diff --git a/src/data/kb/index.js b/src/data/kb/index.js index 2f90550..b5ecaa5 100644 --- a/src/data/kb/index.js +++ b/src/data/kb/index.js @@ -27,6 +27,9 @@ import rnbGuitar from './rnb/guitar.js' import gospelMeta from './gospel/meta.js' import gospelProgressions from './gospel/progressions.js' import gospelGuitar from './gospel/guitar.js' +import popMeta from './pop/meta.js' +import popProgressions from './pop/progressions.js' +import popGuitar from './pop/guitar.js' export default { jazz: { @@ -74,4 +77,9 @@ export default { progressions: gospelProgressions, instruments: { guitar: gospelGuitar }, }, + pop: { + meta: popMeta, + progressions: popProgressions, + instruments: { guitar: popGuitar }, + }, } diff --git a/src/data/kb/pop/guitar.js b/src/data/kb/pop/guitar.js new file mode 100644 index 0000000..7768c9a --- /dev/null +++ b/src/data/kb/pop/guitar.js @@ -0,0 +1,204 @@ +// Pop guitar pack. Every shape's pitch classes were verified by note-spelling +// against standard tuning (EADGBe) and the chord quality before authoring. +// Voicing / capo / strumming references: +// justinguitar.com (open "cowboy" chords, capo strategy, common strums), +// guitar.com & fretjam.com (sus2/sus4 add-colour, add9 cowboy chords), +// andyguitar.co.uk (eighth-note pop strum, palm-muted pop-rock), +// en.wikipedia.org/wiki/The_Axis_of_Awesome (capo-as-transpose for the axis). +// +// Pop guitar is a capo-and-open-shape craft: most hits are written in a flat or +// sharp key but PLAYED in a guitar-friendly shape set (G, C, D, Em, Am) with the +// capo doing the transposition. Each progression therefore gets one open +// "campfire" play (ringing strings, capo-friendly) and one movable barre play +// for the keys no capo position reaches. The barre play is genuinely different +// in register and ring, not a transposition of the open one. + +// --- Open "cowboy" shapes — render only when the chord root matches --- +const OPEN_G = { onlyRoot: 7, frets: [3, 2, 0, 0, 3, 3], fingers: [2, 1, 0, 0, 3, 4] } // big ringing G +const OPEN_D = { onlyRoot: 2, frets: ['x', 'x', 0, 2, 3, 2], fingers: [0, 0, 0, 1, 3, 2] } +const OPEN_EM = { onlyRoot: 4, frets: [0, 2, 2, 0, 0, 0], fingers: [0, 2, 3, 0, 0, 0] } +const OPEN_AM = { onlyRoot: 9, frets: ['x', 0, 2, 2, 1, 0], fingers: [0, 0, 2, 3, 1, 0] } +const OPEN_C = { onlyRoot: 0, frets: ['x', 3, 2, 0, 1, 0], fingers: [0, 3, 2, 0, 1, 0] } +const OPEN_F = { onlyRoot: 5, frets: ['x', 'x', 3, 2, 1, 1], fingers: [0, 0, 3, 2, 1, 1] } // small F, top four + +// --- add9 colour (the pop "sparkle") — used where the quality is add9 --- +const OPEN_CADD9 = { onlyRoot: 0, frets: ['x', 3, 2, 0, 3, 3], fingers: [0, 2, 1, 0, 3, 4] } // R–3–5–9 + +// --- Movable barres — for the capo-hostile keys --- +const BARRE_MAJ_6 = { rootStr: 6, offsets: [0, 2, 2, 1, 0, 0], fingers: [1, 3, 4, 2, 1, 1] } // E-shape +const BARRE_MAJ_5 = { rootStr: 5, offsets: ['x', 0, 2, 2, 2, 0], fingers: [0, 1, 2, 3, 4, 1] } // A-shape +const BARRE_MIN_6 = { rootStr: 6, offsets: [0, 2, 2, 0, 0, 0], fingers: [1, 3, 4, 1, 1, 1] } // Em-shape +const BARRE_MIN_5 = { rootStr: 5, offsets: ['x', 0, 2, 2, 1, 0], fingers: [0, 1, 3, 4, 2, 1] } // Am-shape + +export default { + styleIntro: + 'Pop guitar is built from a handful of open "cowboy" chords and a capo. Most chart hits live in flat or sharp keys, but