D CHOPS BUIL ER

TIPS JAR • GEORGE BENSON
IN THE TRADITION OF DJANGO REINhardt and Wes Montgomery, George Benson spices up his improvisations with octave melodies. “But sometimes when I’m playing plain octaves, I feel my solo is empty,” says Benson of the octaves in Ex. 1. “For fullness, I’ll place a E fifth or fourth between the octaves [Ex. 2].” For
Ex. 1
4 1

an even richer sound, Benson inserts major or E minor sixths, depending on the harmony [Ex. 3], and for maximum fatness, he adds fourths E and sixths [Ex. 4]. “It gives the effect of chords being played within octaves.”

Ex. 2
4 4 1 4 2 1

Ex. 3
1 4 3 1 2 3

Ex. 4

1 2 4 3

1 1 4 3

T A B

8 5

10 7

8 8 5

10 8 7

3 5 5

5 6 7

3 4 5 5

5 5 7 7

1 4 4 GUITAR PLAYER APRIL 2002 guitarplayer.com

PH OTO S : H A N D S H OTS — PAU L H AG G A R D ; B E N S O N A N D B R E AU — G P A RC H I V E S

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