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Hey. On piano inversions are like the bread and butter of jazz. It's so common that when not using any inversions it's referred to as block chords, which are rare.
eWhen I see guitar players comp or chord melody they seem to use their chords in root position. And not often their inversions. Im curious as to why this is? Maybe its not needed, as the chords are often builds on E and A strings, making them not jump too much?
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04-17-2024 08:14 PM
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Originally Posted by jazzpazz
Exception being rhythm guitar where they are responsible for, or it is stylistically appropriate, to play the bass as well. Then primarily shells on the lowest four strings.
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Originally Posted by jazzpazz
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Originally Posted by pamosmusic
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Originally Posted by mr. beaumont
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Originally Posted by pamosmusic
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Originally Posted by pauln
8 x 8 9 x x for C7
8 x 7 9 x x for Fmaj7, fifth in the bass, no root.
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You were inverted.
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Originally Posted by pamosmusic
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Yeah, rhythm guitar is really it's own thing...I'm always surprised when people don't get that (nobody in this thread, but when I started a thread about rhythm guitar last year people were talking about comping in general and I was like "no...RHYTHM guitar" )
Back to root position voicings, I find when I'm comping, even when I play a root position voicing, I don't often actually play the root on the bottom.
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Originally Posted by mr. beaumont
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Originally Posted by AllanAllen
I gotta get up to one of your sessions once I'm out of school and just sit in the back with an acoustic and give you guys some hard swinging rhythm to blow on.
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I wish that album was on Spotify
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Originally Posted by AllanAllen
Something that good should not be so obscure.
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I just ordered a copy off discogs for $0.99 +shipping, fun little shopping spree. Also got Red Norvo Trio, Benny Goodman Trio, and Teddy Wilson Trio records.
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Originally Posted by AllanAllen
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My wifes car still has a CD player so I still use mine. Well, one of them at least... Danny Gatton's The Humbler is the only one I play.
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Originally Posted by mr. beaumont
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Originally Posted by Kirk Garrett
Still have a bunch of CD's in my car. Been blasting Nat King Cole and the Beastie Boys' "Check Your Head" this week.
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I wouldn't mind resurrecting that rhythm guitar thread.
I'm playing big band regularly and I'm not sure when to stick to Freddie G. and when to branch out.
Freddie played with Basie and Walter Page. Steady rhythm, swing and sparse piano. And, the arrangements were all consistent with that style.
Often, Freddie G. seems like the best thing to play, but I often start to think, there must be a way for the guitar to contribute more without making mud.
It's not difficult to branch out when there is no piano. It's liberating. But, then you have to read the piano chart and cover essential lines that only the piano chart contains. Like the Basie ending -- not so good with silence instead of that piano lick.
But, it's a hard thing to discuss without charts and recordings and so forth.
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Originally Posted by rpjazzguitar
Like even though that's an old tune, the arrangement tells me that this is not the time for Freddie Green style...
But I also doubt many of us are playing in big band situations like the above...
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Originally Posted by jazzpazz
I ask this because for years I only used 6th and 5th string root position chord voicings and I only played with fellow guitar players that were at a similar level of experience. Since there was no one playing the bass, and only two rhythm centric instruments, these types of voicings worked. But when I started to play a duo with a piano player, or trio with two guitars and bass, I started using inversions, as well as comping (instead of just basic rhythm).
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Originally Posted by mr. beaumont
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Originally Posted by jameslovestal
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Originally Posted by AllanAllen
George Barnes plays Bach/1966
Yesterday, 06:29 PM in The Players