Tag Archives: jazz guitar comping lesson

Fake Counterpoint And Jazz Chords: Both Beautiful and Practical

This way of playing chords is incredibly fun, and I love how it sounds, at the same time I am not sure exactly where I got it from.

The idea is to be more free and creative with the chords you play, and I’ll take a slow song to show you how I think about the chords and make it into a sort of counterpoint, but it isn’t real counterpoint. Mainly because studying counterpoint was a massive failure when I was a student, but I’ll get back to that.

I guess it is my take on everything I listened to from Bill Frisell and John Scofield, maybe even some Jimi Hendrix, and a bit of folk music as well. I am not really sure, but maybe explaining what goes on might even help figure that out, I am not really following a set of rules as you will see.

Check out how it sounds:

Arpeggios and Voice-leading

I am using Someday My Prince Will Come as a song in this almost ballad waltz tempo, mainly because it is a great tempo and progression to show how “fake counterpoint” works.

The main thing to notice, in the beginning, is that even though I am pretty active then I am not playing a lot of different chords. Instead, I am relying on arpeggiating the chords and getting them to flow into each other in a smooth way, just changing a note here and there like going from the D7 to the Ebmaj7 or Ebmaj7 to G7.

(Add slow examples playing those bars)

I am also very much relying on letting the notes ring so that during the bar the entire chord gets clear.

The chords are simple: Shell-voicing on Bbmaj7, Triads on D7 and Ebmaj7 and an AbMmaj7 as an incomplete G7(b9).

Something that I use a lot is that I am trying to voice-lead the chords, so they flow into each other, and you can actually see that as a visual thing on the first two chords where the top note moves down and the lower voices move up.

That is also what is happening going from Ebmaj7 to the G7(b9)

Playing like this is a good way to REALLY get to know you chords.

The next part uses arpeggios but also more fills around the chords

Fills and Chromatic notes

The first part is mostly about using fills rather than chords and not so much about using several layers:

A basic Eb major triad for Cm7 connecting to G7 which is just a tritone interval.

altered fill:

On the G7 the rest is just a fill to get to the Cm7 in bar 3 where I am using a drop2 voicing.

4th Intervals And Harmonized Licks

This returns to using several layers, adding 4th intervals under the melody, and it also becomes clear why this works better with 2 and 3-note voicings

I am using this Cm7(11) voicing to make it possible to play that little fill with 4th intervals that then ends on the F7(13).

The 4th intervals under the melody then continues on the next Bb chord.

At the end of the first half then it is probably worth noticing that it is really just an embellished version of this:

Is It Counterpoint?

When I think about counterpoint, then I usually think about baroque music with a lot of layers moving, like an organ player working hard to keep it all happening at the same time.

My other association with counterpoint is the course that I had to take when I was studying at the conservatory. All Jazz guitarists had to take this, and I found myself in a class with for the rest only people studying baroque music.

The teacher was a very friendly classical composer, and this was one of the few topics at the conservatory where we actually worked from a book.

This was not a success! I had no real idea what I was supposed to learn, and in the class nothing was related to the music I played. You can probably imagine how showing up and writing baroque music from a set of rules was everything but inspiring. In hindsight, it could have been an interesting topic to explore in terms of learning how melodies work, but because it was not in any way related to the music I played, then it just seemed theoretical and irrelevant.

What You Should Learn From Counterpoint

Another theory teacher later told me that it was not worth it to study counterpoint and really everything you needed to know was these two things:

#1 Step-wise melodies are strong

#2 A leap in one direction is resolved by a stepwise motion in the opposite direction.

I learned a lot from her, and this certainly fitted with my experience as well, so that of course, resonated with me. To immediately relate this to Jazz: these two rules explain how Parker’s octave displacement works:

Where you have the skip from F# up to Eb that then resolves moving down the scale.

It is actually a great demonstration of melodic tension and release. If you think that it is essential for Jazz musicians to learn counterpoint then let me know in the comments, but maybe add a real example of the benefits like this one.

As you can probably tell then, I don’t really remember anything I learned in the counterpoint class, and I am really just using it to describe that I am improvising several layers in the comping examples.

