Tag Archives: Jazz Blues comping

The Missing Triad in your Jazz Blues Chords – Simple and Easy

Flexible voicings like triads are very practical to add to your jazz blues chords. We can do a lot with Triads and they are fairly easy to play and move around. This video is taking a look at how we construct 3 note voicings for a jazz blues and then adding a triad voicing that fills a gap on the fretboard.

From there I show how you can take that thorugh a chorus and develop it into another similar type of chord which also gives us a complete set of voicings on the blues.

3-Note Jazz Blues Chords

Most of us use triad chords coming out of the chords that we already use but without a root, so for F7 we end up with these two voicings: F7 + F9 as seen in example 1 here below:

They work really well, but there is a long gap from rootless F9 to F7.

Constructing another voicing to close the gap

If we look at the F7 chord then a basic F7 is an F root and an A diminished triad and we can use that triad as a voicing as well.

A C Eb and that sort of bridges the gap between the two.

If I use a bit of voice- leading I can comp through a blues using this type of voicing as shown in the example 2:

The F7 is here the A dim triad: A C Eb. On the Bb7 this is voicelead into Ab C D which works as a Bb7(9). Then back to F7 and going to a F7(b13) : A Db Eb.

In bar 5 the chord is again the Bb7(9): Ab C D. The B dim is easy to create changing the C in to a B, so Bdim: Ab B D.  This moves up chromatically to the F7: A C Eb. The D7(b9) is achieved by moving up the entire voicing so that the top note is an F#: C Eb F#. 

The Gm7 is the upper-structure: Bb major triad: Bb D F.  This is turned into a C7(9) by lowering the F: C7(9) Bb D E. The F7 is the original voicing and the last C7 is the C7(b9) version of the other voicings: Bb Db E. 

Another voicing to check out!

There is one more voicing that we can check out from the previous example.

The 2nd chord on Bb7 is this Bb7(9): Ab C D. If this is transposed to F7(9): Eb G A

This can be turned into a complete other chorus:

In example 3 I have a shift from the D7(b13) down to a Gm7 chord that is a 1st inversion Bb major triad. This is one way of doing this, but another way would be to really aim for getting smooth voice-leading:

This is a bigger stretch but also a very smooth moving chord progression.

Harmonizing the F7 scale based on the 3 voicings

A cornerstone in my vision on comping is that the top note melody has to make sense. To make this possible it is very important to also be able to play the entire scale with a chord sound.

This lesson started with two 3 note voicings that I then added a 3rd voicing to, and using these 3 chord voicings you can harmonize the F7 scale as shown here below:

3-note flexibility and voice-leading

The flexibility and the fact that you can easily be quite free when working with 3-note chords is probably a huge part of why I use these voicings so much. I hope you can use this material to get more out of your comping and make it easier to play some solid ideas in your comp and in your solos.

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Jazz Blues – The Forgotten Triad Chords – Great, Simple and Easy

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Blues With Bruno Pelletier-Bacquaert

This is a duo with Bruno Pelletier-Bacquaert a French/American Jazz guitarist living in San Francisco.

I came across one of his videos and we decided to make thsi small collaboration.

I hope you like it! Check out:

Hope you like it!

Jazz Guitar Comping Rhythms – Exercise to make your own

“What are good comping rhythms?” and “can you make a video on standard comping rhythms?” are probably the two most common questions on my channel. This lesson is giving you an exercise to help you improvise or compose endless amounts of great comping rhythms.

Instead of making a set of comping rhythms I decided to make this exercise so you can add some rhythms to your vocabulary. When you are comping it is a big part of the job to listen to the soloist and the rest of the band and fit in what they are doing.

The idea in this lesson is to teach you three rhythms that you can use and combine to make a lot more rhythms. I have used a blues in F as a chord progression to try the rhythms out. This chord progression is well know and has a lot of different chords we can take the rhythms through.

The chord voicings and the first rhythm

Since the point of this lesson is to work on playing stroing rhythms it makes sense to keep the voicings more simple so we can focus on the rhythms.

The voicings I used in the demonstrations are simple rootless shells, consisting of 3rd and 7th for each of the chords. The voicings are shown here below.

The rhythm in example 1 are played in two variations of the first rhythm: Playing the chord on the 1 and on the 3. The 2 variations I have used is to start with just playing on the one, and then moving to playing one and three.

