[jazz_guitar] 3-note voicings
Michael Havelin
Didn't play much for a few years, then started playing rhythm with a big band in Virginia, and again I didn't know what I needed to know. Learned 3 note chord voicings and it changed my life and music. My blues became smoother and more modern (T-Bone Walker).
Then I started with a small Western Swing combo (Cacti Delicti) which quickly degenerated into jazz standards. I played rhythm with them for a couple of years. Again, 3 note voicings were the key to success.
I now play solo, mostly for myself, but it's the 3-note chords that make it all work.
Michael Havelin
Tunage can be found at michaelhavelin.com
------------------------------------
Yahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/jazz_guitar/
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
http://groups.yahoo.com/group/jazz_guitar/join
(Yahoo! ID required)
<*> To change settings via email:
jazz_guit...@yahoogroups.com
jazz_guitar-...@yahoogroups.com
<*> To unsubscribe from this group, send an email to:
jazz_guitar...@yahoogroups.com
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
rguitarjj
I confess that I'm surprised at how well Freddie Green managed while using the low E and A strings. He's very close to the register of the bass there, but never interferes. It may be because of the staccato nature of his chords. Maybe also it works better with four to the bar. Or, maybe he and the bass player coordinated this, with the bass lines either written out, or the bass staying an octave lower.
My experience is that the band usually sounds better when I don't play low notes. So I tend to do three note voicings on D G and B.
Because of the way I learned voicings, I'll often put my finger on the low strings, but not play them. I'm working on eliminating this tendency because if I'm thinking about grips, I'm not thinking about individual voices.
Or, if I'm using the high E string, I comp an octave higher where, for some reason, 4 note voicings sound better to me. This is all adjusted depending on the presence of a pianist and what he's playing.
The issue is finding a way to stay out of the range of the bass and the left hand of the piano. The key to it may be to find a bassist who stays away from his upper register and a pianist who is willing to leave a little room for the guitar. Then, find a compatible harmony and be careful about letting the chords ring.
Rick
--- In jazz_...@yahoogroups.com, "Dave Woods" <david_woods@...> wrote:
>
> To me the trick is thinking a melody while playing and using the top notes
> of the chords for it. I think a melody in quarters, half, and whole notes,
> with little "kicks" here and there. This guides the choice of chords. Once
> you have the three note thing going, at cadences and other important points
> you can resolve into larger more exotic chords. Actually, with three
> voices, you hear three melodic lines going at once. It's good ear training.
> With all big voicings even when you're just interjecting, and not doing four
> to the bar, it can turn into Blob after Blob after Blob.
>
>
>
> Dave Woods http://www.jazzguitarstartingright.com
> <http://www.jazzguitarstartingright.com/>
>
>
>
> _____
>
> From: jazz_...@yahoogroups.com [mailto:jazz_...@yahoogroups.com] On
> Behalf Of Michael Havelin
> Sent: Saturday, January 02, 2010 9:24 AM
> To: jazz_...@yahoogroups.com
> Subject: [jazz_guitar] 3-note voicings
>
>
>
>
>
> I started out as a 60s rock lead player (didn't know much but earned a
> living at it), then went back and learned some slide stuff with Son House
> when I lived in Rochester.
>
> Didn't play much for a few years, then started playing rhythm with a big
> band in Virginia, and again I didn't know what I needed to know. Learned 3
> note chord voicings and it changed my life and music. My blues became
> smoother and more modern (T-Bone Walker).
>
> Then I started with a small Western Swing combo (Cacti Delicti) which
> quickly degenerated into jazz standards. I played rhythm with them for a
> couple of years. Again, 3 note voicings were the key to success.
>
> I now play solo, mostly for myself, but it's the 3-note chords that make it
> all work.
>
> Michael Havelin
> Tunage can be found at michaelhavelin.com
>
>
>
>
>
> [Non-text portions of this message have been removed]
Dave Woods
of the chords for it. I think a melody in quarters, half, and whole notes,
with little "kicks" here and there. This guides the choice of chords. Once
you have the three note thing going, at cadences and other important points
you can resolve into larger more exotic chords. Actually, with three
voices, you hear three melodic lines going at once. It's good ear training.
With all big voicings even when you're just interjecting, and not doing four
to the bar, it can turn into Blob after Blob after Blob.
_____
From: jazz_...@yahoogroups.com [mailto:jazz_...@yahoogroups.com] On
Behalf Of Michael Havelin
Sent: Saturday, January 02, 2010 9:24 AM
To: jazz_...@yahoogroups.com
Subject: [jazz_guitar] 3-note voicings
I started out as a 60s rock lead player (didn't know much but earned a
living at it), then went back and learned some slide stuff with Son House
when I lived in Rochester.
Didn't play much for a few years, then started playing rhythm with a big
band in Virginia, and again I didn't know what I needed to know. Learned 3
note chord voicings and it changed my life and music. My blues became
smoother and more modern (T-Bone Walker).
Then I started with a small Western Swing combo (Cacti Delicti) which
quickly degenerated into jazz standards. I played rhythm with them for a
couple of years. Again, 3 note voicings were the key to success.
I now play solo, mostly for myself, but it's the 3-note chords that make it
all work.
Michael Havelin
Tunage can be found at michaelhavelin.com
[Non-text portions of this message have been removed]
------------------------------------