Generating movement in my comping

[FatJeff]

I've spent the past couple of years assimilating all triads, all drop-2s (all inversions, all string sets), some drop-3s, and a smattering of other chords. I also work a lot on chord-melody arrangements of songs I'm learning. I can comp my way pretty well through just about any standard in the RB. However, the other day in combo rehearsal, our instructor said to me "you gotta get away from those block chords and start introducing some movement, some melodic lines in your comping."

It's true, I tend to just lay down a particular voicing when comping, and stick with it for its duration, just varying the rhythm a little bit. It can become boring with long-duration chords (especially with vamps, or in modal tunes). I do focus on good voice leading, so (at least compared to a couple years ago) I feel it's quite passable. But certainly not inspiring. So, question: how do you guys generate more interesting content in your comping? What devices do you use?

[Jeremy Hillary Boob Ph.D]

Hello from nowhere... I like fourth chords and Bill Evans left hand piano voicings very much... They call some "so what" chords too. Perhaps diddle with those. I am not big on drop 2 or others like that... too many low notes or b9 intervals mucking up the sound... Just me though...

[jseaberry]

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Money well spent.

[docbop]

Practice making a simple riff then use chord inversions, passing chords, subs, to harmonize the riff. Start with inversions for chord tones and diminished for non-chord tones very Wes-like. Simple way to add movement to your comping.

[ksjazzguitar]

I would say just spend some time noodling around with chords. Work on connecting the different voicings with scale tones. These scale tones can be harmonized or stand alone.


--3--5--6--8--10--12--13---
--3-----6------8------11---
--3-----7-----10------12---
--3-----5------8------12---
---------------------------
---------------------------


or


--3--5--6--8--10--12--13---
--3--3--6--6---8---8--11---
--3--3--7--7--10--10--12---
--3--3--5--5---8---8--12---
---------------------------
---------------------------



Of course, there are many ways to harmonize those in between chords, and subs you can do on the other chords too.

You can also create chromatic lines. A good rule of thumb is that if you are harmonizing a chromatic line, use the voicing that you will use on the target note.


--3--5--6--8--9--10--9--10--13--
--3--5--6--6--9--10--9--10--11--
--3--6--7--7--9--10--9--10--12--
--3--4--5--5--7---8--7---8--12--
--------------------------------
--------------------------------


Just start noodling around with chords. Don't even worry about time. Just mess around with some static chords and some basic chord progressions, taking as long as you want on each chord and trying to make a moving line. Just mess around with it when you first learned how to play melodies. You can also sing a simple melody and figure out how to harmonize it.

Rhythm is important too. A lot can be accomplished with good rhythms, a few choice voicings and that chromatic trick.

Peace,
Kevin

[JEdgarWinter]

This is one place where the Barry Harris method really helps.

Rather than get bogged down in BH theory-land (I highly recommend Alan Kingstone's book for a thorough take), consider, e.g. the opening changes of Autumn Leaves in Bb maj/g min.

On the top 4 strings, say you wanted to start with the Drop 2 shape at the 10th fret--
x x 10 12 11 11

the key would be to "see" and "hear" the connections between this chord and the diminished 1 semitone below the root

x x 9 10 9 10

and the diminished 1 whole step above the root

x x 12 13 12 13

and gradually, the other diminished chords spaced out in minor thirds, and the other drop 2 inversions of Cmin7 on the top 4 strings.

Start playing around with simple melodies on the high E string using these chords, and combinations thereof. You might want to hold down the original chord with index, third, and second barring the top two strings, and reach your pinky to grab the 11th on the 13th fret. If you were to then slide to the diminished chord at the 9th fret with the D on top, and then slide down three frets in the classic diminished move, and then slide up to the F7 that looks like the Drop 2 Am7b5, you would have a pretty happening comping line for Cm7-F7.

Because of the elegance of alternating diatonic drop 2 inversions with diminished inversions, there are really infinite possibilities of ways to connect positions via a melody on the top two strings.

The BH method sketches out how to use the combined diminished-drop 2 diatonic voicings on maj, dom, and m7b5 as well as minor. I am sure that if you play around with it, you will come up with some awesome stuff.

[JEdgarWinter]

Oops, posted as Kevin was posting. His post is right on. Probably better to start with his harmonizations, and then incorporate diminisheds, to taste.

[FatJeff]

Good tips, Kevin. I hadn't thought of connecting inversions of chords, even though now I think of it it's pretty obvious. :-)

JEdgar, I am aware of the BH method, although I do not understand it, and I actually own the Kingstone book but I never worked through it. I think when I got it a year or so ago it was above my head. I have been meaning to revisit it at some point.

One other thought I had - triads. Michael Becker (I believe that's his name) speaks about moving triads in hios book and in lessons on YouTube. Thatmight be a good thing for me to explore.

[JEdgarWinter]

I think you will find the AK book very worthwhile... you might want to try out the ideas with a tune like I'll Remember April, where you have long sections on one chord, and try comping with alternating major 6ths and diminisheds in the manner AK outlines. There is no mystery-- it is all very straightforward, just kind of an unusual way of conceptualizing chord movement on the guitar.

And, yes, triads are great! I heartily recommend John Stowell's stuff on triads--he provides a lot of ideas of ways to add color with upper-structure triads. Of course, on altered chords, you can't go wrong with triad pairs from the altered scale (or melodic minor up a half step): e.g., D# major and C# major on G7. That will provide beautiful motion (D#- C# -C) from V-I.

[ksjazzguitar]

Originally Posted by FatJeff

...One other thought I had - triads. Michael Becker (I believe that's his name) speaks about moving triads in hios book and in lessons on YouTube. Thatmight be a good thing for me to explore.

I can't find it on Youtube, can you provide a link?

But anything that produces good results is good.

Peace,
Kevin

[Reg]

Hey Jeff... if your interested, pick a few tunes and I'll post some videos of different approaches I use to cover different styles of comping and creating movement. There a little different than what's been posted so far, although all the posts have been great and look very useful. I could either slow down what I play and explain each chord or notate the basics... no worries if your not... Reg

[cosmic gumbo]

I listen to pianists to get ideas.

[Jeremy Hillary Boob Ph.D]

Originally Posted by cosmic gumbo

I listen to pianists to get ideas.

+1

[JonnyPac]

Hey Jeff, these types of chords are in the back of my book (which I assume you received ok) if you decide to check them out. Mostly piano based chords and voicings... Hope it helps.

YouTube Video