Arpeggiation and Jimi Hendrix

Now whether I learned to play chords like this from Bach, Jimi Hendrix or Bill Frisell, it is probably a mix. I think you can hear some of this coming from Bill Frisell’s way of working with chords, and if you think about it then the idea of playing chords and spreading them out similar to what I picked up from Hendrix on Wind Cries Mary or Little Wing.

The next part is almost a chord melody as a way of comping with a clear melody that is being supported by the chords under it

Except for one place, you have a simple melody that is in fact mostly moving in steps, and then there are chords.

If I just add the melody on top you can hear it:

In the Cm7 F7 bar it becomes counterpoint again with the sustained G note and then walking down to spell out the change to F7 and that is really just a melodic way to play these simple chords:

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The 5 Skills That Make You Great At Comping

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The most fun part of playing Jazz is playing with others and in the band shape the music together while you are playing. And when you are comping, that is a huge part of what you are doing, but a lot of the most important things about comping are not taught in lessons online and not in books on chords. So that is what I want to talk about in this video: Things that I learned, mostly from the people I played with or the people that hired me, and I have also found some great stories from some amazing musicians that explain it.

#1 Play The Chords

Even if it is not only about the chords, then you still need to be able to play the chords and get the harmony across, or the last thing you will hear on the gig is “Your Fired”

For any song you play, you need to know the voicings for all the chords

and have a basic understanding of what extensions are available in that song.

But it is incredibly important to remember what the overall goal is: Play the harmony in a way that fits with the music, so in this case the rest of the band.

This is what you need to focus on: build a practical and flexible chord vocabulary instead of learning complicated chords as grips that are sometimes difficult to play and that you can’t do anything with.

You want to try to not get stuck with a static chord, and focus on learning the voicings so that they are things you can improvise with. If you want a vocabulary of chords that helps you turn the symbols into music then this is the way. (b-roll)

It isn’t complicated: If you have a Bb7,

throw away the root. reduce it to the core.

Sit down and learn the other options and think of them as a small scale you can use on top of that chord

#2 Make It Into Music

If you approach chords and songs like this then the next skill gets a lot easier. Check out how Nir Felder Explains it, because he really nails it!

It is very often that I have students telling me how they are practicing chord inversions, but it is very rare that they talk about practicing comping.

And there IS a way to work towards playing music and not just feeding chords to a soloist.

When you practice, you need to play the song and make the music your priority. You are not just a robot interpreting a page in iReal.

So spend some time practicing comping a song and make that feel and sound good. You need to go beyond just playing a II V I or practicing voicings, and instead, also work towards playing entire songs. There you can try to make melodies in your comping that work, take riffs through the progression, and make them into music.

#3 Communicate With The Band

Most comping lessons talk about how you should listen to the soloist, but actually, something else is at least as important if not more important.

Because, when you are comping then you need to get what you play to work together with the rest of the band, and think together with the rhythm section, especially the drummer.

Lewis Nash talks about it in this clip:

When you comp then you shape the music in that conversation with the drummer. I was lucky that I got the chance to play with some drummers that explained this to me early on and it is a bit strange that this is not talked about more also because it really makes playing together so much more fun.

With the rhythm section, you chose to be:

Repetitive:

Play sustained chords:

Busy:

Sparse:

loud, or soft and that is a huge part of how the music sounds. Of course, you are also listening to the soloist and the bass player, but most of this happens when you lock in with the drummer, and I really think that is the backbone of any great rhythm section.

The way to start working on this is really with listening, I especially like the Wynton Kelly trio with Miles

or with Wes

for this, there are many great examples, and in my opinion, most of the good ones are piano, not guitar, which may be a painful truth…

Another tip is also to start checking out how drummers teach comping because I think we could really learn something from that, maybe that could be another video in fact. Let me know in the comments.

#4 Don’t Get in the Way

When I was still just getting started with Jazz then one of the first people that I really liked for the way he could comp was Russel Malone. I heard him playing behind Diana Krall and used a lot of that to figure out how to play behind singers. I also got to hear that trio live with Diana Krall, Ben Wolfe, and Russel Malone and at that concert, Russel took the solos so far out but still managed to bring us back home safely. That concert really blew my mind with harmonic things that sounded great but where I also had no idea what it was.

