On the cD SUIDE TO: JAZZ, 10 SMOOTH JAZZ LICKS Ath licks are played a title slower than performance speed with simple chord accompaniment to help you hear them In context. BYTES 1-3 Three examples to got Four rythm ‘camping’ examples = Demo track Farewey BYTES This oxcmple foatures a ‘you through the ‘tumaround? chord see page 68 for more information Gamish Paste a t2-bar using 2 bles ick o avoid cormlicaons sequence which brings you bac 10 tla chard secuone featuring WHEN ces wth werd chris! te beprning ofthe “2b The parties acs ed BYTE 4 Two options are aven here, chords come at you prety fast eo Fou ore-comping examples | improvisations inthe gen syle demonstraling how to sound ikea fs best to nave afew pro-earned ‘eal jzer when faced ith aC7 eke oid pene station compete 1-bar backing task to A7 change BYTE4 George Benson-style octave for Farewell Cornisi Pastie, over BYTE: Standard opening ick using BYTES The IV (O7-67-C) chord tun, withthe alion of rds which the lead and eamning ks ‘hones and double stops. ‘soquence is of aaat importance Sts between the octaves can bo payor a varios pins BYTE? Typical ick used o more a jazz sotng this Hokisessenilal__ BYTES Sax-styerpettve ho to fom the G chord tothe F chord and canbe trangposed toa Keys ae tension to sol. uta: Kt Morgan SAT Eo (cz) 5 A fino cape of i i doubt, go forthe chromatic approach’ to bogin our Dotilous omaoy arouzh this fuer 13 bar nequonee. Noto the double DESO) stopped phrase fn bar 2 thish works ever ether ef the feo chords, {0 tho sth fret or at the sth fot fora more biuoey eeu. Pen ‘Continuing on throug the 18 bar sequence, thie Hel ses a dined arpogiio to lead ino the chord whieh fllos (FO) SEE c7 ee = ke te 22 es = ——— ee z 4 18 10- a = USE 7 (Dm7 Djm7) St 8: oH HPP 10 0 ‘ere, land on the rd of the FO herd (a note ofA), somplataly ignore uh (i Jane mi, you aa do what yom want), hen wae DiwOE Lek 6 vor the Pédisn Notice again hore that re ead up om tho Br af tho C7 NOVEMBER 1995 ISSUE 49BLUFFER’S GUIDE TO: JAZZ CD TRACKS 18-23 & A 2 nr) ee eee Pe c a7 De G7 c e t =p eS i 8-10-1212 9 yp 12 2 stole this ono from Birelf Lagrone, who played i at an outrageous fonpo, once the pai dirction mance ithe tabla, Pee eee Pee oe ne te oe EE a= = a el 8 ‘This cae's a Bit of « mistunask of various George Beason eclaves and thier singlo-note rane, HEH pound good evar any C major chord, (Cmal?, (07, €9 te) end aloo rors over the frat couple of ehov in any typtont {ass 49 bar ehord wequanee og C7 £037 rea eat ‘May Wantoptoniat can bo Kear weing and abusing thie ono ite great if ‘ove eat thin of engin Detter to play sae the ar fs eke (nto Delleving thatthe phrase ls far more interesting than Healy 1 COMPING Just what is comping anyway? And why do I need to be able to do it if I'm going to bluff my way in Jazz? Read on... ‘This is beasties ofthe five-tmmitady, whieh Is playin in eiyinie {Eroups of four againot the beat I alae works thive frets hleher (GUL agatnot a C chord) fox a moro blucey sound fo, its nothing to do with competitions, nor Nssioctretcrein a ]Gomping isan abbreviation how ahbreviation is such a long word? of “accompanying and refers to the borg bits in between guitar solos, Unlike rhythen guitar work in most other forms of masic, in jazz there are usually no set shythimic patterns to adhere to. Generally speaking, you should try to imagine sshat a big band horn section might do underneath someones solo, ‘The rhythmic os aE content