
A foray into the fretboard wizardry of one of the greatest of all time.
Advanced
Intermediate
⢠Unleash the power of the superimposed arpeggio.
⢠Organize advanced language in a guitar-friendly way.
⢠Create excitement and forward motion in your solos.
George Benson is a jack-of-all-trades in the music world. He's known by many as a talented R&B singer and he's floored listeners with his melodic guitar-driven smooth jazz instrumentals, but to me (and my fellow jazz guitar nerds), Benson has all of the qualities that make him one of the greatest straight-ahead jazz guitarists of all time.
He is fiercely swinging, has a fluid command of the jazz/blues language, and possesses some of the fastest fingers in the business.
Influenced by instrumentalists such as Grant Green, Wes Montgomery, and Charlie Parker, Benson has a very deep bag of bebop licks and tricks. This style of jazz improv is notoriously hard to approach on guitar, but Benson's virtuosity lies in the way that he's reworked key elements of the jazz idiom to fit the nature of the guitar. Dense chromatic lines, chordal soloing, and blazing triplets sound and feel as natural as an A minor pentatonic scale using his intuitive ways of organizing the fretboard.
Ex. 1 is an excerpt from one of my favorite Benson solos, "I'll Drink to That," a blues in F off of organist Jimmy Smith's classic 1982 release Off the Top. Benson blazes through some otherworldly double-time ideas that almost knocked me out of my chair when I first heard them. This lick is textbook Benson: a muscular barrage of 16th-notes packed with superimposed arpeggios, sinewy chromaticism, and a punchy minor pentatonic idea to bring things back home.
The first measure of this lick is straight bebop, with Benson making extended use of the Dm7b5 (DāFāAbāC) and Abmaj7 (AbāCāEbāG) arpeggios on a Bb7 chord. Superimposed arpeggios are often used to emphasize different colors on a chord or tonality, but in this instance, Benson uses it to generate forward linear motion and get from one area of the fretboard to the next.
Benson also utilizes a delayed melodic resolution in the first measure of Ex. 1, landing on a B natural directly on beat two, but immediately resolving it to a Bb by way of a chromatic enclosure. Delayed melodic resolution is a hallmark of the bebop idiom, having been pioneered by Charlie Parker and Bud Powell. The chromaticism in this idea also happens to be symmetrical, with the interval of a minor third anchoring the outside note to the key. Oftentimes without a common interval linking chromaticism together, it can sound random or unorganized. Guitarists like Benson and Pat Martino have employed this symmetrical chromaticism to great lengths, as it not only sounds great, but it feels great and lays out nicely on the fretboard.
George Benson Ex. 1
Ex. 2 gives you an idea of the possibilities of the superimposed arpeggio over a Bb7, and also happens to be similar to a lick that Benson plays in a variety of contexts. The concept is to move through different arpeggios over a given chord and connect to the various arpeggios using scales and chromaticism. In this lick, we're using the arpeggios Abmaj7, Dm7b5, and Fm7 (FāAbāCāEb) over a Bb7. The superimposed arpeggios also give you an idea of what other harmonies you can use this lick over: Bb7, Dm7b5, Fm7, and Bb7 are all interchangeable.
The picking directions for Ex. 2 will also include some insight into how Benson groups lines on the fretboard to work in favor of his right hand. A lot of times, he'll begin each string with a downstroke and end each string with an upstroke, a system that a lot of speedy pickers have favored. But when playing arpeggios like we see in this example, Benson will utilize short downward sweeps to execute them confidently and not run into any right-hand "hiccups."
George Benson Ex. 2
I demonstrate more symmetrical chromaticism over a Bb7 in Ex. 3. This lick uses descending minor thirds to connect chromatically from Bb to Ab, and then descending major thirds to connect chromatically from D to C. Gaining fluidity with this concept will really open up the bebop sound in your playing and will help thread together longer lines.
George Benson, Ex. 3
I think that one of the coolest things about Benson's original lick is how he slips into a greasy minor pentatonic run in the second measure. This is a masterful display of bridging the gap between bebop and blues: two styles that are like bread and butter in the hands of a masterful jazz guitarist.
Ex. 4 shows another way of injecting blues into your bebop playing (or vice-versa). This time we start with an F blues scale run, which seamlessly transitions into a more bebop-oriented idea with chromatic approaches targeting Bb7 chord tones. The logic that ties these two worlds together is melodic voice leading. This essentially means that we're looking for areas where we can connect the two ideas (the blues scale and bebop derived ideas) using the least motion possible. To accomplish this type of voice leading, it's important to understand the shared notes between sets of scales, arpeggios, chordsāwhatever it is you're trying to voice lead between.
