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 (D–F–Ab–C) and Abmaj7 (Ab–C–Eb–G) 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 (F–Ab–C–Eb) 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, chords—whatever 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."
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Intermediate
Intermediate
• Learn classic turnarounds.
• Add depth and interest to common progressions.
• Stretch out harmonically with hip substitutions.
Get back to center in musical and ear-catching ways.
A turnaround chord progression has one mission: It allows the music to continue seamlessly back to the beginning of the form while reinforcing the key center in a musically interesting way. Consider the last four measures of a 12-bar blues in F, where the bare-bones harmony would be C7-Bb7-F7-F7 (one chord per measure). With no turn around in the last two measures, you would go back to the top of the form, landing on another F7. That’s a lot of F7, both at the end of the form, and then again in the first four bars of the blues. Without a turnaround, you run the risk of obscuring the form of the song. It would be like writing a novel without using paragraphs or punctuation.
The most common turnaround is the I-VI-ii-V chord progression, which can be applied to the end of the blues and is frequently used when playing jazz standards. Our first four turnarounds are based on this chord progression. Furthermore, by using substitutions and chord quality changes, you get more mileage out of the I-VI-ii-V without changing the basic functionality of the turnaround itself. The second group of four turnarounds features unique progressions that have been borrowed from songs or were created from a theoretical idea.
In each example, I added extensions and alterations to each chord and stayed away from the pure R-3-5-7 voicings. This will give each chord sequence more color and interesting voice leading. Each turnaround has a companion solo line that reflects the sound of the changes. Shell voicings (root, 3rd, 7th) are played underneath so that the line carries the sound of the written chord changes, making it easier to hear the sound of the extensions and alterations. All examples are in the key of C. Let’s hit it.
The first turnaround is the tried and true I-VI-ii-V progression, played as Cmaj7-A7-Dm7-G7. Ex. 1 begins with C6/9, to A7(#5), to Dm9, to G7(#5), and resolves to Cmaj7(#11). By using these extensions and alterations, I get a smoother, mostly chromatic melodic line at the top of the chord progression.
Ex. 2 shows one possible line that you can create. As for scale choices, I used C major pentatonic over C6/9, A whole tone for A7(#5), D Dorian for Dm9, G whole tone for G7(#5), and C Lydian for Cmaj7(#11) to get a more modern sound.
The next turnaround is the iii-VI-ii-V progression, played as Em7-A7-Dm7-G7 where the Em7 is substituted for Cmaj7. The more elaborate version in Ex. 3 shows Em9 to A7(#9)/C#, to Dm6/9, to G9/B, resolving to Cmaj7(add6). A common way to substitute chords is to use the diatonic chord that is a 3rd above the written chord. So, to sub out the I chord (Cmaj7) you would use the iii chord (Em7). By spelling Cmaj7 = C-E-G-B and Em7 = E-G-B-D, you can see that these two chords have three notes in common, and will sound similar over the fundamental bass note, C. The dominant 7ths are in first inversion, but serve the same function while having a more interesting bass line.
The line in Ex. 4 uses E Dorian over Em9, A half-whole diminished over A7(#9)/C#, D Dorian over Dm6/9, G Mixolydian over G9/B, and C major pentatonic over Cmaj7(add6). The chord qualities we deal with most are major 7, dominant 7, and minor 7. A quality change is just that… changing the quality of the written chord to another one. You could take a major 7 and change it to a dominant 7, or even a minor 7. Hence the III-VI-II-V turnaround, where the III and the VI have both been changed to a dominant 7, and the basic changes would be E7-A7-D7-G7.
See Ex. 5, where E7(b9) moves to A7(#11), to D7(#9) to G7(#5) to Cmaj9. My scale choices for the line in Ex. 6 are E half-whole diminished over E7(#9), A Lydian Dominant for A7(#11), D half-whole diminished for D7(#9), G whole tone for G7(#5), and C Ionian for Cmaj9.
Ex. 7 is last example in the I-VI-ii-V category. Here, the VI and V are replaced with their tritone substitutes. Specifically, A7 is replaced with Eb7, and G7 is replaced with Db7, and the basic progression becomes Cmaj7-Eb7-Dm7-Db7. Instead of altering the tritone subs, I used a suspended 4th sound that helped to achieve a diatonic, step-wise melody in the top voice of the chord progression.
The usual scales can be found an Ex. 8, where are use a C major pentatonic over C6/9, Eb Mixolydian over Eb7sus4, D Dorian over Dm11, Db Mixolydian over Db7sus4, and once again, C Lydian over Cmaj7(#11). You might notice that the shapes created by the two Mixolydian modes look eerily similar to minor pentatonic shapes. That is by design, since a Bb minor pentatonic contains the notes of an Eb7sus4 chord. Similarly, you would use an Ab minor pentatonic for Db7sus4.
