VARIATION3 10th ‘Basie’ Voic­ings

Guitar Techniques - - Jazz Comping -

EOur next 12-bar vari­a­tion show­cases a four-in-the-bar rhythm style sim­i­lar to Count Basie gui­tarist Fred­die Green. To cre­ate mo­tion, Green would fre­quently switch be­tween in­ver­sions of the same chord, or con­nect us­ing var­i­ous pass­ing chords usu­ally rang­ing a ma­jor or mi­nor 10th from bass to tre­ble (be­tween sixth and third strings on a gui­tar). You can also hear sim­i­lar ideas in the rhythm play­ing of the mighty Django Rein­hardt. The old ar­ranger’s trick of con­nect­ing chro­matic bass notes by us­ing the di­min­ished 7th chords is ex­ploited heav­ily in this study. As we’ve seen, a defin­ing fea­ture of the lesser spotted ‘jazz’ 12-bar se­quence, as op­posed to its more com­monly found ‘blues’ cousin, is the use of the IIm V I through­out bars 9-12. In­stead of the usual blues D7, mov­ing down to C7, we see a highly dec­o­rated IIm V I se­quence. Don’t be put off by the com­plex chord names in the fi­nal two bars, the ‘turn­around’. If you look closely, the fin­ger­ings are clev­erly ar­ranged, ex­tremely log­i­cal and per­fectly playable, even at break­neck speeds.

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