loop station
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vadimwit
@@ -434,3 +434,440 @@ export function getChordSubstitutions(chordName) {
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chord: NOTES[p.rootPc] + (CHORD_TYPES[sub.type]?.suffix ?? ''),
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}))
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}
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// ─── Chord Playbook ───────────────────────────────────────────────────────────
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// Jam-focused knowledge base per chord type.
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// jamRole — one sentence on this chord's role in a live jam
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// voicings — 2-3 voicings with their jam use-case (not fingering lessons)
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// licks — 2-3 fills/licks with ASCII tab, style-labelled
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// jamTips — 3 tight bullet points for live playing
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// loopPractice — 1-2 concrete loop station exercises
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export const CHORD_PLAYBOOK = {
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maj: {
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jamRole: 'The home chord in a major key — everything resolves here. Your job is to lock in the groove and hold the harmonic centre while others explore around you.',
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voicings: [
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{ name: 'Open position', use: 'Full, resonant. Use when you\'re the only chordal instrument — fills the room. Avoid it in a dense band (too much low-end clash with bass).' },
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{ name: 'Barre mid-neck (E or A shape)', use: 'Controlled and punchy. Use in a band — you\'re sitting above the bassist\'s register. Good for rock and funk comping.' },
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{ name: 'Partial 4-string (strings 1–4, upper neck)', use: 'Jazz and funk comping. Stays completely out of the low end. Ideal when there\'s a keys player — you add texture without competing.' },
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],
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licks: [
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{
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title: 'Major pentatonic walkup',
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style: 'Rock / Country',
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tab: 'e|-------------------------------5-7-|\nB|---------------------5-7-8---------|\nG|-----------4-5-7-------------------|\nD|-----4-5-7-------------------------|\nA|-5-7-------------------------------|\n (G major pentatonic — position shift for any key)',
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tip: 'End on the root or the 3rd for a resolved feel. Use this as a fill between chord changes.',
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},
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{
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title: 'Chord tone arpeggio fill',
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style: 'Jazz / Funk',
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tab: 'e|-----5-----------|\nB|---5---8---------|\nG|-5-------7-5-----|\nD|-----------------|\n (C major: R–3–5–high root)',
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tip: 'Highlight the 3rd and 5th — these define the chord. Avoid the root on a strong beat to keep it moving.',
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},
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],
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jamTips: [
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'If a bassist is locking down the root, move your voicing up the neck — let them own the low end.',
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'Behind a soloist: comp short stabs on beats 2 and 4. Full strums on every beat will drown them out.',
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'Pedal point trick: hold one string on the root and let the chord move underneath — creates harmonic motion without a chord change.',
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],
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loopPractice: [
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{ title: 'Comp loop + fill swap', body: 'Record a 2-bar major chord comp (stabs on beats 2 and 4). Loop it. Improvise fills over the top using the major pentatonic — aim to respond to the rhythm, not just run scales. Swap between "comping mode" and "fill mode" every 4 bars.' },
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],
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},
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min: {
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jamRole: 'Sets the emotional temperature of the jam. Minor chords invite exploration — soloists will look to you for the harmonic anchor. Hold it firmly and let the mood develop.',
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voicings: [
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{ name: 'Open minor (Em, Am, Dm)', use: 'Resonant and sustaining. Use when the jam is sparse or acoustic — let it ring while others move around it.' },
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{ name: 'Barre mid-neck', use: 'Rock and pop jams. Punchy and controlled. Roll slightly onto the index bony edge for clean barres. Palm-mute lightly for a tighter comp.' },
