Blues Guitar Comping / Chords / Rhythm Resources ?

[AllanAllen]

There was a tune where the guitar chart was missing so I wrote my own using the bass chart. Those guys have it easy, just nice and steady quarter notes.

Not on this arrangement though, Nestico thought he was being clever by putting a note and then / / / instead of writing the pedal tone four times, that caused more confusion.

[wolflen]

I've hired the pianist for my quartet, he's excellent and a music teacher, so that's why I felt comfortable approaching him.

Anyway, I feel like with these charts, the arranger has some specific guitar moves or tenor lines they want and, if they'd just notate the melody or diads they want me to play on the 3rd or 4th string, it would be easier. If I really work at these, I'll find a spot where a bar lays nicely on the guitar and then the step wise voice leading is right there. But, learning 7 songs at a time, I forget them faster than I can learn them.

yeah..This chart made me remember doing the 20 tunes a week with my duo partner..going through the "real" book.

If I had to play this chart cold I would check with the bass player and re-cycle joe pass chords .. I could not hear the melody within this chord structure..so yeah I want to see the melody too.

[Christian Miller]

I should clarify that I don’t hate passing chords. I hate it when an arranger pretty obviously just copies in their passing chords as if that’s useful to a guitar player. It’s very useful as a study in comping. Not useful in performing the music. For me this often feels like an arranging writing out a walking bassline.

Well they do that too of course haha


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[pauln]

I then suddenly had a horrible thought ... if someone asked me to jam a Blues (or more specifically a Jazz-Blues), then my comping would really not be up to scratch (and actually would likely let me down more than my soloing).

Not at all; a good strategy for comping is to "do the opposite" of what the soloist is doing in regard to harmonic complexity. If the soloist is harmonically advanced you play simple chords and give the soloist full freedom.
The real need for more advanced comping harmonies is to support a soloist that is playing simple solo lines (pentatonic blues lines). - to help their solo sound more harmonically complex.
You need to learn about two dozen chord types voiced for jazz/blues to do that well, so work at home doing that and employ them a little at a time on the band stand until you learn how and when they sound best and most assist the soloists (knowing how to use these chord type voicings will also provide pathways to developing your own soloing ideas).

[garybaldy]

There was a tune where the guitar chart was missing so I wrote my own using the bass chart. Those guys have it easy, just nice and steady quarter notes.

Not on this arrangement though, Nestico thought he was being clever by putting a note and then / / / instead of writing the pedal tone four times, that caused more confusion.

I've had to sight read a bass part in the absence of a guitar part. I don't find it particularly easy especially if your not at all familiar with the song. My 50 years of bass playing doesn't seem to help!

[AllanAllen]

I've had to sight read a bass part in the absence of a guitar part. I don't find it particularly easy especially if your not at all familiar with the song. My 50 years of bass playing doesn't seem to help!

Yeah, I didn't read the bass chart in time at rehearsal. I worked out the chords at home.

[pamosmusic]

Not at all; a good strategy for comping is to "do the opposite" of what the soloist is doing in regard to harmonic complexity. If the soloist is harmonically advanced you play simple chords and give the soloist full freedom.
The real need for more advanced comping harmonies is to support a soloist that is playing simple solo lines (pentatonic blues lines). - to help their solo sound more harmonically complex.
You need to learn about two dozen chord types voiced for jazz/blues to do that well, so work at home doing that and employ them a little at a time on the band stand until you learn how and when they sound best and most assist the soloists (knowing how to use these chord type voicings will also provide pathways to developing your own soloing ideas).

Honestly not sure I agree with this.

I would say this about rhythmic complexity. Harmonic complexity, simple tends to be better regardless. Sometimes following the soloist on dissonance works better than other times, but I’m not sure I’m being super harmonically complex when someone is playing simple single lines.

[AllanAllen]

Below is Barry Harris' Dominant 7th Diminished Scale of Chords (adapted to the Freddie Green style). It alternates between the G7 chord and the A diminished chord.

Typically, these chords are played in drop 2 voicings (4 adjacent strings), but we're gonna skip the 5th string because chunka-chunka.

dom: 3x34xx
dim: 5x45xx
dom: 7x57xx (you're correct; there is no F in this shell)
dim: 8x78xx
dom: 10x9,10xx
dim: 11x10,11xx
dom: 13x12,12xx
dim: 14x13,14xx

Enjoy!

Tried to expand this to major and minor.

[pamosmusic]

Tried to expand this to major and minor.

Not bad … notice that the minor you did is the same as the major. When you do m7, it’s the same as maj6, just thinking of different notes as the root.

In your Dm one, lower every C to a B and that’ll be the min6 diminished.

[AllanAllen]

Not bad … notice that the minor you did is the same as the major. When you do m7, it’s the same as maj6, just thinking of different notes as the root.

