Tag Archives: jazz comping rhythms guitar

Jazz Chords – The 3 Rules That Make You Sound Pro!

I am incredibly lucky that I get to jam with great musicians, and one of the reasons for that is something that Jazz beginners miss: You need to be able to lay down great-sounding chords that feel comfortable to play over. If you can’t play chords and comp then nobody wants to play with you. Let me show you 3 rules that your comping needs to follow, and don’t worry none of them are about difficult complicated chords and with the 3 rules, you can start to play beautiful and swinging comp, and even though I am starting with really simple chords, you can go as far as you want with this, check it out!

Let’s take a simple medium Bb blues, with a focus on playing as if you are in a duo with a horn, a vocalist, or another guitarist which means that when you are comping then you are responsible for three of the main ingredients of the song:

The Tempo, The Groove, and The Harmony.

#1 Be Clear

You need to be clear! Make it easy to understand what you are playing, where the time is, and how the groove sounds.

If we start with Time and rhythm: There is a great Peter Bernstein quote: “Don’t Be Afraid of the one when you are comping” – What that means is you have to communicate the groove to both the soloist and the audience, so stay grounded and play a chord on beat 1 often. That’s what makes it comfortable for the soloist and easy to follow for the audience. Be Clear!

When it comes to notes then being clear is about working with simple chords with a bass note

Like this:

I am playing shell-voicings here, so these easy 3-note versions of the chords: Bb7 and Eb7, Fm7 Bb7.

A trick I am using for Getting the groove across is that I split the shell-voicing into two layers: bass and chord,

You’ll see later just how much you can open that up and how powerful that is! Here it is helping me get the swing feel in there. Like this:

Notice how having two layers already is a melody, similar to how a drumkit has a bassdrum and a snare drum for comping.

A mistake that I sometimes hear is when a student plays too many sustained chords. Long sustained chords make it hard to feel the groove, and that works better if you are playing with somebody else who is laying down the groove, so try to avoid this:

And aim more for this:

Let’s look at the next rule which is more about HOW you play before getting to what you can do with the chords:

Be Connected

Be connected! This topic often concerns something that seems scary to most students trying to learn comping.

As you know, some people have the reputation of being magic at comping behind soloists, think of Herbie Hancock behind Miles or Wayne Shorter, or somebody like Wynton Kelly behind Wes Montgomery, but what makes them magic?

A lot of it is about having the right balance between 3 things:

  1. What is going on in the music or song
  2. What is the soloist playing
  3. What can I do with the harmony and the rhythm

The first two are about the most important part of playing Jazz chords, which is not rhythm, extensions or voice-leading. The most important part of playing Jazz chords is listening, and knowing when to play. You need to listen to the entire band and to the soloist. You can make horrible mistakes with that, for example, make sure that you don’t play a million syncopated chords

if the feel is more relaxed and open and the rest of the band sounds like this:

Another pitfall, that I see in lessons where I am teaching comping is that it turns into being about ear training and being able to, on the spot, transcribe and analyze everything being played while you are also playing the chords. That is not really how it works, of course, you want to hear and catch as much as you can, but you should also keep in mind that if the soloist is really busy and playing a lot then you don’t have to do so much, and you can even stop playing for a bit, or at least pull back to make it very basic. What is also important to keep in mind is that even if you know exactly what is being played then you are much more likely to get in the way if you also play a lot.

So you want to be connected with the song and the soloist so that what you play fits the mood and the energy and is nice to play over. But you also want to be connected to what YOU are playing.

That connection needs to be there, and it is so important to work on getting it in there so that it doesn’t sound like we are starting a new song every 4 beats. There is a great fairly simple way to start working on this: You need to learn to listen to yourself and you need to learn to think in phrases!  The best way to work on this is to start with the rhythm, and I’ll show you some tricks with the chords in the next part of the video. An easy way to train this is to repeat stuff through a song, and you will find that a lot of soloists find that very nice to play over because it is predictable and easy to both play off and get ideas from and you can rely on it.

So spend some time just taking a riff or rhythm through the song and then slowly start to develop or vary it, but keep the longer story in there as well! Once you can do that you can always open it up.