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{ name: 'Partial upper voicing (4 strings)', use: 'Jazz-funk context. Stays completely out of the bass. Add light muting for a percussive comp that doesn\'t muddy the mix.' },
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],
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licks: [
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{
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title: 'Minor pentatonic box 1',
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style: 'Blues / Rock',
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tab: 'e|--8-5-----------|\nB|------8-5-6-5---|\nG|------------7-5-|\nD|---------7------|\nA|----------------|\n (A minor pentatonic at position 5)',
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tip: 'The b3 and b7 are your strongest notes over any minor chord. End phrases on one of them.',
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},
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{
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title: 'Dorian groove phrase',
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style: 'Jazz / Funk',
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tab: 'e|-------------------|\nB|-------------------|\nG|--2-4-2-4-5-4-2----|\nD|--2-4-2-4---4-2----|\nA|--0----------------|\n (A Dorian — note the F# = natural 6th)',
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tip: 'The natural 6th (F# in Am Dorian) is what gives Santana, Stevie Wonder, and jazz-funk their brightness over a minor chord.',
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},
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],
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jamTips: [
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'The minor pentatonic (5 notes) is the safe zone — you can\'t go wrong with it over any minor chord.',
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'On a long minor vamp, try the Dorian mode (raise the 6th by one semitone) — it shifts the feel from melancholic to funky.',
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'When the jam sits on a minor chord, play fewer chord tones and more single-note fills in the gaps — let the sustain breathe.',
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],
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loopPractice: [
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{ title: 'Minor vamp + Dorian exploration', body: 'Record a 4-bar minor chord groove with gaps (e.g. hit on beat 1, let it ring, stab again on beat 3). Loop it. Solo over it with minor pentatonic for 2 laps. Then raise the 6th by one semitone (into Dorian) on the next 2 laps. Hear the shift from dark to groove.' },
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],
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},
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dom7: {
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jamRole: 'THE blues chord — in a 12-bar blues jam, every chord is a dom7. In jazz, it\'s the maximum-tension V chord. Either way: play with attitude and resolve with purpose.',
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voicings: [
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{ name: 'Full dom7 barre', use: 'Blues rhythm guitar. Combine with the shuffle pattern — bass note then top strings alternating. This IS the sound of a blues jam.' },
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{ name: 'Shell voicing (root + 3rd + b7, 3 strings only)', use: 'Jazz comping. Three notes, right in the pocket. Leaves room for piano, sax, everything — the most polite voicing you can play.' },
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{ name: '9th voicing (add the 2nd on top)', use: 'R&B and blues-rock upgrade. One extra note transforms the barre into something sophisticated without changing the function.' },
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],
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licks: [
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{
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title: 'Blues shuffle figure',
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style: 'Blues',
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tab: 'e|--------------------|\nB|--------------------|\nG|--------------------|\nD|--2-4--2-4----------|\nA|--2-4--2-4----------|\nE|--0----0------------|\n (E7 shuffle — repeat; move to A string for A7)',
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tip: 'The shuffle feel is long-short, long-short (triplet with the middle note removed). Lock this in before speed.',
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},
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{
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title: 'Mixolydian fill',
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style: 'Jazz / Rock',
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tab: 'e|--10-8---8-10-8--7---------|\nB|---------10---------10-8---|\nG|---------------------------|\n (G mixolydian: G A B C D E F)',
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tip: 'Mixolydian = major scale with b7. It\'s the natural scale over any dominant 7th chord — the b7 note is the defining colour.',
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},
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],
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jamTips: [
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'In a 12-bar blues, every chord is a dom7. The notes that shift between I7, IV7, and V7 are just the 3rd and b7 — learn those for each chord and you can navigate the whole form.',
