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I'll only speak for myself:
Freddie played different sized chords throughout his career. Right now I'm focusing on the earlier style because I don't think the "one note" thing is as easy as people think...and from watching videos, it seems FG was still fretting more notes when he was playing fewer...it changes the sound (at least at slower/medium tempos)
So my thinking is get swinging like this, then start to remove notes. No rush, I'm in this for the long haul.
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Today 08:04 AM
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I still have to play a bass note to mentally see the chord. As an example My goal is to see say D7 on a sheet and grab xx45xx without thinking about and cutting the A or D bass note.
Your group sounds nice. Looks like a fun gig
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Well, listening to the greats from this era, there's a lot of roots on the first beat, with yes, occasional deviations.
The danger in stepping on a bass player's toes exists a lot more with amplified guitar, in my opinion. While swing rhythm guitar and bass are percussive in nature, the timbres and decay are different.
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I do the same thing.
I find myself employing, with the LEFT hand the 'La Pompe' technique from Manouche style and aiming to play the top 3/4 strings for pure rhythm/comping and additional strings intentionally or with more emphasis with my RIGHT hand accordingly.
But, for that crisp, staccato sound, the LEFT hand is 10x more important than how many intervals of a chord you're playing NOBODY will ever hear that.
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Cool, now that that's out of the way.
I just want to have the kind of fret-board mastery where I can grab chord fragments instead of the whole thing. I want to mentally call D7 and instantly know my options, these rootless shells are a mental hangup for me, especially the ones with a D string root.. I mean, not D7 that's like the first D string root you learn, but going for Ab7 xxx878 will trip me up. I know where the Ab is, but then I have to abstract it to grab the rootless chord.
It's hard to me to describe my mental process, but there's a system of root then chord I'm trying to break free of. Or something like that.
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I think that's totally normal though, that's the general process I think.
You'll always have to mentally/visually know where a root is to understand the intervals because it's all relative.
xxx878 can be Ab7 if you're visualizing the root here xx6878
or
xxx878 can be Ebm6
or
xxx878 can be Cdim
or
xx878 can be F#6(b5)
It all depends on what you're assigning as the root.
Anywho, I created this for myself some time ago and it was pretty easy to understand where the intervals were relative to a root.
I usually just pick a root on the 6th or 5th string and I can see/play the intervals with or without the root included.
xxx(R), 5, b7, 3Last edited by pawlowski6132; Today at 03:42 PM.
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Try thinking of the basic chord shapes, they will indicate the chord's nature: major, minor, dominant, etc. (keeping chord synonyms in mind)
So for example, sticking with 1-3-7 & 1-3-6 voicings (except for the 7b9) - just notating the bass strings.
Major (GM7): 3-x-4-4
Major (G6): 3-x-2-4
Minor (Gm7): 3-x-3-3
Minor (Gm6/ IIm6) & 7b9 (C7b9/ V7b9): 3-x-2-3
Dominant 7th (G7): 3-x-3-4 (and the 7b9 voicing above)
- etc.
Howard Roberts suggested this in one of his books. But it gets trickier with inversions, such as:
5-x-3-5 (Dm7) -> 4-x-3-4 (G7b9) -> 3-x-3-4 (G7).
Improv over Billie's Bounce
Today, 01:34 PM in Improvisation