Tag Archives: jazz comping

How to Practice Comping and Not Just Chords

Most of the time advice on Jazz Guitar Comping is about what chords to play and not how to play them. This one is about how to actually Practice Comping.

Comping is important, but since it is about playing behind somebody else it can be difficult to practice on your own. So how do you work on it? In this video I am going to show you a few ways to work on your comping and a list of things to think about when it comes to listening to your own comp.

Ways to Practice Jazz Guitar Comping

The old method: Metronome 2&4 play some comp think about how you want it to sound and imagine the band playing with you. 

This is the most important thing to practice and you want to be able to do this well, but there are other ways where you can try to work on it.

One of the ways that take advantage of some of the things we have available in this more modern tools like recording yourself and using backing tracks. I also discuss some of the things that you can learn and think about when doing this.

Content:

0:00 Intro – Getting the Wrong Answer

0:57 Different ways to practice comping and a check-list

1:13 Traditional VS Modern Methods of working.

1:41 #1 The Ancient Method of practicing

2:52 #2 Record yourself with a backing-track

3:09 Good resources and Good Drummers

3:30 Comping with drums – Learn to Listen

4:31 #3 Be Your Own Soloist

5:50 The Essential Checklist for Comping –

6:08 Over comping?

6:44 Conveying Groove and Harmony?

7:06 Is it in Style and fits the context?

8:23 Interacting with the Band

8:43 Interacting with the Soloist

9:14 Develop You Taste with Comping – Get Inspired!

10:00 My Favourites when it comes to comping

11:01 Like the video? Check out My Patreon Page!

Beautiful Chord Ideas That Will Boost Your Comping

Most of the time when you think about comping you are concerned with the chords, voicings and rhythms you are using. Those are of course important but there are also other things to consider when Comping and playing chord melody that can really transform how your chords sound.

This video is going over 4 examples of ways to play chords that can help you add something new to how you sound when you are comping or making a chord melody.

The importance of comping

In my experience, being a jazz guitarist you spend a lot more time playing chords than soloing and that skill is something you want to take as far as you can!

Content: 

0:00 Intro — Sounds better if you break a few rules 

1:09 Not Always Voice-Leading! 

2:49 Explaining the Example 

3:52 Inner-voice movement 

4:29 The Example and why you should listen to Bill Evans

 5:18 Putting it to use in a Chord Melody arrangement 

5:56 How To Practice using this

6:46 Melodic Pedal Points or Sustained Melody notes 

8:47 Arpeggio Polyphony — What most jazz guitarists forget to do.. 

9:25 The Example 

10:39 A simple application with Drop2 voicings 

11:14 Like the video? Check out my Patreon Page

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The Quick Way To Learn Jazz Comping – Simple & Direct

One of the nicest things about playing jazz is Jazz comping where you play fills and small melodic statements behind the soloist. In this video I am going to go over a very easy way to get started playing jazz chords like this, starting with a very simple version of the chords and an easy way to add melodies to these chords.

I am going to demonstrate this on a Bb jazz blues. Starting with reduced shell voicings and expanding this into a set of chords that you can make melodies with while comping. I also demonstrate how this might work on the blues.

Reducing the voicings for comping

The first thing we need to do is to find some really easy chords for the blues. The way I am going to do that in this video is to just play the 3rd and 7th of each chord. This is also a great way to practice knowing the notes of the chords.

Bb7: Ab,D
Eb7: G,Db
G7: B,F
Cm7: Bb, Eb
F7: A, Eb

Before we start adding different variations to the chords to open up how we play them the we can Take this through the Blues this sounds like this:

Getting more options for each chord when comping

This way of playing the chords is pretty easy and is actually giving us a very clear sound of the chords.

To be able to play some more interesting melodies we need have some different melody notes. We already have one, namely the top note of each chord.

The way to do this is to add two more notes on the next string.

Bb7: D F G, 3,5,13
Eb: Db Eb F b7,1,9
G7: F, Ab, Bb b7,b9,#9
Cm7: Eb, F, G 3,11,5
F7: Eb,Gb,Ab b7,b9,#9

Before we start improvising with this we can play this through the Blues as an exercise:

To get started improvising it can be a good idea to work a bit per chord. In the video I give a short example on a Bb7 that you can check out.

Jazz Comping in Action

Once you get a bit more familiar with the chords you can play through the blues likes this:

Make chord voicings easier to remember.

