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Found this on my PC (swing comping chords for All the things you are), something I did a while ago. Thought it might be useful for someone. Incidentally these were derived from Barry Harris 6th/dim and Dom7/dim chord patterns, but omitting the 5th string.
Last edited by grahambop; 08-11-2018 at 06:09 AM.
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08-11-2018 05:39 AM
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Thanks, Graham! That looks good. I'll print this and put it on the music stand for the coming week. (My week's start on Sunday, so that's tomorrow. Perfect!)
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tthanks for sharing Graham, you are the promised kiss of springtime
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oh so you don’t think I’m the angel glow that lights a star then?
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i would require the tabz for that
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That stuff is my bread and butter
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Originally Posted by christianm77
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Originally Posted by grahambop
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Originally Posted by grahambop
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Originally Posted by cosmic gumbo
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Originally Posted by grahambop
No pressure, but if you get a spare moment or two...
Oh, and by the way, thanks, ha, ha, despite what the Cosmic One said!
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Actually I know a band leader in NYC who said it was very difficult to find good swing rhythm guitarists. Could have been my in had things gone differently ;-)
So long as swing dancing remains popular (and so far it’s clocked about 20 years since the revival) there will be plenty of rhythm guitar gigs in every major city in the world.
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Originally Posted by AlsoRan
Actually I did something similar once, here’s the clip (Minor Swing). This was all done on my ES175 with just the acoustic sound.
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Just play along with records
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Funny, just decided this is my area to work on for the next 6 months or so...because... I always get called to do gigs in this style. Might as well make it "my bag"...
Thanks for postingit GB.
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Great thread...this stuff sounds so good on an acoustic guitar...
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On a side note.
In the Herb Ellis book, "All the Shapes You Are", there is a section on "playing the backup" for ATTYA. Terry Holmes demonstrates it. It's not four-to-the-bar comping, so it's not the same thing as what Graham generously gave us here, but it's a very good tip for a comping chorus when you're NOT doing four-to-the-bar: where the melody is busy, you play less; where it is sparse,you play more.
We see this in turnarounds or phrase endings where the melody may be one note for a bar or more. You (comping) fill up that space.
You can also apply this concept to back a soloist. Where they are "filling it up," you need not.
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Originally Posted by MarkRhodes
Good points...
I took graham''s post as more of a "here's what you could do over each chord" as opposed to "here's what to do."
You do have to be careful with this stuff, a lot of it is situational, and even depends on what kind of guitar you're playing.
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Yes it was a bit of an exercise to see how I could connect up the changes with a lot of movement in what you might call a ‘Freddie green’ style. If you played this behind a soloist you would probably want to turn the volume way down and almost go acoustic. Like that comping Jim Hall does with Bill Evans on ‘funny valentine’ where Jim goes into that 4 to the bar bit.
Also I wanted to try it on a tune with lots of changes hence ATTYA.
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Herb Ellis demonstrates some similar comping here at 5min 45 secs:
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Originally Posted by grahambop
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I think I should try and do the same thing on Giant Steps next!
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Originally Posted by grahambop
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been in my head all day “gi-ant steps gi-ant, gi-ant steps, gi-ant steps, gi-an steps gi-ant”
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Originally Posted by grahambop
a) bar 5 particularly beats 2 and 4
b) bar 13 beats 2 and 4
Thank you
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