This is followed by a chromatic which many would call a major 7, and then a 9.
Measure 7 returns to F7 or the I chord and here he plays an ascending dominant 9th arpeggio starting from the 3rd and approaching the 5th chromatically from below. We have the 6 and the 1 enclosing the b7 followed by a 5, and the 13 twice. Now in the 6th measure he introduces one of the most characteristic melodic concepts of the bebop idiom…the enclosure. We have a 5, the 4 acting as a passing tone to the 3 and the 9. Measure 5 starts the IV chord which is again Mixolydian based. In measure 4 he is using a fragment of an altered chord arpeggio which is derived from the Super-Locrian mode. Now in the 3rd measure he is super-imposing a G minor triad…5, b3 and 1. The 2nd measure is made up of a 5, 3, b7 5 and 3. The first 3 measures are very diatonic and I would say triadic in nature. Also please pay special attention to the melodic analysis because we are going to find many of these same identical concepts in Scofield’s solo. Let’s examine George Benson’s solo and I’ll play it in segments so you can hear it slowly.
This is John Scofields 7th chorus of his solo on Trio Blues from the album “This Meets That”. And that is the same thing I did for this next one which is even harder to get all the nuances. So I in fact recorded it in 4 measure segments to get it down. I would have to practice it for a few days and I didn’t see the point of delaying this lesson. I can easily play a nice improvised solo over that progression, but believe me… it is an entire different matter to sight read the transcription at that tempo and get all the nuances down. I’m Richie Zellon and I want to invite you to stick with me because you will be amazed as to what you will learn! Listen to George Benson ‘s 5th chorus on his solo over Billie’s Bounce from his early album “Giblet Gravy”. After that I will break down and analyze each one. So next I am going to play each guitarists solo at a moderate tempo, trying to emulate their respective styles the best I can. Stylistically speaking, they sound so different on the surface, yet when you place there solos under the microscope you’ll be surprised to learn how much they have in common.Īnd to prove this point I have transcribed 1 chorus of each guitarist playing over the same up tempo blues progression in the key of F.
Some might even call it old school and new school, side by side. For this lesson I picked 2 of my favorite living jazz guitar masters… George Benson on the bebop side and John Scofield on the post-bop side.
0 kommentar(er)
