He is particularly known for its chords knowledge and inversions.He drew his inspiration from the instrumental practices of Charlie Christian.He was a member of many jazz groups as well as a first call guitarist for studio, film, and television recording sessions.
These neighbor tones lead into the next chord tones (the root and 3rd respectively) by a half step. Barney Kessel 1952 Transcriptions Full Of ClassicThough he may not be studied as often as some of his peers, Barneys playing is full of classic licks, sophisticated vocabulary, and a strong sense of musicality. Born in 1923 he started his career by playing in big bands, like the one of Artie Shaw for example. As a session guitarist, he played on many famous pop albums and singles from bands like The Monkees and The Beach Boys. Barney Kessels most famous album is The Poll Winners, a trio album with bass player Ray Brown and drummer Shelly Manne. Another famous Barney Kessel album is Great Guitars, an all-guitar band with Herb Ellis and Charlie Byrd. Barney Kessel 1952 Transcriptions Download Now AndTHE JAZZ GUITAR CHORD DICTIONARY (FREE eBOOK) Download now and learn 244 chord shapes DOWNLOAD PDF In this lesson, you will break down Barney Kessels soloing concepts, learning nine licks and an entire solo along the way. Besides learning licks on the guitar, its also important to understand the concepts behind each phrase, so that you can incorporate them into your playing in a natural way. Have fun with these lines, theyre classic Barney phrases that will elevate your bebop soloing to the next level. Barney Kessel Lick 1 This Barney Kessel lick uses an interesting harmonic choice that he liked to use in his lines, the B triad over Gm7 in the second bar: B Triad B D F Played over Gm7 3 b6 7 Here, Barney is outlining the notes B-D(Eb)-F over Gm7, but then resolving it to the more inside note F at the start of the next bar. By playing Bb-A-G-F, Barney is delaying the resolutions of that F by two beats, allowing him to extend his line in the process. Listen Play Along nbsp Barney Kessel Lick 2 Barney was a fan of big, 5-note chords, and here is an example of Barney-style chord shapes being applied to a ii-V-I-VI chord progression in the key of C major. Notice how the G stays on top of each chord, as this was also something Barney liked to do. Using a continuous top-note can help bring a cohesiveness to your chord changes. Mixing the b3 and 4 ( the blue notes ) into the underlying scale is a quick way to bring a blues sound to any of your lines, and something that you can find in Barneys classic recordings. Listen Play Along nbsp Barney Kessel Lick 4 Barney was a fan of the Honeysuckle Rose lick that you can hear in the first 6 beats of the lick below. This lick, based on the opening line of the jazz standard Honeysuckle Rose, runs down from the root of the V7 chord, before playing the iim triad from that chord up to the resolving note A. Listen Play Along nbsp Barney Kessel Lick 5 This lick uses a descending scale pattern, which features an ascending interval as it moves down the underlying scale fingering. This type of pattern is characteristic of not only Barneys soloing but of other players from the late Swing and Bebop era as well. Listen Play Along nbsp Barney Kessel Lick 6 This blues lick uses the bebop scale in the opening phrase. From there, Barney uses a b13 interval to create tension over the Bb7 chord before bringing it back inside over Eb7. Over the Eb7, youll see a Gm7 arpeggio used to create a bit of tension. In this case, Barney is still thinking Bb7 over that bar (the first half), as Gm7 is the 13-1-3-5 of Bb7: Gm7 Arpeggio G Bb D F Played over Bb7 13 1 3 5 By delaying the Bb7 chord over the Eb7 chord, Barney creates tension thats released on the 13th of Eb7 (the C at the end of the bar). When playing over any jazz changes, you can delay the chord youre on over the next chord in the progression, as long as you eventually resolve that tension.
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