Make sure to practice with a metronome that is the fastest way to get better time and really be able to lay down a groove! If your groove sounds good with a metronome then your groove sounds good. If your groove sounds good with a backing track then maybe the backing track sounds good. I’ve said it before. Now we need top open up the chords!

Be Creative

We all want to play big beautiful chord voicings because that’s probably what we love about jazz chords: all the colors and extensions,  but at the same time it is much more important to get the rhythm right and not get in the way of the soloists or the other band members when you’re comping. If you are playing with a drummer and your rhythms don’t match that will sound horrible. When it comes to chords then If you check, you would probably be amazed at how most people you admire play very basic and simple chords most of the time. The groove and clarity is the most important!

So a good place to start is to add some forward Motion with the help of some easy and basic passing chords. As you will see, There’s no difficult theory or complicated formulas needed, I am just playing something that’s a half step, or a fret,  away from the chord that I want to go to and using that to drive the progression forward with some nice sounding energy! Something like this.

So I am going to the Eb7 from above and approaching the Bb7 from below, simple stuff just sliding the chord in place.

And of course, you can also use that if you just want to change things up while you’re on the same chord for a longer time.

Earlier in the video I showed you how to split the chord in two parts so that you have a bass note and a chord, but check out how you can take that up a few levels because that goes really really far and you can do all sorts of things!

You can probably tell that this is the same principle:  First playing the complete chord, maybe a simple version, to set up and be clear about where we are in the song. But after that then I don’t play the root anymore and instead, I am free to play a chord fill in between.

As you can see then I’m using all these other kind of voicings that are kind of coming out of the shell-voicing but also some drop2 and some triads. You can really do a lot with this and it’s a great way to create some fills. It is also great for adding some blues flavor to the whole thing.  Like this:

Getting Back To The Blues

I am essentially using the same as what I would do in a solo, so grace notes for the 3rd and making it short and simple prases that stay around the triad with the melody.

And once you clearly establish the chord, then you don’t have to play complete simple voicings on every 1 of every bar, that can be much more open, even completely rootless if that fits. I didn’t do anything with the bass yet, so let’s do that!

Bass!

Thinking like this you can also turn it around and then say well I want to have more movement in the bass and add either small parts of bass movement or walking bass like this:

or go to a complete section where you’re playing walking bass all the time, really adding that quarter-note drive which moves the whole thing forward and sounds great!

Once you start to add other chord voicings and complete chord solo fills then you also need to have a way to think about the chords that tie all those different voicings together. I go over a simple system for that important process in another video, and it is a lot easier than you might think and also sort of coming from how Joe Pass approaches chords. Check it out!

The Biggest Misunderstanding About Jazz Chords And How To Quickly Fix It

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3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024

When you think about Jazz Chord Exercises then it is probably about learning new chords, but it is more important is that you have exercises that help you use those chords and get them to sound great. That is what these 3 exercises will help you do. The first one is also, by far, the most fun way to practice chords, and the other two will help you use the chords better and add some better rhythms to your comping. In all 3 exercises, you can see how it pays off to work on simple things not making it more complicated.

The Exercise Nobody Does!

If you are nerdy enough with Jazz chords, like I am,  then maybe you can enjoy just listening to interesting chord voicings,

but of course, there is more to it than just the notes, even if they do sound beautiful.

The last few weeks I sort of re-discovered this exercise. As you may know, I was in Taiwan to play at the Taichung Jazz Festival with Nick Javier.

I had an amazing time there, but since it is quite far away then I had to deal with some jetlag when I got back which had me waking up at 3:00 in the morning since that is 10:00 am in Taiwan. While I was re-adjusting, I realized that I really liked getting up before everyone else and then spending some time practicing and getting started before sending the kids to school, one of the exercises I started to do in my routine was to take a song and practice comping it with the metronome on 2&4

There are many reasons to practice like this! The most important one is that it is fun and you are giving yourself a chance to be creative with the chords and the harmony of the song. I’ll show you how you might get started in a bit.

When I work on this then I am working on timing, and rhythm but also how all the chords should sound as a piece of music together and it is a great way to start getting new chords or concepts into your playing.