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'The b7 note is the single best note to target in a fill over a dom7. It\'s immediately recognisable as the "blues note."',
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'On the V7 (the most tense moment), one well-placed phrase hits harder than ten frantic notes. Listen to what B.B. King leaves out.',
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],
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loopPractice: [
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{ title: '12-bar blues loop', body: 'Record a 2-bar I7 chord shuffle (e.g. E7 for 2 bars). Loop it and solo using the minor pentatonic. Then add the major 3rd occasionally (in E: G#) — you\'re now mixing major and minor pentatonic, which is the blues scale. Notice how that one note shifts the whole flavour.' },
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],
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},
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maj7: {
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jamRole: 'The sophisticated home chord of jazz, bossa nova, and soul. It floats rather than resolves — gives the jam a dreamy, suspended quality. Play it quietly and let it hang.',
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voicings: [
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{ name: 'Open Cmaj7 / Amaj7 / Emaj7', use: 'Acoustic and light electric jams. Beautiful resonance. Let it ring — the maj7 note needs space to project.' },
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{ name: '4-string mid-neck (no 5th)', use: 'Jazz comping. Drop the 5th — it clutters. Root, 3rd, and maj7 is more elegant and sits better under a soloist.' },
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{ name: 'High-neck partial (strings 1–4)', use: 'Comping behind a vocalist. High, bright, completely out of the bass range. Keeps you from competing with anything.' },
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],
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licks: [
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{
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title: 'Maj7 arpeggio climb',
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style: 'Jazz / Bossa',
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tab: 'e|--------9----------|\nB|------9---9--------|\nG|----9-------9------|\nD|--10-----------10--|\nA|------------------|\n (Cmaj7: C–E–G–B)',
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tip: 'Land on the maj7 (the B over Cmaj7) — it\'s the characteristic note. Resolve it gently, don\'t snap down.',
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},
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{
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title: 'Lydian colour phrase',
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style: 'Jazz',
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tab: 'e|--9-10-12-10--9---------|\nB|----------------10-9----|\nG|----------------------9-|\n (#4 = Lydian mode over maj7 — the raised 4th creates a dreamy, floating quality)',
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tip: 'The #4 (raised 4th) is the Lydian note — one semitone above the perfect 4th. It creates instant "floating" colour over any maj7 chord.',
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},
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],
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jamTips: [
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'Maj7 sounds strongest quiet — dial back your volume. It\'s a listening chord that rewards the band for playing softly.',
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'In bossa nova, emphasise the bass note on beat 1 with your thumb and comp the chord on the upbeats with your fingers. No plectrum.',
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'The maj7 is one semitone below the root. If you play the root too prominently in the voicing, the 7th disappears. Favour the 3rd and 7th in your note choices.',
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],
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loopPractice: [
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{ title: 'Bossa nova comp loop', body: 'Record a 4-bar maj7 chord using bossa rhythm (bass on beat 1, chord on the "and"). Play it at half the volume you think you need. Then improvise a simple 3–4 note melody over it. Fewer notes = more space = better bossa feel.' },
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],
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},
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min7: {
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jamRole: 'The smoothed-out minor — soul, R&B, funk, and jazz all live here. It invites groove without demanding resolution. Great for long vamps and ii chord setups in jazz.',
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voicings: [
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{ name: 'Open Am7 / Em7 / Dm7', use: 'Folk, acoustic, and light jazz. Clean and resonant. Good starting point — the open strings blend naturally with the chord.' },
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{ name: 'Barre mid-neck (muted)', use: 'Rock-funk. Mute slightly with your palm for a tighter, more percussive sound. Useful for rhythmic comping in a band.' },
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{ name: '4-string funk stab (high position)', use: 'THE funk voicing. 4 strings, quick stab and mute. Stay high on the neck — leave the low end for the bass. This is how you comp in a funk jam.' },
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],
