ExAM­plES3&4 jazz lines/CrotChet Comp­inG

Guitar Techniques - - LESSON: JAZZ -

John’s solo here fol­lows the arpeg­gio of the un­der­ly­ing chords closely, be­gin­ning with a neat IIm V move in the key of C (Dm7-G7). There are a cou­ple of mo­ments of an­tic­i­pa­tion also, such as the fi­nal E note in bar 2, which can be seen at the 9th of Dm9, fol­lowed by a nice ma­jor 7th su­per­im­po­si­tion. Fur­ther in this bar, John an­tic­i­pates the move to C Ma­jor a whole two beats early with a bluesy mi­nor to ma­jor 3rd idea (Eb-E). The Ge­orge Van Eps in­flu­ence is clearly heard in Bucky’s choice of voic­ings in this comp­ing ex­am­ple. Voice lead­ing is ex­ploited beau­ti­fully in bars 3 and 4. It’s a good idea to ex­am­ine each string in iso­la­tion to see the con­nec­tion. At this point, the main ac­tion is all on the third string but this is not nec­es­sar­ily al­ways the case. In this in­stance I’d sug­gest a fin­ger­style ap­proach so aim for a bal­anced tone and vol­ume for each string in ev­ery form.

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