One of the things that is almost always a problem when you learn to comp is that you overplay. You practice all these things and then when you are in the band you want to use everything at once, and it ends up ruining the whole thing.

Comping is really like a conversation, you don’t open up a conversation by for example listing 25 Amazing and unknown facts about sheep.

This is also about getting that connection with the rest of the band that I already talked about, so it can be good to first focus on locking in with the drummer and the soloist. You can do that by leaving room with longer chords or more sparse comping in the beginning. That will give the freedom to take the music in a direction, and you can try to hear where they want to go.

#5 When To Push/ When To Support

Another aspect of comping is communicating with the soloist and figuring out when to push with more things happening in terms of density, rhythm, or harmony and when to lay back and supply a foundation for the soloist. When I have been playing as a sideman then I was often surprised by how this was very different from soloist to soloist. Some are really looking for ideas and communication and others just want something to play over without any interference. And this is really about trying to feel if the soloist is comfortable or not, it is a bit vague, but you do want to be aware.

As a soloist, I have had experiences playing a gig and when you start going to other places and reharmonizing the song then the piano player will very clearly spell out the original changes as if you are playing something wrong, or you take a solo and after playing one altered dominant then all the maj7 chords are maj#5 and the dominants are 13b9 chords because somebody practiced upper-structure triads that morning.

It is difficult to get this right but it is very important to be aware of, especially if you want to get called for another gig, and again it is something that I mostly picked up talking to people I played with and asking what they think, but you have to look out with that as well because you get great advice but sometimes you get presented with myths about how it works by someone who doesn’t know how it works or just can’t explain it.

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3 Reasons Your Comping Sucks and How To Fix It

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Usually when people talk about comping then it is about what chords to play, extensions and voicings, but that is not at all what comping is about. There are other things that you want to focus on that are a little less obvious. But that doesn’t mean that you can’t improve them. And you want to, because otherwise you are going to get fired….

You can probably split this into 3 main skills that you can develop, and these are things that you need to have some control over and you can always develop them further, and if you don’t know them then you will probably ruin the music for everyone!

The upside to this is that the things you will develop with this are also going to make you play better solos, in quite a few ways.

#1 Rhythm

When I went to jam sessions or was teaching combos then one thing that I often had to spend time on was teaching guitarists or piano players to not only think about the chords when they comp.

What Not To Do

I always found that the worst type of comping is when the one comping is only thinking about the notes and the voice-leading and is not taking responsibility for the groove or the interaction at all. Basic things like listening and having a vocabulary of rhythms and grooves is much more important than knowing a ton of fancy voicings.

No Fancy Chords! It’s a Blues

But there are great ways you can work on this. Let’s get rid of the fancy chords!

If you take a Bb Blues then you should be able to play through it with 2-note shells, so just the 3rd and 7th of each chord.

Like this:

When you don’t have more material in your chord then you are not thinking about extensions and colors or how to get to the next chord, so you have a lot more time to work on being creative with rhythm and locking in with the rhythm section.

While you are working on this then you probably start to notice how repeating patterns can be really useful, and make the whole thing strong, solidifying the groove and the chord.

Exercise 2

This is something that you also can spend some time working on, so try to take rhythms from people you like listening to and make them into riffs that you can take through a progression.

Wynton Kelly is a good choice for someone to listen to for this, but a lot of the hardbop guys are really good at laying down a groove like that, if you know a great example of someone comping on a song then leave a comment!

You need to remember that we learn this by hearing how it is supposed to sound, not by reading a book or using some sort of ruleset.

Practicing Riffs

An example of a pattern to practice through a song could be something like this:

And if you try, then you can hear how the consistency that it brings when you make it through the song and how it really helps actually keeps in interesting and also makes whatever variation you play so much more powerful.

I think this is one of the most underestimated things in comping that will make pretty much everyone sound 10 times as good.

The Golden Tip For Comping Rhythms

One thing that can change so much about how you sound when you comp and especially if it grooves is to Be aware of long and short notes, and use that creatively!