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licks: [
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{
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title: 'Dorian funk phrase',
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style: 'Funk / Jazz',
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tab: 'e|---------------------|\nB|---------------------|\nG|--5-7-5-7-9-7-5------|\nD|--5-7-5-7---7-5------|\nA|--3------------------|\n (Am Dorian: natural 6th = F# = fret 9 on G string)',
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tip: 'The natural 6th (raised from the plain minor) is the single note that turns a minor vamp into a funk groove. Target it.',
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},
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{
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title: 'Min7 arpeggio fill',
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style: 'Jazz / Soul',
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tab: 'e|------8----------|\nB|----8---8--------|\nG|--7-------7-5----|\nD|--7-----------7--|\n (Am7: A–C–E–G)',
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tip: 'In jazz, the b7 (G over Am7) is the departure note — it creates the sense of movement to the V chord. Let it hang.',
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},
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],
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jamTips: [
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'In a funk jam, min7 stabs go on the upbeats. The muted scratches between are as musical as the chords themselves — they hold the groove.',
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'In jazz, min7 is almost always the ii chord — expect a dom7 to follow. Your job on ii is to build tension so the V chord feels even better.',
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'On a long minor 7th vamp, the Dorian mode (natural 6th) is your key. It\'s what separates "sad minor" from "soulful groove".',
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],
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loopPractice: [
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{ title: 'Funk stab loop', body: 'Record a 2-bar pattern: stab the min7 on the "and" of each beat, leaving the beats empty. Loop it. Add a second loop layer with a single bass note on beats 1 and 3. Hear how it locks into a groove. Then try improvising single notes on top.' },
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],
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},
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dim: {
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jamRole: 'Almost never a destination — diminished is a bridge. In a live jam, use it to glide chromatically from one chord to another a half step away. One beat, maximum drama, then move.',
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voicings: [
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{ name: 'Chromatic passing shape', use: 'Move any dim shape up one fret to arrive at the next chord. This is how diminished works in practice — a one-fret slide between two stable chords.' },
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{ name: 'Compact 4-string voicing', use: 'Jazz context where you want the dim colour without full 6-string weight. Cleaner in a dense mix.' },
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],
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licks: [
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{
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title: 'Chromatic approach line',
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style: 'Jazz / Classical',
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tab: 'e|--8-9-10-----------|\nB|------10-11-12-----|\nG|---------------11--|\n (chromatic passing: approach Cmaj7 from B dim)',
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tip: 'Each note moves up by exactly one semitone. The half-step motion is what creates the magnetic pull toward the landing chord.',
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},
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{
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title: 'Symmetric dim arpeggio',
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style: 'Jazz',
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tab: 'e|--4-7-10-----------|\nB|------10-13--------|\nG|---------12--------|\nD|--5-8--------------|\n (B dim: B–D–F–Ab — all minor 3rds apart)',
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tip: 'Move this pattern up 3 frets and you have the same chord in a new inversion. Exploit the symmetry.',
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},
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],
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jamTips: [
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'Use dim as a chromatic approach: going from G to Am, insert G#dim for one beat. The half-step movement makes the landing feel inevitable.',
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'In jazz, you can substitute a dim7 a half step above the V chord — it creates even more tension before the resolution.',
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'Diminished chords are brief. Never sit on one in a jam — play it quickly and move. It\'s a dramatic pivot, not a home.',
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],
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loopPractice: [