Working on:

  • Timing
  • Rhythm
  • Making The Chords Music
  • Adding New Material

And, of course, if you want to be good at comping then you should practice comping. Nobody ever spent all their time doing pushups and running to win Tennis tournaments, and if you do then you might get frustrated in the match.

So while practicing chord inversions and diatonic chords is useful then that should not be the only thing you are doing, also just because when you are doing that then it doesn’t matter if you screw up stuff.

Getting Started: Turn The Chords Into Music

If you have never practiced like this then here are a few steps to get you started and also a few simple tricks that immediately will level up how you sound!

Start with a song or chord progression that you know really well, for example, a 12-bar Blues like this one in C.

The first level:  is to just play the song, so turn on your metronome and just lay down the basic chords, don’t use complicated rhythms or voicings but if you can then get the groove across with a simple Charleston rhythm or something like that:

as you can tell I am mostly just using Shell-voicings.

A few easy ways to get this to move a bit more and sound more interesting is to use chromatic passing chords, simply try to use a chord a fret above or under to approach the next chord:

But you can also use this to create some movement on a chord, which sounds amazing on a blues like this:

From here you can start to expand and see if you get new ideas for rhythms or melodies, and if it doesn’t work then you can try it again in the next chords without the soloist wanting to fire you

When you use your chords like this then you might find this next approach to thinking about chords useful, and better than what you are doing now!

A Better Way To Think About Chords And Chord Voicings

You are not thinking about your chord voicings in a way that helps you use them. I am guilty of this as well in my videos: The way that we teach chords and think about chords are in separate categories like Shell-voicings, drop2, upper-structure triads, and stuff like that.

This means that we end up practicing diatonic chords or inversions only using one type of chord, but that doesn’t fit with what you do when you play music at all, so you want to change that!

Chords Across not along the neck

The important thing to remember is that when you are comping then you don’t have to think about a C7 as “Eø Drop2 inversion with the 7th as the last note and a 11th instead of a 3rd” That is much much too complicated, does anybody think like that?

This is more a question of exploring and then using what you discover but it is a great more practical way to connect chords and level up your comping.

Try this out: Most of us navigate the neck by thinking of the root of the chord and finding that on the two lowest strings E and A,

so if you are looking for a C7 then you have a shell voicing here

and here

Notice how adding the G on the B string makes it a Drop3 voicing,

and you also have the C7(13) Drop3 within reach

You can add one more string, and then you are playing Drop2 voicing with a bass note,

and there are variations of this as well:

And it is very practical to sometimes leave out the root to first get this 2-note Shell:

and add notes to have triad voicings

and drop 2 voicings as a part of what is available

Mixing Full and Rootless Voicings

When you think of C7 then you should see all these options and not just be stuck with a single grip.

That way you can add moving voices, melody, and rhythm to your comping and you don’t have to think about inversions that move to another place on the neck where you might not know the next chord. Thinking like this you are still connecting back to the chords you know and you are expanding what you can play without getting lost on the neck.

A great way to use this to open up how you comp or how you use this in chord melody is first to state the basic Shell

or an easy variation of this to be more free before changing to the next chord. For the blues that could give you something like this:

Music is Like A Language

Playing more interesting rhythms in your comping is also not necessarily about learning a lot of short rhythms, in fact zooming out and focusing on a few rhythms is probably the easiest way to improve on that.

And this is a lot easier than you might think. If you start thinking in call-response then a very easy but also very natural way to play something that really makes sense is to repeat a rhythm and then finish the sentence with something different as a conclusion:

When you are playing the same thing several times as a riff then you are giving the soloist something predictable to play against and you are giving the rest of the band something to interact with.

Then you can practice doing that on a song but coming up with different conclusions, so that you train yourself to hear how the different rhythms work together.

Maybe the next 4 bars could have this in the 4th bar

Like this, you are using the rhythms you know to come up with more. And you get a more natural flow if you work with this as a type of call response.

You can also do that every other bar:

This is almost always true; If you try to learn things in the context where you want to use them, then it is both easier and you learn it a lot faster because you can throw away a lot of useless theoretical rhythms or arpeggios inversions or whatever might waste your time.

Just Play Simple Chords!