Connecting different types of voicings is important because it makes it easier to use, remember and understand

An important thing to notice here is that the chords on Bb7 are really just like rootless versions of chords you probably already know. If we think about the chords as different variations based on the middle tritone Ab D (marked red) then we have this:

Take your comping further

If you want to check out more on how to practice and think about comping you can check out this lesson on comping on Autumn Leaves:

Autumn Leaves Comping – Lesson

 

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You can also download the PDF of my examples here:

The Best Jazz Comping Concept Awesome and Easy

If you have any questions, comments or suggestions for topics 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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Rhythm Changes Chords – Hidden in the Easy Chords

Rhythm Changes Chords are essential to check out. If you want to explore jazz and bebob guitar then the rhythm changes progression is a must. The progression is often used and parts of it are common in countless other songs.

In this lesson I will first go over a basic set of chord voicings to play the progression. I will then expand on these voicings by first turning them into rootless voicings. Then I will show you how you can start making variations of the top notes to create more interesting comping ideas like that. Finally I will go over how you can even add notes and create another set of 4-note voicings.

The Basic Rhythm Changes chord set

We don’t need a lot of different voicings to play a Rhythm Changes A part. In fact it is mostly the same turnaround: I [V] II V and then a short trip to the IV and back.

The chords are shown here below:

If you want to read them using chord diagrams or chord boxes you can do so here:

In the above progression I use a #IVdim (Edim) chord to go from Eb back to Bb in bar 6. Another common way to do this is to play a IV minor chord. In most cases this is a backdoor dominant. In Bb major that would be Ab7. This variation of those bars is shown here below:

Introduction to Jazz Chords

The way I play these chords is coming out of some the lessons in this study guide:

How to Play Jazz Chords

Making the voicings rootless and adding melody

An easy way to create some more flexible 3-note voicings is to just leave out the root.

This is shown here below in example 3:These are more flexible and it is fairly easy to change the top note so that we can play several  melodies using these voicings. 

One way of adding these options is shown in example 4:

Creating 4-note voicings (and recognizing them)

Another way to vary the melody is to add an extra note on top of the voicing. This can be done quite easily since we are only playing 3 notes.

An example of how this works is shown in example 5:

As you can probably see these voicings are mostly drop2 voicings.

The most important Lesson of this Process

This way of coming up with different chord voicings is of course a way of giving yourself options, but is is also a way of associating different voicings together so that we don’t have to remember unconnected sets of notes. 

This is a very practical way to think about chords and a great way to help you learn a lot of chords by just really remembering one.

What do you think?

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Rhythm Changes Chords

If you have any questions, comments or suggestions for topics 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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Passing Chords – The 3 Types You Need for Comping and Chord Solos

Passing chords are a great way to expand the sounds you have available in your comping and chord solos. As you will see in this lesson they are also making it easier to make you comping sound more melodic and musical. In this lesson I am going to discuss 3 types of passing chords and demonstrate how they can be used.

The Diatonic Passing chords

The easiest place to look for chords to use when harmonizing a melodic comping idea is of course to use the diatonic chords of the scale at that point in the song.

If you want to know more about Drop2 chords and other voicings then check out the Jazz Chords Study guide

This is what I am doing in example 1 here below. The example is on a II V I in G major, which is the chord progression that I will use for all the examples.

In the example the diatonic passing chords are used on the Am7 chord. The first part of melody consists of the notes C, D and E. On the Am7 I am harmonizing the melody with the chords Am, Bm7 and Am7. Using the neigboring chord when harmonizing notes is a very common and very useful way to use diatonic passing chords. In this example the Bm7 chord is used to harmonize the D and it voice-leads nicely up to the following Am7(9) voicing that harmonizes the E.

Different versions of Passing chords solutions for an Am7 melody

Of course there are several ways you can take diatonic passing chords. Below you’ll see examples using only Am7 voicings, a Bm7 and a G6 diatonic passing chords.

Diminished Passing chords

This approach to using passing chords is to harmonize melody notes with a dominant diminished chords. On the II chord, Am7, the dominant is E7 and the associated is a G#dim.

This example is also using a G# diminished chord to harmonize some notes on the Am7 chord. The notes that belong to the dominant in the scale are the prime candidates for using the diminished chord. In the example below I am using it to harmonize the D and B notes.

Practicing the Diminished passing chords

One way to work on practicing the this way of alternating a II chord with a diminished chord is to do the exercises here below.

You may recognize this exercise as the Barry Harris 6th diminished scale, which is build on exactly this idea of alternating tonic with a dominant chord.

