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  1. #1

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    I happened to come across your videos on YouTube, and I need help with the one mentioned above (
    ). I think this is a great lesson, and I really liked the playing. My problem is I am newer to the guitar (played the piano for years) and the video moves along quickly. So I can pick up some of what you are doing, but I miss more than I can I pick up even after many viewings.

    So if you could find the time, I think if you could slow your playing down some, try to show and name the chord voicings and how you put them together, that would be more than great. Your voicings and groove are just too cool to let go by. I know it would help me a great deal, and frankly, my guess is others will appreciate it as well.

    So, thanks in advance, Reg, for any help you can provide.



    The Jazz Guitar Chord Dictionary
  3. #2

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    Thanks for kind words... really.

    Sounds fun, I'll check out vid... and try and organize my approaches etc...

    Maybe a voicings chart... my basic working voicings. And my standard lead lines... the notes on top of the chords.

    That's basically what I'm doing... I generally play little Groove Melodies and organize the harmony below those melodies.

    I make short chord progressions... Chord Patterns... that create a reference, for the lead line or short groove melodies on top.

    I'm big on locking into grooves... 2, 4, 8 and 16 bar phrases. Blues are generally call and answer type of organization.

    Play something... a call, and then play an answer to the original call. The basic pattern repeats. You can use harmony, (chords), melodic, (lead lines) and rhythmic organization to help lock the repeating pattern into a groove.

    Which creates the feel, which is what it's generally all about... when you can see the audience start to all move together, you know your on a good path... You don't really need the audience etc... musicians know when things lock. This really goes for most jazz tunes also.

    Anyway... I'll work on it. I generally play these grooves by using my ears and feel, but should be able to notate the basic organization with somewhat working directions for use.

    Again thanks for interest. Reg

  4. #3

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    Reg: Just to echo what the OP said, I too find your instructional/demo videos very difficult to hone in on. I think for players at or near you own level of competence, they're probably fine. Much easier for the near pro level players to follow and understand what you're doing and saying. Maybe that's your intent? I could certainly understand if you expected those who wanted to tap into your experience and knowledge to have already attained a certain level of competence. That wouldn't be at all unreasonable. But, I'm sure guys like myself would get a whole lot more out of what you have to offer, if it was given a bit slower.

    I never really wanted to complain about it . . because you're generously offering your time and expertise to others for free. It would be kinda like someone offering a homeless hobo a hot meal . . and the hobo complaining that the pasta is not al dente.

    (Although, now that I think about it . . anyone that would offer over cooked pasta to anyone . . even a homeless hobo . . should be subjected to merciless water boarding . . . but I digress.)

  5. #4

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    Hey Patrick...

    Yea... I get it. And apologize for vid... I agree. This will be in somewhat slow-mo. At least I'll try and I'll keep the theory understandable...

  6. #5

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    This should be helpful for practicing "hearing" chords. I can transcribe melodies real easy, but chords.....

  7. #6
    There's a "speed" feature btw on YouTube that I've used to speed up slow speakers ( the Freddie green style comping guy comes to mind). I would imagine you can do something similar to slow down video as well. That's without even getting into 3rd party editors etc. can't really look at it on my phone here. Just a thought...

  8. #7
    Thanks for the response and willingness to help. And thanks for the elaboration on your style/approach here.
    Is it fair to say that putting the notes on top of the chords is also known as voice leading? Funny thing is that is how I am approaching learning the standards, but just had not thought about it in the context of blues and in developing lead lines that way. So that was a big wow for me. And playing around with what I have been able to pick up so far has been really, well, fun and cool.
    Again, thanks for taking the time and interest to help me (and some others, it seems) out. I am sure we will all be forever grateful.

  9. #8

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    Hey Ed,
    No it's not voice leading, not even close. Traditional Voice leading practice is useless with jazz. Generally what I like and try to do as far as voice leading would be all wrong... The lead line is a melodic groove line... not voice leading, the line is almost independent of the harmony, feel and groove of the chords, as far as analysis. They work together like a drummer and a bassist, not like classical voice leading of melodic parts... Very different set of guidelines and organization.

    And yea it is fun and cool... playing or listening to.

    It's great to be aware of what voice leading is and the what and why of the organization... but if that's the way you play, you'll generally put audiences asleep. I think I've dozed off at gigs where I've used traditional voice leading and chordal practice... I don't remember...

    Sorry... It's just that is not the way you need to look and hear comping.

