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Oh, man..
I really liked this guy's comping in the new TrueFire Creative Comping Course. It reminded me of piano comping a little, and was so nice to my ears.
I don't know if this course can get you there, but if it can, wow.
Here is the link:
Creative Jazz Comping: Introduction - Sean McGowan - Guitar Lesson TrueFire
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02-28-2018 10:57 PM
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$30. I say you do it and tell us how it works
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I have “full access” and watched the performance sections. The man can play.
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Question is, can we learn?
Originally Posted by Alder Statesman
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If you open an account on TrueFire, you get free 30 day "full access" of streaming of all the site content.
So you can open an account and freely stream this course for 30 days.
Another new course which I can recommend checking out is Henry Johnson's Jazz Expressions:
Jazz Expressions - Henry Johnson - TrueFire
Cheers.
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I love Bill Evans piano playing and I know you can't completely reproduce it on guitar, but am I wrong in saying he catches the spirit of Bill Evans. It is so relaxed (seemingly), and he throws so many chords at you that seem to have their own little melody going.
When I hear something like this, I almost don't need to hear a solo.
I cannot fit in into my schedule of practice or I would get it and risk being exiled from my family.
Maybe later....?Last edited by AlsoRan; 03-01-2018 at 09:25 AM.
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I got it and watched most of the videos. It's an OK course. Fareed Haque's course covers much of the same ground. If you're really dissatisfied with your comping and are looking for a direction, this would be a good start.
It's basically the "start with shell voicings, and add extensions on top" method.
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Aw man, I was hoping for a little more than that. Originally Posted by Boston Joe
I have Fareed's Course and it is a good one. I use the technique from time to time but have not integrated into my "memorized go-to" list of chords in my head. This resulted in me having two different comping approach concepts that I have to mentally go back and forth between.
I was hoping his course was more like the Dillido course, giving you chord shapes along with examples of use that I can copy and then "make my own" as they say.
Still, the course is on my short list once I have finished some other things I have been working on for myself.
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Originally Posted by AlsoRan
There is some of that. He gets into slash chord voicings and stuff towards the end. For $30 it's not a bad buy. Just skip the "guide tone" section.
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I don't have this one, but have his Walking Bass and Comping course. I've checked it out but haven't had the time to dive in too deep. Need to stick to working on some other things for the time being. As an instructor, he seems pretty good.
With Truefire lessons, I've had the most luck with Fareed Haque and Sheryl Bailey. They both present information in a way that works well for me.
I really like the Fareed Haque comping course. I think I will spend more time with that before buying another comping course
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OK.
I broke down and bought the course. I like it a lot but if there is one thing that drives me crazy with the TrueFire courses I have its the charts. There are times when they do not match what the instructor is playing.
For example, in one performance, he plays F13, yet the chart shows F7 on top. At least if they are going to substitute, put (F13) in parenthesis above the F7.
Other than that, I like the course and will try and learn some of those basic voicing shapes that he wants you to commit to memory for life.
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Truefire claims if you report such typos in the comments section that they will correct them.
Personnally, I wish I could toggle off the tabs and just print in standard notation.
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I wish each course came with a file containing all of the examples together, instead of all the separate files. The way it is now, printing one example (that may be only a couple of bars of music) takes a full page and wastes ink on the Truefire border. So 50 examples=50 pages. It's unnecessary. Originally Posted by Alder Statesman
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First of all, that's a nice new avatar photo you have there. One day I will get a good one of me for my avatar. Originally Posted by Alder Statesman
But I digress, it really seems that TrueFire does not put a whole lot into those charts. Maybe they do it on purpose so that you have to think more? Maybe they want to cut costs?
I will just work with them as they are. I print out the .pdf and then make notes on them.
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I must say that I am enjoying the way the instructor is teaching from the 6th string down in this course.
Fool that I am at times, this method is resonating well with me since I have the notes and intervals memorized well on the lower 3 strings. But with the first 3 strings, everything is kind of a hazy mess.
Fareed's course, IMHO differs in that at least initially, he spends more time with guide tones and adding the exensions on the first two strings. I never practiced enough to internalize where the heck that #9 or b5 is located in relation to each chord.
That was 3 or 4 years or so ago. Being a little more experienced is helping for sure. It would be wise to go back to Fareed's course on comping again and really drill in the extensions.
For now, I am improvising various harmonic progressions using the instructions given in this Creating Comping course. Sean McGowan is giving some great tips. And it feels good playing with my fingers the way MarcWhy, Goran, Jake, Hippoglyte (spelling?) and others on this forum do. There is something soothing about it and I like the control of dynamics.
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I've thought the same thing. Originally Posted by morroben
Also, if you do bite the bullet and print out 50 pages, you have to turn the page after every example, which means you have to take your hands off the guitar a lot. Not the worst thing in the world, but it seems it would be easy to offer a file that contains just the licks, not the header, and puts several on a page.
