Organ Chord voicings??? Pog2 related

I recently purchased a Pog2 and I am looking for chord voicings that lend themselves to comping organ like tones. so far Minor chord shapes sound good.
I was thinking 3 or 4 note chord voicings, but not sure.

try just using the third and seventh of each chord

sorry to be dense, not to up on theory, can you give an example?

Use inverted chords and a thin texture. What I mean is if you play a C7 chord, spelled C-E-G-Bb, leave out the C and play the rest of the notes in the chord. By thin texture I mean to voice the chord with only 2 notes if it's a standard triad, or use a 3 note voicing on 7th 9th and other extended chord voicings. Make the motion between chords linear, don't jump all over the fretboard. I play organ lines quite often and this keeps me from stepping on the other guitar players, especially when it's a multi-person jam.

Congrats on the POG2, I really want one but current economics won't allow that at this time. For now I use my trem pedal at near full speed with a flanger for the swirly sound. I usually run my guitar's tone pot all the way down and use the neck pup. It produces a convincing organ sound. G'luk!

Use inverted chords and a thin texture. What I mean is if you play a C7 chord, spelled C-E-G-Bb, leave out the C and play the rest of the notes in the chord. By thin texture I mean to voice the chord with only 2 notes if it's a standard triad, or use a 3 note voicing on 7th 9th and other extended chord voicings. Make the motion between chords linear, don't jump all over the fretboard. I play organ lines quite often and this keeps me from stepping on the other guitar players, especially when it's a multi-person jam.

Congrats on the POG2, I really want one but current economics won't allow that at this time. For now I use my trem pedal at near full speed with a flanger for the swirly sound. I usually run my guitar's tone pot all the way down and use the neck pup. It produces a convincing organ sound. G'luk!


+1

There are clips of Danny gatton on you tube where he does this

Joe Pass' Hot Licks "The Blue Side of Jazz" has great of examples of his "grips" (what he calls voicings) and how he utilizes linear motion.

My favorite rhythm players are Jimmy(s) Smith and McGriff, I learned organ voicing by transcribing this:

http://www.youtube.com/watch?v=DDeg80tVtAM

Watch his right hand when the groove kicks in, the linear voice leading is such that he barely shifts position. This is the key to comping organ licks. Joe Pass does a pretty good job of explaining it in his video.

Hope this helps!

That previous post was great - 3rds and 7ths are often fat enough - but add the 9th or the 6th too - the 13th voicing 7-3-6- without the root note works well.

Also the drop2 voicings used as inversions sound cool for fatter sounds.

Thanks guys. Time to do some woodshedding.

Love me some Jimmy Smith and Dr. Lonnie Smith and like burtonfan my financial situation doesn't exactly allow it... I would check out Jazz-Blues rhythm parts, they seem to translate well like ferguson's all blues for Jazz guitar chords/comping, also check out Rich's bebop blues comping, lots of chords that lend themselves nicely to organ playing. Finally, and it's probably most useful imho is Jazz guitar: Organ Trio Blues

http://www.amazon.com/Jazz-Guitar-Century-Method--Organ-Trio/dp/0757937276/ref=sr_1_4?s=books&ie=UTF8&qid=1334170382&sr=1-4

It has minor/major pentatonic as well as mixed major/minor, blues scale, dominant 7 pentatonic pentatonic chord riffs and chords. Many of them are taken straight from organ riffs from jimmy smith, jimmy mcgriff, lonnie smith etc... Lots of good broken chord forms all over the neck and also single note riffs that work nicely with em and all combinations!

Agree with all of this:

try just using the third and seventh of each chord

Tritones rule for dominant 7th-based blues.

3rds and 7ths are often fat enough - but add the 9th or the 6th too - the 13th voicing 7-3-6- without the root note works well.

Right on. Learn all the little three note implied 6th and 9th inversions up and down the neck on different string sets. Note that the 5th is often omitted from the grips, sometimes the roots.

Joe Pass' Hot Licks "The Blue Side of Jazz" has great of examples of his "grips" (what he calls voicings) and how he utilizes linear motion.

Excellent resource.



Something that often distinguishes "jazzy blues" from roadhouse/rock-style blues is use of I-vi-ii-V turnarounds - or I-VI-II-V... sometimes the ii/II and v/V chords are minor, sometimes dominant, often altered dominant. To make it extra convincing, include a bass line that approaches each new chord from a half step above or below the target root.