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{ title: 'Chromatic approach exercise', body: 'Record a 2-bar Am loop. On the last beat before the loop repeats, land on G#dim for just one beat before the Am hits. Loop it. Feel how the approach makes the Am feel like a release. Try with different target chords.' },
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],
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},
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dim7: {
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jamRole: 'The most symmetric chord in music — one shape, four roots. Use it as a dramatic pivot or tension builder before any chord. In a jazz jam it\'s a secret harmonic weapon.',
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voicings: [
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{ name: 'Moveable box (any position)', use: 'Move up 3 frets for each inversion — same notes, different voice. Use whichever inversion sits closest to the chord you\'re resolving to.' },
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{ name: 'High-neck 4-string', use: 'Clean and tight. Good for jazz where you want the tension colour without orchestral weight. The top string carries the characteristic tritone.' },
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],
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licks: [
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{
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title: 'Dim7 arpeggio (symmetric)',
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style: 'Jazz / Classical',
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tab: 'e|--1-4-7-10--------|\nB|----------10-13---|\nG|------1-4---------|\nD|--2-5-------------|\n (Bdim7: all notes 3 semitones apart)',
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tip: 'Every note is an equal minor 3rd apart. Moving up 3 frets lands you on the same chord — use this to shift register dramatically.',
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},
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{
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title: 'Chromatic resolution',
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style: 'Jazz',
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tab: 'e|--1-0--|\nB|--2-1--|\nG|--1-0--|\nD|--3-2--|\nA|--3-3--|\n Bdim7 → Cmaj7 (half-step resolution)',
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tip: 'Each voice moves by just one semitone. This is why dim7 resolves so smoothly — voice leading at its most efficient.',
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},
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],
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jamTips: [
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'A dim7 shape a half step above your target chord creates maximum tension before resolution. Before Cmaj7, play Bdim7 for one beat — the release will feel enormous.',
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'Every dim7 is an inversion of 3 others. Learn one shape and you have 12 roots covered — just move 3 frets at a time.',
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'In a jazz jam, place dim7 on the last beat of a phrase, not the first. The tension arrives just before the new section resolves.',
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],
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loopPractice: [
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{ title: 'Resolution contrast loop', body: 'Record a 4-bar loop: 3 bars Cmaj7, then exactly 1 beat of Bdim7 on the final "and" before the loop repeats. The contrast will be striking every time. Try different dim7 → resolution pairs to hear how universally this works.' },
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],
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},
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half_dim: {
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jamRole: 'The ii chord in minor key jazz — where the tension journey begins. When you play this in a jam, you\'re saying "we\'re heading somewhere" and everyone leans in to hear where.',
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voicings: [
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{ name: 'Standard (5th-string root)', use: 'Most common voicing. The b5 on top is the characteristic tension note — let it ring clearly so everyone hears the harmonic direction.' },
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{ name: 'Compact 4-string (b3–b5–b7)', use: 'Jazz comping. Root, b3, b5, b7 — tight and dark. Perfect when comping behind a soloist who needs space.' },
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],
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licks: [
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{
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title: 'Locrian colour phrase',
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style: 'Jazz',
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tab: 'e|--7-8-10--------|\nB|--------10-8-7--|\nG|--7-8-----------|\nD|--7-------------|\n (Bm7b5: Locrian mode — b2, b3, b5, b7)',
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tip: 'The b5 is the defining note. Feature it in your phrase — it\'s what signals "half-diminished" to every musician in the room.',
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},
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{
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title: 'ii–V–i connection line',
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style: 'Jazz',
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tab: 'e|------7-8-10----------10-9---------|\nB|----8---------8-10-12------12-10---|\nG|--9---------------------------------|\n (Bm7b5 → E7 → Am: melodic line through the ii–V–i)',
