In this video, I am going to take a simple comping rhythm that you probably already know and show you some different ways that you can develop that and get some new material so that you don’t always play the same rhythms and can start developing your own playing.
Remember: If You Can Comp – You Can Work!
The Most Important Jazz Rhythm Known To Man
Throughout this video I am going to show you how you can mess around with this rhythm and everything is really simple, just playing a II V, but sometimes the rhythm suggests some extra things you can try so there are a few other tricks as well.
As you have probably guessed the first rhythm is just the basic Charleston, if you know only one rhythm, then make it that one.
So this you already know and you should be able to play it on all songs. Actually taking these rhythms through songs is a really good exercise and that goes for all the rhythms in this video.
Adding an Extra note
The first thing we can try is to add an extra note to the charleston
Notice that this rhythm is easier to play but it still sounds great! What you are doing here is adding a note before the 2nd note in the Charleston, but that is of course not the only option.
and of course, you can also add a note after one of the two notes to get a rhythm like this, which is a basic syncopation.
The way I am going through these examples and coming up with them is really just doing simple things like adding a note here and there or shifting the rhythm as you will see in the next example.
Don’t play on beat 1
The next thing you can try is shifting the entire rhythm.
Here I am moving it an 8th note, so instead of 1 and 2& it becomes 1& and 3. Of course, this works better with really simple rhythms like the one I am using here with only two notes. After this one, I’ll show you a great place to add a chromatic passing chord.
How Do You Practice The Rhythms
The way you get rhythms like this into your playing is probably by repeating them similar to what I do hear and then try to take them through some chord progressions you know like a blues or a standard you are really familiar with.
When you play it like that you really start to hear it and then it will start to pop up in your own comping.
This rhythm adds an extra note to the previous shifted rhythm, which makes the first two notes sort of resolve on beat 3. I make that a little more clear by also using a chromatic passing chord to resolve to 3
Using chromatic passing chords on the guitar is often really just about sliding into the chord you want to end on.
The Boogaloo Rhythm
This rhythm is really useful for boogaloo and soul-jazz grooves like Sidewinder and Alligator Boogaloo. It is the original pattern but now shifted an entire quarter note so that it starts on beat 2.
It is the accent pattern that Barry Harris plays on sidewinder and it is a part of what Dr. Lonnie Smith plays on Alligator Boogaloo. These are both songs you want to know by the way.
Here you can add a note as well to have a rhythm like this:
Again I am using the chromatic passing chord on the G7 bar which just slides in place. It can be a little heavy if you make this a groove and have that chromatic note on the 3, but as a comping rhythm among other rhythms, it is fine.
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