Tag Archives: jazz rhythm

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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3 Ways To Play More Interesting Rhythms In Your Solos

Learning to play solos where the rhythm really sounds like Jazz is difficult and it is probably the most important part of Jazz. Jazz Rhythm is a language that you need to develop.

What you want to focus on is practicing things that help you hear phrases that have those rhythms in them. They have to be in your ear and in your system if you want them to come out into your playing.

Content:

0:00 Intro – Jazz Rhythm – Hearing Phrases with great rhythms

0:30 #1 Themes and Melodies

0:45 Internalizing melodies = internalizing rhythms

1:34 Using Theme Rhythms in Solos – Tenor Madness

2:04 The other elusive skill for Jazz Playing

2:18 Rhythmical Target Notes

2:33 The Different Kinds of Target Notes

2:53 Example: 4& as Rhythmical Target on a Turnaround

3:40 #3 Rhythmical Displacement

4:13 Example Motif from Bernie’s Tune

5:20 More than just the notes

5:40 Like the video? Check out my Patreon Page

How To Make Jazz Licks More Exciting

The main vocabulary in Jazz is 8th note lines and is what makes up in most bebop inspired jazz licks. It can be a little tricky to sound good with solos like that because even if you play the right notes, use the arpeggios and follow the changes the line can sound boring and square.

In this video, I am going to give you a way to change things up and show you how to create more exciting jazz licks that take you to the next level as an improviser. Starting from a Charlie Parker lick and then developing the concept.

It’s really about how you think about it when you try to come up with new lines, and something you can easily add to your playing.

Start with a Boring Jazz Lick

Just to have something to compare to. Here is a really boring jazz line:

Everything is on the beat and heavy, and it is moving in a very predictable way.

How Charlie Parker uses Rhythms

What I am going to talk about in this video is about using groups of notes in your solo lines. Charlie Parker does this all the time.

The two things that make the Parker line stand out are the triplet Gm7 arpeggio and the chromatic phrases that follow.

In this video I am going to focus on the last part of this: Having odd-note groupings in your jazz licks.

I talk about the triplet arpeggios in this lesson: The Most Important Scale Exercise In Jazz

Using 8th note groupings in Jazz Licks

The interesting rhythm is that the meter is 4/4 but the melody is shifting on top because it is groups of 3 8th notes.

Split the bar in 3’s and 2’s

How do you work with this. Let’s take a bar of 8th notes and then we can group them together in groups of 3 and 2 notes.

The obvious one is 3 3 2

If you try to use that in a line then you come up with a phrase like this:

It doesn’t really matter how you make the melodies, but it is easier to get it to work with descending melodies as I do in example 3.

Making Melodies with odd note groupings

A good fit for a 3 note grouping is a triad.

If I use the triad from the 3rd and the root on the Gm7 I can make something like this:

Conclusion – It is really just about making melodies that we naturally want to not emphasize the heavy beats,1 and 3, all the time.

3-2-3 Grouping

Of course, you don’t have to use 3,3,2 you can also use 3,2,3:

Taking it further: Across the barline

You can also make ideas that move over several bars, so for example move groups of 3 notes over two bars

We have 16 8th notes, so that is 5 3 note groupings and then we can resolve on the last 8th.

A Great Melodic idea: Repetition

And you don’t have to change the grouping, it also works really well with repeating the pattern on each chord, in fact, that can work as a very clear way to play a different kind of line if the rest of your solo is more forward-moving bop lines.

And finally: 5-note groupings

Now that you are working with phrases over two bars you can also start to use groupings with more notes like 5 note groupings.

Here’s an example of that:

Taking These Concepts to a Jazz Standard

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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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How to Improve your vocabulary of Jazz Rhythms

We don’t often talk about is how rhythm is actually also a melody, and how to work on your vocabulary for jazz rhythm. But,of course, a very important part of playing jazz is interesting and great rhythms.

In this video, I am going to go over some great examples of rhythms used in a jazz solo taken from Chet Baker, Kenny Burrel, and Jim Hall. I also discuss how you might want to work on improving this part of your own playing.

