"Freddie Green" Style Chord Comping with Shell Voicings (Root+Guide Tones) - Jazz Guitar Lesson 4
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- Опубліковано 7 лют 2025
- Dr. Kristen R. Bromley is a Jazz Guitar Expert, and this course covers jazz guitar in exceptional detail and is designed for those new to jazz or those who have been playing for awhile. In this Lesson, which is Lesson 4 in the series, Dr. Bromley goes over the Freddie Green style and technique of chord comping with Shell voicings, which were taught in various ways in the last three lessons. In practicing these chords in this style, Dr. Bromley covers and uses a basic jazz blues progression and demonstrates another way to work through II-7, V7, and I6 chords and progressions using the circle of 4ths.
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You are a hidden gem in the realm of UA-cam guitar teachers. These Freddie Green style comping lessons are great!
Thank You! You are so kind!
It is a pleasure to be taught by such a friendly and competent person. Thank you very much for the lessons!
Thank You! It's my pleasure! 🥰
24:40 unobstructed view of 2 5 1 progression list. Thank you, Dr. Bromley, for dedicating your life's work to Music Education.
Thank You!
I’m a bass learning guitar and these videos are amazing
Awesome! Thank You!
Thank you i got alot out that lesson. well presented and explained
Awesome! Thank You! Glad it was helpful!
I had the privilege of learning this from the Great Frank Dawson from Chicago back in the early 90s.
Way Cool! Thanks for sharing!
Great teaching method thank you lots of information.
You Bet! Thank You!
Great series - thank you!
You're very welcome! Thank You!
Thanks very much Dr!I'm following jazz lessons all the way to the end!With all this information my jazz guitar will improve!
Awesome! Delighted to have you with me all the way. I hope it helps you reach your jazz guitar playing goals! Wahoo!
It's worth mentioning that there are plenty of Charlie Parker blues tunes where he plays a major 6 on the one chord.
Great Point. Thanks for sharing! Very True, and we'll definitely see that here when we get to bebop in the course, and as we work on some of the early pre-bebop stuff too.
🙂
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Hello Dr. Bromley, I have a question on using the circle of 4ths: I know that accidentals have 2 different note names, one sharp and one flat, depending on the key I'm in. When progressing through the circle of 4ths, is there a "standard" point at which I would switch from naming the flat key and start using the sharp key? I've just been sticking with the flat keys till I reach G-flat, then I move on to B natural. That seems to be what you are doing in these tutorials. And would I use the sharp key names working the other way around (so the circle of 5ths)? Or should I always just name both to myself as I progress through all 12 keys? What do you recommend?
Great Question. When it comes to actual keys, we mainly need to worry about the ones that I am using because those are the ones that will show up in songs. The enharmonic equivalent would have too many sharps, double sharps, flats, and/or double flats to bother with. So for instance, the key of Bb has the notes Bb, C, D, Eb, F, G, & A. But, the key of A# would have the notes A#, B#, C##, D#, E#, F##, & G##. So, it would be extremely rare to run into the Key of A#. However, being aware of the enharmonic equivalent of the notes moving around the circle of 4ths is valuable as you could potentially run into an A#6 chord at some point, for instance. It would be rare, but it could happen. So, being able to find the root notes that are enharmonic to the ones we're using going around the circle of 4ths is valuable because of that. As far as playing in an overarching key though, music tends to be written in the ones I've been using. Gb and F# are the exception to that though, as they both have six altered notes. F# has six sharps and Gb has six flats. Jazzers tend to play more in the flat keys, so I've been going with the Gb option, but it's good to know both. It's unusual but in the overall key sense, C#, which has seven sharps, is occasionally seen instead of Db and Cb, which has seven flats is occasionally seen in place of B, but it's rare. It is good to be prepared though with recognizing the enharmonic options as far as the roots of chords go, because sometimes we'll see the less expected with the chord symbols, especially as Chromatic as chord changes can sometimes get in Jazz. So, it is good to know how to find say a C#6, Cb7, Fbm7, G#6, A#7, etc.
Hope that helps clear up any confusion. You're Awesome. Best Wishes!
@@dr.kristen.r.bromleys.academy Thank you so much for your detailed answer. This is really helpful! Most of what I've played (up until starting with jazz guitar in January) has been pop and worship music. There you have a lot of keys with sharps, mostly G-maj., D-maj, A-maj, and E-maj and/or their relative minors. Sometimes, but very rarely, are the lead sheets for pop and worship music notated in flat keys, maybe with the exception of F-maj. Of course, some of the old hymns are in flat keys, but then they are usually accompanied by piano or organ.