Blues Comping #6: Chromatic passing tones

In this example we will explore the possibility of adding chromatic passing tones in between the chords of a jazz blues comping style. For a refresher, the jazz blues utilizes the following chords:

I7	IV7 IVdim	I7	Vm7 I7
IV7	IVdim	I7	III7 VI7
IIm7	V7	III7 VI7	II7 V7

Our notated example is in the key of F. Please note that it is very important to be comfortable with the blues and jazz blues in all keys.

As for the given example we have a typical rhythmic pattern of dotted quarter, eighth, and half note rest. This regularity provides an important foundation for the soloist to play over. But it is wise to practice and play with other rhythmic patterns as well.

The fun begins when we start using chromatic passing tones to get from the lowest note of one chord to the next. You will see these 4 eighth notes in measures 4, 6, 8, 11 and 12. The extra notes are a welcomed tension in these already harmonically active measures and the chromaticism provides some excitement as well. To benefit from the full effect be sure to hold the chord notes so they ring while the passing tones sound.

Click the image to enlarge and print.

Berklee Melodic Rhythms: Study #13A

The Berklee book for guitar entitled "Melodic Rhythms" is a collection of over 100 melodic rhythm exercises and is an excellent sight reading and playing edition. In this book one finds many examples which resemble standard tunes in both form and style.

On page 27 we find exercise #13 A which is a 34 bar AABA format tune with a 2 bar ending.

Here is the accompaniment played at a slow tempo for practice.

And in a walking bass style.

And as stated in the book, play the melody 8va for practice in upper registers.

Things Ain't What They Used To Be: As Played by Herb Ellis

As a tribute to one of my favorite guitar players I thought it would be nice to share my transcription of the head of this Duke Ellington classic as played by Mr. Herb Ellis. We are in the key of Eb for this version.Click Here For Printer Version

In this tune Herb plays some simple but effective chordal accompaniment which is a good example of a trio playing guitar style. The video here is a 30 minute program which is great to watch in its entirety but the tune we are talking about starts at about the 12' mark which is preceded by a nice rubato solo by Herb.

The fingering that Herb uses might be a little different than what I would use but I can't argue with the master, I just play more horizontally in this case. I do use the economy picking style on adjacent strings which gives the melody a nice "zip". I have taken some liberties with the exactitude of the transcription but for the most part it is what Herb plays. Enjoy!

Fender Champion 600: Amp Review

I purchased a new Fender Champion 600 brand new in 2007. With a retail price of $179 it was a sound investment (no pun intended) towards a small recording and small venue duo gigging amp. Armed with the original Electro-Harmonix 6V6 tube and 12AX7 tube I recruited this amp into full duty service with my then active jazz guitar/sax duo for practice and small gigs.

Several studio recording sessions with a jazz combo and a light rock quartet were made successful with the recipe of simple ingredients: Epiphone Casino, cable and amp; Epiphone Broadway, cable and amp; and Fender Stratocaster, cable and amp. The thick clean sound when turned low and through the amps low  input and the growling crunch when cranked up to 12 (yes the single volume control goes to 12) and through the amps high input were always agreeable when laid down onto tape.

The small size and low power make the amp a great fit in small venues when playing for background music. I can easily tilt the amp up for more sound dispersion or place it on top of a grand piano. Also, in the studio I made use of the amps speaker output which allows connection of an external speaker enclosure. To harness the full overdrive potential of the amp I took the output into my Marshall 4x12.

Effects pedals are put to good use in the studio when put in front of this amp. I have used a Boss RV-5 for a little depth and an Ibanez TS-9 for an edge in fusion style playing. After playing the amp regularly for 3 years I changed out the EHX 6V6 to a vintage 1950s Zalytron smoked glass 6V6. This noticeably warmed up the mid range and makes the amp more useful for jazz tones.

Now that these amps are discontinued we will have to cherish the ones we have. I am happy with this amp and continue to use it for recording and small gigs to this day. If you have never tried one you might be surprised at the punch this 5w amp with a 6" speaker can put out.

Blues Comping 5: Play with Voicings

In today's installment of Blues Comping we have 12 bar pattern with a swing feel in the key of C. This pattern is moveable and uses no open strings. It begins as a pickup on the "and" of the last 8th note of the previous bar.

It utilizes a technique which I find particularly effective in combo playing which is to use a relatively "thin" texture of voicings to not overlap the other chordal instruments.

Also, I like to make things interesting by adding some extensions to the simpler 7th chords and "jazz up" the rhythm a little.

The first video shows the comping at a normal tempo, the next video shows the voicings a little clearer as they are played slower.

Although I have played the example in a swing feel it can also be played with a straight feel. I personally like to make everything more staccato as it gets faster and straightens out.

Peerless Sunset: Guitar Review

I purchased the Peerless Sunset guitar used approximately 6 months ago. It replaced my Epiphone Broadway as my teaching guitar as the Broadway has been played to the bone. I have been very impressed by the quality thus far and have several things to share about this guitar.

The Sunset is a 16" body which is large enough to be acoustically active but not overly large. The fully hollow body is remarkably thin measuring 1 3/4" deep. These dimensions make the guitar very comfortable to play, hold and transport. The top is laminated spruce and sides, back and neck are flamed maple (body woods laminate). The two set humbuckers have a tone not unlike the Gibson 57' classic pickups. The rosewood fingerboard holds acrylic inlays and a bone nut. And the sunburst finish is complimented well by the tortoise pick guard.

The size of this guitar makes it ideal for the small-ish teaching studio and it is loud enough (even with D'Addario Chromes .013) to play unamplified with acoustic or electric guitars of my students. When it comes to playing live this guitar sits well in the piano/guitar duo I play in as well as a quartet with drums and bass. I generally use a Fender Champion 600 for the small duo gigs and a Fender Princeton Reverb for the quartet and through both amps a warm yet articulate tone shines through. From standards, bebop, blues, funk, and light fusion this guitar is capable of many tones.

The quality and craftsmanship of this Korean-made instrument make it a very good value, especially when buying a used model. The high gloss lacquer which protects all surfaces has an especially upscale feel on the back of the neck. And the looks are very high-class as well (everyone who sees this guitar asks "what kind of Gibson is that?").  I must also mention the smooth Rotomatic-style gold tuners which work great. Mine is a 2007 and everything is original and in good health. I would also like to add that the headstock shape reminds me of the Gibson Pat Martino model.

So, if you are in the market for a budget-priced ($895 new) gigging and/or teaching guitar with a versatile voice this may be worth taking a look into.