Fareed Haque comping course

[Liarspoker]

Just to add that I now have Fareeds Comping course as well.

Personally I prefer Fareeds course but Vignola serves its purpose too.

Get both.

[AlsoRan]

I have just ordered it and had a quick look at Satin Doll and All of Me.

They look good so now I am armed with a bottle of wine, my guitar and an hour to spare.....

Happy days.

Sounds great.

I have never tried playing/practicing with wine in my system. Going to give it a try soon.

By the way, between Zellons Bebop course, and Fareed's Comping course, I am finally seeing the light when it come so a path to reach my goals.

I like them both very much. And, you know that Fareed has a little section on combining Blues lines with Blues comping, a little solo guitar gem that one could use in a trio setting. I went ahead and recorded it on my cassette player so I can transcribe it.

[h1pst3r88]

I have Fareed's course and I think it's great. It definitely has an ensemble-centric approach (stay out of the bass player's territory, let the piano play the extensions) but that helps the guitarist hear where they fit, at least in that context. The sensible approach he starts from is the middle string pair and from there builds outward: two strings below and two above means there is a structured way of building chords and harmony from the inside out.

The late great Howard Morgen introduced me to that harmonic concept (also through Truefire) but Fareed really drove it home -- building from the inside out.

I really like how Fareed introduces his rules for substitutions. At their heart, he shows that subs are simple, proximal, and practical. I am still integrating those substitution approaches into my playing and it has had immediate results (in a good way ;-)

I am also a big Tim Lerch fan, I guess now that I think about it, he and Fareed share a kind of no-nonsense approach to guitar and they both have facility in showing and explaining it.

I had pretty bad comping skills (and an incomplete drop2 and 3 vocabulary) and was getting by mostly on triads and shell chords... Fareed has definitely shown me a roadmap to developing comping competency. Mostly I'm digging that this whole comping business is a ton of fun!

I'm glad there's a discussion about his course.

[Aceituna]

Hi,
I am starting with jazz.
So, I decided to start with Fareed Haque Comping Survival course.
I read good reviews about it.
Well, I have to prepare some songs for my group and I would like to take the Fareed concept.
First one is Summertime. Gerhwin's original could be something like:


|: Am6 E7 :| Am7 E7 |
| Am7 E7 | Am7 E7 |
| Am7 E7 | Am7 E7 Am7 |
| Dm7 F | Dm7 F7 D#dim |
| E B7 | E E7 |
| Am7 E7 | Am7 E7 |
| Am7 E7 | Am D7 |
| C Am | D Dm7 |
| Am | Am Am7 |

As far as I understood, I have to take 3th and 7th of each chord and locate that notes on 3th and 4th string. Is that correct?

[NSJ]

Hi,
I am starting with jazz.
So, I decided to start with Fareed Haque Comping Survival course.
I read good reviews about it.
Well, I have to prepare some songs for my group and I would like to take the Fareed concept.
First one is Summertime. Gerhwin's original could be something like:


|: Am6 E7 :| Am7 E7 |
| Am7 E7 | Am7 E7 |
| Am7 E7 | Am7 E7 Am7 |
| Dm7 F | Dm7 F7 D#dim |
| E B7 | E E7 |
| Am7 E7 | Am7 E7 |
| Am7 E7 | Am D7 |
| C Am | D Dm7 |
| Am | Am Am7 |

As far as I understood, I have to take 3th and 7th of each chord and locate that notes on 3th and 4th string. Is that correct?

Actually, when you really get into the process, you will discover that you could play the third and the seventh on any one of three stringsets (1) 3 and 4, (2) 4 and 5, (3) 5 and 6

If you want to practice on the third and fourth strings, Here is one way of doing it that gets you through the tune
The Am6 would be in 10th position
E7 ----12th pos root is on the six string
Dm7---10th pos root is on the six string
FM7--7th. Root is on the fifth string
D#°-5th pos, 8 pos, 11 pos --- same shape moves up every three frets
B7---7th pos. Root is on the six string
C6---7th pos. Root is on the six string
D6--9th pos. Root is on the six string

When the root is on the fifth string, the order is 3rd to 7th on strings four and three
When the root is on the sixth string, the order is 7th to 3rd on strings four and three

Obviously move the note down to find the major sixth when that note is called for to replace the seventh.

