The Guitar Style of George Benson (Artist Transcriptions)

I think that you will hear how this contributes to a very melodic and, in the end, cantabile or singable sensibility.

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Bars of the section see him using, what I would describe as, a broken-octaves technique, as he slowly and deliberately descends chromatically from his high Ab all the way down to his landing point, a C-natural, as the Fm7 chord arrives in bar 9. As the V7 chord Bb7 arrives, he uses another linear turn to surround his target note of Ab with both Bb above and G-natural below. It's interesting that, as he moves towards the Dbmaj7 chord in bar 11, only one tone, F-natural, is in that scale, E-natural and G-natural do not appear in the scale.

From there, in bars , all the notes are related more to the sense of C7 alt. As he cadences to Fmaj7, you hear his first usage of the Lydian mode as a B-natural 4 appears in bars 13 and In bars , George again emphasizes both G and Ab as he did in bar of [ A ], he then descends using the lower chromatic neighbors to the chord tones from G7 5, those being: But, as the chord is about to change to Bbm7, the final note of that phrase, a C-natural, is also the 9th of Bbm7, so the presence of B-natural passes by virtually unnoticed. As I had originally done this transcription during my last couple of years ''69 at U.

It is particularly difficult because, even with technological help, some notes are obscured by the presence of Ron Carter's bass, Johnny Pacheco's conga, and Billy Cobham's bass drum. So, you might well hear something differently. The double-time passage begins at bar 3, and sees George, after that breath, playing into the Eb7 bar with a similar Montgomery-esque Bbm9th arpeggio passage involving two little Jazz phrasing mannerisms, ornaments on beats 1 and 2. On beat 1, to execute this typical horn-oriented phrase, it's so hard for me to imagine doing this without using your pinky, but he does it somehow!

On beat 2, the triplet that descends down a Db triad involves a down or back-stroked sweep. As the bar comes to a close, he puts to use the traditional alterations of the 9 Gb and b9 Fb as part of a pattern that might sound reminiscent to some of you as related to the diminished scale. When Abmaj7 arrives in bar 5, he surrounds the 3rd C with another very traditional Jazz line configuration: The key is come up to the 3rd chromatically from a whole-step below.

You'll find players on all instruments using this particular linear device. From the midway point in bar 5 through the 1st half of bar 6, he descends from his C-natural on the high E-string at the 8th fret, eventually arriving at Ab root , with the only chromaticism in this descent happening between F-E-Eb. This all makes perfect sense because he's not using his 4th finger. After an Ab triad on beat 3 of bar 6, he anticipates the coming chords Dm7b5-G7 alt.

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In bar 7, on beat 2, the grouping of 6-notes over one beat is also a significant phrasing device, easy enough to do with a slur and one picked stroke utilizing all four fingers! But using only 3? That would certainly be tough for me. At beat 3 of bar 8, he begins to make the transition to the im7 chord Cm7 , finally arriving there on beat 1 of bar 13 with a nice pentatonic line where that 1st beat sounds like G minor pentatonic G, Bb, C, D , F to me, because of the presence of D-natural.

And this double-time flurry finally ends on the root, C-natural on beat 3. George takes another breath over the Bbm7-Eb7 in bar Benson approaches the final Dm7b5-G7 alt. This comes after some rhythmic uncertainty is resolved by his accompanists. Over bar 12, the G7 alt. During bars , he treats the Cmaj7 just as he has done each time before. There are the expected bluesy references, though here he does use the blue note Eb which appears in bar 13, an F appears in bar 14, and finally in bar 15, we have the kind of double-stop, keyboard-like interval, that we have come to expect from George Benson.

He holds a C-natural on top, and plays the blues underneath it with Gb-F-Eb. It's all beautifully done with soul and grace, and he winds down in the last bars heading towards a final C-natural as he decrescendos in volume. One last reminder, notice how he precedes the E-natural, the major 3rd of C major, with the grace note D. If you don't learn to do such things, especially in a Jazz setting, you are going to sound very bland and ordinary!

Perhaps it is again that time to quote Miles Davis when he said something like this: Lucky for me, I grew-up in a home where all the great standards were playing on the stereo virtually all the time. So, even if I didn't want to know them, those lyrics were just engrained in my mind and psyche, and have remained there.

Recorded in , with the most spectacular arrangements by Nelson Riddle , my father always referred to this album, and the choice of material, all songs of loss and great heartbreak, as Sinatra's Ava Gardner album, as their relationship, marriage had ended in divorce in So, a song as deep and as full of emotion as "What's New?

The Guitar Style of George Benson

How great was lyricist Johnny Burke? All those incredible standards written with Jimmy Van Heusen, and then, there is this one too, written with Bob Haggart. Now, take a moment, read the lyrics, or, better yet, listen to the Sinatra version, and follow along with the lyrics. That should demonstrate, beyond any doubt why this is considered such a wonderful song, and is and will be interpreted and reinterpreted constantly.

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George Benson - The Art of Jazz Guitar

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I do not suggest this book at all, [ Excellent for learning the signature licks but really one feels like the book should have had the entirety of the songs. It only has parts of the song and some songs have only the solo. This book would have been great if it would have been complete and throwing in This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties.

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Please see our Privacy Policy for details. Jazz George Benson Style. Published by Lick Library Published by Hal Leonard Published by Hot Licks Published by Alfred Music. Smooth Soul, Jazz Fusion and Instructional. Standard guitar notation, guitar tablature, chord names, instructional text and introductory text. Published by Hal Leonard" Arranged by Gordon Goodwin.

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