1. #1

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    following the misunderstanding of my topic PERMUTATIONS CONCEPTS..., its rotting by a "troll" and its removal by the moderators, I deleted the general presentation of this topic. I replaced it with a progressive presentation of the "pseudo triades" extracted from the seven chords (1357), drop2 (1573...) & drop3 (1x735) and inversions, the construction of a comping walking bass chords, and finally a full guitar solo using these principles, and a few other. Thank you for your interest
    Last edited by Patlotch; 01-25-2020 at 01:18 PM.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2
    instead of a general explanation, I give an example of the application of the "pseudo triades" from the seven chord C7 1 3 5 b7 in drop2: 1 5 b7 3 and inversions, and drop 3: 1 x b7 3 5 and inversions. One of the voices is moved by one octave (see chart)

    BLUES in C, ETUDE a la Jimmy Wyble
    Score, Chords Chart, passing notes and chromaticisms

    This is an example of C blues, built on drop2 and drop3 chords with inversions, played in fragments with notes or intervals of passage, a la Jimmy Wyble
    Fingering may vary depending on the desired sustain. Here no use of the top E string
    I wrote this one for an example. In reality I never play the same thing twice, it's too complicated for me to learn by heart. I prefer to change every time. This kind of blues serves me as a routine. The important thing, here and in the standards, is to work I VI II V with the drop2 and drop3 series with 3 or 4 notes, and to be able to change chord from any inversion
    With the 8 strings, I naturally use bass in the lower octave. With 5 fingers right hand, using pinky, you can add higher notes

    this study condenses several techniques that I have exhibited in TECHNIQUES et MUSIQUES, IMPROVISATION pour GUITARE. 5 doigts main droite. The fragmentation of 4-note chords into two intervals linked by passing notes. Chromaticisms are generally borrowed from the blues scale. This is one of Jimmy Wyble's principles of two-lines counterpoint improvisation. There are drop2 and drop3 chords and the 3-note chords they have in common: indeed, these chords of 4 notes 1 3 5 b7 can be played in "pseudo triades" without the red note that completes them to an octave near in drop2 and drop3. Example for C7 1 3 5 b7, drop2 & drop 3 below



    Aside from E#5 (augmented) (ECG#/B) in bar 7, and the turnaround with descending dominants chords, it is a blues between swing and bebop. It can be played in finger picking
    pima or with the hybrid technique pick and fingers



    chords, passing notes and chromaticisms. Not all notes of the score are rewritten



    source:
    ETUDES ET COMPOSITIONS

  4. #3
    Comping Walking Bass Chords Blues in C (type Bessie's Blues)
    (I) basic pseudo Triads from drop2/drop3
    (II) various Rhythms & Bass and Chords chromaticisms

    I will now present an accompaniment in comping type walking bass chords. I'm going to build it with "pseudo triads", chords of 3 notes common to drop2 and drop3 chords of 4 sounds 1 3 5 7. Drop2 is staggered 1 5 7 3 and invertions, drop3 1 x 7 3 5 and inversions, with a jump of the string 5 or 4 depending on the set. The peculiarity of these triads is that they do not include one of the notes of the chord, in turn. As a result, not all inverstions have tones guides 3 and 7 guides, which define the harmonic function in chord cadences and sequences. Nevertheless, because of their separate bass, their sequence allows to produce a satisfactory and varied harmonic accompaniment, due to the possible passing bass, diatonic or chromatic in the contextual tonality

    I first present a possibility of accompaniment without rhythmic variety for the bass. They can be played every two times ("in two") on 1 and 3, or in walking bass 1 2 3 4, 2 and 4 being accentuated for the groove characteristic of African-American music and jazz/blues in particular. The second chorus has more rhythmic and harmonic variety, alterations and chromaticisms of bass or chords. You can freely mix the principles of chorus I and II. This accompaniment can be used for improvised chorus with another instrument, or two guitars with looper.

    I will later give an accompaniment possibility more suited to the melody of Bessie's Blues, for the accompaniment of the melody played by another instrumentalist. We're not there yet in the full solo, but we're preparing it



    source: SOLO INTEGRAL DE GUITARE : CHANTIERS (French & English)

    PS : guitarists are advised to study the construction of bass lines, especially for 7 and 8 strings. See FAIRE SONNER LA 8 CORDES COMME UNE CONTREBASSE (Make the guitar sound like a double bass)
    Last edited by Patlotch; 01-25-2020 at 08:48 AM.

