Whats the best way to get a grIp on Jazz guitar comping ?
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I know my inversions and different voicing for chords. Yet ........I seem to go all over the place without knowing where I'll end up ! And forget about asking me to play to ...show more
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Answer:
For one thing, when you're just trying to get used to comping, keep it simple. Just play the changes. Focus more on getting the groove right and staying in the pocket, especially tempo wise. Once you're able to do that easily without even thinking about it, THEN try interesting voicing and chord subsitutions and all that sort of stuff. The aim is, you should be able to go all over the place, but know exactly why you're doing that and where you plan to end up. But first, you have to do that with simple major, minor, and dominant chords. Good luck!
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Other answers
It's best to have some sort of "strategy" for comping a particular tune. Narrow down the types of chord voicings and rhythms you're going to use. Are you going to play a guide tone line? What sort of motion do you want your comping to take on? You don't just wing it... nobody good does that. The best players can come up with something really quickly and stick with it. That's what makes them so good. Sure, they're improvising, but there's a great deal of organization in what they are doing. Here's an example approach: use only close-voiced triads on the top 3 strings, omit the root in 7th chords (so instead of Cmaj7, play Em), alternate between ascending and descending to each chord. So let's take the Miles Davis song "Tune-Up" (a nice, simple song to work with). The chords are: | E-7 | A7 | Dmaj7 | - | | D-7 | G7 | Cmaj7 | - | | C-7 | F7 | Bbmaj7 | Ebmaj7 | | E-7 | A7 | Bbmaj7 | E-7 A7 | So with the "strategy" outlined above, you could do something like this for the first 4 bars: E-----3-------3-------2--------5------ B-----3-------5-------2--------7------ G----4--------4-------2--------6----- E-7 without the root is G major, so first is a G major triad (first inversion). Next, ascend to C#° (A7 without the root). Next you would descend to F#m. Since the chord doesn't change in the next bar, I just went ahead and ascended to a different inversion of F#m. Try figuring out the rest of the song using this strategy. Try formulating your own strategies for comping. Another useful thing is something I like to call "chord combos". Chord combos are simple licks that deal with 2 chord patterns that happen often (like ii-V's). Developing your own library of chord combos is useful for comping, as you'll have a lot of stuff to pull out at any given situation. Analyzing a song in Roman numerals is really helpful in comping as well, because you see how things relate better. Once you've done that enough times, you'll be able to spot things like a I-vi-ii-V right away. Try to find yourself a good teacher to help you out more. There's only so much you can learn without personal feedback.
LucasMan
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