There is a big difference between:

and something like:

Essentially the rhythm is the same, and I am only changing between long and short notes.

#2 Melody

When you play chords then melody is one of the most important things to make it sound good. Something that helps you tie the whole thing together.

So, besides rhythms, you want to work on playing strong natural-sounding melodies that make sense.

Simply because this:

Does not sound as good as this:

And the difference is that the 2nd example has a melody, it is in itself a story with an interesting flow and more surprises, so you can easily hear how that works a lot better, but how do you develop that?

There are two things I think you want to work on here, and they both have some nice bonus side-effects for your playing.

Chord Melody Will Teach You

If you want to have great melodies when you are playing chords then learn to put chords under some great melodies, so harmonize great songs and make your own chord melody arrangements, like this fairly dense harmonization of There Will Never Be Another You

When you are harmonizing melodies like this then you are finding practical ways of playing melodies with chords and that is something you can take directly into your comping, and you anyway want to be able to harmonize the melodies you play with others.

Shortcut to Chord Solos

When you can improvise a melody in your comping then this is really just a less active chord solo, and you can still think in motivic development call-response. That is a great way make music with the chords

And comping like this is really just setting you up for playing complete chord solos of harmonized lines, which is one of my favorite things to do!

Let’s look at what is the core of comping, and how not to get fired!

#3 Responsibility

Almost nobody talks about this, but I do think this is the #1 reason that you will be considered a good sideman: You Need to be aware of your role in the band and try to serve the music, not your ego.

What Peter Bernstein is talking about here is the importance of making things clear, and being aware of how the music feels. Making other people feel comfortable while playing is incredibly important and not being afraid to lay down clear harmony for the rest to fly over is underestimated. You might want to show your chops and hip rhythms and chords but you need to know when to do that and when to just support.

Again with this, repeating patterns are often a good place to start because you are giving the soloist something predictable to build on and then you can start the conversation from there.

The Most Important Practice Tip

In the videos that I talk about how to learn Jazz then I often tell you to practice playing songs and make music with the things that you practice, and for me that was always how I worked on comping. You really learn so much from putting on the metronome on 2&4 and cop through a tune, think about how to get it to sound good and what kind of vibe it should have. I think that is the best way to work on this, but also something that whenever I ask students about it they look like it is a completely alien idea.

The Efficient Way To Learn Jazz Chords

There is a way to learn and look at Jazz chords that is much more efficient than just practicing drop2 or drop3 inversions and If you want to connect what you know and have more options to use the skills that you have developed with these exercises then check out this video which shows you how to think and organize that.

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Comping – How To Add Movement To Static Chords

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Often you come across songs where you are comping a static chord for a few bars, and it can get a little boring with just one voicing, not adding energy and movement to the music. This video will give you some tricks to make places like that more interesting and show you how to add some beautiful chords and reharmonizations to your jazz guitar playing.

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Content:

00:00 Intro

00:33 Example 1 – Diatonic Passing Chords on You Stepped Out Of A Dream

01:05 Diatonic Passing Chords – Easy, Solid and Effective

01:38 Example 2 – Secondary Dominants on How High The Moon

02:04 Dominants and Tritones – The Strongest Pull

04:18 Example 3 – Ladybird With Secret Dim Chords

04:37 #IV Diminished – Overlooked

06:06 Voice-leading And Chords You Can’t Analyze

08:25 Example 6 – Take The A train with some voice-leading

08:39 Make Your Chord Progressions More Interesting

08:55 Like the video? Check out my Patreon page!

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Comping A Jazz Standard – This Is How To Get Started

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Just learning the chords is not enough to really play something that sounds like real Jazz Comping, and you need to develop more than just finding some chord voicings.

In this video, I am going to take an easy Jazz Standard, and then show you how you can start with basic chords and step by step develop your comping, improvise with the chords, and lay down the harmony so that it sounds beautiful and interesting.

Level 1 – Basic Chords

Perdido is a great and very easy Jazz Standard to work on if you are new to playing Jazz, and as you will see, it is a good chord progression to develop some very solid comping skills.