  5. #4
    BESSIE'S BLUES GUITAR SOLO

    So here is the ultimate stage, the full solo with bass, chords and melody. We did this after setting up the melody accompanied by the only bass, a comping in walking bass chords. In this first approach to the solo, I use fragments of three-notes chords including a bass, seen previously, notes of melodies played as passing notes of chords, and some octaves a la Wes Montgomery. The idea of this first solo here is to make sober, which does not mean that it is technically simple. We will focus on the rhythmic precision of the notes of the melody with a volume greater than the harmonic notes, the duration of the bass and the accentuation of beat 2 and 4 for the groove



    source: SOLO INTEGRAL DE GUITARE : CHANTIERS (French & English)

  6. #5
    BASS & CHORDS: TWO-LINES RHYTHMIC INDEPENDENCE AND VARIETY

    a common weakness among solo guitarists, for example in Walking Bass Chords, is the lack of rhythmic variety. I give here the Comparative rhythmic variations that my bass teacher Eric Sindorf made me work. It is very useful to work with 2 voices, with a bass, either 1 and 3, or all the time at 4/4, or various rhythms, claves, Rn'B', Soul, African ... Doing it on open strings is an excellent exercise in rhythmic independence. Marry these patterns is a guarantee to avoid the boredom of repetitions

    one can do the same with triplets, septolets, and you can do the same with triplets, septolets, and odd time signatures

    in the paper below, you have to imagine that the notes represent chords, and add the bass rhythm of one's choice, such as two-voice rhythmic exercises



    SOLO INTEGRAL DE GUITARE : CHANTIERS

  7. #6
    WHAT TECHNIQUES OF BOTH HANDS FOR BASS LINE/CHORDS COMPING AND FULL SOLO?

    the general problem of the full guitar solo, and before that, the comping walking bass chords, is the variety and liberty of the bass line. When I started using the 7 strings for duo or trio in 80', I used essentially chords of 4 notes, drop2 and drop3, with the bass an octave below, which is why I tuned the 7th string in A, like the 5th string, and I used passing bass notes between the chords's forms. But this was not flexible enough for the bass line. When I adopted the 8 strings, I started to reduce the number of chord notes, with a two-voice voicing, and much more freedom on the bass with the strings tuned in fourths F# and B, giving the same fingerings as the 6 strings. Fingers are released in the right hand and left hand, giving more freedom for bass and the addition of a solo melody. That's the whole point of the series of "pseudo-triades" that I gave

    an advantage of the 7 strings, and even more of the 8 strings, is to have in position a larger range, therefore real bass for melodies in the treble, which are impossible on the 6 strings. That's why Lenny Breau added a 7th string in the bass and an 8th in the treble (A)

    the 5-finger right hand technique allows a bass line with the thumb, two fingers for two harmonic notes and two fingers for the melodic solo, not necessarily im in the medium and ac in the treble. In reality you have to try all the combinations of fingers and strings

    of course, initially, we use the concepts of Van Eps or the examples of Joe Pass (6 strings), Bucky and John Pizzarelli, Ron Eschete (7 strings), Robert Conti (7 & 8 strings)... I wish I hadn't studied all of this thoroughly, but I think my approach is pretty different

    Van Eps' system in Harmonic Mechanisms is very flexible and complete. I worked mostly the intervals with diatonics or chromatics passing notes and melody lines at the top, in the middle, at the bottom (we find this in Jimmy Wyble). For the chords built with bass and triads closed and open inversions, I did not see where he was coming from, nor the relationship with the chords I knew in drop2 and drop3. Moreover it does not use chords symbols or charts, it is a tedious job, you should read like a pianist. I got discouraged. I needed to connect my different knowledges in another way. Van Eps himself played full solo, but often with a double bassist. For example below. I think at this tempo and even with his monstrous technique, he could not add a bass line


    Ron Eschete says (in Ted Greene's forum) he now mostly uses the 7 strings in trio, with a bass


    the real difficulty is not technical, you always get there with work and time. It is musical, to master several voices in the head, especially in improvisation. It's very different to play a classical guitar written piece or a solo's transcription of Joe Pass and others. In improvisation, you don't know where you're going yet, so you have to adopt a variety of techniques that allow for real-time choice. It's a challenge of jazz guitar solo

    SOLO INTEGRAL DE GUITARE : CHANTIERS