Tones Against Process
We start the audio [in this case video – so you can see some chord voicings too] and go fret by fret up the first string [try all strings], playing the tones against the sounding chord, making listening judgments for how each tone ‘sits’ in or rings against the chord.
If it is ‘at home’, then the tension level is low and it can be confidently sounded [emphasized] against the Major or minor chord without needing to be directed to another tone [some type of melodic resolution].
If it is tense, what’s its directionality? Does it want to resolve in a certain direction? If so, we find that resolution. These tense tones are passing or approach tones to emphasis tones.
Some tones are on the fence. They are okay sitting where they are, but they could go up or down to a neighboring tone [typically a chord tone].
Use your best sensibilities to make these listening judgments. Most of us hear these about the same. It is up to each player to decide how we will use them, while soloing, or when adding them to chords. By adding single tones to sounding chords, we are expanding the harmony. Example: when we add F# to an E Major, the overall harmony is Eadd9; when we add F# to Em, we get Emadd9. We don’t get too caught up in the naming of everything, but it can be fun and challenging to consider.
Once you have ran the experiment, check ‘What We Found’. Do you agree with our findings?
Try it on every string. This is one way to map our board. Let’s start with Major.