If you play through an A part with a basic set of chords then you only need these basic chord voicings

And making this a little more interesting is pretty simple.

Splitting The Voicings In Two

What I am doing here is just adding some rhythms and splitting up the chord voicings in a bass part and a chord part.

Thinking of the chords as two layers like this is actually a really essential way of thinking of grooves, even if it is not that clear in Jazz.

This is of course also what happens with a walking bass and chords where there are clearly two active layers

Let’s have a look at what you can do the chord voicings to start comping with them

Level 2 – Rootless chords and melodies

The first thing to do is to take the basic voicings from example 1 and then turn them into rootless voicings by leaving out the bass note, like this:

And you can take the 3-note voicings in example 4 and try some different melody notes here as well:

You can also start adding melody notes on the top string:

In this way, you also have some small melodic exercises for the chords and that is going to be really useful for the next section when this has to be turned into comping.

Level 3 – Comping

With this material, you can now start to make short melodies and riffs and comp through an A-part. First I’ll show you how that sounds and then talk about how you practice playing like this

As you can see these are small melodies with a few notes on each chord, so you want to keep it really simple so it doesn’t get in the way.

Notice how I am not writing any extensions here because we are improvising with the chords and they are changing all the time, so it is better to just write the basic chord.

Develop Your Comping Rhythms

If you want to develop your own vocabulary then you could start with a single chord and just play simple two note melodies.

You can then take this to the song and start developing your comping.

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How To Make Your Comping Rhythms More Interesting

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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.

Syncopated rhythm

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.

Syncopated Upbeat

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.

Chromatic Boogaloo

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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Add Beautiful Colors And Fills To Your Comping

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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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How To Sound Great On A Static Chord – Modal Comping

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You need strategies for Jazz Comping in modal or static chord sections of songs. When you start learning Jazz comping on the guitar then you learn to play progressions, focusing on how to connect the chords play through the changes and get that to sound good and natural.

But the skills you develop with this won’t help you when there is a long stretch of one chord, like modal jazz, and there is no chord progression that automatically makes your jazz chords sound interesting.

In this video, I am going to go over some examples of how to comp jazz guitar on a static chord, develop some phrases, add extra chords, chromatic sounds and other things to make your jazz guitar comping more interesting.

Other great lessons on Modal comping and Jazz Comping

Beautiful Jazz Chords from Allan Holdsworth – Modal chords

The 3 Most Important Things For Solid Jazz Comping

Comping Rhythms – 10 Examples You Need To Know

Jazz Chord Voicings – The 9 Different types you should know

Content:

0:00 Intro – Comping on Static/Modal Chords

0:39 Two Basic Strategies – Allan Holdsworth vs Wynton Kelly

1:29 Example 1 Basic simple riff around chords you already know. Clear melody

2:55 Example 2 Diatonic voicings and a little voice-leading

4:17 Example 3 Pedal Point melody

5:19 Example 4 Quartal Voicings – Borrowing from McCoy Tyner

6:22 Example 5 Two Layers and Call-Response

7:20 Example 6 Chromatic Passing Chords

8:11 Example 7 More Chromaticism

8:47 Like the video? Check out my Patreon Page!

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Comping Rhythms – 10 Examples You Need To Know

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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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You can also download the PDF of my examples here:

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Jazz Comping – How To Keep It Interesting

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Jazz Comping and especially good jazz comping is not about knowing a million voicings. It is more about how you play the chords you know. The different ways you add embellishments or connect the voicings that make the difference.

In this video, I am going to go over a few different approaches and techniques that you want to add to your comping. This will help you have a wide vocabulary of techniques and options available when you a playing chords behind something else.

Content:

0:00 Intro

0:25 Focus on How you play not What You Play

0:47 Basic progression and why you should leave out the bass note

1:33 Top Note Melodies – How To Get Started

1:58 Turn you comp into a musical statement

2:47 Tying together a lot of voicings.

4:20 Arpeggiate The Chords

5:26 Chromatic Passing Chords

7:21 How To Add Fills

9:34 Inner-voice movement

11:03 Like the video? Check out My Patreon Page

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If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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