I want to go from Freddie Green style to...

[daniel89]

more of a pianistic style. I really enjoy Ed Bickert's playing and would love to be able to comp in that style. I've got the Galbraith Comping book, and it's great, except that Im not sure how to put some of it to use. I've isolated some ii-V's but in all reality a ii-V is just that - not an entire tune. Are their any other books that offer similar style voicings that have a little more info on stringing them together. Also, the Galbraith Comping book starts off at a pretty high level of playing, and either my ear isn't there yet (probably a good bet or it sounds a little busy for playing behind a soloist...

[JonnyPac]

Ed is the man!!

Drop 2's and 3's are one place to start. I'm assuming you've tackled "shell" voicings if you can play like Freddie. I dig actual left handed piano voicings a lot- Bill Evans and McCoy Tyner are my main gurus on using upper structures, clusters, So What, and fourth voicings.

Here are some I charted out:

Jazz Piano Style Guitar Voicings in Music Theory, Guitar Lessons and Song Writing Tools Forum

[JonnyPac]

Some Dominant Dim Scale voicings: Dominant Diminished Harmony - Chord Scale Theory in Music Theory, Guitar Lessons and Song Writing Tools Forum

Basic shell "Bud Powell" voicings (in case you are in need):


Also this recent thread has a cool discussion on not being a slave to "grips"...

http://www.jazzguitar.be/forum/compi...ing-grips.html

[daniel89]

Yeah, Im VERY familiar with the voicings in your second post. Having played in a big band before, they are very played out to me. I want to move on into smaller groups. Im really diggin the chords in your first post. I guess the goal for meshing them is voice leading.

[JonnyPac]

For sure. Voice leading and rhythmic phrasing are huge aspects to good comping and chord melody. Take a few new grips that you like, play them in standard contexts (ii V's, turnarounds, etc), and see how they move and resolve. There are endless variations- let your ear be judge.