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tip: 'This phrase flows across all three chords. That\'s the goal: melodic lines that connect chords, not stop-start at each change.',
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},
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],
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jamTips: [
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'The m7b5 almost always precedes a dominant 7th a 4th above it. If you\'re on Bm7b5, expect E7 next. Learn to anticipate — comp toward the V before it arrives.',
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'The characteristic note is the b5. Target it in your fills — it\'s the note that makes the chord sound "yearning" rather than just dark.',
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'In jazz comping, your chord stab on the ii should feel like tension loading. Don\'t resolve early — let the V chord do that work.',
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],
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loopPractice: [
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{ title: 'Minor ii–V–i drill', body: 'Record a 4-bar loop: 2 bars Bm7b5, 1 bar E7, 1 bar Am7. Practise this in Am until it\'s automatic, then transpose to other keys. Every jazz standard is built on variations of this — knowing it in all 12 keys is the single biggest unlock in jazz.' },
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],
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},
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aug: {
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jamRole: 'A single beat of suspended tension. Augmented chords are almost always passing — one beat before resolving. In a jam, use one to add forward harmonic motion between two stable chords.',
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voicings: [
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{ name: 'Standard augmented shape (moveable)', use: 'It\'s symmetric — any inversion works. Use whichever position sits closest to where you\'re going next.' },
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{ name: 'Partial 4-string', use: 'Lighter touch. Use in a sparse jam where you want the aug colour without weight. The raised 5th on top is the defining note — keep it.' },
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],
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licks: [
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{
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title: 'Whole-tone run',
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style: 'Jazz',
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tab: 'e|--5-7-9-10-12------|\nB|-------------12----|\nG|--4-6-8------------|\n (whole-tone scale: all major 2nds — the natural scale over augmented)',
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tip: 'Every interval is a whole step. The scale has no "home" and sounds disorienting — which is exactly the aug chord feeling. Use it briefly then land on something stable.',
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},
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{
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title: 'I → aug → IV resolution',
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style: 'Jazz / Pop',
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tab: 'e|--0---0---1--|\nB|--1---1---1--|\nG|--0---1---2--|\nD|--2---2---3--|\nA|--3---3---3--|\nE|--x---x---x--|\n Cmaj Caug F',
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tip: 'The aug chord is only one note different from the major — the 5th raised by one semitone. That one note creates all the forward motion into the IV.',
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},
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],
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jamTips: [
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'The raised 5th wants to move up by a half step — follow it. C aug → F: the G# in Caug resolves naturally to A (the 3rd of F). That voice leading is the whole point.',
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'In jazz, if you hear an aug chord, stay light and brief. One voicing, then move — it\'s a raised eyebrow, not a full statement.',
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'Augmented works as a substitute for the V chord — both create tension that resolves to I. Try it in a major key jam as an unexpected colour.',
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],
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loopPractice: [
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{ title: 'I → aug → IV loop', body: 'Record a 4-bar loop: 1.5 bars C major, 0.5 bar Caug, 2 bars F. The augmented is just a moment — practise landing cleanly on the F. Once locked in, add a melodic phrase that follows the aug note (G#) upward to A on the F chord.' },
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],
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},
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sus4: {
|
||||
jamRole: 'Creates anticipation without committing to major or minor. In a jam, use it to build tension before a major resolution, or sustain it for a floating open feel that invites any scale.',
|
||||
voicings: [
|
||||
{ name: 'Open sus4 (Dsus4, Asus4)', use: 'Ring out beautifully. Best for creating space and expectation — especially effective in acoustic and ambient jams.' },
|
||||
{ name: 'Barre sus4 → major', use: 'Rock and pop jams. Use the sus4 → major resolution as a rhythmic gesture: sus4 on the upbeat, major on the downbeat. The landing feels like a musical exhale.' },
