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Joe Pass - Guitar - Jazz Phrasing

Joe Pass - Guitar - Jazz Phrasing

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Published by: fonacus on Jan 12, 2010
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06/04/2015

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Phrasing and Articulation

Let’s take a break from these triad exercises and talk about phrasing and articulation. It seems as though you can’t get two guitar players to agree on the way the right hand functions, and there are as many theories as there are players. I have personally heard some of the world’s top jazz guitarists blatantly announce that they had no idea of what their right hand was doing. I was amazed to hear this and observed that picking technique is something that most guitar players just don’t come to grips with. I don’t profess to have all the answers about picking and phrasing and I will agree that it is a personal thing. With this thought in mind I would like to offer a few tips for the right hand. My basic pick stroke is down ( ) for long tones.

Figure 20a:

≥ cw &

≥ ˙

≥ ˙

≥ œ

≥ œ

≥ œ

≥ œ

≥ ≤ ). Here are a few examples and tips for picking. All downbeats and accents get a down pick ( ≥ ).
For eighth notes and beyond (i.e. 16th. 32nd etc…) I typically employ alternate picking ( A syncopated note is an accented note that falls on an upbeat, and it will also receive a down pick. Figure 20b:
1 2 & 3 4

≥ &c œ

≥ œ

≥ œ >

˙

(Accent)

Figure 20c:

F6

&c
T A B

≥ œ

≥ ≥ ≤ ≥ > œ œ œ œ J

≥ > œ J

≥ ≤ œ œ œ œ ≥ > œ

Œ

.. . .

6

6

5

5

6

6

6

5

5

6

6

Figure 20d:

≥ ≥ ≤ œ œ ≥ >. ≥ ≤ œ œ J &c œ œ
C6
T A B

≥ C6 ≥ #œ ≥ > œ ≤ œ œ Ó
D m7 G7

5

5

5

7

5

8

6

8

5

5

24

Phrasing and Articulation with Sweep Picking
Notice the pick direction that occurs with sweep picking. Figure 21a:

≥ ≥ ≥ ≥ œ > œ œ ≥ ≤ œ œ bbbb c œ œ &
Sweep Pick
T A B
6 5 4 6 6 4 5

Ab 6

≥ ≥ œ œ ˙. >

6

6

6

Figure 21b:

≥ cœ &
T A B

C

≥ ≥ œ œ œ.

≥ œ J

≥ ≥ ≥ ≥ > œ ˙ œ œ œ

5

5

5

5

5

5 5

5

5

5

Two-note slurs such as hammer ons (H), pull offs (P), and slides (S) all begin with a down pick. Figure 22a:

≥ ≥P ≥P ≤ ≥ ≥ œ œ œ œ œ &c œ bœ nœ
T A B

G

H

≤ ≤ ≥ œ œ b≥ nœ œ. œ

≥ > œ J
3

6

5

3

5

4

5

3

4

5

3

3

4

5

Figure 22b:

≤j ≥ ≥ Hb œ n œ ≥ # ≥ H œ œ N ≥ P œ ≥ ≤ ≥ ≤ ≤ œ œ œ œ œ ˙ c œ œ œ &
C
T A B

5

5

7

8

5

6

7

8

7

6

5

5

7

5

25

Variations of Sweep and Slur Exercises
Figure 23a: Remember, don’t hold the chord shape or let the notes ring into each other. Follow the established picking pattern throughout the exercises.

≤ ≥ ≥ ≤ ≥ ≥ ≥ œ ≥ œ œ bœ bœ œ œ œ œ #œ œ œ bœ œ œ #œ œ #œ œ œ œ œ œ &c œ
(Sweep) T A B
3 5 4 3 4 6 5 4 5 7 6 5 6 8 7 6 7 9 8 7 8 10 9 8

G

Ab

A

Bb

B

C

Figure 23b: Notice the slur and the use of the hammer on.

≥ ≤ ≥ ≥ œ ≤ 3œ œ & 4 #œ nœ #œ
H

D

Eb

E

œ œ #œ œ bœ
H

œ

œ #œ nœ #œ œ
H

T A B

3 4 3 4

2

3

4 5 4 5

3

4

5 6 5 6

4

5

Figure 23c: Another picking variation.
D ≥ E ≥ ≥ ≥ ≥H ≥ c #œ œ œ œ œ bœ œ bœ &
H

b

E

F

H H œ #œ œ œ nœ œ œ #œ

T A B

4

2

4

3 5

3

5

4 6

4

6

5 7

5

7

6

Figure 23d: You work out the picking direction for this exercise. Watch the slurs and the use of hammer ons and pull offs.

bœ œ bœ & c #œ œ œ œ œ
P H

D

Eb

œ œ nœ œ #œ œ œ #œ
H P

E

F

T A B

4

2

4

3

4

5

3

5

6

4

6

5

6

7

5

7

26

The Upper Neighbor Tone
In the section about Lower Neighbor Tones, we approached the chord tones of the triad from a half-step below. When using Upper Neighbor Tones, the chord tones of the triad will be approached from a whole-step above, except when you approach the third degree. As a rule, you approach the third degree in a major triad from a half-step above. Figure 24:
Root 3rd 5th

&b w

w

w

W

œ w

bœ w

1/2

œ w

W

(Upper-Neighbor Tones – U.N.)

In figures 25a-d, you will hear and see the use of both Upper (U.N.) and Lower Neighbor Tones. Remember that you’re just approaching the chord tones with their surrounding notes. Don’t forget to swing the eight notes and use jazz phrasing and articulation. Figure 25a:

œ œ & b c (œ ) œ œ (œ ) J œ œj œ œ œ œ J œ .
U.N. etc...

F

œ œœœœ œ ˙ œ œ #œ œ œ

T A B

5 3 5

3

3 2

2

5 3

3 2

3

1

6

8

6

7 5

8 7

6 7

5

6

6

Figure 25b:

œ œ. b j œ &b c œ œ œ J œ œ œ œ œ œ J
T A B
4 3

Bb

œœœœœœœœ œ œ œ ˙
3 4 3 3 3

3

5

3

5

3

3

5

3

5

3

5

5

3

5

3

3

3

27

Figure 25c:

œ œ œœ œœ j j j œ & c œ œ œ #œ œ J œ œ œ œ #œ œ J œ œ œ #œ œ œ bœ œ nœ œ Ó
3

C

T A B

5

7 5

4 5

7 5

6 5 5 7 5 4 5 5 7 5 4 5

8 6 5

5

5

8 5

4 5

Figure 25d:

. œ b c œ œ œ œ #œ œ œ œ œ J ˙ &
F6
3

bœ œ œ œ ˙ œ œ œ œ #œ œ œ œ œ
3

T A B

5 7 5

8

6 7

5 7

6

7

7

5 7 5

8

6 7

5 7

6

9

6

8

6

6

28

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