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This clas­sic jazz ac­com­pa­ni­ment tech­nique is a great way of pro­vid­ing both har­mony and bass at the same time. Re­mem­ber to keep the chords stabs short and sharp, and use some palm mut­ing for the bass notes, main­tain­ing a nice swing feel. Play­ers like Martin Tay­lor and Tuck An­dress are two masters of this style, but it’s be­com­ing more and more pop­u­lar with acous­tic and elec­tric play­ers of all types.

Ex­am­ple 10: Try the pat­tern over this clas­sic jazz pro­gres­sion, tak­ing note of the chord voic­ings which avoid open strings. The ben­e­fits of avoid­ing open strings are1t­wofold: firstly, trans­pos­ing to other keys is sim­pler, as the shapes are move­able, and se­condly, mut­ing the strings is much eas­ier too.

Martin Tay­lor: mas­ter of the walk­ing bassline

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