|
||||
{ name: 'Open string drone + sus4 shape', use: 'Andy Summers / Sting technique. Let high E or B ring open while the fretted notes move. Lush complexity from simple shapes — works beautifully with delay.' },
|
||||
],
|
||||
licks: [
|
||||
{
|
||||
title: 'Sus4 → major rhythmic gesture',
|
||||
style: 'Rock / Pop',
|
||||
tab: 'e|--3---2---3---2--|\nB|--3---3---3---3--|\nG|--2---2---2---2--|\nD|--0---0---0---0--|\n (Dsus4 → D → Dsus4 → D)',
|
||||
tip: 'The 4th (that one suspended note) resolves down to the 3rd. Let the sus4 hang for a full beat before resolving — the longer the tension, the sweeter the landing.',
|
||||
},
|
||||
{
|
||||
title: 'Open drone riff',
|
||||
style: 'Ambient / Rock',
|
||||
tab: 'e|--0---0---0---0--|\nB|--5---5---3---3--|\nG|--6---6---4---4--|\nD|--7---7---5---5--|\nA|--7---7---5---5--|\nE|--5---5---3---3--|\n (C#sus4 riff — open high E rings throughout)',
|
||||
tip: 'The open high E string is the constant — it creates the suspension as the chord changes underneath it. This is The Police\'s entire harmonic language.',
|
||||
},
|
||||
],
|
||||
jamTips: [
|
||||
'Sus4 is most powerful just before resolving — the longer you hold it, the more satisfying the major landing. Use it on the upbeat, resolve on the downbeat.',
|
||||
'In a jam, switching to sus4 on the I chord while others keep playing instantly changes the feel without a real chord change. Subtle and powerful.',
|
||||
'Pair sus4 with a delay effect (or the loop station reverb tail) for ambient, textural comping that leaves maximum space for other musicians.',
|
||||
],
|
||||
loopPractice: [
|
||||
{ title: 'Tension-release loop', body: 'Record a 2-bar loop: 1 bar sus4, 1 bar major (e.g. Dsus4 → D). Improvise over it, emphasising the 4th over the sus4 bar and resolving to the 3rd on the major bar — your melody mirrors the exact motion of the chord. Teach your ear to hear and resolve suspension.' },
|
||||
],
|
||||
},
|
||||
|
||||
sus2: {
|
||||
jamRole: 'The neutral canvas. Sus2 removes the 3rd — it\'s neither major nor minor. In a jam, it gives any soloist total freedom and creates a floating, modern texture that never clashes.',
|
||||
voicings: [
|
||||
{ name: 'Open Asus2 / Dsus2', use: 'Key voicings. Open strings ring freely and the chord floats. Best in quieter or ambient jams — don\'t fight it with a heavy strum.' },
|
||||
{ name: 'Capo + open sus2 shape', use: 'Any key, same open feel. Capo up and play Dsus2 or Asus2 shapes. Constant by Sting, Coldplay, The Edge — sus2 resonance in any key.' },
|
||||
],
|
||||
licks: [
|
||||
{
|
||||
title: 'Sus2 arpeggio (floating)',
|
||||
style: 'Ambient / Pop',
|
||||
tab: 'e|--0-----------0--|\nB|--0---0---0------|\nG|----2---2--------|\nD|------2----------|\nA|--0-----------0--|\n (Asus2: A–B–E — root, 2nd, 5th)',
|
||||
tip: 'The 2nd (9th) is the highest note — feature it in your voicing. It\'s the note that makes the chord float.',
|
||||
},
|
||||
{
|
||||
title: 'Single note melody over sus2 drone',
|
||||
style: 'Ambient',
|
||||
tab: 'e|--0-2-3-5-3-2-0--|\nB|--0-----------0--|\nG|--2-----------2--|\nD|--2-----------2--|\nA|--0-----------0--|\n (Asus2 held, melody on string 1)',
|
||||
tip: 'Because there\'s no 3rd in the sus2, any major or minor scale note works as a melody. Total harmonic freedom.',
|
||||
},
|
||||
],
|
||||
jamTips: [
|
||||
'Sus2 has no 3rd — soloists can play major OR minor scales over it and neither will clash. Use it as a harmonic reset between more defined chords.',
|
||||
'In a dense jam, switching from a full major chord to a sus2 is like opening a window — everyone hears and appreciates the space.',
|
||||
'The 9th (the 2nd up an octave) is your featured note. Build your voicing so it sits on top — that\'s what gives the chord its shimmer.',
|
||||
],
|
||||
loopPractice: [
|
||||
{ title: 'Neutral canvas loop', body: 'Record a sparse 4-bar sus2 loop — just a few arpeggiated notes, played quietly. Then add a second loop layer with a single sustained melody note. Try different melody notes and notice that none of them clash. That\'s the power of the sus2 as a backdrop.' },
|
||||
],
|
||||
},
|
||||
|
||||
maj6: {
|
||||
jamRole: 'Sweetened major — used in jazz, bossa nova, and vintage pop where a plain major feels too simple. Lush and nostalgic, it sits perfectly under a vocalist or a soloist\'s upper-register lines.',
|
||||
voicings: [
|
||||
{ name: 'Open C6 / A6', use: 'Classic jazz and bossa starting points. Bright and warm — good comp chord for a vocalist. The 6th sits naturally on top.' },
|
||||
{ name: '4-string voicing (no 5th, 6th on top)', use: 'Jazz comping — elegant and uncluttered. Drop the 5th, feature the 6th as the top note. This is how the chord sings in a jazz context.' },
|
||||
],
|
||||
licks: [
|
||||
{
|
||||
title: 'Maj6 arpeggio',
|
||||
style: 'Jazz / Bossa',
|
||||
tab: 'e|--5-----------|\nB|----5---------|\nG|------5-4-2---|\nD|----------4-2-|\nA|--3-----------|\n (C6: C–E–G–A, target the 6th = A)',
|
||||
tip: 'The 6th (A over C6) is the top of the arpeggio — treat it as the melody note and let everything else support it.',
|
||||
},
|
||||
{
|
||||
title: 'Bossa comp rhythm',
|
||||
style: 'Bossa Nova',
|
||||
tab: 'Thumb (T) on bass string, fingers (f) on chord:\n T . f . T f . f | T . f . T f . f\n 1 . + . 2 + . + | 1 . + . 2 + . +\n (the classic João Gilberto bossa strum)',
|
||||
tip: 'The thumb bass is as important as the chord — it defines the bossa feel. Keep it locked with the kick drum if there is one.',
|
||||
},
|
||||
],
|
||||
jamTips: [
|
||||
'Maj6 and min7 are inversions of each other — C6 and Am7 share the same four notes. This means you can substitute one for the other in many contexts.',
|
||||