Content:

0:00 Intro – Adding New Rhythms To Your Solos

0:14 Getting Inspirations from Kenny Burrell Jim Hall and Chet Baker

0:32 Example #1

0:39 Kenny Burrell – Mastering Medium Swing

1:06 How To Use Simple (but great 8th Note Rhythms)

1:24 Example #1 Slow

1:34 How To Use The Material

1:57 Example Lick #1

2:14 Example Lick #2

2:22 Ideas with more of a concept

2:40 Example #2

2:46 Chet Baker – Strong Rhythm and Simple Notes

3:02 Analyzing the line

3:58 Example Lick #3

4:26 Example Lick #4

4:52 Example #3 

4:59 Jim Hall – Rhythmical Diversity and Strong Melodies

5:36 Motif and a Scale Sequence

5:59 Example #3 Slow

6:07 Getting More Out of the Pattern and understanding why it is great!

6:30 Example Lick #5

6:40 Like the video? Check out my Patreon Page!

Check out more lessons on Jim Hall

Here are a few more Lessons I did on Jim Hall and his fantastic playing that always contains a strong and interesting rhythmical concept as well as beautiful melodies.

Jim Hall – Ingredients Of The Best Solos

Jim Hall on Autumn Leaves – Can it get any better?

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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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Jazz Rhythm – The Most Important Aspect of Jazz

Learning jazz is often mostly about playing 8th note lines, but if you listen to amazing musicians like Charlie Parker then you can hear that he doesn’t only play dense 8th note lines. He also plays very interesting rhythms. So we need to learn to hear rhythms like that.

In this video, I am going to go over an exercise that you can apply to the songs that you play and help develop your ability to play much more interesting solos with more inspired rhythmical ideas.

Developing Rhythmical ideas

The exercise I am using in this lesson is reducing the amount of notes that you use and in that open up to give more attention to the rhythm.

To have a progression to work on I am using the A-part of Take the A-train which is fairly simple. You can, of course, choose any song you like, but make sure that you choose one with not too many chords. Try to also pick one that you know very well.

The chords of the A-train A-part is shown here below:

The Three Notes

Let’s first find three notes for the chords. I am treating the II V as one chord.

If you can see figure out where I got the three notes from then leave a comment on this post 🙂

Rhythm #1

The first rhythm is shown here below. The note on the 4th beat helps it drive it forward. The 2& also helps a lot with adding some “jazz feel” to the rhythm.

First play the rhythm with just one note to get it into your system.

Applying Rhythm #1 to The Chord Progression

A way to improvise through the progression with the 3 notes could look or sound like this. When you work with the rhythm try to keep improvising until it becomes really easy to improvise. That way you have really internalized the rhythm and it is more likely to show up in your playing.

Rhythm #2

This rhythm is actually just a basic syncopation, but at the same time also a very important rhythm to be familiar with in Jazz.

Using Rhythm #2 in a Jazz Solo

As you can see I am starting to mix up the rhythms so that I am not only using one rhythm. In many ways I am using the rhythms to help create a sense of Call-Response in the solo.

Rhythm #3

More complicated rhythms work as well. This one is a lot less clear and can also help you develop your ability to feel off beats more precisely.

Rhythm #3 – Mixing it all up

This 8 bar examples uses Rhythm #3 but I am also mixing it up quite a bit with the previous rhythms. I think this also illustrates how much variation is available like this using more interesting rhythms and a smaller set of notes.

Bebop Phrasing Lesson

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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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Get the PDF!

You can also download the PDF of my examples here:

And the Shell-voicings are available here:

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Why You Want To Write Your Own Jazz Licks

Playing Jazz is about learning a style and a language but it is also about finding your own voice.There are many reasons you want to write you own licks and work on your own vocabulary:

  • – You want it to sound good to you (and sound like you)
  • – Develop Your taste – figure out what you like and what you don’t like
  • – Learn How to Incorporate New things in to your Playing
  • – Practice coming up with Playable licks and material.

Composing Jazz Licks

In this video I will discuss these topics and while it is made with Jazz Guitar in mind it probably holds true for other instruments and styles as well.