Also, you often hear the use of flat V subs on the II and VI chords, which on guitar can make for some easy grabs. For example, this turnaround for a C7 blues with 13 chords (resolution back to the I chord included here):

-8--11--10--9--8--
-10-13--12--11-10-
-9--12--11--10-9--
-8--11--10--9--8--
-X--X---X---X--X--
-X--X---X---X--X--

I used to work with a sound & light crew that did gospel music conventions and competitions. I often heard the "real deal" Hammond players get back to the I chord with embellishments such as this IV-I-ii-I move in E. Note the use of the common tone on top in the voice leading, and that ii chord is a F#-11:

-X--X--X--0-
-5--5--5--0-
-2--4--2--1-
-2--2--2--X-
-0--X--X--X-
-X--4--2--0-

Modern gospel and R&B tunes sometimes use an 11 chord for the V chord. A la Jeff Beck's cover of Curtis Mayfield's "People Get Ready" in D, with an A11 (or G/A if you like), resolution to I included:

-X-X--X-
-3-3--3-
-4-4--2-
-5-5--0-
-X-X--X-
-5-5--X-

For minor blues, you can't go wrong with a color tone of a 9 on top for the i and/or iv chords. V chord is often altered dominant; V7#9 to V7b9 sounds great going back to the i. So in A minor, V could be E7#9 to E7b9. Also, you sometimes first hear a major chord a half step up from the V7 before the V. Again in Am, Fmaj9 to E7#9 to A-7(9 if you like).

In addition to all the organ guys - Smith, McGriff, Joey DeFrancesco, etc. - listen to guitarists such as Wes Montgomery and Kenny Burrell. Grant Green's "Blues in Maude's Flat" sounds awesome with fake organ comping (I first became hip to the tune through Atlanta Rhythm Section's Third Annual Pipe Dream record). As does the head to Miles Davis' "Freddie Freeloader" with the guitar picking up the chords originally played by the three horns.

For now I use my trem pedal at near full speed with a flanger for the swirly sound. I usually run my guitar's tone pot all the way down and use the neck pup. It produces a convincing organ sound.

Yessir, and I did ape that approach from the Gatton video. I use whatever's available for the wiggle, usually trem or fast rate chorus. Of course there are trem, chorus, and rotary sim pedals that ramp up and down which further seals the deal on the Leslie emulation. I like a *slightly* overdriven tone. And for a more convincing emulation, don't flatpick the chords, "claw" them with pick & fingers or thumb & fingers.

Agree with all of this:



Tritones rule for dominant 7th-based blues.



Right on. Learn all the little three note implied 6th and 9th inversions up and down the neck on different string sets. Note that the 5th is often omitted from the grips, sometimes the roots.



Excellent resource.



Something that often distinguishes "jazzy blues" from roadhouse/rock-style blues is use of I-vi-ii-V turnarounds - or I-VI-II-V... sometimes the ii/II and v/V chords are minor, sometimes dominant, often altered dominant. To make it extra convincing, include a bass line that approaches each new chord from a half step above or below the target root.

Also, you often hear the use of flat V subs on the II and VI chords, which on guitar can make for some easy grabs. For example, this turnaround for a C7 blues with 13 chords (resolution back to the I chord included here):

-8--11--10--9--8--
-10-13--12--11-10-
-9--12--11--10-9--
-8--11--10--9--8--
-X--X---X---X--X--
-X--X---X---X--X--

I used to work with a sound & light crew that did gospel music conventions and competitions. I often heard the "real deal" Hammond players get back to the I chord with embellishments such as this IV-I-ii-I move in E. Note the use of the common tone on top in the voice leading, and that ii chord is a F#-11:

-X--X--X--0-
-5--5--5--0-
-2--4--2--1-
-2--2--2--X-
-0--X--X--X-
-X--4--2--0-

Modern gospel and R&B tunes sometimes use an 11 chord for the V chord. A la Jeff Beck's cover of Curtis Mayfield's "People Get Ready" in D, with an A11 (or G/A if you like), resolution to I included:

-X-X--X-
-3-3--3-
-4-4--2-
-5-5--0-
-X-X--X-
-5-5--X-

For minor blues, you can't go wrong with a color tone of a 9 on top for the i and/or iv chords. V chord is often altered dominant; V7#9 to V7b9 sounds great going back to the i. So in A minor, V could be E7#9 to E7b9. Also, you sometimes first hear a major chord a half step up from the V7 before the V. Again in Am, Fmaj9 to E7#9 to A-7(9 if you like).

In addition to all the organ guys - Smith, McGriff, Joey DeFrancesco, etc. - listen to guitarists such as Wes Montgomery and Kenny Burrell. Grant Green's "Blues in Maude's Flat" sounds awesome with fake organ comping (I first became hip to the tune through Atlanta Rhythm Section's Third Annual Pipe Dream record). As does the head to Miles Davis' "Freddie Freeloader" with the guitar picking up the chords originally played by the three horns.



Yessir, and I did ape that approach from the Gatton video. I use whatever's available for the wiggle, usually trem or fast rate chorus. Of course there are trem, chorus, and rotary sim pedals that ramp up and down which further seals the deal on the Leslie emulation. I like a *slightly* overdriven tone. And for a more convincing emulation, don't flatpick the chords, "claw" them with pick & fingers or thumb & fingers.

fair play Tim. great breakdown of how to do it