Tag Archives: comping guitar lesson

Add Beautiful Colors And Fills To Your Comping

When you are comping Jazz songs then it is good to also change the textures you play, not always full chords but also fills and small polyphonic ideas. In this lesson, I am going to show you how to use intervals and counterpoint as a way of comping and as a way to add a new sound to the way you play chords. It will help you when you are comping but will also be great in a solo or in a chord melody arrangement.

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Content

00:00 Intro 

00:50 From Real Jazz Comping to Improvised Chords 

01:25 Reducing the Voicings – Example #1 

02:12 Reducing the Voicings – Example #2 

03:03 Intervals for fills and Block Harmony 

05:05 How to practice and explore the neck for this type of playing 

07:29 6th intervals and a Pentatonic trick 

09:14 Harmonized Arpeggios and more Pentatonic Chord Patterns 

10:44 Polyphonic Call-Response 

11:20 3-Note Voicings 

11:38 Like the video? Check out my Patreon page!

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The 3 Most Important Things For Solid Jazz Comping

Think about how you would feel soloing over your own comping.

That is probably the best way to evaluate how you comp. There are some things that you need to get right if you want to be effective in comping. You don’t want to just play jazz chords while the music is happening. You want to be part of the music. That is what this Jazz Guitar Lesson is all about and if you can comp then you get asked to play at sessions and gigs.

Related Guitar Lessons on Comping

10 important comping rhythms

Video on being your own teacher

Great examples of comping:

Wynton Kelly behind Miles Davis: So What Live https://www.youtube.com/watch?v=5Amyp4v-I84

Herbie Hancock behind Wayne Shorter: 502 Blues https://www.youtube.com/watch?v=1aTwWZweGSw

Content:

0:00 Intro

0:50 #1 It is Clear

1:34 Beat One is your friend

1:59 Don’t be afraid of repetition

2:38 #2 Don’t Get In The Way

3:31 Not just the soloist, there are more people in the band

3:39 A Great Strategy

4:08 Great Examples: Wynton Kelly and Herbie Hancock

4:38 Understand what fits the soloist

4:49 #3 Are You Playing Music?

5:42 Listen, Listen, Listen, Listen!

6:14 How Do You Practice comping?

6:30 Like the video? Check out my Patreon Page!

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Jazz Counterpoint – Discover New Harmonic Ideas

Counterpoint is a beautiful way to add another dimension or layer to our jazz comping vocabulary! This lesson is going to cover how I add another melodic layer to some simple II V I ideas. I will also go over how you can use jazz counterpoint as an approach to add fills and movement in a chord melody arrangement. For this I have included the beginning of the song Stella By Starlight harmonized with this approach.

The II V I examples

In the II V I examples I am using voicings with three notes. This is mostly a practical limitation. Three note voicings are a bit more flexible and easier to keep a melody note sustained while adding another melody.

All the II V I examples are in the key of C major.

Keeping it simple!

The first example has a very simple step-wise top note melody. It is moving from C to B and then stays there.

The counterpoint idea is also a slow stedy moving quarter note melody moving one voice a chord to another voice in the next chord.

Notice that I am using an alternate fingering for the first Dm7 (F triad in fact) This is often necessary to make it possible to play a melody under the top note. 

The way you work on making these is to try to play the chord voicings and then add a scale melody under the top note. I have done this for all the II V I examples in this lesson. The first one is shown here below.

More melodic movement

In the second example Moving into more movement in the top melody. On the Dm7 the top note melody is still just an A. On the G7alt it is a three note walk from #9 via b9 and back. This resolves to the B on the Cmaj7.

The Dm7 and G7(#9) are fairly common voicings. The Cmaj7 is an open voiced Em triad which is not at all far fetched even if we don’t use it as often.

The Example starts with stating the Dm7 chord and then adds a melody to take us to the G7. It is in fact targetting the B. On the G7 the chord is sustained while the top note melody is moving and then immediately after the lower melody continues with a G altered line that resolves to the low G in the Cmaj7 voicing.

As in the first example here is an exercise to find the notes available for these voicings.

A little more activity in the movement!

In the third example I now have movement in the top note melodies of both Dm7 and G7alt.

The Basic voicings are:

The Dm7 melody is moving from F to G and then the lower melodies takes over and leads us into the G7(b9) voicing. Here the lowest note is starting a descending melody that leads into another G7 voicing. Here the lower part of the 2nd voicing has a small melodic fragment that encircles the 5th of the last voicing. On the C the inner part of the voicing is moving from the 7th(B) to the 6th(A).

If we turn the last voicing set into an exercise similar to the first two examples we get this:

Getting your priorities straight

You should keep in mind that once you start playing the counter melody then you don’t need to try really hard to sustain the chord (if you played one) the collected amount of pitches and the melody should be enough to spell out the sound of the harmony. This also makes it technically a lot easier to work with.

Chord Melody on Stella By Starlight

The idea I am using in this fragment from Stella by Starlight is to use the main melody as the top note melody and then make a counter melody whenever there is a long note in the melody.

On the Em7b5 the counter melody is purely consisting out of arpeggio notes. This will happen a few times in these few bars. On the A7 the melody is moving so I don’t add a counter melody. 

The Cm7 transition to F7  with a small melody that uses a chromatic approach to the 3rd(A) of F7. On the Fm7 the melody is a sustained G. Under this I add an Fm7 arpeggio melody that takes us into the Bb7. From Bb7 to Ebmaj7 the melody is moving.

On the Ebmaj7 I add a melody that takes us down to the Ab7 by playing a descending Cm Coltrane Pattern.

Taking Jazz Counterpoint to another level!

In the examples that I used for this lesson I am playing the chord on the one of each bar to associate the counter melody with the chord. But of course it is possible to leave the chord out and just rely on two layers of melody moving around. As a short example that I play of this in the video is shown below:

A few concluding thougts

My examples in this video are a bit busy and maybe not entirely suited for comping, but I thought it better to really emphasize the melodic movement and the two layers. You will probably use this in a more sparse way, at least I do, but it is anyway fun to work with!

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You can also download the PDF of my examples here:

Jazz Counterpoint – Discover New Harmonic Ideas

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Vlog: Jazz Comping – Jazz Chords and Approaches

Jazz guitar comping is a topic that does not get covered so much. There are a lot of lessons on chord voicings, music theory and extensions, but when it comes to comping it is more difficult to find material. In this video I want to talk about comping by taking the Jazz Standard Just Friends and comp through it in a few different ways and discuss some approaches and philosophies. Since this topic is more about fitting into a situation and reacting to other musicians playing it will be a bit more about approaches and ways of thinking than actual exercises. That said I do go over two ways of coming up with voicings, comping techniques and how to add melodies to your guitar comp.

1:43 Analysis
5:51 Why I don’t use diminished scale
6:58 Scales for a dim chord
9:50 Turnaround to the IV
11:26 Drop2
18:01 Triads
26:42 Comping and Interaction
30:53 Connecting the chords
32:54 Melodies in Comping
35:07 Techniques for melodic comping
39:30 Using Riff comping – focus on groove
45:39 Open Comp: Focus on color and melody
54:56 Conclusion and Outro