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Brand new it does, used copies may not. But maybe there's a newer edition of the book that has online audio clips instead, don't know.
Originally Posted by Doug B
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08-08-2024 06:32 PM
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There's a website devoted to Freddie Green with a lot of info.
As I understand it, Freddie did not play one string for comping.
What he did was play, often, was three strings. Two of them were damped by not pressing hard with the left hand. The other one, usually the D string, was fully sounded.
I haven't listened to a huge amount of Freddie, but I've never heard a simple D string only comp. I've never heard him sound like James Cirillo demonstrating a D string only comp on his rhythm guitar video. I always hear something between a chord and a percussive sound. Some of that, apparently is that two-damped-one-sounded thing. Some of it is probably two or three strings, fully sounded.
It's not easy to get Freddie's sound. He had a lot of planets perfectly aligned to do what he did while making it sound effortless.
Certainly, Cirillo should know more about this than I do, but that's what I think.Last edited by rpjazzguitar; 08-08-2024 at 09:46 PM.
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Freddie definitely played one note chords. He did often play more than one string while sounding one note.
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It appears to be a new book. We shall see... Originally Posted by Mick-7
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I uploaded a couple of the CD #2 tracks for you, there are 16 tracks on it that illustrate examples from Steve Khan's book. Originally Posted by Doug B
Track #1 starts out with 2 note guide tone chords... oh wait, calling them "chords" is liable to start a heated argument here, make that "tone clusters."
Contemporary Chord Khancepts CD-2 Tracks - Box.com
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Originally Posted by Mick-7
Thanks, Mick.
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Hi Mick-the book came about an hour ago and I managed to download the audio tracks (42 tracks in mp3) Originally Posted by Mick-7
Thanks again for your offer, but it looks like I'm good.
Doug
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Good, I hope you find the book useful. Originally Posted by Doug B
Steve Kahn is an underrated guitarist, probably because he spent most of his career doing studio work, e.g., he was on Steely Dan's album, Gaucho.
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Fun Steve Khan facts: He is the son of songwriter Sammy Cahn. I first heard of Steve in the 90's when I was into fusion including Larry Coryell, Weather Report, Brecker Bros, etc Originally Posted by Mick-7
Doug
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Yeah, I heard he was Sammy Cahn's son.... so he changed the spelling of his last name? Seems kind of odd. I just saw him listed on the credits of a Chaka Khan album, I'm guessing they are not related. Originally Posted by Doug B
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Great book, like Pentatonic Khancepts. Musically a bit Fusak (thanks, Andy Edwards!) but pleasurable nonetheless.
I did feel that he unfolded the lessons well, but at a certain point it was worth just sitting down and collating the harmonic relationships etc into something systematic - and of course it comes down to (mostly) major scale harmonisation. By then you can assimilate what you have learned into a coherent whole. I guess the point about a tutor book is that it leads you through its agenda/scheme and there are only so many tricks - as with everything it's work and internalised familiarisation. (Sorry for the minimal relevance, been looking to voice that opinion for a while).
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Maybe he didn't want people to think he was riding on his dad's reputation? Originally Posted by Mick-7
Yeah, I heard he was Sammy Cahn's son.... so he changed the spelling of his last name? Seems kind of odd. I just saw him listed on the credits of a Chaka Khan album, I'm guessing they are not related.
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Absolutely you can use two more voicings to solo, double stop hits on the two strings on the and of 2 and 4. You can use one note Freddie green style on the 4th string or a like a counter melody with sustained notes.
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Dyads make really great ways to provide an interesting and inspiring accompaniment for a soloist. If you look at your role as providing rhythmic and harmonic support, any note within the tonal area can be used if you're mindful of the melodic flow of your own harmony and the soloist. Originally Posted by Doug B
Are you using strictly pick or pick and fingers or fingers?