'Voice the chord so the 6th sits on top — it\'s the melody note. A maj6 with the root on top just sounds like a major chord with extra notes.',
|
||||
'In bossa nova, the I chord is often maj6 (not maj7). The 6th is sweeter and less mysterious than the 7th — it resolves more completely.',
|
||||
],
|
||||
loopPractice: [
|
||||
{ title: 'Bossa ii–V–I loop', body: 'Record a 4-bar loop: 1 bar Dm7, 1 bar G7, 2 bars Cmaj6. The most common jazz cadence. Practise until each change is effortless, then improvise a simple melody that lands on the 6th of the Cmaj6 as its final note — the sweetest possible resolution.' },
|
||||
],
|
||||
},
|
||||
|
||||
min6: {
|
||||
jamRole: 'Minor with unexpected brightness — the Dorian chord. The major 6th over a minor chord creates emotional complexity: dark and light at once. Essential in flamenco, tango, jazz, and anything Dorian.',
|
||||
voicings: [
|
||||
{ name: 'Open Am6 (x02212)', use: 'The classic voicing. The F# on top is the 6th — it must ring clearly. This is the chord that defines the flamenco-jazz crossover sound.' },
|
||||
{ name: 'Jazz tonic min6 (4-string)', use: 'In jazz minor jams, use min6 as the tonic instead of plain minor. It sounds resolved but never bland — more sophisticated than a plain triad.' },
|
||||
],
|
||||
licks: [
|
||||
{
|
||||
title: 'Dorian descending line',
|
||||
style: 'Jazz / Funk',
|
||||
tab: 'e|--5-3-----------|\nB|------5-3-2-----|\nG|----------4-2---|\nD|-----------4-2--|\nA|--0-------------|\n (A Dorian descending: A G F# E D C# B A)',
|
||||
tip: 'The F# (natural 6th) is what makes this Dorian, not natural minor. Feature it — it\'s the brightness inside the darkness.',
|
||||
},
|
||||
{
|
||||
title: 'Flamenco approach (Am → Am6)',
|
||||
style: 'Flamenco / Spanish',
|
||||
tab: 'e|--0---1---0------|\nB|--1---2---1------|\nG|--2---2---2------|\nD|--2---2---2------|\nA|--0---0---0------|\n Am Am6 Am (the 6th appears and disappears)',
|
||||
tip: 'Letting the Am6 appear for just one beat creates the characteristic Spanish colour — like a flash of sunlight inside the minor mood.',
|
||||
},
|
||||
],
|
||||
jamTips: [
|
||||
'The natural 6th in a minor chord IS the Dorian mode marker. If the jam is in Dorian (minor with raised 6th), min6 is the correct tonic — play it instead of plain minor.',
|
||||
'In a jazz minor jam, use min6 as the final resting point of a phrase. It sounds more resolved than min7 (which still wants to move) but darker than a plain major.',
|
||||
'The contrast between min6 and plain minor in the same phrase is a device — use it intentionally. Go to Am, then Am6, then back. The harmonic colour shifts are micro-movements of emotion.',
|
||||
],
|
||||
loopPractice: [
|
||||
{ title: 'Dorian vamp loop', body: 'Record a 4-bar Am loop — but on bar 3, switch to Am6 instead of plain Am. Notice how the F# lifts the sound. Improvise using the Dorian scale (natural minor with raised 6th) and specifically target the F# in your phrases. That note IS the sound.' },
|
||||
],
|
||||
},
|
||||
|
||||
add9: {
|
||||
jamRole: 'The modern open chord — spacious, unambiguous, never clashes. Add9 keeps the clarity of a triad but adds one note of colour. The sound of contemporary rock, pop, and folk jams.',
|
||||
voicings: [
|
||||
{ name: 'Open Cadd9 (x32033)', use: 'The quintessential modern voicing. Ring and middle fingers on 3rd fret, open G and high E ring as the 9th. Perfect for pop and acoustic jams.' },
|
||||
{ name: 'G / Cadd9 (anchor fingers 3–4)', use: 'Keep ring and pinky on strings 1–2 (fret 3) for BOTH G and Cadd9. Only your first two fingers move between the chords. This anchor technique is what makes the two chords sound seamless.' },
|
||||
{ name: 'High position with open string drone', use: 'Use open strings as drones while fretting the add9 shape further up. Creates lush textural layers — very effective in ambient or layered jams.' },
|
||||
],
|
||||
licks: [
|
||||
{
|
||||
title: 'Cadd9 arpeggio (the 9th rings)',
|
||||
style: 'Pop / Folk',
|
||||
tab: 'e|--3-----------3--|\nB|----3-------3----|\nG|------0---0------|\nD|--------2--------|\nA|--3-----------3--|\n (Cadd9: root → 3rd → 9th — let the 9th ring over the whole phrase)',
|
||||
tip: 'The 9th (D over C) is the featured note — let it ring as long as possible. It\'s the note that makes the chord feel modern and open.',
|
||||
},
|
||||
{
|
||||
title: 'Melodic fill on string 1 between stabs',
|
||||
style: 'Rock / Pop',
|
||||
tab: 'e|--3---5---3---0---3--|\nB|--3-----------3---3--|\nG|--0-----------0---0--|\nD|--2-----------2---2--|\n (Cadd9 chord stab, melody fill, back to chord)',
|
||||
tip: 'The fill on string 1 sits over the same chord shape — you\'re comping and filling at the same time. This technique makes you sound like two guitarists.',
|
||||
},
|
||||
],
|
||||
jamTips: [
|
||||
'The Cadd9 ↔ G movement with anchored fingers 3–4 is the single most useful two-chord pattern in modern pop guitar. Master the anchor first.',
|
||||
'Unlike maj9, add9 has no 7th — it stays clean and unambiguous in a dense mix. Great when there\'s a keys player already adding 7ths.',
|
||||
'Let the 9th ring as a pedal note in your fills. The 2nd degree of the scale — heard an octave up — sounds modern every time and never conflicts with the harmony.',
|
||||
],
|
||||
loopPractice: [
|
||||
{ title: 'Anchor pattern loop', body: 'Record a 2-bar loop alternating Cadd9 and G, using the anchor technique (fingers 3–4 never lift). When the transition is smooth, start adding single-note fills on string 1 between the chord stabs — a lick on the "and" of beat 2, back to the chord on beat 3. You\'re now comping and leading simultaneously.' },
|
||||
],
|
||||
},
|
||||
}
|
||||
|
||||
Reference in New Issue
Block a user