Copy of Jazz Method Guitar - Lenny Breau - Jazz-Blues Comping
FOR THE MAJORITY of
blues styles—including
those combining ele-
ments of rock and folk
music—the 12-bar struc-
ture has remained rela-
tively simple: the I-IV-V
progression, with melodies constructed
from the five-note blues scale. However,
in jazz, the blue...
FOR THE MAJORITY of
blues styles—including
those combining ele-
ments of rock and folk
music—the 12-bar struc-
ture has remained rela-
tively simple: the I-IV-V
progression, with melodies constructed
from the five-note blues scale. However,
in jazz, the blues is embellished with an
almost limitless combination of melodic
and harmonic devices.
The most common 12-bar blues pro-
gression is four bars of I, two bars of IV, two
bars of I, one bar of V, one bar of IV, and
two bars of I. However, jazz players employ
a harmonic framework similar to that of
EExx.. 11. Note the use of the VI chord (A7) in
bar 8, and how from there the harmony
back-cycles home to the I in bar 10. Bars
11 and 12—the turnaround measures—
use a common I-VI-II-V progression, while
the F#dim7 in bar 6 is a substitute that con-
nects IV to I. Ex. 1 is just a skeleton; you
can freely add substitute chords that in-
clude alterations and extensions, as long
as you exercise good taste.
One of the best places to start learning
jazz rhythm guitar is with four-to-the-bar
comping. EExx.. 22 is a blues progression
based on the chords in Ex. 1, only using
a few substitutes. These voicings work es-
pecially well for straight rhythm, and they
sound very full, even though they have
only three notes. For this rhythm style,
you’ll get a better feel if you strum with
a pick or your thumb (I use a thumbpick).
Strum using downstrokes, and avoid
sounding the strings not played. (They can
be damped by strategic placement of your
fretting hand; experiment until you’re suc-
cessful.) Once you’ve memorized Ex. 1 and
can embellish it with some chords, trans-
pose it to all keys.
Originally published in the June ’84 GP. g
“I always found the notion of solos comical, just ego-wanking.” — Daniel Ash, Nov. ’94, GP guitarplayer.com APRIL 2002 GUITAR PLAYER 145
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9
3
Ex. 2
C L A S S I C C O L U M N
“The master of this style of rhythm guitar was Freddie
Green,” said Breau. “He played in Count Basie’s
band for over 40 years.”
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