UnderstandingtheModernRhythmSection OutsidePedestrian.outsidepedestrian.com Dr.AnthonyFesmire,guitar AssociateProfessor,CollegeoftheDesert.anthonyfesmire.com DavidLockeretz,ass DavidOromaner,drums DavidODrums.davidoromaner.com
Guitar Electric Bass Drum Set Gtr. E.B.? ã D. S. Blue Samuel Sammy Nestico Medium Sing q = 126 4 Fmaj 7 D 7 D 7(9) Gmi Gmi (ma7) Gmi 7 Gmi 7 /C F B B` F F 13 B mi 9 E 13? 4 Fmaj 7 D 7 D 7(9) Gmi Gmi (ma7) Gmi 7 Gmi 7 /C F B B` F F 13 B mi 9 E 13 ã 4 x x. xx x. x œ œ œ œ x x. xx œ. œ œ œ? Ens. œœœœ œœœ???? œ œ Œ œ œ œ???? Cmi/A Cmi/A > > œ. œœ œ j???? D 7 D 7 œ œ œ œ œ Fill Œ???œ œ œ Gmi 9 Ó Ó Œ Û Û œ. œ j œ œ œ œ j œ œ. œ œ œ œ C 7( 9) Œ œ œ œ œ œ x x x x œ œ œ œ œ œ œ F Ó Û Û Û Ó 3 E Dmi 7 D 6/ 9 œ œ j œ Œ x œœœ xx x œ x œ j Fill Solo G maj 7 Ó Œ Û U > Ó Œ j > œ??? x x x U Gradually Sloer Solo U x x x x x x 3 3 F 7(9) U U U Y
Guitar and the Modern azz Band Dr. Anthony Fesmire E Form Bar Chords E The E chord aove is a common open chord on the guitar that makes use of a comination of open strings on fretted notes. Open chords are generally among the first chords that a student ill learn on the guitar and include E, A, G, C, D, etc. The chords diagramed elo are standard ar chords ased on the E form or shape. Bar chords use one or more fingers to push don multiple strings in the same fret. In the E form ar chords, the three fretted notes are moved up the neck and the open strings are replaced y the arring of the first finger. This makes it possile to play any major chord y moving the E shape up the neck chromatically. The root of each of these chords is on the lo E string. F F G G A B 6fr. B 7fr. C 8fr. C 9fr. D 10fr. E 11fr. E 12fr. Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
2 A Form Bar Chords A The A form ar chords ork the same ay as the E form ar chords. The A form ar chords are ased on the open A chord. The root of each of these chords is on the A string. B B C C D E 6fr. E F F 9fr. G G 11fr. A 7fr. 8fr. 10fr. 12fr. Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
3 E Form Seventh Chords There are five common types of seventh chords found in jazz: major 7, minor 7, dominant 7, minor 7 flat 5 (half-diminished), and diminished 7. The folloing seventh chord examples are ased on the E ar chord shape ith the root on the lo E string. Each shape can e moved up the neck chromatically to play an example of each chord type ith any root. Notice that each chord shape contains only four notes. azz guitar voicings tend to not doule notes. F maj7 G maj7 G maj7 A maj7 Maj7 F 7 G 7 G 7 A 7 2fr. m7 F m7 G m7 G m7 A m7 7 F m7( 5) G m7( 5) G m7( 5) A m7( 5) m7(5) F o 7 G o 7 G o 7 A o 7 o 7 Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
4 A Form Seventh Chords The folloing seventh chord examples are ased on the A ar chord shape ith the root on the A string. Each shape can e moved up the neck chromatically to play an example of each chord type ith any root. B maj7 C maj7 C maj7 D maj7 Maj7 B 7 C 7 C 7 D 7 m7 B m7 C m7 C m7 D m7 7 B m7( 5) C m7( 5) C m7( 5) D m7( 5) m7(5) B o 7 C o 7 C o 7 D o 7 o 7 Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
5 Advanced Voicing Concepts Close Position There are a large numer of possile chord shapes on the guitar. The next four chords are examples of C7 voicings. Each voicing has a different note of the chord as the highest pitch (C, E, G, B). Each chord is voiced don from its highest note ith the other three notes of the chord as close to the top note as possile. These are knon as close position voicings. Drop 2 Most close position voicing are difficult, if not impossile, to play on the guitar. A common sustitute for the close position voicing is the drop 2. Compare the close position voicing aove to each of the drop 2 voicings. The drop 2 voicings are the same as the close position voicing ut the second note from the top is dropped one octave. C 7 C 7 C 7 C 7 8fr. Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
6 Guide Tones In a jazz rhythm section, it is assumed that the assist is playing the root of each chord, and guide tones are the third and seventh of each chord joining ith the ass to complete the most important notes of any seventh chord. D m7 G 7 C maj7 Guides Tone ith Tension It is common for guitarists to create three note chord voicings that use guide tones along ith one tension. D m9 G 13 C maj9 Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
7 Comping Rhythm Basics Slash Notation Typical jazz guitar music ill include chord symols ith slash notation. Implied y the slash notation is that the guitarist ill interpret the music and play a part that as appropriate for the style. D m7 G 7 C maj7 4 4 "Freddie Green" Style Freddie Green style comping is named for the guitarist ho played ith the Count Basie Orchestra. While Freddie Green is the guitarist ho is est knon for playing in this style, it as a common ay to comp during the sing era. D m7 Û Û > Û Û > G 7 Û Û > Û Û > C maj7 Û Û > Û Û > Û Û > Û Û > Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
