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Topic: Freedie Green - One-note Rythm guitar! |
Andy Volk
From:
Boston, MA
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Posted 15 Dec 2003 6:13 pm |
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http://www.freddiegreen.org/technique/allen_dcmn.html
This is quite an interesting site devoted to the late, great Basie rhythm guitarist Freddie Green. You can clearly hear how his guitar drives the band on their recordings. I've heard and seen his playing analyzed over the years but always in terms of 3-note chords played with quick release. This is something new and fascinating: Green was actually playing chords that sounded only ONE note! There's a lesson here that's very deep.[This message was edited by Andy Volk on 16 December 2003 at 03:17 AM.] |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 15 Dec 2003 8:13 pm
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If he was playing a chord that only sounded one note, why was it called a chord? I always thought thought that, strictly speaking, chords had to have at least 3 notes?
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Jody Carver
From:
KNIGHT OF FENDER TWEED
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Posted 15 Dec 2003 9:37 pm
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Andy
I did a session with the Basie group of 6 musicians.One was Freddy and I didnt notice anything unusual about his playing other than It was just great as usual. I dont understand what this topic is about.
Like Donny said and I agree..a one note chord
? I'm missing something here,are you reffering to three note octaves played as one? What I read here makes sense and I beleive Freddy was capable of this,but I heard nothing as described in this thread as
posted. |
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Ron Randall
From:
Dallas, Texas, USA
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Posted 15 Dec 2003 10:13 pm
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Thanks Andy.
I had to read some parts over, but I began to understand the theory. I certainly can't play it.
As I understand it, he would form the chord shape, then play one clear note, two muted notes, and the other strings muted. Muted notes produce a pitch. Muted strings produce a rhythmic sound.
Pretty deep stuff. A big lesson within.
Less is more.
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Herb Steiner
From:
Spicewood TX 78669
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Posted 15 Dec 2003 10:49 pm
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I've watched Freddie Green play up close, and trust me, the action of his guitar was so high I couldn't believe he'd be playing in tune in the upper frets. But he, unamplified, was the driver of a 16-piece band. Also Basie was a trip to watch, since he's the most sparing and eloquent soloist I've ever heard. And that band had such incredible dynamics and control!
They came through Austin for two shows in 1977. You better believe I was there for those.
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Herb's Steel Guitar Pages
Texas Steel Guitar Association
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Andy Volk
From:
Boston, MA
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Posted 16 Dec 2003 3:16 am
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Jody, Ron pretty much desribed it. Yes, one note does not a chord make but apparently, Freddie would finger a chord but in effect, only one note would have a clear pitch; the others were part of the percussive "whump" of the pick attack. I'm not one for over-analysing music but it struck me as pretty interesting that he was driving the band with such minimalism. I sure wish I could have heard your great steel playing with Freddie Green on rhythm!
Herb - you're lucky to have seen them live. My favorite Basie record is April in Paris with the definitive version of the title tune and great standards like Corner Pocket & Shiny Stockings. |
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HowardR
From:
N.Y.C.-Fire Island-Asheville
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Posted 16 Dec 2003 5:30 am
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| Are 3 note mandolin chords related to this style, or am I off key here? |
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Andy Volk
From:
Boston, MA
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Posted 16 Dec 2003 7:44 am
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| Not exactly, Howard. I'd say three note mandolin chords are used mostly to be able to play chord melody and voice lead more easily. In bluegrass & newgrass playing the mandolin does plays a somewhat similar role to Freddie's archtop rhythm guitar in that they're both simulating the role of a Hi-Hat cymbal with harmonic content attached to the percussive attack. The percussive element is just as important as the pitch. |
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Leon Grizzard
From:
Austin, Texas, USA
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Posted 16 Dec 2003 9:41 am
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My rhythm playing is based on the Freddie Green style, and thethings I think are important are (1)big leap between the lowest note the next higher note. It is always at least a sixth, and so the low note stands out, and is not muddied by the fourth or fifth of the usual fingerings. (2) The chords always have the bass note on the E string, and (almost?) always skip the A string, so you can hit it hard. (3)The remaining notes seldom face competition from the more ringing sound of the b and e strings; in fact, I think never from the e string.
I was introduced to the style playing with Polk Shelton, but really learned it, as Polk did, from the Ronnie Lee jazz guitar method book, part two, published by Mel Bay.
One slight modification I use is to generally avoid an octave note above the bass note, which weakens the sound of the chord, and so I use a fifth instead of the octave. [This message was edited by Leon Grizzard on 17 December 2003 at 08:30 PM.] |
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John McGann
From:
Boston, Massachusetts, USA * R.I.P.
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Posted 16 Dec 2003 10:36 am
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Cool! The thing is that the 3 note chords tend to be root, 3rd and 7th in some order or other, and some triad inversions like 3 1 5 skipping the 5th string. When you cut out some of those notes, you are really "implying" chords more than "asserting" them.
The other thing is, Freddie is comping in either a small band w/ piano or big band- so the "holes" get filled up mighty fast.
You can't beat Freddie's rhythmic feel. |
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Jody Carver
From:
KNIGHT OF FENDER TWEED
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Good thing you didnt read what I edited