Chromatic Passing Chords

Chromatic passing chords is a great way to especially harmonize chromatic passing notes in the melody. This means that having this in your vocabulary is going to make it possible to add chromaticism to your comping melodies. 

The example below shows how you can use chromatic passing chords on both the Am7 and the D7 chords.

On the Am7 the B, Bb, A melody is harmonized with Am(9), Bbm7 Am7 and in the same way the D,Eb,E melody on the D7 is harmonized with D7,Db7 and D7.

Notice that the voicie-leading is also chromatic, so the way to use this is to look at the note that the chromatic note is resolving to. The chord that is used to harmonize the resolution will also work well to harmonize the chromatic note. On the D7 it is clear that the Db7 is just shifting up a half step to become the D7. 

Sometimes you can also reverse this so that the chord moves one way and the melody another which can be a great effect, but that is for another lesson. You can always leave a comment on the YouTube video if you would like a video on this,

Expand you the possibilities with chords

Passing chords is a very powerful tool in comping and chord solos and of course also in chord melody arrangements. Checking out these techniques are really something that is applicable in so many areas of playing and will pay off on a lot of levels besides the direct use.

In-depth examples of Passing Chords

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Using Passing chords in Comping

If you have any questions, comments or suggestions for topics 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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You Don’t Need That Many Chord Voicings, It’s How You Use Them

In this lesson I will take a look at 4 very common chord voicings and expand on them in several ways to demonstrate how flexible they are and how much you can get out of them!

Most Jazz guitarists are trying to constantly expand their chord vocabulary and learn new chord voicings. Of course it is important to have a lot of options, but it can be an even better idea to sit down and go over what you can actually do with what you already know. 

The basic chord voicings

In the lesson I will take 4 very common chord voicings that I expect you already know and then approach using them in a few different ways so that we can really open up what we get from them while relying on what we already know.

To keep it simple I have taken a turnaround in the key of C major and will use this progression throughout the lesson as a progression.

The 4 chord voicings in their basic form is shown here below both as tab and diagrams

Loose the root and gain another voice!

The first thing to do is of course to convert them into rootless voicings which should also give us some more options because we then can play something else with that finger.  This is shown below again both in tabs and diagrams.

Using the smaller rootless voicings for great melodies

Now that we have some  smaller more flexible voicings we can start making more varied melodies with the top notes of the chords.

The options we have available by just changing the top note to another note on the same string gives us these possibilities for top note melodies on the turnaround:

With these variations we can make the following comping example:

The Expanded set of top note choices

The next step could be to start using top notes not only on the same string (which is the B string in this example) but also on the next string.

If we extend the top notes by adding the ones on the high E string we have these options:

And this could be turned into this example:

Thinking in layers of harmony

With all these options it is possible to make a lot of different melodies, but everything is still played as a complete chord all the time. One way of breaking this up is to split the chord in a melody and a chord part. This is in many ways what we already did in the previous examples, but only in the way that we thought about the melody. 

Now we can also try to use that when playing the chords so that sometimes the chord is played alone, sometimes with the melody and other times just the melody.

An example might be like this: 

They are also arpeggios!

Taking the layer concept a bit further would be to start using the chords completelyas single notes and arpeggios. An example of this is shown here below:

Putting all the ideas together

The best way to finally use this is to take all the different approaches and mix them up and make use of all the things combined in your comping (or soloing) An example of this might be something like this:

I hope you can use some of these ideas to re-invent and expand what you can do with your chord voicings. I often find that it can be a great idea to take a step back and lock at what you can make of what you already know instead of starting to explore something completely new.

 

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You don’t need that many chord voicings, it’s how you use them

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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What Jimi Hendrix can teach Jazz Guitarists

Jimi Hendrix is a one of the most influential guitarists in history. There is a lot to be gained from checking out guitarists outside the jazz guitar. In this video I will go over how you can apply some of the ideas that Hendrix uses in his playing when you are playing chords in jazz.

The examples in this lesson are all on the first 4 bars of the jazz standard “You Stepped ut of a dream”, which consists of two bars of Cmaj7 and two bars of Dbmaj7.

A Jazz comp example

The way we mostly comp in jazz is by using complete chords and then use different voicings to create movement in the top notes or in the inner voices of the chords.