One guitarist who understood how important it was to make things simple was Joe Pass, and while his playing was sometimes amazingly complex then his approach to Jazz chords was all about simplicity, and that is really the way you want to do this. You can check that out in this video, where it is about both the chords and the progressions being made easier to handle, and he certainly has a point!

The Biggest Misunderstanding About Jazz Chords And How To Quickly Fix It

 

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Jazz Comping – A Difficult Conversation With Aimee Nolte

Comping is one of the most fun parts of playing Jazz, but comping with both a piano and a guitar is incredibly difficult and the source of many frustrations!

In this video, I visit Aimee Nolte and we have a long and difficult conversion about comping, and we also play some music but most of that is on Aimee’s channel.

Check out Aimee’s video here: https://www.youtube.com/watch?v=4wvWkP1_C68

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This is Missing In Your Comping and Nobody Is Teaching It

When it comes to comping then you have lots of books and online lessons on learning chord voicings, and voice-leading, but when it comes to turning that into something that really works then there is really not a lot of advice available.

But there is actually a place to get some inspiration and strategies for developing your comping, which is what I want to show you here.

Probably a lot of you are now thinking that this is about rhythms, and that is sort of true but it is actually more than that, and I am 99% sure that  your solos will also benefit from looking at things from this perspective, because there are things in this that can really open up your playing in other ways as well.

A Blues with some Basic Ingredients

For this lesson, I am going to use a simple C blues as an example, and since this is not about using incredibly fancy chord voicings, the most chromatic voice-leading tricks or the hippest extensions then I am going to just use two different melody notes for each chord. Extensions and voicings are nice too, but that is not the focus right now and they will just become distractions that take away from what you should focus on, and I think you will see why.

The chords are kept pretty minimal but it is still more than enough to make some good music.

I will show you 3 types of exercises so that you can actually get your chords to sound like comping, and maybe open up how you think about phrasing and rhythm in general.

#1 Longer Phrases

When you focus on voicings and voice-leading then it is about either what notes you put together or how you get to the next chord in the song.

Of course, both of these things are important, but you can also see that when you focus on that then you are zoomed in and at most looking one bar ahead, and you are almost never playing a song with two bars, there is a whole form.

I don’t know about you, but the people in the rhythm section that I usually admire the most are actually the drummers. That is where the groove and the interaction are both clearly present and where the dynamics of the song are being created. A part of that is probably also that the musician that I really have to connect with when I am comping is the drummer, and for a drummer it is not about voice-leading or extensions, so how do they practice?

Rhythm is melody!

Where most guitar examples are one or two bar rhythms then drummers tend to do exercises that are over longer parts of the song, and working on something that is a combination of different patterns. An exercise might look like this:

Very often then the entire groove is not written out so it is assumed that the ride cymbal is being played, here the highhat is included, but what you want to focus on here is the snare drum rhythm, the rest is not important, you essentially want to read it as if it looks like this:

And this rhythm you can use as a comping pattern on guitar.

If you apply it to the first 4 bars of the Blues then you get:

The big advantage here is that you are starting to hear the rhythm as a melody, and phrases that are not just on a single chord but are a part of a longer sentence with a repeated part and a conclusion.

So phrases that contain smaller parts which fit together. That sounds like something that could be useful for other things than comping?

Thinking in 4 and 8-bar phrases

A side-note to this is that it makes a lot of sense to work on thinking of bar 4 as a conclusion, as the end of the sentence. That is also how our sense of form works, we feel things in groups of 4 or 8 bars and the more you play like that the better you feel that which will later eventually make you a lot stronger and more free.

There is an interview with Herbie Hancock and Wayne Shorter where they talk about how they feel the 12-bar blues as groups of bars together so that a Blues chorus is essentially a 3/4 bar. If you start feeling the form like that then you get a lot of freedom to do stuff in between which of course also describes how they often played.

Of course you want to take a 4-bar pattern like this and go through the whole blues form as well, but let’s move on to how you level this up to get some great comping rhythms going!

The method and exercises that I am showing you here was not how I learned to comp, but I sort of wish it was, because it would have made it a lot easier, and I have seen this work really well for my students. The way I learned was by being around great drummers and having the good fortune to be told about how comping worked as an interaction between drums and guitar, or drums and piano. What I am showing you here will help you listen to yourself to play something that makes sense and tells a story but it will also help you play natural phrases that a drummer can work with so that if you listen to each other then you can also connect and make music together.

