Week 8 of 8
Our final lesson in the jazz guitar comping masterclass. Here we take a look at how to apply the previous three lessons to comp for ourselves while playing in a trio or with a bassist. This is a slight variation of last weeks etude. It's the same shell voicings and the same melodic phrases. But in this week's etudes, we're taking the root note out of each of the shell voicings so that we're just playing little two-note chord stabs intermingled inside our single-note melodic ideas.
Week 7 of 8
Here's the lesson I had planned on sharing last week that got held off. I'm pumped to finally post this one up for you guys... you're going to love this. Chord melody is a fun way to create harmony and melody on the guitar simultaneously. But there's another technique that I like to use. I don't really have a name for it... maybe you guys can think of a fitting name for this musical technique.
The idea is that we can play melodies (both improvised or the composed melody from a tune), and then we can comp chords for ourselves interspersed between our phrases. This can also be combined with chord melody to create multiple layers of depth and sonic color. Check out the etude and let us know what you think!
Week 6 of 8
This lesson is actually a request from one of our NYCJGM community members. And such a great idea for a lesson too... Many thanks!
After seeing last week's lesson on creating movement with shell voicings while comping, I was asked how we can incorporate other chord tones and upper extensions into the voicings to play more melodically... almost like chord melody style playing. Such a great idea for a lesson in our comping masterclass.
So here it is. It is almost identical to last week's etude, but now most of the shell voicings from last week have an extra note added to create a fuller harmony, and a nice melodic movement through the changes. Give it a try and let me know what you think.
Week 5 of 8
Now that we've discussed single note, two note, three note, and four note comping ideas... it's time to step back and take a look at shell voicings. They're such a powerful way to approach playing. Their simplicity opens up the possibility for all sorts of movement and harmonic momentum when comping.
Week 4 of 8
Drop 2? Drop 3? Drop 2 and 4?
Are you getting caught up and confused with this stuff?
There are alternative ways of creating four-note voicings on the guitar... and often times, I find them to be superior in the voicings they produce, the inversions they lead to, and the melodic movement and voice leading that they bring about. Check out this weeks etude to hear some of them. Download the free pdf of the etude to follow along with the in-depth analysis in the video. There's a lot going on, so make sure to have the written out etude in hand to look at while watching this video!
Week 3 of 8
Three note comping over the chord progression from My Romance.
Week 2 of 8
Two-note comping over My Romance.
Week 1 of 8
I'm so pumped for this one, everyone! And I'm so pumped that the first topic I was specifically asked to make an 8-week series on was comping! I think comping is one of the most exciting, challenging, fun, fulfilling, worthwhile, and yet overlooked and under appreciated aspects to playing jazz guitar. When I studied with Peter Bernstein, we probably spent 85-90% of our time together talking extensively about comping.
It's a huge topic that covers so many different concepts, ideas, and applications... so we're going to stick with the tune, My Romance, for the next 8 weeks and really dig in from different perspectives. This tune has it all... ii V I's... modulations to the IV and the iv (or bVII7) back to I... the minor chord with the descending root, 7, b7, etc... diminished chords... diatonic stepwise chords I ii iii biiidim... pedal in the bass while chords change... IT'S GOT IT ALL!
So today we're jumping in with some basic single note comping. Enjoy the etude!
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