This is shown in the example here below:

How Hendrix would play it

If we take the chords and try to imagine playing them in the style Hendrix might use on his ballads like Little Wing or Wind Cries Mary then that might yield something like this:

The important thing to notice here is that the chords are played in the begining of each chord to state the harmony.  The variations that are used are not complete chords but more double stops and partial chords. The sound of this approach is  a lot lighter than using only complete chords and that can be a nice variation to add in your comping vocabulary.

The way I am playing example 2 is of course also changing the  feel of the song, so we still need to find a way to apply this to a jazz standard without making it sound like a Jimi Hendrix cover.

The way the chord is split up in bass note and chords so that it spells out a back beat groove and this is probably the main reason it sounds so little like a jazz groove.

A more jazz example of this approach

Example 3 is taking some of the techniques used in example 2 and then adding more of a jazz feel to it. The idea is quite simple, the chord is still initially stated and then the rest of the time is used to add fills and partial chords. The fills do convey the sound of the chord, but does not yield a complete chord sound all the time.

In this example I am using the same ideas for fills but taking away the back beat feel so that the jazz feel isn’t lost. 

A closer look at the Techniques in the fills

The two main ingredients of the fills Hendrix uses are probably the chords themselves and then mixing this with pentatonic ideas.

A “jazz” version of this could be to use the chord and also use a pentatonic scale that fits the chord. In this example the chord is a maj7 chord so a suggestion for a pentatonic scale could be the E minor pentatonic scale as shown here below.

If we relate the Em pentatonic scale to C maj 7 we get:

E   G   A   B   D   E

3   5   6   7    9   3

One thing that wouldbe useful to explore is some of the intervals we have in the scale. The 3rd bar shows a simple set of intervals in the scale.

Practicing Fills from Chord shapes

On the Cmaj7 I am using some of the Em or G major pentatonic ideas that you would often associate with a G major chord. One good exercise to get used to some of the G major fills that are in the style of Hendrix is to go over the fills that I have written out in example 5. This is associtated and based on the E minor pentatonic scale and the G chord shown in the 3rd bar.

Another possibilty is to take the same exercise and use the fills associated with the C chord in the 8th fret. This is shown in example 6 here below:

Applying the Hendrix exercises to a Cmaj7 chord

As a short example of how I apply the G Hendrix fills to a Cmaj7 I have written out the chord and the fills here below. 

Using Fills in comping and soloing

With the long history of jazz guitar it has become a common thing that we add to the style by borrowing techniques and ideas from other styles. I personally find it great that we keep developing the style and that jazz in this way keeps changing and evolving.

Incorporating fills into your playing is a good way to add some color to your comping. You can of course also use these ideas in your solos as melodic material, something you will also hear Hendrix do in his solos.

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Get the PDF!

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What Hendrix can teach Jazz Guitarists

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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Jazz Comping is NOT only Chords and Voice-leading!

Comping is a lot more than just what chords or chord voicings you play. It can be very difficult to practice, but there are some things you can be aware of to perform a lot better when comping in a jazz setting. In this video I will try to highlight and describe some of these approaches.
 
I will also go over why being a great at comping will make you a much better soloist!

 

Content: 

0:00 Intro — Comping practice? 

0:19 It’s not about the voicings! 

0:55 Your Function when comping in a band 

1:09 Your Responsibility with comping 

1:24 Comping Example: Harmony 

1:52 Conveying the Harmony in comp 

2:32 Comping Example: Groove 

3:01 Conveying the groove 

4:15 Comping Example: Interaction

4:42 Discussion on Interaction — the subtle art of… 

5:36 Not playing as a form of interaction (Scofield and Jim Hall) 

5:57 Interaction vs Groove comping

6:19 Responsibility within the band 

6:30 Roles within the Rhythm Section 

6:55 Learn by listening and analyzing 

7:06 Bill Evans/Scott La Faro/Paul Motian — example of roles 

7:28 Herbie Hancock/Ron Carter/Tony Williams — example of roles 

7:53 Serve the music! Check you ego at the door 

8:37 It will make you a better soloist! 

8:59 Why the Piano solo is often the most fun! 

9:25 Coming Philosophy 

10:09 How do you think about comping, like to comp? 

10:34 Like the video? Support my videos on Patreon!

6 Triads for a Cmaj7 Chord (well 10 actually..)

Using triads to play jazz chords is a great way to get the sound of the chord and have a flexible three note voicing that you can change the extensions and melody on. This video is going over 6 triads that I use for my Cmaj7 voicings and will also demonstrate how you can use them in a II V I cadence in C major. At the end of the video I go over 4 more triads that are a bit tricky to use but also yield more interesting sounds!

