The Jazz Guitar Chord Dictionary
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  1. #26

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    It's the Taylor arrangement.

    When a chart seems to call for a Freddy Green style, I tend to default to two note voicings on the D and G strings, and 1) look for ways to play them that don't require jumping around the fret board, 2) have some logic to them (voice leading), and 3) carry out the arranger's intent. I've had trouble getting a convincing FG sound playing four note voicings, but will give yours a try.

    For other styles, I may omit the root, but otherwise I'll play all the notes in the chord symbol on the indicated beats (or, if indicated, as arpeggios).

    What I am learning from this thread is that you don't necessarily play precisely what the arranger writes down (some of it may be telling you what other instruments are playing), but a bit of study and experience is required to know what to omit.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by nopedals
    It's the Taylor arrangement.

    When a chart seems to call for a Freddy Green style, I tend to default to two note voicings on the D and G strings, and 1) look for ways to play them that don't require jumping around the fret board, 2) have some logic to them (voice leading), and 3) carry out the arranger's intent. I've had trouble getting a convincing FG sound playing four note voicings, but will give yours a try.

    For other styles, I may omit the root, but otherwise I'll play all the notes in the chord symbol on the indicated beats (or, if indicated, as arpeggios).

    What I am learning from this thread is that you don't necessarily play precisely what the arranger writes down (some of it may be telling you what other instruments are playing), but a bit of study and experience is required to know what to omit.
    A friend who is a fine player recently got a book of big band charts in the afternoon of the gig. He told me he spent a couple of hours looking over the charts, crossing a lot of things out.

    The arranger had written a lot of chords without symbols, just notes on a stem. I attended the show and I noticed that he didn't play throughout. But, the band sounded fine.

    You have to omit stuff you can't play -- and, often, that will be because the chart, as written, is unplayable. Or, sometimes it will look unplayable, but with some thought you might be able to figure something out, which you then have to remember and be able to do on the fly, probably at a faster tempo than you practiced it.

    You have to deal with stuff that doesn't sound good when you're reading it correctly. Modify? Omit? The arranger wants it like that?

    And, then, usually, a rhythm section player has to, in effect, add to the arrangement. The horns are given notes. There's an art to playing them well. The guitarist, often, gets slash marks. He has to figure out a part to play -- meaning he should get an arranging credit, because he's doing part of the arrangement that the arranger left out. To be fair to the arranger, trying to write in a specific comping part for a guitar (which you do sometimes see) is tough. Hard to read and maybe not that helpful.

  4. #28

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  5. #29

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    Quote Originally Posted by Jazzstdnt
    This is a better one:

    The Freddie Green Web Site

  6. #30

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    Yea... Freddie Green, the actual chords don't really even matter. It's an old style that's built from the bottom up and are the jazz version of rock power chords. You could play almost anything and if you keep the rhythm "solid" (cool FG tune)... you'll cover. But that is the point.... the guitar, harmonically and melodically doesn't matter.

    One of the reasons the style is great for beginners... the technique is simple, the chords are simple etc... But.... if you actually learn how to comp.... you can work with the rhythm section and create very live and much more interesting grooves. Bigger picture, both Rhythmically and what make the chart come alive, Harmonically and melodically. If you make the harmony and lead lines also rhythmically Solid.... the result is what your playing , as a rhythmic section actually raised the level musically of what the arrangement is.

    nopedals... is a beginner. before one learns how to perform.... you need to learn how to play. Get your technical skills together. In his example... Freddie green style of comping.

    I posted very basic Root 6, Rt5 and Rt4 chord voicings years ago... I'll dig up again. They are simple organized diatonic 7th chord voicings that give you the technique to be able to play Freddie Green style anywhere on the fretboard. You can alter the chords as needed. The Point is they are organized from the Lowest chord Note. The root.... They give you a musically organized approach for being able to play any jazz chord anywhere on the neck. The Guitar... that's what your trying to play.

    You can Leave Notes Out or add notes....but again, you'll be using a musically organized system of playing chords on the Guitar..... That Repeats.
    Eventually you'll be able to play without having your eyes glued to the fretboard.

    I posted an example of a simple part which would reflect the OP's chart... Mark T. chart of old Basie Blues. The only difference is I added the lead note aspect to the comping part.... a melodic line that also repeats and reflects the chart and style. Along with better harmony.

    I understand that beginners won't be able to actually play the part without rehearsing etc... But sometimes it helps to see and hear where you what your playing can become. I played two BB gigs last week, they seem to never end.... unlike rpjazzguitars story above... I just show up and play charts. I'm just an average pro but I have my technical skills together... so when I perform. My Performance skills are not rehearsed parts...I just play, I'm able to interact with Rhythm section and rest of band.

    Again... there are technical skills that need to be worked out and practiced. (musically organized system of playing chords) Which will greatly help the results of your Performance Skills.

  7. #31

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    Quote Originally Posted by Jazzstdnt
    That is a good one.

  8. #32

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    I was gonna ask Reg - are you working with a piano when you do that stuff?

  9. #33

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    Here is what I ended up doing. I just played FG chords omitting the bass.

    So Fm7 Gm7 Ab6 Gm7 would be fingered

    8 x 6 8 x x
    10 x 8 10 x x
    11 x 10 10 x x (edited)
    10 x 8 10 x x

    But just played the middle two strings.
    Last edited by nopedals; 10-22-2019 at 03:45 PM.

  10. #34

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    Looks OK... must be mistake for the Ab6 chord, but I get the style. Using intervals of 5ths and 4th for chords... (sucks, unless your playin in a power trio thing). Not tryin to get on you... but. They're just to thick and imply nothing. But if that's what your after... yea maybe a book like Charlton's four to the bar would be helpful. He's a cool rocker, dig his work with Dee Dee That's not going to help you develop any jazz skills.. jazz comping. But it's very simple and if your like many guitarist, you started in pop, rock or R&B style of playing, and that's your basic starting organization on guitar. At least you will end up with some more standard basic chord grips that can cross over. (if you want some better grips... write out the changes... it's only 12 bars and I'll post some better voicings with typical common fingers and strings that create that feel).

    yea Christian... I work with pianist, you do need to be aware of what the band is playing and play a part that adds to what the music is after. Generally I can pick up a pianist style and harmonic approach... within a few bars. And then I just play in one of the styles or techniques that are typical... For most gigs... I get asked to turn up. Which is really difficult for horn players.