is left to the integrity of the player although ideally you should have your cars widle ‘pea and sespond both to the soloist and the reat of the rythm section ‘Another important point is that there's no need to play ll ive or six notes of each chord shape. By only playing threo: or four note chords, you Jeave enough room for the improviser to ly around freely, without feeling cutiencd by the bucking, This is even more important when there’ « pianist in the band NOVEMBER 1998 ISSUE 49¢ CD TRACKS 18-23 BLUFFER’S GUIDE TO: JAZZ | FEATURE | OTH) Pye CREATES TES Sz C7 Om? Dim? Em? ATES Dm? C7: Dm7Djm7 EmT Ais Dm7 bee 4a 12 nats ton to go “Aroua tne houses lt more ta the Mlsee the A7 chowd, will the aaeond wos major? arpepsion ver the C7 ‘wisi. wit ths ean trom C7 down to A7 belng the ment netiexble herd I ave ahealatiy mo aa why tie wore, tS alway erence, The ret example here gon fr all the weird aitered notes on soins chay to me, st ot tate a et et eT OT Eo m7 ‘yay aly Je pinay ade eaay ese as eee he baee buek to the € Use thls ek aaytiae youre changing tem aa P followed by Ove OF the Mort Important Jazz Licks Bver on the G7 thingy shape’ 7th barre chord tea Hb shape” hare chord atthe samme aock ‘ord whiah shoal be thomght of pvely ae a vale for getting you position or whenever jou're ‘ow ta got bask to the hey hor! ee ee Pie sy bun Eoks for eoplag wit hs tarnaround ener \qite tnd ef timewing mn this Ce ampoyin just nosaued st kind of Dons sequence: Itunes sicalght arpezis, up wntll the @7 chord, where Pat the eur uf your audience, You now a straight fee for this one oer eee) mie ‘Ovee aya we hve a ek witen starts on the el (oC, dows a Mele “ant of ny, followed ny a tle Bit of wetness oFer the G2, Analy ‘chromatic run toon en the ded ofthe AT, then dives dows ta tse (inoe) ting tne © mnjor chord ea. you yea It tho 3 GSU 49 NOVEMEER 1998 >> Ea 6:cp Tracks 18-23 BLUFFER’S GUIDE TO: JAZZ | FEATURE | s rg 6 4 . ni 5. 4: 4 a 3 + 7 $ + 6 é £ igh trom the start, you'll see thatthe so9t moter ane often emittad havens ie © an tien C7 (a a OF enc the ear Wit ‘oapletely (9 avold slashing with ether nstrments er‘over atoning” amen Me semtaners are to ltr ta play fast Una of tes Uo oud Bars 3 aid 4 Jeok worse When they really are the basic se orsasnenls fora C7 guing 4 FY chord change Pe Gmo o7bagtt Fi3 ne? | t — 5 | ia 2 3 54 el — 3 co as the previous exam jst passing chords inte the Gra they could be almoot anything ‘Continuing on from the tast tro exampies, were at the Fr dort in at bar 2 adding Wo the general movement inthe armen, mate thatthe AY formal 12 bas. In Joss Ulssection isu Mile more complex with un Pedant approached from one tet either side (7 and A Dm7 arisie 74h pmo Grishe Coad Hee 4 $ $5 iu & 4 you're familiar wit Unou bot, you cam Join them wp. Bars 1 and 2 have iv and G7 as thels baste chord, with that weird O7 (Whe ¥ chord) bein SSUE 49 NOVEMBER 1998‘PER’S GUIDE TO: JAJ CD TRACKS 18-23 g TY ne SY eal m7, B19 B13 C13 AIS 7G j CONE eee ee Pines a7 icy aris aT Dm? a7joa7/e cr ‘erst bar the two a7 (ype ees should be familar: After he Dua in bar 2, Une suave cents te rks lower over a G7 ehord. Coes Srey Bbrs Atos ars —— = E 2 + £ : 6 t 6 5 nae eck ont tat eutons st enor =e a egal aoe to ne een ‘Dor Joding Into the Ar bat inthe nae completely rplaco the € got this one fom a Nat King Cole fee TSR a aT OY cmal7 ebodt Dmgadat1 tae) ee } = = : | ir oe en ey eee eee ae acerca en cee ~) NovEMEN 1998 ISSUE 4