the guitarist plays familiar open shapes and slides the capo to the singer\'s key — so the same G–D–Em–C grips power a thousand songs. The colour comes from sus2/sus4 hammer-ons and add9 ring, not from harmonic complexity; the loop stays simple and the strum, dynamics, and one well-placed suspension carry the part.', + + comping: [ + { + label: 'Eighth-note pop strum', + rhythm: 'D D U U D U (the "old faithful")', + description: 'The default acoustic-pop pattern: steady down-up eighths with a gap where the third downstroke would be, accent on the backbeat. Keep the wrist loose and constant even through the muted gap.', + }, + { + label: 'Sus hammer-on figure', + rhythm: 'strum chord → hammer to sus4 / pull to sus2 within the bar', + description: 'The signature pop-guitar decoration: hold the open chord and wiggle one finger to a sus4 and back (or pull off to sus2). It animates a single static chord without changing the harmony — Tom Petty / Mr. Big territory.', + }, + { + label: 'Palm-muted eighths (pop-rock)', + rhythm: 'chugged straight eighths, edge of the palm on the bridge', + description: 'For the driving pop-rock loops: muted downstrokes on the low strings, opening up on the chorus. The dynamic jump from muted verse to open chorus is the arrangement doing the work the chords don\'t.', + }, + ], + + plays: { + 'pop-axis': [ + { + label: 'G–D–Em–C campfire (capo to taste)', + level: 'intermediate', + chords: [ + { shape: OPEN_G, note: 'I — big ringing G' }, + { shape: OPEN_D, note: 'V — open D' }, + { shape: OPEN_EM, note: 'vi — Em, the only minor in the loop' }, + { shape: OPEN_CADD9, extensions: ['9'], note: 'IV — Cadd9 keeps the top two strings ringing through the change' }, + ], + tips: 'This is the canonical pop guitar set: in G it is G–D–Em–C, and any key is just a capo move (A = capo 2, B♭ = capo 3…). Voicing the IV as Cadd9 lets the open B and e strings drone across all four chords — the modern-pop "wash".', + }, + { + label: 'Barre shapes (capo-hostile keys)', + level: 'intermediate', + chords: [ + { shape: BARRE_MAJ_6, note: 'I — E-shape barre' }, + { shape: BARRE_MAJ_5, note: 'V — A-shape, same fret region' }, + { shape: BARRE_MIN_6, note: 'vi — Em-shape barre' }, + { shape: BARRE_MAJ_5, note: 'IV — A-shape barre' }, + ], + tips: 'When no capo position gives you open strings (or a second guitar already owns the jangly part). I and vi share the 6th-string root; V and IV share the 5th — the hand rocks between two anchor frets. Lighten the barre between strums so it breathes.', + }, + ], + + 'pop-50s-doowop': [ + { + label: 'C-family doo-wop (Stand By Me grips)', + level: 'intermediate', + chords: [ + { shape: OPEN_C, note: 'I — open C' }, + { shape: OPEN_AM, note: 'vi — Am, the wistful drop' }, + { shape: OPEN_F, note: 'IV — small F, top four strings' }, + { shape: OPEN_G, note: 'V — open G' }, + ], + tips: 'In C this is the literal Stand By Me / "ice-cream changes" set. The whole feeling is the C → Am drop in the first two bars — let that ring before the F–G turns it home. Slow triplet-feel strum, not eighths.', + }, + { + label: 'Barre doo-wop, upper register', + level: 'intermediate', + chords: [ + { shape: BARRE_MAJ_5, note: 'I — A-shape barre' }, + { shape: BARRE_MIN_6, note: 'vi — Em-shape, two frets down on the 6th string' }, + { shape: BARRE_MAJ_6, note: 