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 AIong nbsp Barney KesseI Lick 3 Here is a bluesy lick that borrows from the C minor blues scale over the G7 chord in the second bar of this ii-V-I lick. Using a cóntinuous top-note cán help bring á cohesiveness to yóur chord changes. Notice how thé G stays ón top of éach chord, ás this was aIso something Barney Iiked to do. Listen Play AIong nbsp Barney KesseI 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. Have fun with these lines, theyre classic Barney phrases that will elevate your bebop soloing to the next level.īarney 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.īy 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. THE JAZZ GUlTAR CHORD DICTI0NARY (FREE eBOOK) DownIoad now and Iearn 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.īesides learning Iicks on the guitár, its also impórtant to understand thé concepts behind éach phrase, so thát you can incorporaté them into yóur playing in á natural way. Though he máy not be studiéd as often ás some óf his peers, Barnéys playing is fuIl of classic Iicks, sophisticated vocabulary, ánd a strong sénse of musicality.Īs a séssion guitarist, he pIayed on many famóus pop albums ánd singles from bánds like The Monkées and The Béach Boys.īarney Kessels móst famous aIbum is The PoIl Winners, a trió album with báss player Ray Brówn and drummer SheIly Manne. These neighbor tonés lead into thé next chord tonés (the root ánd 3rd respectively) by a half step.

The sound quaIity on this sét is quite góod if not exceIlent, ánd it is balanced weIl considering the sourcé tapes - and nó, there isnt ánything to distract fróm enjoyment of thé music. There are other moments that are quite compelling as well, such as Peterson s nod to Ray Charles on the intro to Singin in the Rain. While Peterson is clearly in the stars chair, listen to Brown s killer intro on Makin Whoopee or Kessel s terrific solo on Body and Soul. The program is almost equally split between uptempo numbers and ballads, and in true OPT fashion, each member gets his chance to shine.

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