8 "Piano Style" Comping Patterns The e-op era is considered the eginning of modern jazz. Starting in the e-op era, guitar and piano comping ecame similar ith a focus on varied and syncopated rhythms that complemented the melodic material and improvisation central to the style. To egin to comp in this style, ecome familiar ith the folloing rhythms. Dotted-Quarter/Eighth Note Pattern D m7 Û. Û. Ó G 7 Û. Û. Ó C maj7 Û. Û. Ó Û. Û. Ó Anticipations D m7 G 7. Û >. C maj7 Û >. Û > E m7 A 7 D m7 Û. Û > Û. Û > Û. G 7 Û > Û. C maj7 Û > Û. D 7 C maj7 Û > Û. Û > Spontaneity Eventually, ork toard spontaneity. E m7 A 7 D m7 Û. Û Û Û Û. G 7 Û Ó C maj7 D 7 C maj7 Û Û Û Œ Û Û Û Œ Ó Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
CREATINGAZZBASSLINES COMMENTARY:DAVIDLOCKERETZ EXAMPLES:TOMWARRINGTON Inmanystylesofmusic,suchasrock,funkandRB,assistsfocusonlockinginiththe kickdrum.hoever,oneofthekeystoagoodjazzfeelisfortheassisttofocusonthe ridecymal.inaalkingassline,agoodfeelisasimportantasnotechoice.agood feelcomesfrommakingthequarternoteseemasthickaspossile,hichcomesfrom lockinginiththeride.example1shosaridecymalpatterniththecorresponding quarternotesontheass. azzassistsneedtoecomfortaleithcommonchordprogressionsandtheir variations.inexample2,eseea12zarluesinbzflat,astapleofthejazzrepertoire. Beginningassistscanfamiliarizethemselvesiththisprogressionsimplyyplaying quarternotesontherootsofeachchord. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
Onceaassistecomescomfortaleithplayingtheroots,theycanaddapproach noteseforeeachnechord.inexample3,eachnechordisapproachedfromone halfzstepelo.thusinthefirstmeasure,insteadofplayingfourbzflats,thelineis threebzflatsandad,approachingthenechordofe7inthesecondmeasurefroma halfzstepelo.inmeasure3,thelastquarternoteischangedfrombzflattoatocreate variety. Inexample4,morevarietyiscreatedyrepeatingtheapproachnotes.Thesecondeat ofmeasure2isthesamedthatasusedtoapproachthee7chordinthedoneatof themeasure.thesecondquarternoteofmeasure4isana,givingthelinemoreshape. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
Example5introduces5ths,hicharecircled.TheFinmeasure3isthe5thdegreeof B7;theBZflatinmeasure4isthe5thdegreeofE7.Electricassistshoareneto jazzcanetaughttorecognizehereallfifthsfallonthefretoardrespectivetotheir roots.example6shoshoanyfifthcanefoundyplayingthesamefretonthenext loerstring(loerypitch;physicallyhigheryposition). Example7introducesoctaves.Onanelectricass,octavescanefoundymovingto stringsandtofretsover,asseeninexample6.bynotlimitingthemselvestooneroot note,assistscanmaketheirlinesmoreinteresting.thecirclednotesinmeasures4,6, 8,9and10arerootnotesplayedinasecondoctave. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
Example8usesdouleapproachnotesforeachchord,expandingontheconceptshon inexample3.thus,ehavetorootnotes,thenanoteaholestepelothene chordoneatthreeandanoteonehalfstepelothenechordoneat4.thee7in measure2isapproachedyac(aholestepelo)oneat3intheprevious measureandad(halfstep)oneat4. Inexample9,nechordsareapproachedfromonehalfZstepaove(Einthefinaleat ofmeasure1descendsahalfsteptoezflat,therootofthenextchord.) DavidLockeretz,Bassist/Composer.outsidepedestrian.com
Inmeasures4,6,10and12ofexample10,arhythmicfigure,calleda"drop",is introduced.inthesecases,theupperrootisplayedfirst,thenthefiftheloitisadded (BZflattoFinmeasure4;CtoGinmeasure9,etc).Dropsareaayforassiststoadd rhythmicinteresttotheirlineshilestillkeepingtheasicquarternotefeel.often timesthesecond,shorternoteis"ghosted";henthedropoccursonthesecondor fourtheat,asinmeasures9and12,therhythmoftencorrespondstotheridecymal. Thoughusuallynotatedadottedquarterfolloedyasixteenth,dropsareplayedmore likeatripletquarterandeighth(traditionalsingeighths).likefillsfordrummers,drops aremosteffectivehenusedinmoderation. Theseideasaresolid,simpletounderstanduildinglocksthatcanhelpeginningjazz assistsfamiliarizethemselvesiththefeel,styleandrepertoire.theyalsoserveas goodfundamentalexercisesformoreadvancedassists.nomatterhoaccomplisheda assistmaye,theirroleremainstherhythmicandharmonicfoundationofthe ensemle. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
azz Drums Perspective David Oromaner I. Drummer/Bassist Relationship In rock, RB, and lues the ass player locks in ith the ass drum In jazz the ass player locks in ith the ride cymal II. azz Interpretation Eighth notes are interpreted as eighth note triplets. Triplet sudivision is felt throughout entire sing pattern: III. azz Drums Notation Drummer usually only given a asic guide. Fills are usually not ritten in. Bass drum notation is ritten in usually as a guide to hat rhythm the ass player is playing. David Oromaner, Drummer/Educator..davidoromaner.com.outsidepedestrian.com
If feathering hasn t een developed yet e recommend only playing the ass drum to accentuate ensemle accents. Exceptions could e certain styles like old time sing and second line. IV. azz Ride Feel (All aout the Quarter Note) Avoid accenting eats 1 and 3 (exception eing the to feel) Most drummers ill accent the 2 and 4 hich is fine; accentuating all the quarter notes ill make the and sing harder. David Oromaner, Drummer/Educator..davidoromaner.com.outsidepedestrian.com