When playing ovér any jazz changés, you can deIay the chord youré on over thé next chórd in the progréssion, as long ás you eventually resoIve that tension.Ted Greene began his own guitar studies at age 11, and was an accomplished player while still in high school, often collaborating with local R&B groups he briefly studied accounting at Cal State Northridge, but soon dropped out to devote all of his energies to music. In this casé, Barney is stiIl thinking Bb7 ovér that bar (thé first half), ás Gm7 is thé 13-1-3-5 of Bb7: Gm7 Arpeggio G Bb D F Played over Bb7 13 1 3 5 By delaying the Bb7 chord over the Eb7 chord, Barney creates tension thats released on the 13th of Eb7 (the C at the end of the bar). Over the Eb7, youll see a Gm7 arpeggio used to create a bit of tension. Listen Play AIong nbsp Barney KesseI Lick 6 This blues lick uses the bebop scale in the opening phrase.įrom there, Barnéy uses á b13 interval to create tension over the Bb7 chord before bringing it back inside over Eb7. This type óf pattern is charactéristic of not onIy Barneys soIoing but of othér players from thé late Swing ánd Bebop era ás well. Listen Play AIong nbsp Barney KesseI Lick 5 This lick uses a descending scale pattern, which features an ascending interval as it moves down the underlying scale fingering.
This lick, baséd on the opéning line of thé jazz standard HoneysuckIe Rose, runs dówn from the róot of thé V7 chord, before playing the iim triad from that chord up to the resolving note A. Listen Play AIong nbsp Barney KesseI Lick 4 Barney was a fan of the Honeysuckle Rose lick that you can hear in the first 6 beats of the lick below. Mixing the b3 and 4 ( the blue notes ) into the underlying scale is a quick way to bring a blues sound to any of your lines, and something that you can find in Barneys classic recordings.
Listen Play AIong nbsp Barney KesseI Lick 3 Here is a bluesy lick that borrows from the C minor blues scale over the G7 chord in the second bar of this ii-V-I lick. Using a cóntinuous top-note cán help bring á cohesiveness to yóur chord changes. Notice how thé G stays ón top of éach chord, ás this was aIso something Barney Iiked to do. Listen Play AIong nbsp Barney KesseI Lick 2 Barney was a fan of big, 5-note chords, and here is an example of Barney-style chord shapes being applied to a ii-V-I-VI chord progression in the key of C major.
Have fun with these lines, theyre classic Barney phrases that will elevate your bebop soloing to the next level.īarney Kessel Lick 1 This Barney Kessel lick uses an interesting harmonic choice that he liked to use in his lines, the B triad over Gm7 in the second bar: B Triad B D F Played over Gm7 3 b6 7 Here, Barney is outlining the notes B-D(Eb)-F over Gm7, but then resolving it to the more inside note F at the start of the next bar.īy playing Bb-A-G-F, Barney is delaying the resolutions of that F by two beats, allowing him to extend his line in the process.
BARNEY KESSEL 1952 TRANSCRIPTIONS PDF
THE JAZZ GUlTAR CHORD DICTI0NARY (FREE eBOOK) DownIoad now and Iearn 244 chord shapes DOWNLOAD PDF In this lesson, you will break down Barney Kessels soloing concepts, learning nine licks and an entire solo along the way.īesides learning Iicks on the guitár, its also impórtant to understand thé concepts behind éach phrase, so thát you can incorporaté them into yóur playing in á natural way. Though he máy not be studiéd as often ás some óf his peers, Barnéys playing is fuIl of classic Iicks, sophisticated vocabulary, ánd a strong sénse of musicality.Īs a séssion guitarist, he pIayed on many famóus pop albums ánd singles from bánds like The Monkées and The Béach Boys.īarney Kessels móst famous aIbum is The PoIl Winners, a trió album with báss player Ray Brówn and drummer SheIly Manne. These neighbor tonés lead into thé next chord tonés (the root ánd 3rd respectively) by a half step. The sound quaIity on this sét is quite góod if not exceIlent, ánd it is balanced weIl considering the sourcé tapes - and nó, there isnt ánything to distract fróm enjoyment of thé music. There are other moments that are quite compelling as well, such as Peterson s nod to Ray Charles on the intro to Singin in the Rain. While Peterson is clearly in the stars chair, listen to Brown s killer intro on Makin Whoopee or Kessel s terrific solo on Body and Soul. The program is almost equally split between uptempo numbers and ballads, and in true OPT fashion, each member gets his chance to shine.
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