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I’m pretty familiar with this one, so I went for 2 note chords. Then I noodled around.
Originally Posted by pawlowski6132
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06-28-2024 09:04 PM
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Dude, that is REALLY good. I dig the straight 4 rhythm. These sound good because we're not upstroking as much. Originally Posted by AllanAllen
great job.
solo too.
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Friday night...Sorry Jeff. I think I'm derailing this...
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Not at all! It's all rhythm guitar...
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Thanks. It helps that I’ve been playing Sentimental Mood for a year. I really like it so I play it a lot. I don’t even need to glance at a chart for this one. Originally Posted by pawlowski6132
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Man I wish you kept going. That last move up the neck, before the solo, was sweet. Originally Posted by pawlowski6132
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Haha, sounds about right. It’s never the good guys btw, it’s always the lower tier players who want to evaluate everything by their own criteria (which I of course have never done lol.) This can extend to other stuff like bass playing being a certain way. Originally Posted by mr. beaumont
A friend bass player plays with people like Olli Sokelli and he says those top level guys are just happy for him to be himself.
My experience has been GJ players have a hard time understanding that there is such a thing as non-GJ jazz rhythm guitar. It’s one of the things that alienates me about the whole scene. I’m very much into the idea of playing acoustic old school jazz and yet everything seems to end up in this realm. And they are very set in their thinking.
Otoh for my own playing I think I hear the upstroke (usually ghosted) as a little bit of a crutch. I’d rather dispense with it unless I’m deliberately playing a shuffle or the classical La Pompe (in so much as I can do that). But it’s clearly good enough to have won paying gigs over the years so… yeah…
So long as you know some tunes and have good time, most people who would book you (or not guitarists) are not super picky about that stylistic stuff.
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Oh god, please no ‘assignments’. I have enough people on my case as it is haha Originally Posted by mr. beaumont
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Oh no worries, there's no assignments coming here. That's great for some stuff, mind you, just not at all what I'm after here.
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Thanks to Jeff for getting me (us) motivated to improve in this style.
I have been in several situations where I have needed to play this style authentically, and did well enough that I got lazy and never went back to really analyze and learn it thoroughly.
Half diminished chords have always been the least satisfying to play as there isn't really a good root-position voicing
without either leaving out the b5 and just playing a minor 7th, or playing the b5 on the A string, which only works for me when it is high enough on the neck. Of course you can play the b5 on the B-string but I am trying to avoid doing that to remain true to the style.
After hearing Jeff talk about and play Stella, which has so many half-dim. chords, I decided to give it a try.
Here is my best attempt to get the half-dim. chords to voice-lead well.
I don't own a proper rhythm guitar so I played it on my steel string acoustic.
Also; I noticed that Jeff often uses two string bars (like on minor 7th's) and is still able to effectively mute, which does not work at all for me.
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In general for 'the style' it maybe best to not play II chords at all.
But a simple II-7 shell is absolutely fine, and the ears will fill in the context from the melody etc.
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That sounds good to me.
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To me as well. Also more proof an OM style guitar sounds great for this style...probably projects the wrong way to actually use with a group, but has a good midrange tone and the right kind of attack and decay for practicing the style, for sure.
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Actually re Stella I have thoughts
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How can a song from 1944 be pre-war? Originally Posted by Christian Miller
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It can't but, not important. Originally Posted by Bop Head
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I enjoy these "talkies". Originally Posted by Bop Head
Good to hear from the player especially describing what they're playing.
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Today's musings...gotta get better at muting!
Edit: I also tried to throw in a few upstrokes...
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Hi Christian,
thanks for the response.
I see that I opened a can of worms by (mis) using the word "style".
Let me be more specific as to what I was trying to do.
Jeff was suggesting trying to reduce the chords to 3 notes as an exercise by just using the 6th, 4th and 3rd strings.
I thought that I would try to take a tune with more harmonic complexity and see if I could get it to work within those limits.
I am not trying to emulate a style or an era, rather just trying to make a 4-beat etude based on the suggested (or my own) restrictions.
Such an etude could easily be simplified or made more complex to be appropriate in a given playing context.
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It cant? Originally Posted by Bop Head
I said specifically it was post war repertoire?
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Your video sounds great btw, I would say the style is quite old school, actually. Nice flat four. Originally Posted by Question
But in any case I think you’d be fine just using shells. Don’t worry about the b5, that’ll be inferred by harmonic context.
I need to post that Jim Hall. he mostly uses the real book style changes albeit in G…
After the solo he moves to playing some purring rhythm, very Freddie Green style here (Jim was a big fan), skeletal voicings. I hear mostly the D and G strings. Obviously without transcribing this (challenging!) I can’t say for sure but they sound to me like shells.
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I think as the summer goes on a nod to some bop era rhythm guitar is in order...maybe even a remake of my "Ray Crawford Bongo technique" video
There's also the Herb Ellis bongo (and before I use that word again, yes, it's a conga pattern) and the Tal Farlow "all strings muted" technique.
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Sorry haha Originally Posted by mr. beaumont
I think as the summer goes on a nod to some bop era rhythm guitar is in order...maybe even a remake of my "Ray Crawford Bongo technique" video
There's also the Herb Ellis bongo (and before I use that word again, yes, it's a conga pattern) and the Tal Farlow "all strings muted" technique.
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No apologies necessary.
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I think Christian, with his good intentions, overlooked the whole point of this thread.
Here from Jeff's first post:
"What is the Summer of Rhythm Guitar? Simply the idea of devoting time every day to playing old school Freddie Green style Rhythm Guitar. 3 note, 2 note, and 1 note chords. Any tune. Any tempo.
What is the Summer of Rhythm Guitar NOT?
Any other kind of "comping""
I can easily play more complex, I am trying to reduce the harmony to its core and not play anything other than (maximum) three note voicings on the 6th, 4th & 3rd strings with four beats and minimal upbeats in the right hand.
I am well aware that I can play a minor 7th shell for a half dim., but that is precisely the challenge, creating limiting parameters in order to force myself to find possible solutions to play a three note voicing for every chord family.
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