#2 Making Your Own Phrases

You can of course start checking out Jazz Drumming lessons on comping to find more patterns like this, that is a great thing to do, and please leave a comment if you have some good resources like books or online lessons, but you can also start creating your own by taking the rhythms you already know, or listening to drummers that are great at this like Philly Joe Jones or Jimmy Cobb and take phrases from them and combine that with what you already know.

The important thing is that you take a step back and worry less about what extensions moving from the 9th to the b13, and instead try to play some strong melodic rhythms, some phrases that last 4 or 8 bars and make sense like that. Often listening to big band can be very useful for this, because you have the right types of simple melodies and strong rhythms in there.

If you start with the previous example but then change it up then you can get something like this for the next 4 bars of the blues, with the same format of a repeating figure and a phrase to end it all:

 

But you can also introduce more variation, for example going back to the original motif like now also changing or developing one of the repeats:

And really what you are doing making these is developing your ability to hear rhythms that make sense, and also listen to whether the rhythms you put together make sense as a melody for you.

How Wes Uses This In Solos

Another thing is that this can really open up is your soloing: Maybe take a listen to your solos and ask yourself how often they have phrases that last 4 bars with a beginning, a middle and an end? Maybe taking some time to think like this and incorporating that into your solos could be useful as well, there could be a video in that, et me know! The king of this is Wes! If you listen to how Wes improvises then you can certainly hear repeating patterns and motivic development.

Green = Call – Red = Response

You Can’t Practice Comping

Very often when I do a video on comping then I get a comment that tells me that comping is about interaction and therefore you can’t practice it. In my experience, that is not true, and the next exercise is actually about interacting but you are playing alone. Besides that, then there are so many skills involved with comping that you have plenty to work on even without interacting with a soloist and a rhythm section. Simply because you need to Play the chords, keep time, make sure that what you end up with makes sense and has the right colors, and the easier that is and the more freedom you have and it will be the easier to listen to what is going on around you. You also don’t only practice soling with a band, but there you have to interact as well, I hope you do at least…

#3 Call-response

Until now it has been about written exercises and composing, but you can also start to incorporate  improvisation so that you can work on hearing the rhythms in real time and get it to fit together while creating phrases, and this exercise can also be incredibly powerful for solos, but I will show you that in a bit.

An easy way to do that is to start with the layout from the written exercise, and in fact this is also about interacting because you play the written part and then treat that as a call which you then respond to with the next phrase which is your response. A chart using the first one-bar rhythm would look like this:

and with that you can pick a comfortable tempo and then start to fill in the empty bars and see what you come up with. You listen and then you play what fits with that.

If you get stuck then you can also stop and try to explore it out of time

As I said then this is also a very useful exercise if you are working on getting your solo phrases to go from licks next to each other and become more of a coherent story.

A simple version of that could be something like this where I repeat a first phrase and then develop material that is a response:

And your solos can also really improve from working on this:

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Jazz Chords – Easy To Advanced in 5 Levels

The most fun thing about Jazz chords and comping is that you can improvise with the chords and create your own sound in the song. But when you work on this then you need to get everything to work together:

Chords, Rhythm, and Melody!

That is what I want to show you in this video.

#1 Easy Jazz Chords To Great Jazz Chords

Let’s start with a basic set of chords that you can make a bit more interesting and then add some rhythm to. You probably know these already:

I already added some color to these chords, so the Dm7 has a 9th, and the G7 has a 13th, For now, the Cmaj7 is just a basic Cmaj7 chord

These already sound great and you can use them to play lots of songs, but we need them to be a bit more flexible, so let’s throw away the bass notes:

#2 Rhythm Is As Important

Now you have some more flexible chords to work with so the rhythm is the next thing to level up.

Here’s a solid riff you can use:

This demonstrates two important things  about comping rhythms:

First: Repeating rhythms is a very strong concept, it connects to the groove and is really comfortable for a soloist to play over, and actually it is a little bit overlooked for people wanting to play Jazz. It sounds amazing to just sit in the groove with the rest of the rhythm section

Second: When you think about rhythm then you want to think in longer periods, not just a single bar or even less. Here it is a 4-bar statement that is laying down the groove and then making a variation before the next 4-bar period starts. Comping is really about thinking like a drummer and playing the form, and in fact also locking in with the drummer when you play.