In your Dm one, lower every C to a B and that’ll be the min6 diminished.

So, a little confused about the application. I’m not swapping my ii V I into ii6 V I… right? My gut says Imaj7 and I6 chords are more interchangeable, but m7 to m6 needs more care.

[pamosmusic]

So, a little confused about the application. I’m not swapping my ii V I into ii6 V I… right? My gut says Imaj7 and I6 chords are more interchangeable, but m7 to m6 needs more care.

IV6 - V7 - I6

or

IV6 - ii-6 - I6

(or a lot of other options on the dominant)

[starjasmine]

I haven't read the thread so apologies if this is not helpful but ii6 is literally the upper extensions of V7. That is, playing Dm7 to Dm6 is the same as playing Dm7 to G7, with the G root omitted.

Dm7 = D F A C
Dm6= D F A B
G7=G B D F A ; omit the root and you have the notes in Dm6

To clarify what I think Peter was saying about ma6 = mi7 think of the following example:
Am7 = A C E G
C6 = C E G A
Both contain the same notes - the chord symbol you would use to identify this depends on context/function; i.e. what the listener hears or what would be easiest for the person reading your chart to understand.

[pamosmusic]

The best part of Alan’s book is the ten or so pages of these just one right after the other …

F6 - Bo - C6
F6 - Dm6 - C6
F6 - Abm6 - C6

etc

[AllanAllen]

The best part of Alan’s book is the ten or so pages of these just one right after the other …

F6 - Bo - C6
F6 - Dm6 - C6
F6 - Abm6 - C6

etc

I don’t understand the book. I mean, I can play the stuff, but I didn’t understand what to do with it.

I really learn best if someone in real life can say “do it like this” and then I copy them. It’s hard for me to get that out of a book.

[pamosmusic]

I don’t understand the book. I mean, I can play the stuff, but I didn’t understand what to do with it.

I really learn best if someone in real life can say “do it like this” and then I copy them. It’s hard for me to get that out of a book.

Pick an F6 voicing, voicelead to the nearest D-6, voicelead to the nearest C6.

Then pick a simple two-attack rhythm … maybe 1 (2) (3) + (4) … put the voicings on beat one and then put the diminished above the next chord on the and of three. Do the same thing with the diminished below. Mix them up.

Go to the next F6, find the other two that voicelead, do the same … next F6, etc.

Find another two-attack rhythm, do the same. Etc.

[AllanAllen]

I haven't read the thread so apologies if this is not helpful but ii6 is literally the upper extensions of V7. That is, playing Dm7 to Dm6 is the same as playing Dm7 to G7, with the G root omitted.

Dm7 = D F A C
Dm6= D F A B
G7=G B D F A ; omit the root and you have the notes in Dm6

To clarify what I think Peter was saying about ma6 = mi7 think of the following example:
Am7 = A C E G
C6 = C E G A
Both contain the same notes - the chord symbol you would use to identify this depends on context/function; i.e. what the listener hears or what would be easiest for the person reading your chart to understand.

oh duh

5x4555 is D9 and Am6.

THANKS!

[pamosmusic]

Yeah there can be a barrier to entry with the systems and whatnot, but the genius is the simplicity once you’re there. Like every chord in the book comes down to maj6 and min6 … which is very cool.

[Mick-7]

I don’t understand the book. I mean, I can play the stuff, but I didn’t understand what to do with it.

I really learn best if someone in real life can say “do it like this” and then I copy them. It’s hard for me to get that out of a book.

IMO, every guitar instructional book should come with accompanying audio/video tracks that demonstrate the exercises, so you're not left guessing as to how to apply the material.

[pamosmusic]

Yeah I get that. Personally I really like books that don’t waste a lot of time examples and etudes and stuff, but that’s a pure learning style thing, I think.

Ive gotten a lot out of certain books like that, but the ones that have stayed on the music stand (rather than the shelf) are the ones that I treat more like references … Alan’s book, Advancing Guitarist, Serious Jazz Practice Book, maybe a couple others

[AllanAllen]

I just need one example to play around with.

[mr. beaumont]

Man, just play "chunk chunk."

"Chunk chunka" "chunka chunka" is the problem. Slop.

[AllanAllen]

Man, just play "chunk chunk."

"Chunk chunka" "chunka chunka" is the problem. Slop.

Oh dude… OP is long gone by now.

[fep]

This book is really good:

https://www.amazon.com/MBGU-Jazz-Cur...s%2C154&sr=8-1

[mr. beaumont]

Oh dude… OP is long gone by now.

Of course, just having fun.

[AllanAllen]

Peter is this Bm7b5 right? Specifically the overlap in the first and last voicing? It’s just root movement between those two.