Transcription Takeaways [2] Julian Lage – “Emily” (excerpt)

The term ‘bite-sized’ gets thrown around a lot regarding lessons, concepts, ideas or definitions;  combining the concise with the practical is likely a good translation and this excerpt seems to have what’s necessary to excel at the task: 

15 seconds of sound, 6 bars of notation and a diagram

= pointers how to:

• harmonize melodies with block chords (e.g. rhythmic placing)
• a single-note / arpeggio concept
• two hip voicings in context (at a minimum), and how to find them in a given key 

The first melodic motif is stated without harmonization.

There’s noticeable hesitation and there could’ve been an added harmony – there doesn’t always have to be one. A possible reason for this decision, other than, “season to taste”:

the melody starts out or its notes rather ‘suggest’ a different key (C) before developing throughout the changes towards the extended key of F, landing on its IV function (Bb7).

The first repetition of the motif introduces a minor tonic function [iii], a mildly crunchy voicing with a 2 / b3 rub via the open b-string, still audibly in the key of C / Am.

The second repetition of the motif ends with a ii – V (Dm9 – G13b9) foreshadowing not only its pivot target harmony C [ I / V in the key of F ], it also hints at F as the new tonal center, albeit in a minor tonality:

the G13b9 harmony is derived from Dorian b9 [MM2], or simply put, the second degree of F melodic minor. This is a nice contrast / tension, with the crucial note being Ab [ = b3 of F ]. The more common secondary dominant on degree II is usually a 7#11 sound. E.g. Lydian dominant derived from D melodic minor for the chord of G (think: “The Girl From Ipanema“).

The voicing itself also offers interesting properties to apply in these keys, to create a more ambiguous sound while moving around keys. E.g. it lacks a major 3rd to work in conjunction with the b7 for a stronger pull towards the target harmony. A fair characterization might be that of a slightly more suspended dominant sound with a spark of extra dissonance via the included b9. The 13 (E) top note helps to anchor the harmony in both tonalities.

The last harmony is again borrowed from F (melodic) minor, this time around creating the mentioned Lydian dominant sound on the 4th degree of F – some extra color (Ab – again!) after finally having arrived in the key of F. To create similar lydian dominant sounds in different positions, inversions and voicings on the fretboard think: [IV triad + b3, 7 = Bb triad + Ab, E / key of F]

The single-note run that got us there by turning the I chord into a V also sports a single-note arpeggio concept. The intervallic structures aren’t perfect or strict sequences; their parallels allow to build short and logic motifs that can be added up to longer lines, minus the disadvantage of sounding repetitive – rather, varied yet connected.

One similar way to practice and / or develop such a concept is to take a number of arpeggios and to connect them. First by only playing dedicated arpeggio notes in order [ e.g. R – 3 – 5 – 7 ], then moving on to swap out notes, e.g. the root in one arpeggio with the 9, or the 5 with a 13 in another. Next up would be to alter the order of notes, to arrive at interesting contures and apply these found concept ideas to other progressions and musical situations.