The next four turnarounds are not based on the I-VI-ii-V chord progression, but have been adapted from other songs or theoretical ideas. Ex. 9 is called the “Backdoor” turnaround, and uses a iv-bVII-I chord progression, played as Fm7-Bb7-Cmaj7. In order to keep the two-bar phrase intact, a full measure of C precedes the actual turnaround. I was able to compose a descending whole-step melodic line in the top voice by using Cmaj13 and Cadd9/E in the first bar, Fm6 and Ab/Bb in the second bar, and then resolving to G/C. The slash chords have a more open sound, and are being used as substitutes for the original changes. They have the same function, and they share notes with their full 7th chord counterparts.
Creating the line in Ex. 10 is no more complicated than the other examples since the function of the chords determines which mode or scale to use. The first measure employs the C Ionian mode over the two Cmaj chord sounds. F Dorian is used over Fm6 in bar two. Since Ab/Bb is a substitute for Bb7, I used Bb Mixolydian. In the last measure, C Ionian is used over the top of G/C.
The progression in Ex. 11 is the called the “Lady Bird” turnaround because it is lifted verbatim from the Tadd Dameron song of the same name. It is a I-bIII-bVI-bII chord progression usually played as Cmaj7-Eb7-Abmaj7-Db7. Depending on the recording or the book that you check out, there are slight variations in the last chord but Db7 seems to be the most used. Dressing up this progression, I started with a different G/C voicing, to Eb9(#11), to Eb/Ab (subbing for Abmaj7), to Db9(#11), resolving to C(add#11). In this example, the slash chords are functioning as major seventh chords.
As a result, my scale choices for the line in Ex. 12 are C Ionian over G/C, Eb Lydian Dominant over Eb9(#11), Ab Ionian over Eb/Ab, Db Lydian Dominant over Db9(#11), and C Lydian over C(add#11).
The progression in Ex. 13 is called an “equal interval” turnaround, where the interval between the chords is the same in each measure. Here, the interval is a descending major 3rd that creates a I-bVI-IV-bII sequence, played as Cmaj7-Abmaj7-Fmaj7-Dbmaj7, and will resolve a half-step down to Cmaj7 at the top of the form. Since the interval structure and chord type is the same in both measures, it’s easy to plane sets of voicings up or down the neck. I chose to plane up the neck by using G/C to Abmaj13, then C/F to Dbmaj13, resolving on Cmaj7/E.
The line in Ex. 14 was composed by using the notes of the triad for the slash chord and the Lydian mode for the maj13 chords. For G/C, the notes of the G triad (G-B-D) were used to get an angular line that moves to Ab Lydian over Abmaj13. In the next measure, C/F is represented by the notes of the C triad (C-E-G) along with the root note, F. Db Lydian was used over Dbmaj13, finally resolving to C Ionian over Cmaj7/E. Since this chord progression is not considered “functional” and all the chord sounds are essentially the same, you could use Lydian over each chord as a way to tie the sound of the line together. So, use C Lydian, Ab Lydian, F Lydian, Db Lydian, resolving back to C Lydian.
The last example is the “Radiohead” turnaround since it is based off the chord progression from their song “Creep.” This would be a I-III-IV-iv progression, and played Cmaj7-E7-Fmaj7-Fm7. Dressing this one up, I use a couple of voicings that had an hourglass shape, where close intervals were in the middle of the stack.
In Ex. 15 C6/9 moves to E7(#5), then to Fmaj13, to Fm6 and resolving to G/C. Another potential name for the Fmaj13 would be Fmaj7(add6) since the note D is within the first octave. This chord would function the same way, regardless of which name you used.
Soloing over this progression in Ex. 16, I used the C major pentatonic over C6/9, E whole tone over E7(#5), F Lydian over Fmaj13, and F Dorian over Fm6. Again, for G/C, the notes of the G triad were used with the note E, the 3rd of a Cmaj7 chord.
The main thing to remember about the I-VI-ii-V turnaround is that it is very adaptable. If you learn how to use extensions and alterations, chord substitutions, and quality changes, you can create some fairly unique chord progressions. It may seem like there are many different turnarounds, but they’re really just an adaptation of the basic I-VI-ii-V progression.
Regarding other types of turnarounds, see if you can steal a short chord progression from a pop tune and make it work. Or, experiment with other types of intervals that would move the chord changes further apart, or even closer together. Could you create a turnaround that uses all minor seventh chords? There are plenty of crazy ideas out there to work with, and if it sounds good to you, use it!
Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
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Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
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Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
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Tetrarch's Diamond Rowe Unveils Her New Signature Pro Series DR12MG EVTN6 | Jackson Guitars - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Jackson Pro Series Signature Diamond Rowe Electric Guitar - Dark Rose