'IV — E-shape barre' }, + { shape: BARRE_MAJ_5, note: 'V — A-shape, up the neck' }, + ], + tips: 'A closed, vocal-group reading: roots walk between the 5th and 6th strings, so the hand never travels far. Mute the highest string and the four-voice grip starts to sound like the backing singers it came from.', + }, + ], + + 'pop-canon': [ + { + label: 'Open Canon line (descending bass)', + level: 'intermediate', + chords: [ + { shape: OPEN_G, note: 'I — bass G' }, + { shape: OPEN_D, note: 'V — bass D (the line: 1 → 7 sits in the inner voice)' }, + { shape: OPEN_EM, note: 'vi — bass E' }, + { shape: OPEN_AM, note: 'iii — Am as the diatonic iii; bass B/A keeps the stair descending' }, + { shape: OPEN_C, note: 'IV — bass C, ready to loop back to G' }, + ], + tips: 'The point of this line is the descending bass stair — pick the lowest string of each open shape as a bass note before strumming and you hear Pachelbel inside the pop. Five open chords, no barre, no capo needed in G.', + }, + { + label: 'Barre Canon, even register', + level: 'intermediate', + chords: [ + { shape: BARRE_MAJ_6, note: 'I — E-shape' }, + { shape: BARRE_MAJ_5, note: 'V — A-shape' }, + { shape: BARRE_MIN_6, note: 'vi — Em-shape' }, + { shape: BARRE_MIN_5, note: 'iii — Am-shape barre' }, + { shape: BARRE_MAJ_5, note: 'IV — A-shape' }, + ], + tips: 'Closed shapes keep every chord the same density — useful under a busy vocal where the open version\'s ringing strings would clutter. Keep the top-string melody note audible; that moving top line is the second half of what makes the Canon line sing.', + }, + ], + + 'pop-mixo-bVII': [ + { + label: 'Open Mixolydian vamp with sus colour', + level: 'intermediate', + chords: [ + { shape: OPEN_D, note: 'I — open D; wiggle to Dsus2/Dsus4 and back for the pop-rock "ring"' }, + { shape: OPEN_C, note: '♭VII — open C, the borrowed flat-seven' }, + { shape: OPEN_G, note: 'IV — open G; hammer the sus4 and pull back as the fill' }, + ], + tips: 'In D this is D–C–G, the brightest open-string Mixolydian shape set. Decorate the held I and IV with sus2/sus4 hammer-ons (the verse decoration in countless pop-rock loops) — the chord stays major, your finger wiggles. Let the open strings ring through the C.', + }, + { + label: 'Barre power-vamp (pop-rock drive)', + level: 'intermediate', + chords: [ + { shape: BARRE_MAJ_6, note: 'I — E-shape, palm-muted in the verse' }, + { shape: BARRE_MAJ_5, note: '♭VII — A-shape two frets below the I root' }, + { shape: BARRE_MAJ_5, note: 'IV — A-shape, slides up from the ♭VII' }, + ], + tips: 'The driving reading: palm-muted E-shape on the I, then the two A-shape majors share a grip and just slide — ♭VII to IV is a two-fret move. Open the palm mute on the chorus for the lift; the dynamic, not a new chord, is the chorus.', + }, + ], + + 'pop-minor-loop': [ + { + label: 'Em campfire loop (Save Tonight grips)', + level: 'intermediate', + chords: [ + { shape: OPEN_EM, note: 'i — Em, the lone minor' }, + { shape: OPEN_C, note: '♭VI — open C' }, + { shape: OPEN_G, note: '♭III — open G' }, + { shape: OPEN_D, note: '♭VII — open D, leans back to Em' }, + ], + tips: 'In E minor this is the literal Em–C–G–D of Save Tonight / Numb. After the single minor i, three open majors cascade home — keep the strum constant and let the all-major run feel anthemic against