ExAM­plES9&10 ma­jor-mi­nor Comp­inG/arpeG­Gio solo­inG

Guitar Techniques - - LESSON: JAZZ -

We end with a sim­ple but mu­si­cally ef­fec­tive solo that draws pre­dom­i­nantly from the arpeg­gio tones of the un­der­ly­ing chords. There is ab­so­lutely noth­ing wrong with tri­ads, as play­ers like Django, and in this in­stance John, ably demon­strate. The beauty is in ar­eas such as the rhyth­mic phras­ing and in mak­ing sure the con­nec­tion from one chord to the next is as smooth as pos­si­ble. It’s a great ex­er­cise to play a sin­gle note solo over a tune with lots of chord changes and try to make the chords clearly au­di­ble with just note se­lec­tion alone. When analysing this ex­am­ple your task is to com­pare chord sym­bol with note se­lec­tion. Here the con­nec­tion is fairly ex­plicit, so this should be a good one to get you started in think­ing this way. Bucky’s chords are equally eco­nomic but also equally beau­ti­ful and ef­fec­tive. No­tice how each voic­ing is es­sen­tially stripped down to root, 3rd and 7th, or root, 7th and 3rd and how th­ese voic­ings connect with min­i­mal move­ment as the se­quence un­folds. Of course, Bucky might drop the root down onto his low A string, as we’ve pre­sented th­ese ideas for regular six string but the con­cepts are equally ap­pli­ca­ble on ei­ther in­stru­ment and lots more be­sides.

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