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Originally Posted by Jimmy Smith
Jimmy. You're off your game tonight, my guy:
Originally Posted by AllanAllen
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05-09-2024 11:51 PM
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Then there are chords which are only partially altered, like 13b9's and Phrygian chords (7susb9). If I saw G7alt I'd have to assume a b13 and maybe a b9 or #9, but not a 13b9 or a 7susb9. Just saying.
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Originally Posted by ragman1
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Originally Posted by Jimmy Smith
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Originally Posted by AllanAllen
1. When comping, a note on the 1st or 2nd string is heard as a counter-melody, whether you like it or not
2. You can move that countermelody around interestingly without completely reharmonizing the tune. There's levels to it...simple to much more complex. Starting simple is fine
3. Vanilla ice cream kicks ass
So basically, just treat every chord as major, minor, or dominant, and figure out a way to play any note on top of any chord. Create countermelodies while you comp, and be interesting rhythmically. And then work with that for 5 to 25 years
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Originally Posted by AllanAllen
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Originally Posted by pamosmusic
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Originally Posted by mr. beaumont
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I think the big thing is still rhythm.
So many times when you transcribe stuff, it’s just way simpler than you’ve built it up to be, and I don’t think comping is all that different until you get to Herbie. There are always exceptions—Bill Evans, maybe—but listening for the rhythms and trying to hear where they’re playing the chord, and when they’re playing something in passing seems like the thing that makes a lot of this click to me.
Thats the part I’ve struggled with and had to work on (and still have the most work to do on).
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Originally Posted by pamosmusic
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Originally Posted by mr. beaumont
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Jens Larsen has many videos on jazz comping. You should definitely check them out.
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hey... Allen... it does take work, but most guitarist put in much more time than it really requires... from never really finishing much and spending too much time talking about it...LOL
Here's another vid.... it think I have it together now for downloading and posting. I don't have that together...LOL
These are loose and I'm just pushing record and start.... so there are lots mistakes LOL.
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I've said this for decades...
2) learn chord patterns
learn how to adjust chord patterns to imply different targets
learn how to organize harmonically chord patterns within tunes and forms of the tunes.
1) This stuff is after you already have chords down, all of them and can play them anywhere on the fretboard... at least a few places.
3) And again after you have chords down, be able to play any note on top.
The top note is usually the most important, then the bottom and lastly the middle.
4) Now your actually ready, or have the skills to actually play, be able to apply your technical skill with musical organizations..
I use Functional organization.... Function is just how note react to each other and which notes have the Power in harmonic contexts... tunes and styles of playing tunes.
This is where the term Vanilla actually comes into play.... it's not just what to play... it's also what your implying.
And obviously... rhythmic skills helps make it all work when playing live.
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So what’s a chord pattern?
Do you mean identifying things like I vi ii V.
Or are you talking about changing two bars of D into something like
|Dmaj7 D6 |Em A13|
or both?
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Originally Posted by AllanAllen
Think... I VI II V in maj changes to I bVI II-7b5 V7alt in nat. Minor ... basic nat Min tonal target. Not always,,, but for starting to understanding how Chord Patterns can adjust to different tonal Targets.
You still have and usually use subs within the chord patterns to help create forward motion, feel of repeat.
Where it becomes a little more complicated is with organization of extensions....
here's another vid... Perdido... it's again loose, I'm working around my house...LOL
I'll keep adding more tunes and start verbally labeling where I'm using chord Patterns etc...
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Originally Posted by Reg
The videos are really helpful too
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Originally Posted by Christian Miller
So I guess some of the conversation sunk in.
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Originally Posted by AllanAllen
Big band chart A. is your answer.
But at any rate, I see that in a big band situation, and I'm playing an F# and a C.
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Originally Posted by mr. beaumont
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Originally Posted by pamosmusic
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Originally Posted by AllanAllen
Tbh when I see that I just translate into ‘alt’ - which is probably not best practice in all situations lol
Sent from my iPhone using Tapatalk
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Originally Posted by mr. beaumont
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