Chord Choices with Bass Player

WilliamWilson

This question is similar to the recent question on substitutions. I'm curious about chord voicings like the G13(b9)/Ab on page 50 of Gypsy Rhythm or say the G7(b9 b5)/Db on the same page. With those chords does the bass player need to adjust what they are doing? I would think that the Ab especially might clash if the bass player where playing the root. Thanks.

nwilkins

trial and error is the best way to find out - often it won't clash because the chord is going by quickly. Often the clashing can also help to create tension (an interval of a minor 9th) which is then released when going to the I chord. However in certain contexts it will sound bad.

Stackabones

The Ab shouldn't clash since it is in both chords: in G13(b9)/Ab, it functions as the root and the b9; in G7(b9 b5), it functions as the b9. Most bass players should read to the right of slash chords, which is the intended (recommended) bass note.

To prevent clashes, you could simplify your voicings with shell chords. Were you to sub out a shell chord with just the third and the seventh (rather than having the extenstions and altered notes), then the bass player has a bit more freedom in his lines (as does the soloist).

As nwilkins noted, tempo matters. At a high tempo, it won't matter much. At a slower tempo, you'll notice much more.

Bones

One option is to play a voicing more in the style of Freddie Green where I believe one would be using 2 or 3 note chords voiced on the 3rd, 4th, 5th, and 6th string. Then you can stay away from both the bass and soloist and avoid potential clashes, but it yields quite a different sound than alot of the gypsy rhythm players get with their very full chords. Also, you can avoid voicings that have the b9 in the bottom to avoid clashing with the bass player if he plays the G root.

Stackabones

FYI ... style of Freddie Green = shell chords

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Bones

Oh, I have never heard that term before. In any event, yes that is a safe, and somewhat 'understated' (if that is an accurate description??) way to stay out of everyone's way and certainly a good tool to have in one's bag. Sometimes less is more I guess.[/quote]

WilliamWilson

Thanks for the feedback. I've heard of shell chords before, but have never done much with them. Any suggestions as to how to go about learning them?

Bones

I think Michael mentions them in the Rhythm book.

He calls them 3-note chords. I have not looked at it in detail YET but I think that is basically what he is talking about.

For rhythm, basically play them on the 6th (or 5th), 4th and 3rd strings. Therefore, G7 at the 3rd fret (bass on 6th string) would be 6th string 3rd fret, 4th string 3rd fret, 3rd string 4th fret. This is a chord which only has root, third and 7th (no color tones). All other strings damped with the fingers of the left hand. The damping thing seems weird at first but it quickly becomes automatic.

MichaelHorowitz

Yes...the three note chords are the same as the Freddie Green shell chords.

Most Gypsies use them for passing chords, preferring full 5 or 6 note voicings for regular rhythm playing. Remember, in Gypsy jazz the rhythm guitar is the biggest contributor to the overall sound. In a big band the rhythm guitar is a small part of a complex texture (piano, bass, drums, etc.), hence the "stay out of the way" approach.

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