How’s it going guys. This is John McClennan
and I’m here with guitarcontrol.wpmudev.host, bringing
you this video blog. What we’re talking about
today is Freddie Green style chord voicings
over just a 12 bar blues, a jazz blues.
One of the things that makes a blues a little
different, a jazz blues, I mean, there are so
many different variations to the changes as
opposed to maybe a traditional blues that you
may be used to, like… That kind of thing.
Instead of the V chord down to the IV chord.
You do what’s called a II V I. That, in the
key of B flat, which is what key we’re in
right now, is going to be a C minor 7 to an
F7 to a B flat 7.
Anyways, we’re going to go over all the chords
right now from the top. If you’re confused, be
sure to click the link below for the tab.
But here we go.
So we’ve got B flat 7 and we’re got 6th fret,
6th fret, 7th fret, just those three notes and,
again, our strumming is just like a real solid
quarter note. One, two, three, four, this kind
Again, I’m just dampening all the other strings,
muting so I don’t hear the strings ringing open
in there. But it’s just a really tight sound,
The next chord is going to be an E flat 7 and
that’s going to be 6th fret, 5th fret, 6th fret.
Notice I keep the B flat in the bass. So this
chord is rootless. Again, in the jazz idiom
bass players are going to like you when you’re
playing rootless voicings because they’ll just
play the bass note for you so you get to play
all the cool ones. one, two, three, four.
That’s our first four bars. Then we go to the
E flat for two bars, back to B flat. And we’re
going to go to a C minor 7 which is now moving
to the 8th, 8th, 8th, those are the frets there,
8, 8, 8. C minor 7 with the root here and then
the F7 is going to be exactly the same as our
E flat 7 chord, but now up a whole step. So my
second finger, which again, doesn’t have the root
in it because we’re coming from this chord is going
to have the C in the bass. So I’ve got 8, 7, 8.
And then for the end, I’m going to do what’s called
a I VI II V, which is a typical jazz turnaround chord
progression. So that’s going to go from a B flat 7
for two strums, I’m going to move that to the 3rd
fret for two strums then I’m going to go up and do
the C minor and F7. Here’s the top.
Cool, so fun stuff. Practice that with a metronome
and again just solid quarter note strums. Learn the
chord voicings, click the link below for the tab and
we’ll catch you in the next lesson. I hope this helps.