This gives you strings one and two for your extensions and or melodies

[MarkRhodes]

Frank Vignola just released a comping course for 30 pretty much MUST KNOW standards on TF. Pretty much nuts and bolts, he plays 2 to 3 choruses on each, starting with basic swing style on the first chorus ( either Freddie Green shell voicings or the conventional drop 2 or drop threes we all pretty much know or should know ) , and then altering the rhythm, voicing or comping style for the remaining one or two choruses.

I find it to be a very good refresher course on the fundamentals, not a step-by-step how to, but good basic playalongs to either emulate or to solo over . .

I picked that up recently when TF had a sale but I haven't spent much time with it yet. I like Frank Vignola's playing a lot and I have learned a lot from some of his books. I'll learn some of those comps this summer.

[WillMbCdn5]

I have been working with Fareed's comping course - and am learning lots - it is a great clear simple comping framework that doesn't compete with or contradict the other things I am working on ( Richie Zellons Improv course) and has let me tap into some ideas outside of both - I'm also using a lot of the two note sounds as parts of solos

Will

[NSJ]

I have been working with Fareed's comping course - and am learning lots - it is a great clear simple comping framework that doesn't compete with or contradict the other things I am working on ( Richie Zellons Improv course) and has let me tap into some ideas outside of both - I'm also using a lot of the two note sounds as parts of solos

Will

It's taking me a long time to internalize The organization of the Melody notes on the first and second strings.

Basically, if the root is a fifth string root, the second and first strings on the same fret are the ninth and fifth. If the root is a 6 string root, The notes on the second and first strings are the fifth and root. That sort of becomes the compass from which you can extrapolate all the other extensions (11, #11/b5, #5, 13, b9, #9)

[Liarspoker]

Just to add to Navdeep's post;

You should actually learn where the 3rds and 7ths are on every string set and every position as you will also establish a great fretboard map to base your improvisations on.

I have been planning on taking a monthly lesson for sometime and I had my first lesson this month. After seeing how I played and what I knew guess what the teacher told me?

Simply pick a song and play the whole thing in one postion, then play it in the next position. Through this progress you learn new chords etc in each position. I am starting with the 3rd and 7ths dyads and adding extensions as described in Fareed's course. It's a great exercise to do.

[Aceituna]

Thanks a lot all of you for your help.
I'll share my experience.
Good exercise.

[NSJ]

When you have the root on the six string, you also know the same root exists on the first string and you can leverage that simple fact easily with some very simple shapes that will give you excellent four note voicings on the top four strings, especially with Dominant chords.

Have a look at G7, the one you make with a barre in the third position on the first 4 strings. Everyone knows that. Now change that to G°. This is a very simple shape everyone should know. Automatically. Think about what voicings you have there: the R, b5, #9, and the 13.

Now go up one half step and make an Ab-6. Everyone should know this shape--grip It's easy. The rule is: play a minor six chord one half step above any dominant chord. Why would you do that ? Because that gives you the b7, 3, #5, and b9.

Three very simple grips on the top four strings ---G7, G°, Ab-6. You can use all three interchangeably in one place and get some nice sounds, either as chords or as individual notes sequences.
To summarize:
G7--- gives you all for basic chord tones
G°---gives you R, b5, #9, and the 13.
Ab-6--- gives you b7, 3, #5, and b9.

[Aceituna]

I'm working on Summertime in Dm.
It's my first approach.
First step just with 2 notes.
Please, check the chords.
This is the progression:



These the chords diagram:



Is it ok?

[h1pst3r88]

Hey Navdeep, thanks for your contributions to this discussion -- your comments are really helping me.

;-)

-Chris

[matt.guitarteacher]

These the chords diagram:

Is it ok?

