Structured Motivic Rhythm Practice

[CactusTone]

Hello!

I searched through many of the threads in the comping area of the forum, and was unable to find any advise in previous postings regarding practicing rhythm motives when comping. Something for those of us who know all the drop 2s and 3s, substitutions, extensions, inside-voicings, etc., but are at a loss at how to practice syncopating these voicings into solid grooves that sound authentic? Even cliché?

Does anyone know of a source for practicing rhythmic cells that are typically used to develop grooves when blending in a combo? I'm mostly interested in swing (other than 4-to-the-bar), and tasteful slow and medium tempo standards that a trio or quartet would play at restaurant gigs and the like; let's say tunes like "All Of Me," "All The Things You Are," "Beautiful Love," "Out Of Nowhere," "Just Friends," and "How High The Moon." I know these tunes can be realized in just about any style, but I want to be able to sit in with a typical "gig combo" and hold down a groove without sounding rhythmically repetitive.

Perhaps there's a structured and authoritative "method" out there that explores syncopation, 4-bar motives, anticipation, etc.; you know, the "jazz" feel? Something with specific examples that focus on the rhythmic side of comping without venturing into the harmonic side of comping?

[SteveCarter]

Originally Posted by CactusTone

Hello!

I searched through many of the threads in the comping area of the forum, and was unable to find any advise in previous postings regarding practicing rhythm motives when comping. Something for those of us who know all the drop 2s and 3s, substitutions, extensions, inside-voicings, etc., but are at a loss at how to practice syncopating these voicings into solid grooves that sound authentic? Even cliché?

Does anyone know of a source for practicing rhythmic cells that are typically used to develop grooves when blending in a combo? I'm mostly interested in swing (other than 4-to-the-bar), and tasteful slow and medium tempo standards that a trio or quartet would play at restaurant gigs and the like; let's say tunes like "All Of Me," "All The Things You Are," "Beautiful Love," "Out Of Nowhere," "Just Friends," and "How High The Moon." I know these tunes can be realized in just about any style, but I want to be able to sit in with a typical "gig combo" and hold down a groove without sounding rhythmically repetitive.

Perhaps there's a structured and authoritative "method" out there that explores syncopation, 4-bar motives, anticipation, etc.; you know, the "jazz" feel? Something with specific examples that focus on the rhythmic side of comping without venturing into the harmonic side of comping?

There are some basic principles that might help. Take a look at the exercise on my lessons page, under Comping, called "Comping rhythms - anticipations and delays."
You might also take a look at the Latin Rhythm and Swing Rhythm exercises, and some of the other examples under Comping. Maybe these will at least provide some ideas.
Here's a link to the lessons page: http://frogstoryrecords.com/


Steve

[CactusTone]

Steve,

Thanks! This looks like a great place to begin. I noticed lots of "Charleston" variations in there. Quick question on the notation in the swing rhythms: some note heads are slashes, and some are "x"s. Any difference in stroke style for the different note heads? I see the downstrum and upstrum symbols above each notehead, but I didn't know if the "x"s get a different inflection?

[SteveCarter]

Originally Posted by CactusTone

Steve,

Thanks! This looks like a great place to begin. I noticed lots of "Charleston" variations in there. Quick question on the notation in the swing rhythms: some note heads are slashes, and some are "x"s. Any difference in stroke style for the different note heads? I see the downstrum and upstrum symbols above each notehead, but I didn't know if the "x"s get a different inflection?

I need to update that lesson and include some explanation.
The "x"x indicate muffled strokes: muffle the strings with the left hand while you strum.

And, yes, these are "variations on the Charleston rhythm." The Charleston rhythm is an attack on beat one, and an anticipation of beat three.

I have some other suggestion for developing strumming rhythms, and I'll post them to this thread when I have some time.

Steve

[JonnyPac]

Comping lessons from Bert Ligon:

http://www.music.sc.edu/ea/jazz/Theory/jazzGTbasics.pdf

More here too:
USC School of Music

[m78w]

I wrote a few articles about rhythmic motives and using accents as motives a while back, you might find stuff in there to check out.

Rhythm Patterns for Jazz Guitar | MattWarnockGuitar.com

Rhythms for Jazz Guitar Soloing | MattWarnockGuitar.com

[JonnyPac]

Good stuff, Matt.

[m78w]

Thanks!

[SteveCarter]

Matt, you packed a lot of useful information into a few pages. Nice work!

Steve

[m78w]

yeah it's a ton of stuff to work on, hope you dig it! Cheers

[FatJeff]

I always used the Charleston rhythm in my comping up until about a month ago. That rhythm is played on the downbeat of 1, and on the "and" of 3. Then it was pointed out to me that I should not only be playing on the "and" of 3, but also the "and" of 1. Listen to Red Garland's comping rhythms on the classic Prestige recordings he made with Miles Davis in the mid-50s ("Cookin'", "Relaxin'", "Workin'" and "Steamin'")...in medium to fast swing tunes he employs this rhythm all the time. It really lends a feeling of forward motion to the tune.

[markf]

how about listening to/copying some of the horn shots in a big band;



probably lots of good ideas there.

[djangoles]

If you have any play along Jamey Aebersold type stuff ....write out just the rhythms the piano comp is playing. It's usually pretty safe stuff, but it's always treasure trove of good solid ideas.

[guitarplayer007]

Hey Steve,

I like your site and your new items and the voicings
Ken

[JakeAcci]

Eh, for what it's worth, I usually find the Aebersold piano tracks to be overplaying and sometimes hokey. I know there are often world-class pianists laying them down, but without it being an actual reaction to a soloist, it just doesn't sound right to me.

[djangoles]

Originally Posted by JakeAcci

Eh, for what it's worth, I usually find the Aebersold piano tracks to be overplaying and sometimes hokey. I know there are often world-class pianists laying them down, but without it being an actual reaction to a soloist, it just doesn't sound right to me.

You're right it does sound a little dry, but I usually find them to be underplayed!!! I guess it depends on which one you're listening to. At the end of the day transcribing just the rhythms of a world class jazz piano player, Abersold hokey or not will give you strong rhythm comping ideas.

The only reason I suggest a play along is because you can hear clearly how the player is swinging without a soloist on top, thus making it easier to write out and internalize 2 and 4 bar ideas. Transcribe comping from a real recording if you really need to hear a soloist on top.