Finding the triads

The most important note in a Cmaj7 voicing is probably the major 3rd: E.

If we want to find the triads that can be used it is probably a good idea to just look at what options are available with the diatonic triads that contain an E.

As you can see here below I have written out the triads where E is the 3rd, the root and the 5th. Which gives us C, Em and Am triads. But we can also use the sus4 triads. The second half of the example below are the sus4 triads where E is the root, 5th and 4th.

The Bsus4 is not really diatonic to C major, but is a great sound to use for a Cmaj7(#11) or Lydian sound.

The Tonic triads

The C major triad is of course a good candidate to convey a Cmaj7 sound. The example below shows how that might be used:

The C major is of course lacking a bit of color, but it can still be used. I chose to use it with the E in the melody because if it has  the root in the melody it immediately sounds like the ending of the song.

Em triads – Triad from the 3rd of the chord

A lot of very common Cmaj7 voicings are in fact just Em triads with a C bass note (as I demonstrate in the video) This of course means that yet again the structure from the 3rd of the chord is incredibly useful as a voicing for the chord.

The Am triad – C6 chords

When using the Am triad we don’t actually get a Cmaj7 sound but instead a C6 sound. As you probably already know, the two are interchangeable so this is also a useful triad to have in your vocabulary

Esus4 The super triad

A very rich Tonic sound is the Cmaj7(13) and this is what you get if you use an Esus4 triad to spell out the Cmaj7 as shown here below:

Asus4 The 6/9 upper structure

Using an Asus4 as a Cmaj7 voicing gives you an C6 chord with an added 9. This sound is very common in Bossa Nova and other Brazilian styles but is in general of course also a beautiful sound on a tonic chord and a great alternative to the more common Cmaj7 sounds.

Lydian with a Bsus4

The last sus4 triad is the Bsus4 which is in fact diatonic to G major not C major. Bsus4/C gives us a maj7, 3rd and b5 (or #11) which is a lydian sound.

Combining the triad sounds

Now that we have 6 different ways to play the Cmaj7 chord we can combine them to get a varying set of colors on the tonic chord.

This is shown in the example below where I am first resolving to Asus4 then Am and further on to Esus4. This small move on Cmaj could also be a riff for a song with a period of static Cmaj7.

The second example is starting with a very basic II V voicing set. From there it resolves to C using Asus4, then an inversion of Asus4 that moves up to a Bsus4 and on to Esus4 before it resolves to a Gsus4.

The Gsus4 is a great choice for a Cmaj7 but it is a little more context sensitive as it does not contain an E.

The secret triads

There are four more triads that I often use for voicing a Cmaj7, but these last ones are a litte more difficult to work with because they are more incomplete or very specific in the sound that they convey.

The four triads are shown here below:

The first three are difficult because they don’t contain an E, and the last one is tricky because it has the #5 of C in the voicing.

The beautiful incomplete voicing – Gsus4

In the example here below I am using the Gsus4 triad. The Gsus4 mostly works as a C voicing because the fact that is missing the E is somehow compensated by the C in the voicing.

G/C Upper-structure triads

This voicing is fairly open sounding and not too specific as a Cmaj7 sound. This comes from it only containing the upper part of the chord. One way that it still sounds great as a Cmaj7 voicing is to have it preceded by a G7alt, because the strong pull from the G7 will then automatically make it sound like a resolution.

The Lydian Upper-structure

Another example of only using an upper structure is the D major triad. This triad spells out the 9th, #11 and 13th over the chord. Since we are missing both 3rd and 7th it is not really giving us the sound of the chord, at the same time the Lydian sound is so  heavily represented that it is still fairly clear what is going on.

The Augemented Maj7 – E/C

In this last example the chord sound is actually altered, but since it is by now a very common sound I chose to include it anyway. The E major triad is in fact a Cmaj7#5 without a C, so it is in that respect a very clear sound. That said you should probably be a bit careful with what is going on in the music before you start using this sound.

How to use these 10 triads

This exercise is mostly and overview of what triads you have available as voicings but it should give you some idea on what you can try to use. 

You probably want to spend some time with each one that you want to get into your vocabulary and work on them one at a time to get used to how they work in different contexts.

This can ofcourse also be applied to solos, so maybe that is something to do a video on at some point.

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Get the PDF!

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6 Triad Voicings for Cmaj7

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.

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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Jazz Counterpoint – Discover New Harmonic Ideas

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