the minor tonic. Capo to move it to any minor key.', + }, + { + label: 'Barre minor loop, even and driving', + level: 'intermediate', + chords: [ + { shape: BARRE_MIN_6, note: 'i — Em-shape barre' }, + { shape: BARRE_MAJ_5, note: '♭VI — A-shape' }, + { shape: BARRE_MAJ_6, note: '♭III — E-shape' }, + { shape: BARRE_MAJ_5, note: '♭VII — A-shape' }, + ], + tips: 'The closed reading for a fuller, rockier feel. The three majors alternate E-shape / A-shape so the hand stays in one neighbourhood; palm-mute the i for tension and release it across the three majors for the climb.', + }, + ], + }, + + improv: { + scales: [ + { over: 'I (major loops)', scale: 'major', why: 'Major pentatonic is the safe melodic home over the axis and doo-wop loops; add the full major scale for passing tones between chord tones.' }, + { over: 'vi / iii / Am (the minor chords)', scale: 'minor', why: 'Over the vi (the relative minor) the natural-minor / minor-pentatonic shape sits right under the major-key notes — same fingering, darker target tones.' }, + { over: 'I / IV (Mixolydian vamp)', scale: 'mixolydian', why: 'The ♭VII in the loop is the ♭7 of the key — Mixolydian builds it in, so a single scale covers the whole I–♭VII–IV vamp.' }, + { over: 'i (minor pop loop)', scale: 'minor', why: 'Natural minor over the i–♭VI–♭III–♭VII loop; every chord in the loop is diatonic to natural minor, so one scale covers all four.' }, + ], + targetNotes: + 'In looping pop the melody usually lands on a common tone held across the changes — find the one or two notes that belong to all four chords and lean on them (the high open strings in the open-shape plays are doing exactly this). On the doo-wop loop, voice-lead the top note down I→vi (root to its own 3rd) for the signature sweetness.', + licks: [ + { + over: 'pop-axis', + description: 'The "drone" decoration: keep the open B (and high e) ringing across all four open chords — G, D, Em, Cadd9 all contain or tolerate those open strings, which is why the Cadd9 voicing is chosen over plain C. The unchanging top notes are the modern-pop wash.', + source: 'justinguitar.com — "Cadd9 & the G–D–Em–C trick"; en.wikipedia.org/wiki/The_Axis_of_Awesome', + }, + { + over: 'pop-mixo-bVII', + description: 'The sus hammer-on fill: over the static I, strum the chord then hammer the sus4 and pull to sus2 in a steady eighth pulse (e.g. D → Dsus4 → D → Dsus2). It implies motion over one held chord — the standard trick for filling bars in a slow pop-rock loop.', + source: 'fretjam.com / guitar.com — "sus2 & sus4 chord embellishments"; andyguitar.co.uk pop-rock strumming', + }, + ], + }, +} diff --git a/src/data/kb/pop/meta.js b/src/data/kb/pop/meta.js new file mode 100644 index 0000000..49d4c5e --- /dev/null +++ b/src/data/kb/pop/meta.js @@ -0,0 +1,7 @@ +export default { + id: 'pop', + label: 'Pop', + feel: 'straight', + tempoRange: [70, 132], + character: 'A handful of diatonic chords looped without apology — the four-chord "axis", the doo-wop turn, the Canon line — where the arrangement and the hook, not the harmony, carry the song.', +} diff --git a/src/data/kb/pop/progressions.js b/src/data/kb/pop/progressions.js new file mode 100644 index 0000000..e9b6929 --- /dev/null +++ b/src/data/kb/pop/progressions.js @@ -0,0 +1,67 @@ +// Pop progressions. Loops and song references verified against: +// en.wikipedia.org/wiki/The_Axis_of_Awesome (I–V–vi–IV "four chords"), +// en.wikipedia.org/wiki/'50s_progression (doo-wop I–vi–IV–V), +// classicfm.com (Maroon 5 "Memories" = Pachelbel I–V–vi–iii–IV line), +// en.wikipedia.org/wiki/List_of_variations_on_Pachelbel's_Canon, +// tunableapp.com chord-progressions (i–♭VI–♭III–♭VII minor loop). +// Deliberately differentiated from the rock pack: rock-axis already owns the +// I-started axis and rock-mixo-vamp the I–♭VII–IV vamp; here the axis is framed +// for capo/open pop guitar, the Mixolydian move gets honest pop songs, and the +// minor loop is the relative-minor (vi-started) reading, not rock's i–♭VII–♭VI–V. +export default [ + { + id: 'pop-axis', + name: 'Four chords (I–V–vi–IV)', + rn: ['I', 'V', 'vi', 'IV'], + degrees: [0, 7, 9, 5], + qualities: ['maj', 'maj', 'min', 'maj'], + bars: [1, 1, 1, 1], + mode: 'major', + songs: ['No Woman No Cry — Bob Marley', 'Someone Like You — Adele (verse loop)', 'Let It Be — The Beatles'], + tip: 'The single most-used loop in modern pop (the Axis of Awesome "four chords"). On guitar it is really a capo decision: pick the capo position that lets you play it as open G–D–Em–C shapes and the whole song rings.', + }, + { + id: 'pop-50s-doowop', + name: "'50s / doo-wop (I–vi–IV–V)", + rn: ['I', 'vi', 'IV', 'V'], + degrees: [0, 9, 5, 7], + qualities: ['maj', 'min', 'maj', 'maj'], + bars: [1, 1, 1, 1], + mode: 'major', + songs: ['Stand By Me — Ben E. King', 'Earth Angel — The Penguins', 'Blue Moon (the Marcels, 1961)'], + tip: 'The "ice-cream changes": dropping from the bright I straight to vi is the sweet, wistful doo-wop gesture. It loops forever — Stand By Me never leaves these four chords.', + }, + { + id: 'pop-canon', + name: 'Canon pop line (I–V–vi–iii–IV)', + rn: ['I', 'V', 'vi', 'iii', 'IV'], + degrees: [0, 7, 9, 4, 5], + qualities: ['maj', 'maj', 'min', 'min', 'maj'], + bars: [1, 1, 1, 1, 1], + mode: 'major', + songs: ['Memories — Maroon 5 (Pachelbel, set in B)', "Don't Look Back in Anger — Oasis", 'Graduation (Friends Forever) — Vitamin C'], + tip: 'Pachelbel\'s Canon wearing pop clothes — the axis with an extra iii inserted between vi and IV. The bass walks down a clean diatonic stair (1–7–6–5–4), which is what makes the line feel "classical".', + }, + { + id: 'pop-mixo-bVII', + name: 'Mixolydian pop (I–♭VII–IV)', + rn: ['I', '♭VII', 'IV'], + degrees: [0, 10, 5], + qualities: ['maj', 'maj', 'maj'], + bars: [2, 1, 1], + mode: 'mixolydian', + songs: ['Clocks — Coldplay (♭VII colour)', 'Cigarettes & Alcohol — Oasis', 'Royals — Lorde (verse)'], + tip: 'Swap the polite V for the borrowed ♭VII and the loop turns anthemic without a single minor chord. Every chord is major, so a single open or capo position covers all three with one hand shape moved twice.', + }, + { + id: 'pop-minor-loop', + name: 'Minor pop loop (i–♭VI–♭III–♭VII)', + rn: ['i', '♭VI', '♭III', '♭VII'], + degrees: [0, 8, 3, 10], + qualities: ['min', 'maj', 'maj', 'maj'], + bars: [1, 1, 1, 1], + mode: 'minor', + songs: ['Save Tonight — Eagle-Eye Cherry', 'Numb — Linkin Park', "Self Esteem — The Offspring"], + tip: 'The axis read from its relative minor: start on vi and the same family of chords turns dark and anthemic. After the lone minor i, three major chords cascade home — an all-major run inside a minor key.', + }, +]