With some chords and more ideas about rhythm then you can add some melody to the progression, and you can do that in a few different ways.

#3 Melody and Fills (and more rhythm)

First. you want to just use melody in the chords and then later add fills in between the chords, and check out how this next example also uses another concept for the rhythm.

Let’s first look at the melodies. Here I am using the melodies that are the easiest to add to the chord, simply what I can reach on the top string which here is the B string:

So for Dm7 and for The G7 I have the same melody notes: – and for the Cmaj7 there are two:

The point here is that it should be easy to play, and you don’t need a ton of notes, in fact being too busy will probably just mean getting in the way.

The structure of the rhythm in this example is a mix of call-response and motivic development, so you have a call, then a response. Then I repeat the call and add a different response. When you listen to the rhythm, then try to really think of them as melodies because that is how you can make that a strong part of your playing, especially comping.

Before I start adding extra chords then let’s try adding some fills, so short melodies that are not played with the chords.

There are two ways you can use these:

#1 As melodies leading into or ending on a chord (slow b-roll)

#2 Or short melodies that just add something else in between chords (slow B-roll)

They sound like this:

The fills here have different functions in the music: The first one is a scale run, and really moving to the G7, where I am now using a 2-note version of that chord. The other is more used as a color or variation and is much more arpeggio based since it then sort of takes the place of playing a chord.

While fills often sound great they very easily get in the way of the soloist so you probably want to be a little careful with using them.

Why Don’t You Write G7(13)

I often get this question:

As you can see with fills and the melodies then the sound of the chord changes, sometimes there is a 9th sometimes there isn’t so it doesn’t really make too much sense to write extensions in sheet music unless you want to force the one playing the chords to use a specific sound. That is also why you mostly stick with symbols that demonstrate the basic version of the chord and then the rest is up to the taste and skills of the one playing chords.

Let’s look at a few ways you can change chords and add some extra chords to create a bit more movement.

#4 More Chords!

A great way to keep the chord progressions moving is to add some chords that have more tension and really pull towards a resolution.

This next example uses two ways of doing that.

You can add a chromatic passing chord. There are somewhat complicated theoretical explanations for this, but really it is just about looking at where you want to go and then take a chord that you can slide into that chord.

So if you want to go to this G7 then you can come from above like this: or you can slide up to the Cmaj7 like this.

Notice that I don’t put a name on the chords, and that is because that is not that important, they are just chords that you use to get to the main chord.

The other way that you can create tension is by altering dominants which makes them have more drive towards the resolution, like this:

And an example with chromatic passing chords and altered dominants sounds like this:

Two Ways To Think About Alterations

In this example, you see a G7(b13) on beat 4 of the 2nd bar, and here I am using the alteration as a way to play a chromatic leading note before resolving to the Cmaj7. When you do this then it doesn’t really influence the soloist to use a specific scale and force a different sound on the entire dominant, it’s really just a chromatic passing note. That’s one way to think of alterations on a dominant.

The other way you can use an altered dominant is to play it for an entire bar and really use that sound which also means that the soloist should also play a scale that fits with that. This is a different sound:

#5 Secret Melodies

Until now it has been about chords and the top-note melody, but there is another secret weapon, a beautiful way to add movement in your Jazz chords: Inner-voice movement.

Instead of having the top-note melody it can be nice to have simple melodies move inside the chord like this way of going from Dm7 to G7 with a chromatic enclosure inside the Dm7 chord:

And this also works incredibly well for a static Cmaj7 chord that otherwise can be a bit boring:

In context, that sounds like this:

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Comping Rhythms – 10 Examples You Need To Know

Rhythm is everything in Jazz and especially comping. Building a solid vocabulary of great Jazz Comping Rhythms is difficult. In this video, I am going to go over 10 examples of comping rhythms to check out.

I play each example 3 times, so you can either use it as inspiration for your own practice or even use the video as a play along and comp together with me.

