ExAMplES3&4 jazz lines/CrotChet CompinG
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.