George Benson Ex. 4
This next example is one of my favorite ways that Benson commandeered a concept that is not typically guitar-friendly: soloing with chords (Ex. 5). Chord soloing, especially at any tempo faster than a ballad, is usually best left to the pianists. The nature of the guitar makes it very difficult to shift around different chord shapes quickly, but Benson remedies this by moving around the same chord shape quickly. By taking a stack of fourths (or a quartal voicing) and using it to harmonize a blues scale melody, Benson creates forward motion and excitement. It's important to note that the only consistent notes from the blues scale are the top notes of each voicing, the bottom and middle notes are usually non-diatonic.
George Benson Ex. 5
Ex. 6 will give you an idea of how you can extend this quartal idea to include more chromaticism. Getting accustomed to using ideas like this on a blues will train your ears to hear bluesy key-center based chordal lines on standards, which provides a nice contrast to strictly playing the changes.
George Benson Ex. 6
In jazz and blues playing, the notes are only half the battle. Playing along to recordings of guitarists like Benson, Wes, and Grant Green will show you how to swing and phrase in a way that's informed by the tradition.
For more great straight-ahead Benson, I'd recommend checking out the albums It's Uptown, Giblet Gravy, Big Boss Band, and my personal favorite, Cookbook. Finally, listen to hear the natural progression of the jazz guitar vocabulary in Benson's behemoth of a solo on the tune "Ready and Able."
- Ibanez GB300 George Benson Signature Guitar Review āŗ
- George Benson: Still the Coolest of Cats āŗ
- Wong Notes Episode 10: George Benson | Premier Guitar āŗ
- Remembering Pat Martino (1944ā2021) - Premier Guitar āŗ
- George Benson: āThereās Always More to Be Discoveredā - Premier Guitar āŗ
Guest picker Ally Venable
Blues rocker Ally Venable joins PGās editors to imagine what their dream late-night band would sound like.
Question: Whatās your dream late-night show band?
Ally Venable - Guest Picker
By FifthLegend from Eagan, Minnesota, United States of America - Thundercat, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=70617212
A: For my late-night show's house band, Iāve assembled a dream team. This ensemble inspires me with their unparalleled musical talents and diverse backgrounds. Chris Laytonās drumming is unmatched and he will provide a solid foundation. Iāll have Jon Batiste on keys. His creativity and energy is boundless. Eric Gales would be on guitar. I love how emotive his music is, and I strive for that type of connection within my playing as well. Finally, Iād have Thundercat on bass. His playing is infused with jazz and funk sensibilities that would tie the whole sound together in an interesting way.
Obsession: My current obsession is shifting my approach to playingāfocusing on connection over applause. Instead of chasing technical perfection or crowd reactions, Iām leaning into the emotional and spiritual side of music. Itās about creating moments that resonate deeply, whether itās with myself, my bandmates, or the audience.
David Saenger - Reader of the Month
A: I love the idea of supergroups and how each of the players would interact. On guitars I would have Nuno Bettencourt (Extreme) and Isaiah Sharkey. My drum and bass combo would be Stewart Copeland (The Police) and Mohini Dey. On keys and sax, I would have Herbie Hancock and Joshua Redman. My male and female vocalists would be Corey Glover (Living Colour) and Liv Warfield (Prince). All of these players are fantastic improvisers and really know how to put on an entertaining show in any genre.
Bassist Victor Wooten
Obsession: My current obsession has been bass. My 12-year-old daughter started playing electric and upright bass about two years ago, and itās been a blast working with her. Iāve been really focusing on having a solid pocket, and itās forced me to get better at reading bass clef. Iām taking her to see Victor Wooten next week. Canāt wait!
Jason Shadrick - Managing Editor
Jason Shadrick on the SNL stage.
A: The natural move would be to go for a high-energy party band decked out with multiple keyboards, horns, and vocalists. Iād go a different route. Iād go for a more rootsy vibe with Blake Mills leading a band consisting of Jay Bellerose on drums, esperanza spalding on bass, Bob Reynolds on saxophones, and a rotating guest each week. They could cover lo-fi Americana, funky open-tuned blues, and so much more.
Obsession: This month is slightly less obsession and more reflection as this will be my last issue as Managing Editor for PG. Over the last 15 years Iāve worked on 182 issues, which is kinda mind-boggling. Iāve been lucky enough to do some incredible things during my time at PG, including walking through the host door at SNL and spending a few minutes with Brian May. Never could have imagined it. I am very grateful.
