ExAM­plES1&2 two-Gui­tar jazz-fuGue

Guitar Techniques - - LESSON: JAZZ -

John’s part (left) out­lines the Vim Iim V I IVm in Eb with a choice se­lec­tion of chord tones, fleshed out with the con­nect­ing scale chro­matic tones. While the note con­tent is of ob­vi­ous sig­nif­i­cance, the main con­cern here is more rhyth­mi­cal, with clearly de­fined phrases that leave gaps for the sec­ond part and im­i­tate and echo when ap­pro­pri­ate. Bucky’s part (right) is ar­guably more scalar and bluesy, but no­tice how he echoes the rhythm from John’s part in bar 2 to his own in bars 3 and 4. The har­mon­ics found at both 12th and 5th frets spell out our un­der­ly­ing G ma­jor triad (D-G-B) and serve as a re­lease rhyth­mi­cally, where our ar­range­ment might re­turn to a more tra­di­tional swing feel if we were to con­tinue.

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