Table of Contents

0:00 Intro – Why you want to write your own licks

1:08 Playing in time = Deadlines

1:44 Coming Up With Playable Lines

2:10 Example lick with a Drop2 voicing arpeggio

4:40 Learn How To Use New Material

5:11 Quartal Arpeggios Example

5:45 Three Variations

6:31 Develop Your Taste – Learning The Language

6:53 Listen to what you play – Did you like it?

7:23 Wes Montgomery Lick and variations

8:38 Make Vocabulary that Sounds like you want it to sound

8:56 Investigate what works together.

9:11 Example 1

9:47 Example 2

10:21 Like the video? Check out my Patreon Page

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Modern Triplet Rhythms – Essential jazz rhythms and exercises

If you want to add some variation to the flow of your 8th notes solos then you can add these simple Triplet Rhyhms trick to your vocabulary!

Most Jazz Guitar solos are primarily consisting of 8th note lines, but a solo only consisting of 8th note lines can lack dynamics and be a bit boring. Therefore it can be good to check out some ways to change up the flow of the solo a bit. This lesson will go over how you can add some more exciting triplet rhythms to your solo, and you can in fact convert your already exisiting lines to make use of this rhythm very easily.

Let’s first have a look at the rhythm as shown in example 1 below.

The key feature is that it is a rhythm that is 2 beats long and it has 4 notes in the two beats. This means that we can actually take an 8th note line and transfer it to this type of rhythm.

The way I hear this rhythm is probably more what is shown in the second bar of example 1, but for the purpose that we are using it makes sense to also realize that it is (almost) the same as what is shown in bar 1 if you think of the 8th notes as swing 8th notes.

Learning to play and hear the rhythm

To practice playing this rhythm there are two exercises that you can do that will help you approach this.

I have both written out here. In each example the “practice part” is in bar 1 and then the real rhythm is in bar 2.

The first exercise is approaching it from the quarter note triplets.

The second exercise is approaching the rhythm from an 8th note and 8th note triplet angle.

Making licks using the triplet rhythms

In this section I want to use the rhythm for different parts of a II V I. 

All the examples in this lesson are on a II V I in F major.

On the II chord in the cadence

The first example is using a cascading arpeggio idea on the Gm7. The arpeggios are first inversion 7th arpeggios. The first arpeggio is a Bbmaj7 and the second one are a Gm7 arpeggio.

The rest of the line is a C7 altered idea using a scale run and an Ebm pentatonic fragment.

As you can see I am using sweep or economy picking to play the arpeggios on the Gm7. If you want to practice this you can use the exercise shown here below:

Chaining Altered arpeggios on the V

The arpeggio chain that I am using here is a device I use often and really like. The idea is to use the last two notes of an ascending arpeggio to encircle the first note in the next one.

That is used here to connect a DbmMaj7 and a Bbm7(b5) arpeggio.

This type of arpeggio line I don’t have a strategy for picking, so what I use is alternate picking which is a bit tough but still do-able.

If you want to work on this you can check out the exercise shown here below which has three sets of arpeggios in F major.

A Pentatonic application of the triplet rhythms

Applying this rhythm to a pentatonic idea is of course a great way to add some exciting quartal harmony sounding ideas.

This is what I am doing on the tonic chord in the example below.

The pentatonic idea is placed on the F major chord with the Am pentatonic scale.

The idea is a fairly straight forward “diatonic chords” idea.

An exercise to get more used to playing lines like this is shown here below. I am again relying on alternate picking to execute the line.

Converting lines to include the Triplet Rhythms

To demonstrate how to convert a line from a straight 8th note line into a line with triplets we can take the line shown here below as an example:

We can in fact take every “half” of a bar and play the four notes with the rhythm. If you do so you get this line:

Taking this rhythm and the triplets further!

This way of changing the rhythm of your existing lines can be a great way to start to open up your rhythmical vocabulary. Once you get comfortable with this rhythm you should try some variations of it and also make sure to spend some time really improvising using triplets as the main subdivision.

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Get the PDF!

You can also download the PDF of my examples here:

Essential rhythms for jazz guitar

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.