Nick Millevoi - Senior Editor
A: Iāve long said that joining one of the late night bands would probably be my absolute top dream gig. So, if I were choosing my own late-night band, from any era, I would go no further than getting a chance to sit with Paul Schaffer and the Worldās Most Dangerous Band or G.E. Smith-era Saturday Night Live Band.
Obsession: The late guitarist Jef Lee Johnson, who spent time in Schafferās band, had a heavy resume that included stars of all genres from Billy Joel to the Roots to McCoy Tyner. I got to see him play some low-key gigs around Philly, and each rearranged my molecules. Itās only now, years after his 2013 death, that Iāve become obsessed with his discography. Though much of his work was as a high-level sideman, his albums show the broad range of this masterful guitarist, whose tone, feel, and phrasing conveyed the instrumentās deepest emotional capabilities.
At its core is GTRSā upgraded G151 intelligent system, offering 128 onboard effects, MNRS amp and cab sims, and even 17 guitar emulationsāexclusive to this model. Everything is controlled via the eye-catching Super Knob, which changes color to match your preset, as well as through the Bluetooth-connectible GTRS app.
GTRSā W902 features select tonewoods and construction: an alder body, poplar burl top, and a sleek bolt-on 5-piece neck made from roasted flame maple and rosewood, with satin natural finish and a rosewood fingerboard. The fanned fret design features 24 white copper frets and a stainless zero fret. A pair of GTRS Alnico V pickups and an HL-II bridge deliver a resonant tone, made particularly versatile thanks to the 5-way tone switch and tone knob.
The W902 offers a truly innovative choice for tech-savvy guitarists. Its features include a wireless transmitter, OTG recording, an 80-second looper, metronomes, and a drum machine, the app-supported guitar boasts up to 12 hours of playtime on a single charge (9 hours with the wireless transmitter in use).
The W902 is an upgraded version of the original W900 Intelligent Guitar, and the W902 most notably features an upgraded GTRS Intelligent Processor System, the G151, which even offers upgrades over the GTRS SL810's recently announced G150 system. The G151 system comes with a staggering 128 effects pre-installed, along with 10 of both MOOER's in-house MNRS amp and cabinet simulation profiles. Exclusive to the W902, the G151 system even includes 17 guitar simulation effects, allowing guitarists to emulate the tonal resonance of some of their favorite guitars.
To activate and browse through presets within the G151 system, which can be connected via Bluetooth 5.0, guitarists can use the guitar's Super Knob, which lights up in different LED colors depending on which preset is activated. Of course, users are able to get stuck into and edit the effects chains of presets through the GTRS app, enabling them to craft their own favorites through their mobile device. The guitar still functions without the G151 system; the Super Knob just needs to be turned off, and the W902 is usable as a regular electric guitar.
Within the GTRS app, there is even an 80-second looper, 10 metronomes, and 40 drum machine grooves built in, providing users with an all-in-one suite for guitar practice and composition. This is especially the case when combined with the W902's OTG-recording support, enabling on-the-go recording without the need for a hardware recording setup.
The W902 comes bundled with a GTRS Deluxe gig bag, three guitar wrenches, a USB 3.0 cable for charging, and a user manual. The guitar even contains a wireless transmitter and an integrated 4000mAh Li-ion battery, providing up to 12 hours of continuous use (9 hours with the transmitter in use), allowing users to enjoy the G151 system through headphones or an amplifier.
Guitarists who want to experiment further with the W902ās technology can connect the intelligent system to the GTRS GWF4 wireless footswitch, which is ideal for switching between presets in live scenarios when control through a mobile device isn't practical.
GTRS W902 Guitar construction features:
- Alder Body, 5-Piece Selected Roasted Flame Maple and Rosewood Neck with Satin Natural Finish (C-Shape)
- Bolt-on neck, 25-1/2" scale length, with dual action steel truss rod
- Rosewood fingerboard, 12ā radius, 24 white copper (0 fret stainless) fanned frets
- Built-in wireless transmitter
- Super Knob, Volume Control Knob, and Tone Knob, 3-way tone-selection switch
- GLB-P1 Li-ion Battery (4000mAh, up to 12 hours of continuous use, 9 hours with the wireless transmitter in use)
- USB port for charging and OTG recording
- GTRS Deluxe gig bag, 3 guitar wrenches
GTRS G151 Intelligent Guitar System features:
- GTRS G151 Intelligent Processing System (and GTRS App)
- 128 effects, 10 MNRS amp (GNR) and cabinet (GIR) simulation models
- 17 guitar simulations
- 80-second looper, 40 drum machine grooves, 10 metronomes
- Bluetooth 5.0 connectivity
- GTRS GWF4 wireless footswitch support (sold separately)
The GTRS W902 is now available worldwide. For more information visit www.gtrs.tech.
