VARIATION1 3rd/7th ‘Magic’ Voic­ings

Guitar Techniques - - Play: Big Band, Jazz & Swing -

We be­gin with an ex­plo­ration of what Danny Gatton refers to as the ‘magic’ 3rd and 7th voic­ings, lit­er­ally defin­ing each event in the se­quence prin­ci­pally with these two notes alone. The in­trigu­ing con­nec­tion is that the I7 con­nects to the IV7 by drop­ping just a semi­tone, with the b7th of I (F) mov­ing to the 3rd of IV7 (E) and vice versa with the 3rd (B) con­nect­ing to b7th (Bb). The same move­ment is echoed up­wards from I7 to V7, along with other sneaky IIm V move­ments such as the added Dm7 to G7 in bar 4. As we progress, these voic­ing take on additional in­ter­est as we add a third note into the mix, al­though the same con­nec­tion ap­plies. Don’t just gloss over this: see if you can learn it well enough to take a 12-bar solo us­ing this con­cept!

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