The two rhythms are shown here below:

The second rhythm

To add some more variation the first place we can add another rhythm. This one consists of two 8th notes. Example 3 has two variations on it.

If we use the new rhythm and the previous rhythm as material to comp through a blues chorus we have the example shown here below:

The Final ingredient

The example in the previous part of the lesson is already beginning to sound good. Because we are always starting on the beat we miss a rhythm that does not start on the beat. Adding this and some variations gives us these rhythms:

Now we can improvise a comping chorus  through the F blues like this:

With the combinations of these three rhythms we can comp quite varied and start to develop a big vocabulary of solid comping rhythms.

Putting it to use!

Getting these rhythms into your playing doesn’t have to require a lot of work. If you can comp these at a medium tempo with 2&4. In the beginning it is probably better to stick with simpler progressions like the blues or a turnaround. Start with the first rhythms and add the rest along the way!

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Get the PDF!

You can also download the PDF of my examples here:

Jazz Comping Rhythms – Just Make Your Own

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.

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F Jazz Blues Comping – Jazz Chords and Concepts – Guitar Lesson

Playing the chords on a jazz blues is a great way to start your journey into jazz guitar. In this video I will go over a 3 step process where you learn some basic Jazz Blues Comping and turn them into tools that you can use to comp more freely and develop your own chord vocabulary! All the examples are on an F jazz blues.

Basic Comping Ideas and Concepts

One of the things I love about comping is that it is fun to play small melodies with jazz chords behind a soloist. Being able to play these comping melodies can be tricky. But it doesn’t have to be that dificult. In this lesson I am going to go over a three step process that will help you find the voicings and develop a varied and interesting comp on a Jazz Blues in F.

The idea is to take the Blues in F. Go over some basic chord voicings for it. Take these voicings and then go over how you can use the chords to make more voicings that are easier to play melodies with. Talk about a few ways to make comping melodies with the voicings. Finallly I will go over how I might play a chorus with these more complex voicings.

The basic chord progression and some jazz chords

The first step is to play the 12 bar Jazz Blues with some basic chords.   If you want to check out more about using the types of chords that I use here in example one you should check out my lesson on How To Play Jazz Chords

Jazz Comping using different melody notes 

If we take voicings that I used in example one and then don’t play the root as a bass note we get a smaller more flexible voicing.

With this voicing we can start to use different top notes which gives us the option of playing melodies with the chord under it. 

This is shown for each of the chords in example 2:

For these chord voicings I have often left out melody notes that don’t sound good on the chord. In most cases these are the 4th against the root, so for example the Bb over an F7 chord. This is just to keep it simple. I have other videos on comping that deal with this in more detail.

As you will see in the next step we can in fact do a lot by ignoring this for now.

Making comping melodies

Now that we have the vocabulary to play small melodies with the chords you probably want to check out that first, so try to sit down and play some small melodic ideas for each chord just to get it into your fingers and to start building some ideas for comping in this way.

Of course you also need to work making melodies that work over several chords. This is what I am doing by making a slow half note melody that moves through the Blues in example 3:

In general I am using a step wise melody because we want the comp to have a natural feel with a lot of rest.

Since the melody is really strong I don’t really have to be concerned with voice-leading when playing and can just focus on the melody, which is also a lot easier to hear and relate to musically.

Taking the melodies a step further!

If you begin to be able to make your own slower comping melodies you probably want to start to develop some more varied stronger ideas. One of the ways you can do this is by using motifs.

When you use a motif in this way you will in most cases be generating what is most often referred to as a riff. An example of a simple riff used through a 12 bar blues is shown below in example 4.

The main motif that I am using is fist stated in bar 1 and then gradually varied and moved through the changes. You will notice that I am not always sticking to rigorously staying with the motif and that is of course a judgement call.

I hope you can use the examples and the ideas I went over in this lesson to develop your own comping. We spend more time playing comp than soloing, but this aspect of playing behind other musicians is a lot of fun.

If you want to take this a bit further you can check out my WebStore lesson here below:

F Blues Comping Etude #2 – Riffs and Rhythm

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You can also download the PDF of my examples here:

Build a solid Jazz Blues comp vocabulary

F Jazz Blues Comping – Chord Diagrams

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.