There are many ways to inform harmony and you have four beats per measure (generally) to do that. Dyads are really nice because, think about it, a four part chord is made of two distinct dyads, and how you combine them can have a profound effect on the sound, texture and amount of interest you impart. If you can create a sense of movement by using diatonic passing passages between dyad voices, you can add textures which are rich, make your soloist sound really interest and move the music in ways that are very compelling.
You can hear how harmony can be used with movement in everything from Bach to Lenny Tristano. By listening for melodic movent with and through dyads or single lines, you can create a great harmonic vocabulary for yourself. Think movement rather than grab.
Good luck
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I've been comping using very simple two note chords this week, using Root and 7ths.
This maybe very simple, but it's also sounds very effective.
Simple two note chord "G Jazz Blues" below:
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check out any grant green with john patton. grant uses a lot of two note chords. i modelled my comping after takes like this one:
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It may be mentioned elsewhere in the thread, but Tim Lerch is THE guy to look to for two-note comping advice. Originally Posted by Doug B
A key feature of it is that it allows more room on top for melodic lines.
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Any examples? Originally Posted by MarkRhodes
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This maybe very simple, but it also sounds very effective.
Simple two note chords for "Rhythm Changes" below:
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I think 3rds and 7ths are more effective. The bass player is probably playing the roots. Jim hall does the two note chord voicing well and even single line comping like sonny Rollins does .
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Yes, 3rds and 7ths are very good, I've played them for many, many years, but I thought I'd try 1sts and 7ths for a change of sound. Originally Posted by Heybopper
Normally, I play three note voicings in guitar duos, using the 1st-7th-10th(3rd).
These four voicings are all you really need:
M7: C-B-E
m7: C-Bb-Eb
Dom: C-Bb-E
Dim: C#-Bb-E
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In the context of a performance, it makes sense to try to vary the comping. The more choruses that get played, the larger the number of variations you might employ.
The band also has a sound and one of the factors is the use of space.
So, for example, in a sax/guitar/bass/drums quartet, one thing the guitarist can do is play one note at a time, usually in the middle of the guitar's range, to outline the chord changes. This could be as simple as playing a C# for A7, C for D7 and a B for Gmaj7. That creates a very spare sound for the band. I tend to like it, although you can't do it all night.
3s and 7s, of course, are well known.
You can put a pedal tone on top of the chord and then create a descending line on the next lower string. Jim Hall used that.
You can play roots and 10ths.
The overall sound of the band (assuming no pianist filling in the space) will be spare, but that can be great.
You can figure out ways to let the bassist have the root, omit the natural 5th and use the two notes you actually play to complete a fifth-less four note chord.
Jim Hall, btw, did not use stretchy grips very much. He got a lot of mileage out of simple grips. So, one possibility is to find grips that don't hurt your hands, like, say, xx321x and find novel ways to use them. That's an Fmajor triad. But, if the bassist has a G, you're playing G7sus. If the bassist has an Eb it's a lydian sound. If the bassist has a D, it's Dm7. Bassist has Db, you're playing Dbmaj7#5. Bassist has Bb, you're playing Bbmaj9. Etc.
And, then there's the issue of open strings. When I first learned jazz rhythm guitar it was big band style and open strings were for country music, not us. Later, when I started playing Brazilian jazz I found that the guitarists were brilliant in their use of open strings. Including players who are fretting notes way up the neck and sounding open strings at the same time. Of course, you have only limited notes, but as a Brazilian teacher told me, "there's always a way".
I also have arthritis and it limits what I can do. So, I play a shorter scale (24.75), slim neck, low action instrument. I'm considering going to an even shorter scale instrument. I expect to get there eventually.
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Roots are good for when you need a percussive sound or when there is no bassist. Originally Posted by GuyBoden
When you find yourself in one of those spots, I do really like R 7 or R 3 sort of mini shells
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I'm an amateur and an intermediate at best, but from that vantage point I think one of the major upsides to two note comping is that it's much easier to voicelead on the fly. Bigger chords be a bit harder for me to move between at tempo. Not that I don't try ;)
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