For each of the rhythms, I have an illustration of how the basic pattern is and a version that is written out with chord voicings to play on guitar.

All the examples are using a turnaround in C major.

Rhythm #1 – Charleston

This first example is the “Charleston rhythm” and is very useful also as a repeating riff.

It has the clarity of the changes with the chord on beat 1 and the syncopation with the chord on the 2&

Rhythm #2 – Shifted Charleston

A variation of the Charleston is this 1 bar pattern where the whole rhythm is shifted an 8th note.

Rhythm #3 – Forward motion with Syncopation

This rhythm uses the tension of the sustained note on the 3& to move the progression forward towards the next chord stated on beat one.

Rhythm #4 – Red Garland

Red Garland is often associated with this way of mostly comping on the anticipated heavy beats: 2& and 4&.

Rhythm #5 – Basic Syncopation

This rhythm is a great way of turning the basic syncopation rhythm into a riff that sits well on top of a swing groove.

Rhythm #6 – Quarter Note Rhythms

Often the focus in comping is too much on all the 8th note upbeats and we forget that you can do a lot with quarter notes as well.

Rhythm #7 – Dotted Quarter notes

Using the dotted quarter note rhythms in jazz comping is very common and very worth incorporating into your vocabulary.

Rhythm #8 – Shifting motif

Another great way to work with rhythm is to shift a motif around. This example is a very basic version of this.

Rhythm #9 – Call-Response phrases

Besides motifs you can also use call-response as a way of generating phrases in your comping.

Rhythm #10 – Anticipated Beat 4

This rhythm is often left out but is very common in a lot of themes (and pretty much all of Salsa), so it is very worthwhile to know and feel comfortable with.

Take the Comping Rhythms Further

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5 Comping Exercises for Jazz Rhythm on the Blues

Rhythm is much more important than notes. This is very true for jazz and certainly for comping. The easiest way to learn some new rhythms for your comping is to come up with some small riffs and practice playing those through a chord progression. In this jazz rhythm guitar lesson, I am going to show you 5 great variations on some great Comping rhythms and how they sound through a Blues In F.

If you want to practice them with me then you can go to the second examples via the link in the description of this video. I’ll talk a little about that later. This way of really thinking in rhythms as phrases are really important because you can’t think about the notes, you have to hear them.

If you want to check out more material that you can use for both soloing and comping on an F blues then have a look at this Study Guide: F Blues Study Guide

The Shell-Voicings

Instead of using the voicings that I use in the example you can also simplify that part by using shell voicings. In the end this is much more about rhythm than it is about the chord voicings so that will still teach you the most important part of the material in this lesson.

Practice with the video!

In this video I have added the count-off to the perfromances so if you want to play the rhythms together with me then you can do that. If you are a Patron of the channel then you can also download the mp3 backing track via my Patreon Page

The Shell-voicings are shown here below.

You can go through these voicings and use them while practicing the rhythms in the 5 exercises.

#1 Charleston Rhythm

The Charleston rhythm is a great place to start! It is in many ways the most simple rhythm that has it all. It clearly shows the chords by stating that on the 1 and the groove and swing feel is clear from the 2& that follows it.

If you are playing with people you don’t know: When in doubt, Charleston!

#2 Pulling Forward

This rhythm is a little more busy. Here the goal is to state the groove with the first two 8th notes and then use the 3& to really pull the song forward. The 3& sound adds tension or energy and the following chord on the 1 resolves that tension.

#3 Clear Groove

This example is a little busy if you play it too much, especially if the tempo is higher than a slow medium.

It is however a complete groove and a way of laying down the harmony and the groove in a very clear way. This can work as a a great solid background for a soloist, but for some it may also get in the way.

#4 Up-Beat Energy

This rhythm is a little lighter and a great way to break things up a little. It is important to be able to play comping rhythms that are not on the 1st beat all the time.

#5 Leave it to Bass and Drums

Another exercise is to play rhythms starting on beat 2. This exercise helps you feel(or think) the first beat and then play on the 2nd. Internalizing the rhythm and the meter like this is really useful for your overall timing and time-feel.

Get more ideas for comping

If you want to expand your comping and check out some more ideas then check out this lesson in my WebStore:

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