On Frank Vignola's comping for standards (fakebook, whatever), one etude may run 6-8 pages and it's a pain to play from b/c you keep having to turn pages. It's way too much information. Chord names and rhythms are all you need. Maybe a page for the grips. I guess if you're looking at the chart on your computer, it "flips" pages for you so it's not an issue...
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I experience the same thing. I ended up getting the hard backing that is on the bottom of a pad of papers, and putting two together to put on my music stand. Now I can put four sheets on the thing and I don't have to turn pages. Originally Posted by MarkRhodes
One last rant, if I may. I wonder what their methodolgy is for creating the .pdfs? Where is the disconnect between the instructor and the .pdf maker, I wonder? Those sheets sure are spartan.Last edited by AlsoRan; 03-16-2018 at 07:33 PM.
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Instructors don't do the pdf's ... that is done by their regular pdf guy post production. Originally Posted by AlsoRan
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That is what I wonder about. Is there no communication between the instructor and the .pdf maker? It is a shame because I love these courses otherwise. Originally Posted by Lobomov
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The guide tone method, which I first came across in Steve Kahn's "Contemporary Chord Kahncepts" is what I've used for a long time. Once you get the basics together, it's pretty good.
I bought a membership on Jazz School Online to get into some of the Barry Harris stuff, and I think that's helping a lot too. The advantage of Barry's system (for me) is that there's not much to think about. Everything is either a 6th or a minor 6th. The disadvantage is that there's a lot of relative relationships to keep in mind.
The advantage of the guide tone system is that you don't have to do that. On the other hand, you do have to have a good feel for where they are in relation to their roots, and then where the tensions are.
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That's standard practice though, they are supposed to denote function, not the exact voicing. F13 is not what I would call a substitution for F7, just a praticular color. Originally Posted by AlsoRan
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[QUOTE=Boston Joe;852720
. The advantage of Barry's system (for me) is that there's not much to think about. Everything is either a 6th or a minor 6th. The disadvantage is that there's a lot of relative relationships to keep in mind.
[/QUOTE]
those 6th chord relationships are really cool, and a major part of my playing, but unfortunately I see it floating around all the time that it is the complete “Barry Harris system.”
He teaches about regular dom 7th chords, dom7b5s etc as well. For example for a V going to a I can think of 14 options that don’t count inversions, voicings, or borrowing. including all of those, I literally can’t imagine what else there would be. Maybe quartal stuff, I never looked at that.
Just throwing this out there bc when word gets out Barry Harris approach is over simplified (or “limited” as i’ve seen said) I get bummed bc I imagine players skipping over it and missing out on something that has been so much fun for me
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I don't know that but I do know this: if you contact them with a question, they will respond soon. Maybe not enough of us have voiced our concerns about this and they don't know. (I had an uncle who ran a restaurant and he used to say that if a customer was unhappy, the owner wanted to know why. Otherwise, he can't fix it.) Originally Posted by AlsoRan
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I don't want to derail, but.... Alan K's book was a huge awakening for me. That said, it presents dom7 and dom7b5 but doesn't really do anything with them. I have BH Workshop DVD's, but that seems almost totally about single note improvisation. Originally Posted by joe2758
Is there a source (other than traveling to NYC to attend a class) similar to Alan K's treatment of Maj6/Min6 harmonization but that explores more in depth dom7 and dom7b5?
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Not that I know of. Alan is really cool if you just shoot him a message. Let me see if I can extrapolate those two points using Alan’s book (which unfortunately I don’t have on hand right now). Here’s some points I remember he makes clearly: Originally Posted by rlrhett
1. The dominant/dim and dom flat 5/dim scales are equally important to the 6th dim scales (I think i remember that at least)
2. There are only 3 possible dim chords, and each has a function in every key. He calls them i dim, iv dim, and v dim. I call them bii, relative (ii), and biii. It doesn’t matter, we should memorize each inversion.
3. Relative pulls to I (as we see in the 6th dim scales for example), bii dim pulls to ii chord, and biii dim pulls to I OR ii. Also that biii is underutilized.
4. you can lower any note of a dim 7 chord and get the root of a dominant chord, all four of which are related.
5. you can lower 2 notes of the dim chord (to become the root and b5). makes sense you can lower two notes if you can lower each one individually (or look at the dim scale if that makes it more clear.)
Extrapolations:
Let’s talk G7 resolving to C.
1. you have relative dim(relative pulls to I) and all its doms: d dim gives birth to Db7 (tritone sub), E7, G7 (diatonic), and Bb (back door).
2. the b5 chord of tritone sub and diatonic 7 are the same, and so is the b5 of the back door and the other one
3. biii dim also pulls to I— do the same process
Hopefully I made my point. will they work all the time? no, but a chord that does is usually boring. when testing these use inversions for smooth voice leading and you’ll be surprised at some of these previously unavailable options
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