Detail of Tedās 1997 National resonator tricone.
What instruments should you bring to an acoustic performance? These days, with sonic innovations and the shifting definition of just what an acoustic performance is, anything goes.
I believe it was Shakespeare who wrote: āTo unplug, or not to unplug, that is the question. Whether ātis nobler in the mind to suffer the slings and arrows of acoustic purists, or to take thy electric guitar in hand to navigate the sea of solo performing.ā
Four-hundred-and-twenty-four years later, many of us still sometimes face the dilemma of good William when it comes to playing solo gigs. In a stripped-down setting, where itās just us and our songs, do we opt to play an acoustic instrument, which might seem more fittingāor at least more common, in the folksinger/troubadour traditionāor do we bring a comfy electric for accompaniment?
For me, and likely many of you, it depends. If Iām playing one or two songs in a coffeehouse-like atmosphere, Iām likely to bring an acoustic. But if Iām doing a quick solo pop up, say, as a buffer between bands in a rock room, Iām bringing my electric. And when Iām doing a solo concert, where Iāll be stretching out for at least an hour, itās a hybrid rig. Iāll bring my battered old Guild D25C, a National tricone resonator, and my faithful Zuzu electric with coil-splitting, and likely my gig pedalboard, or at least a digital delay. And each guitar is in a different tuning. Be prepared, as the Boy Scouts motto states. (For the record, I never made it past Webelos.)
My point is, the definition of the āacousticā or ācoffeehouseā performance has changed. Sure, there are still a few Alan Lomax types out there who will complain that an electric guitar or band is too loud, but they are the last vestiges of the folk police. And, well, acoustic guitar amplification is so good these days that Iāve been at shows where each strum of a flattop box has threatened to take my head off. My band Coyote Motel even plays Nashvilleās hallowed songwriter room the Bluebird CafĆ© as a fully electric five-piece. Whatās key, besides a smart, flexible sound engineer, is controlling volume, and with a Cali76 compressor or an MXR Duke of Tone, I can get the drive and sustain I need at a low level.
āMy point is, the definition of the āacousticā or ācoffeehouseā performance has changed.ā
So, today I think the instruments that are right for āacousticā gigs are whatever makes you happiest. Left to my own devices, I like my Guild for songs that have a strong basis in folk or country writing, my National for blues and slide, and my electric for whenever I feel like adding a little sonic sauce or showing off a bit, since I have a fluid fingerpicking hand that can add some flash to accompaniment and solos. Itās really a matter of what instrument or instruments make you most comfortable because we should all be happy and comfortable onstageāwhether that stage is in an arena or theater, a club or coffeehouse, or a church basement.
At this point, with instruments like Fenderās Acoustasonic line, or piezo-equipped models from Godin, PRS, and others, and the innovative L.R. Baggs AEG-1, itās worth considering just what exactly makes a guitar acoustic. Is it sound? In which case thereās a wide-open playing field. Or is it a variation on the classic open-bodied instrument that uses a soundhole to move air? And if we arrive at the same end, do the means matter? There is excellent craftsmanship available today throughout the entire guitar spectrum, including foreign-built models, so maybe we can finally put the concerns of Shakespeare to rest and accept that āacousticā has simply come to mean ālow volume.ā
Another reason Iām thinking out loud about this is because this is our annual acoustic issue. And so weāre featuring Jason Isbell, on the heels of his solo acoustic album, a piece on how acoustic guitars do their work authored by none other than Lloyd Baggs, and Andy Fairweather Low, whose new solo albumāand illustrious careerāincludes exceptional acoustic performances. If youāre not familiar with his work, and you are, even if you donāt know it, he was the gent sitting next to Clapton for the historic 1992 Unplugged concertāand lots more. There are also reviews of new instruments from Taylor, Martin, and Godin that fit the classic acoustic profile, so dig in, and to heck with the slings and arrows!Ernie Ball, the worldās leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayerās exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projectionāmaking them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
āEarthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. Theyāre great in any musical setting but really shine when played solo. Thereās an orchestral quality to them.ā -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze