Renowned jazz musicians that had direct contact with Freddie Green, e.g., Paul Weeden, Eddie Jones, and Bucky Pizarelli, have all reported this fact.įreddie often jumped from chord shape to chord shape even if clearly sounding only a single note. The lead note was generally placed on the 4th string. Just continue listening to Freddie Green.Īfter accepting the DCMN theory and the existence of One Note Chords/Two Note Chords, I wish to emphasize the following aspects of Freddie's technique: If my hypothesis does not suit you, forget it. I will be happy if you understand that I am not just a fool listening to strange sounds whose ears have been spoiled by the Spanish sun.

Many times I don’t know what he is doing, and that’s great too! Take my ideas as conjecture if that suits you. This does not mean I am always 100% certain of what Freddie is doing. When listening to Freddie Green recordings I often recognized previously discovered concepts, tricks, or moves. But these playing concepts are not conjecture as I have used these concepts for years. This is OK as I am exploring a murky, swampy area. My Freddie Green hypothesis may be considered too daring, and the reader may find inaccuracies. I call it 'Listening to Unidentified Flying Sounds (UFS)'. Second is my attempt to name and locate (on the fretboard) the audible notes, the semi-audible notes, and the almost inaudible notes/sounds that often surround the Freddie Green lead line. First is the path I followed that is the basis of my Freddie Green hypothesis, i.e., 'Tenor Banjo to Rhythm Guitar Hypothesis'. Mark Allen's 'Dynamic Chords and Muted Notes' theory (DCMN) and Michael Pettersen's 'One Note Chord' articles are jewels. Let me state that nearly all describable aspects about Freddie Green's rhythm guitar style have already been notated and accurately described. A New Hypothesis About Freddie Green's Guitar Technique, by Albert RomaníĪ New Hypothesis About Freddie Green's Guitar TechniqueĮdited by Michael Pettersen - November 2003

Ten thumbs inaudible