Transcription: Easin' It

Tune: Easin' It
Composer: Frank Foster
From the DVD: Count Basie - Live in '62      
Recording date: April 24, 1962 

Tune: Easin' It
Composer: Frank Foster
From the CD: Count Basie En Concert Avec Europe
Recording date: May 5, 1962
CD: Europe 1 RTE 1504-2

Tempo: 130 beats per minute

In the spring of 1962, the Count Basie Orchestra toured Europe - flying to England on March 28 and returning from France on May 6.  The Frank Foster chart, "Easin' It", was performed throughtout the tour.  This "dual" transcription of Freddie Green's guitar part is taken for two live recordings separated by eleven days.  It offers the rare opportunity to compare his variations on the same chart....or in Freddie's own words, how he would "change it up all the time."  Throughout this unique transcription take notice of Freddie's frequent use of sliding into a pitch from below, and his occassional use of sliding downward from a pitch.

Measure 6 - lower transcription:  Note the B dim chord on beats 3 and 4.  The upper line stays on a Bb7 chord.

Measure 10 - upper transcription: When the Gm triad on beat 4 is combined with the bass line, the result is a C9 chord.  Freddie did not change chord shapes between beat 3 and beat 4; he merely pressed down harder on the strings to add the lower Bb and the upper G.  This "move" is classic Freddie Green.

Measures 17 and 18 - lower transcription: The 9th of the chord is sounded on beat 1 in both measures.  Freddie typically did not use the 9th on beat 1.

Measure 20 - upper transcription:  Freddie employs a G#dim on beats 3 and 4 as a passing chord to the following G7.

Measure 21 - lower transcription: It is also unusual for Freddie to use the 9th of the chord for an entire measure.

Measures 25, 26, and 27 - lower transcription:  Note the added C at the end of each measure and the playful glissando attached to each.

Measures 33  - lower transcription:  Freddie plays a different chord tone (root - 9th - 5th - 3rd) for each beat; rarely did he play an arpeggio-like succession of intervals.  Perhaps this musical exuberance reflected his excitement about returning to New York the following day after a long tour.

For instruction on how to play one note and two note voicings, see:

Transcribed by Michael Pettersen, March 2009

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