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(MED. SWING ♩=80 )
29
Jazz Piano · Blues Comp Styles
Blues Freddie Green
Four-to-the-bar three-note guitar comp, twelve keys
Play exercise
Freddie Green was Count Basie's rhythm guitarist for
fifty years. His comping was so steady and so harmonically dense
that whole sections of swing rhythm hung on it. The technique:
damped three-note voicings played on every beat, dry and
percussive. Green's guitar grips were root-based; the piano
transfer here goes rootless — 3-♭7-9, with the LH supplying
the root underneath.
Transferred to piano, it becomes a four-on-the-floor LH bass
plus tight RH chord stabs on every beat — twelve bars, four hits
per bar, no rest. Most useful behind a soloist or in a piano-bass
duo where the pianist becomes the rhythm section.
Both hands LH bass + RH 3-note chord, on every quarter
Form I⁷ IV⁷ I⁷ I⁷ | IV⁷ IV⁷ I⁷ I⁷ | V⁷ IV⁷ I⁷ V⁷
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7
The Daily Drill
Learn the feel
5 min Play one key very slowly. Internalise where each hit lands in the bar. Feel the rhythmic shape — that's what defines this style. 15 min Cycle three keys at a time. The shape is the same; only the transposition changes. Pay attention to how black-key starts shift the hand position. 8 min Apply: pick a blues you know (Now's the Time , Billie's Bounce , Tenor Madness ) and play this comping style behind a recorded soloist. 3 min Cycle through all twelve keys without stopping. The blues form is one chorus; twelve choruses lets you experience the style in every key.
Four chords per bar, twelve bars, dry as a snare. The Count Basie rhythm guitar in piano.