten variations in open voicings. For each chord symbol, there are six chords, paired into three groups of two. Each pair represents all the pitches in the compressed mode. You could imagine them bracketed together to comprise the whole scale; we left out the brackets to avoid clutter on the page. Given Complementary Pairs E-1b5 ote Writing out the chords like this reveals your options for creating harmony parts, Refer back to these charts a you practice the etudes in the later chapters. Similarly, write out the chords and pairings to whatever tune you are working on, to help reveal its harmonic possibilities,