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Found it today on youtube. Absolutely great. If anybody is able to check the triads out quick I d be very happy. I m near measure 6 and not too sure about it.
Have fun and enjoy.
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09-25-2019 04:30 PM
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Nifty!
Hadn't seen John with a beard before...
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He was sitting in at Small's tonight, and has the beard. I didn't recognize him at first. He was introduced as an unannounced and unpaid guest. He can play, beard or no beard.
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Micheal,
Thanks for posting this. I've seen him play this before, but couldn't quite figure out what he was playing.
I'm just getting started with this kind of comping where you harmonize a moving bass line. So this is very helpful to me. I can clearly see what he's doing. I just need to try it out on the guitar tomorrow.
Post what you came up with. Maybe we can help each other out on this one.
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Hey, Jack!
Here´s the first run as I see/hear it. Working on more.
What do you think?
Bbmaj6 6x57xx
B° 7x57xx
Cm7 8x88xx
F7 x878xx
Dm7 10x1010xx
C#° 9x89xx
Cm7 8x88xx
F7 x878xx
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Hey Mike, this is what I came up with:
A 1 and 2
Bar 1 - Bb6 6x57xx
Bar 1 - Bdim 7x67xx
Bar 2 - Cm7 8x88xx
Bar 2 - F7 x878xx
Bar 3 - Bbmaj7/D 10x8 10xx (Dm7 works fine, but I think he's playing Bbmaj7/D)
Bar 3 - C#dim 9x89xx
Bar 4 - Cm7 8x88xx
Bar 4 - F7 x878xx
Bar 5 - Fm7 x868xx
Bar 5 - Bb7 6x67xx
Bar 6 - Ebmaj7 x658xx
Bar 6 - Edim x756xx
Bar 7 - F9sus x8888x
Bar 8 - Bb6 6x57xx
Bar 8 - F9 x8788x (only in 1st "A" section)
Bridge
Bar 17 - Am7 5x55xx
Bar 18 - D7 x545xx
Bar 19 - G7 3x34xx
Bar 19 - Adim 5x45xx
Bar 20 - Bbdim 6x56
Bar 20 - G7/B 7x57
Bar 21 - C7 8x89
Bar 21 - Ddim 10x9 10xx
Bar 22 - D#dim 11x10 11xx
Bar 22 - C7 12x10 12xx
Bar 23 - Cm6 8x788x
Bar 24 - F13 x6776x
A 3
Bars 25-30 same as 2nd "A" section
Bar 31 - Bb6
Bar 31 - G#13
Bar 32 - G7
Bar 33 - C9/G 3x233x
Bar 33 - F9/C 8x788x
Bar 34 - Bb6
I think this is close. Let me know if you find any errors or better suggestions.
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This is pretty damn cool...one time through the form of "Rhythm" and John introduces every shape you'll ever need to play rhythm like this.
Now comes the lifetime of practice...it is it's own ART.
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Originally Posted by Jack E Blue
I´m impressed. I thought of a Dm7 in some form in bar 5/6 and that was leading me in a dead end.
Played through your version once by now and it really comes good under the fingers and sounds totally good.
Would have taken me at least 14 days to come nearby.
I´ll play it a few more times and see if I find some suggestions, but by now I think it´s perfect.
ThankXXL!
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Played through it a few times and came out with adding a G on top in bar 6, which turns out in
Bar6 - Ebmaj7 x6588x
Bar6 - Edim x7568x
and for the F13 in Bar 24 I play a Bbmaj7, sounds better to me.
In every case it´s a fun tune to play. The chromatic run in the bridge is my favourite.
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I'm guessing this is the video referenced by the OP, Bill Frisell says around 5:50 'I'll need around 4 hours to work out what he ( JP) 's doing'
...looks like you guys cracked it...
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Originally Posted by Michael1968
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Originally Posted by Jack E Blue
Thank you!!!
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I just stopped in at my fave used records store, and picked up John P.'s "Jazz Guitar Virtuoso Video' on Mel Bay for only $1.99. Sweet deal!
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Originally Posted by sgcim
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Originally Posted by Jack E Blue
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Those are the sorts of voicings i use for rhythm on loads of my gigs. Actually they are just generally brilliant for comping for another guitar, or an alto player. I think Jonathan Stout said they come from Van Eps?
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Also I’ve heard it said they are derived from banjo voicings, because open triads work well and are easy to finger on an instrument tuned in 5ths (think Bach cello suites) George Van Eps’ dad was a noted banjo virtuoso.
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Originally Posted by christianm77
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Originally Posted by christianm77
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Lovely thread, thanks to you all.
Most of this is also included in the book "Rhythm Guitar the Ranger Doug Way."
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This page has some useful examples:
A Comparative Study of Rhythm Guitar Styles
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Originally Posted by christianm77
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From the site GrahmBop linked to above, an article on the "Tenor Banjo to Rhythm Guitar Hypothesis."
A New Hypothesis About Freddie Green's Guitar Technique, by Albert Romaní
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Howard Alden is another guitarist who started on banjo, and still plays it now and then. He moved to guitar, and then 7-string guitar after studying and playing with Van Eps, whose influence is widespread.
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Originally Posted by MarkRhodes
Transcriber wanted
Today, 04:35 PM in Improvisation