Mostly. Double check your 3rd in the Dm7 and the root in Bb7.

Also, understand that half diminished is the same as m7b5. So, in your examples, you're basically doing voicings without a fifth. Therefore, m7b5 is the same as m7 if you're leaving out the fifth. So for now, you could mentally treat the last chord as Em7. You'll just add the 5th later.

Good luck!

[joe2758]

Hey Aceituna,

Did you write this chart out to clarify your question, or are you using it as a visual aid for learning? I ask because I used to make things like this, but found over time it was much more beneficial to work without paper. So that would mean you're needing to figure the same thing out a few times before having it memorized. For me, that process helped point me in the direction of creating on the fly (which is what we all want EVENTUALLY). Just an idea!

[Aceituna]

Mostly. Double check your 3rd in the Dm7 and the root in Bb7.

Also, understand that half diminished is the same as m7b5. So, in your examples, you're basically doing voicings without a fifth. Therefore, m7b5 is the same as m7 if you're leaving out the fifth. So for now, you could mentally treat the last chord as Em7. You'll just add the 5th later.

Good luck!

Thank you very much.
Sorry my mistakes.

[Aceituna]

Hey Aceituna,

Did you write this chart out to clarify your question, or are you using it as a visual aid for learning? I ask because I used to make things like this, but found over time it was much more beneficial to work without paper. So that would mean you're needing to figure the same thing out a few times before having it memorized. For me, that process helped point me in the direction of creating on the fly (which is what we all want EVENTUALLY). Just an idea!

I agree with you.
I want to prepare 5 songs for next rehearsal.
But I want to asociate each pattern to the root note position in 1st and 2nd string, being aware of the notes.
Thank you veru much for your help.

[matt.guitarteacher]

E half dim is correct on the second sheet, therefore, wrong on the first. Remember, without a 5th, it's the same as m7.

[matt.guitarteacher]

I don't know what your background is, but if you're coming from a rock or similar backgrounds, where you know all your roots on the fifth and six strings, it might be easier to start off thinking of the roots from there , at least if you're trying to get something together quickly for actual playing with a group. Eventually, you need to understand how to do things from all sorts of positions and re-references etc., but in the beginning, it's really easy to see the third and seventh of, say, a C7 chord, when you already know that C7 chord in relation to the fifth string root. Seems like you're in a pretty fundamental understanding of building chords. Just one option.

[Drumbler]

I've watched Haque's videos on youtube and I think they are very good.

Very practical.

[jtaylor2714]

I bought this course due to this thread and the sample videos on youtube. It is a very simple approach to chords and comping. His substitution material is pretty straightforward as well. Fareed is also a hell of a player.

[AlsoRan]

I love his playing in this video.

Fareed

[Aceituna]

I don't know what your background is, but if you're coming from a rock or similar backgrounds, where you know all your roots on the fifth and six strings, it might be easier to start off thinking of the roots from there , at least if you're trying to get something together quickly for actual playing with a group. Eventually, you need to understand how to do things from all sorts of positions and re-references etc., but in the beginning, it's really easy to see the third and seventh of, say, a C7 chord, when you already know that C7 chord in relation to the fifth string root. Seems like you're in a pretty fundamental understanding of building chords. Just one option.

Thank you very much.

[Boston Joe]

To summarize:
G7--- gives you all for basic chord tones
G°---gives you R, b5, #9, and the 13.
Ab-6--- gives you b7, 3, #5, and b9.

I've known about subbing a diminished (also half diminished) for a dominant, but I didn't know about the minor 6 thing. Thanks a million!

[KirkP]

I've known about subbing a diminished (also half diminished) for a dominant, but I didn't know about the minor 6 thing. Thanks a million!

Also, Fmi7b5 and Abmi6 are enharmonic (same note names), so are if you know a bunch of voicings for one, you've really got both covered. I learned my mi7b5 inversions first, and only years later realized that shifting the root by a minor 3rd gives me all the mi6 inversions.