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Topic: partial dominant chords on C6 neck |
Quentin Hickey
From:
Nova Scotia, Canada
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Posted 14 May 2015 5:56 pm |
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I was watching a really good video on Ted Greene tonight. He explained how he uses different partial chord voicings. He says that most often the 1st and 5th degree are left out.
Is this a really common technique in advanced C6 jazz playing? I know that there are a few examples in Buddy Emmons C6 course but he doesnt go into detail about those which is probably more advanced. |
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Quentin Hickey
From:
Nova Scotia, Canada
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Posted 14 May 2015 6:03 pm
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| When I say partial chords I mean in unsuspecting string groups and areas on the neck. |
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Bob Russell
From:
Virginia, USA
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Posted 14 May 2015 6:34 pm
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Partial chord voicings are a common technique in jazz playing, period. Guitar players, piano players comping (especially for their own solos), vibraphonists - they all commonly use partial voicings. It's not just a steel guitar thing. It's true that roots and fifths are often the first things to be omitted, but that doesn't mean they should always be omitted, as some jazz books/teachers would lead you to think. Context is everything and your ears have to be the final arbiters. For a great example, listen to how Red Garland comps for himself on piano when he plays trio.
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Lots of stringy things, many of them slidey. |
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Lane Gray
From:
Topeka, KS
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Posted 14 May 2015 6:56 pm
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A lot goes into selecting what to play. Roots and fifths impart solidity and strength: generally the rhythm section supplies all of that you need.
Thirds and sixths supply flavor, 7ths and 9ths (and the rest, like sharp 5 et cetera) provide tension and drama.
We leave off roots and fifths because too much of those and you end up sounding like power chord rock. Except when we WANT that flavor.
Most of the time, solos go by too fast to think of it, but the good folks have that internalized.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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