The Jazz Guitar Chord Dictionary
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  1. #51
    1) Thank you for pointing out the MickeyBaker "book". I have book 2. I don't have Book 1 yet.

    2) I heard somebody play "The Summer Wind" a few days ago. I used to "play" it. In other words, I used any voicing for each chord, sang and therefore "played" it. Them days is gone for me.
    So ... I found some ... PIANO ... music!
    Two things are going on....
    a) I'm reading the (pretty easy) bass line, which is mostly on strings 4 and 5 and a few notes on string 6 (Ab). This chart is in Db.
    b) For each bass note change (when it changes slowly) I add my 3 and 7 tones.
    I stumbled on this and am finding it enjoyable (I love the tune) and instructional - I can't say exactly what I'm learning but it sure feels edifying (i.e. helpful).
    I gues if I were to generalize this experience, I might write something like this:
    "GuitarStudent was exploring strategies for approaching Jazz Standards - what he called Sight-Chording (vs. sight-reading) and he stumbled upon the technique of using piano charts and adding 3-7 to the bass notes. Of course it won't be a one-to-one thing: Something there will be 2 or 4 bass notes for each chord - but this, as I wrote, seems somehow helpful and (forgive me) FUN. I guess it's a vehicle for applying my lessons and study.
    Thanks Jazzguitar.BE - what a great resource even for a relative beginner.

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    If your piano arrangement is good, you’ll internalize the sound of a good bass line that way. As you’re going through your process, at some point really focus on the bass line and think about how the notes relate to the chord and key. A good bass line will use melodic devices, not just roots and fifths. Eventually you can learn to create your own bass lines from chord charts.

  4. #53

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    Quote Originally Posted by GuitarStudent
    I’ll add this:
    I recently learned Shell Voicings because of this “too many choices” frustration.
    Sorry if this is way-dumb and thank you.
    David
    Not too dumb at all, David. We all have to start somewhere.

    Lots of great advice here already.

    I'll add this... it sounds like you sort of just answered your own question with this comment. You already know shell voicings. You can never go wrong with these. Especially if you're accompanying a singer and there's no bass player. Great option. Just try and think about setting up a solid, swinging groove (the Charleston rhythm is a great starting point) and keep those chords falling perfectly where they're supposed to change.

    As you get better, you'll naturally want to start branching out. But honestly, shells can take you FAR! I used to study with Peter Bernstein who's an absolute master of our instrument, and when we'd play duo, he be doing A TON of stuff ONLY using shell voicings. At least... MOSTLY using shell voicings.

    In fact come to think of it... I recorded a duo session with him and transcribed his comping. I'll post it below. It's INSANE! He creates so much movement. But if you slow the video down and read along, you'll see that a huge percentage of what he's playing is actually just shell voicings. Doesn't mean it's simple. It's NOT. But the elements he's using are from the fundamentals.

    I'm a big fan of learning to make music with the fundamentals and then growing from there...


  5. #54

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    Augment the real book with audio recordings that you like, the voicings will become apparent.