Herbie Hancock's comping with Miles Davis Quintet (looking for transcriptions)

**GuitarGerry** · 11-12-2015, 05:16 AM

Originally Posted by edh

Where do quartal chords fit into the scheme of comping?

As I'm sure you're aware, some chords constructed in 4ths are totally conventional. The 6/9 type and 13th (which includes a tritone) that we all know and love. As far as approaching 4ths modally, then it's more usual to use them in modal music, where you have large stretches of static harmony. No one chord implies the harmony, because they're only partial, or contain the 'wrong' balance of chord notes and non chord notes. But by shifting between different positions/degrees of the scale the 4ths are built upon, a sense of tonality is established.

Some pianists (Hancock included) will use modal 4ths to play over more conventional progressions. Thinking in terms of a 'tone centre' and playing chords constructed around the 'tonic' scale/key. In theory, the partial voicings will all have some relationship with the harmony (be it extensions etc), so with a bass line going you hear all that stuff in relation to the progression and it can sound cool. It doesn't necessarily outline the progression though. It's an effect to create tension as much as anything. Arguably to be used sparingly in more traditional settings.

Edit: I linked to a little vid on 4ths here (also scroll up for some info I posted re 4ths). Don't be put off by the fact that it's a piano vid. All translates to the guitar.

importance of mastering triads and inversions?

**yebdox** · 01-10-2016, 12:20 PM

I listen to a lot of Herbie, but I am also a big Benson fan as well. Listening to Herbie comp on "Little Train from Caipira" (sp?) from the White Rabbit album still sends chills up my spine. Totally wild ride, like a train almost going off the tracks.