    I'll try and get something together before my gigs...

  10. #9
    Thanks for the reply and clarifying the differences between the two approaches. More to consider on my part and learn!
    I've bought a number of books that have songs arranged in "chord melody" style and I thought, perhaps wrongly, that that was voice know, trying to keep the melody on the top strings. I'll work on clarifying my understanding of these concepts.
    Ed I did a little research after writing the post and now editing it and surmise that voice leading is about trying to keep movement minimal between chords, while chord melody is about finding the appropriate harmony to support a melody note.
    Last edited by EddieM; 12-19-2014 at 08:05 PM.

  11. #10

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    Just wanted to let you know I have always enjoyed your playing and videos. Thanks for the contributions on your channel and the forum.

  12. #11
    Quote Originally Posted by matt.guitarteacher
    There's a "speed" feature btw on YouTube that I've used to speed up. I would imagine you can do something similar to slow down video as well. That's without even getting into 3rd party editors etc. can't really look at it on my phone here. Just a thought...

  13. #12

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    OK... so this info and approach to comping is generally for comping and performing grooves, comping grooves.

    I'm not trying to play beautiful jazz standards, play relaxing background chord melody style, not get in the way, don't take up to much space... all the playing techniques you generally want... when your playing grooves, their meant to be heard and felt. It's not like maybe this we'll work or this might help... what your playing needs to be what is creating the groove and feel...the music won't happen unless your doin your thing.

    So that's the mind set, and it's not that complicated. To get good at performing this style of playing you do need have your rhythm thing together.

    A very simple drill or exercise is to work on playing two against three...not three against two. two against three.

    Use your hands and play.... three with your right hand, 1,2,3 etc you can accent 1, that's your downbeat.
    Now play 2 with your left hand... you should be able to hear the pattern, bump bada lump. So your accenting bump or 1 for each pattern, now start to accent lump... with your left hand it should be two.
    So your playing in 3/4, your right hand is playing quarter notes, straight quarter notes, 1,2,3 /1,2,3 etc... and your left hand is also in 3/4 but playing dotted quarters. the attacks are the downbeat of 1 and the up beat of 2.

    Once you get and hear this feel... start adding accents...add an accent to the lump or the 3 of your right hand... so now the accent pattern is downbeat 1 of both hands, the up beat of 2 in your left hand,(your now accenting both attacks of your left hand), now add 3 of your right hand... it will feel like what your playing is setting up that beat 3 of your right hand... now just accent that beat 3 of your right hand... make it the only accented beat.

    Try the same thing with all the beats... and move the attacks, hear and feel just what that is.
    Your teaching yourself to be able to develop grooves, how to set up accent patterns. STRAIGHT TIME will not make it happen. So then try the same process with 3 against 2 or 3 against 4... their all just variations, different ways to develop feels of the same thing. The same accent pattern can have different meter references and the feel of the groove will be different.

    So now start playing with moving that up beat of 2 your left hand is playing.... play it a little late, you'll hear the pattern change... you might even begin to feel how the pattern changes.

    You don't need to work on everything, unless you want to... becoming good and being able to hear and feel the basic first example above will work, from that simple exercise you should be able to develop the skill. How to hear and feel moving the attacks of accent patterns to create grooves with different feels.

    So the point of this simple exercise is to teach you to hear and feel how grooves can change... where we play and accent the accent pattern is what makes the groove happen, makes it lock. You need to be able to play and feel this technique.

    Now taking this skill and applying to your guitar playing takes practice but just like anything will happen.

    Now to get to the playing aspect...

    So what I personally do is really very simple... I have "Target Chords", lets just use the I and IV of a Blues in F.
    (you can have organization of the target chords, which one(s) is/are most important etc..)

    My basic "Targets chords" are The I chord and the IV chord... F and Bb.

    Everything else is about how I "Approach Target Chords"... and how I "Organize what I use to approach those Target Chords. The organization is generally just what the basic reference is for the organization and how I create relationships and develop them.

    Example...if I'm approaching the I chord, F... my reference could be just F, tonally what I'm using to approach that F or F7 chord is based and organized with F as my Tonal reference.

    I could change that basic reference and make Bb my basic reference.... so what that means is what I approach that F7 with uses Bb as tonal basic reference. That usually just changes some of the sources for note collections which will change chords... a min7th chord could become a Dom7#9 ...
    C-7 going to F7 becomes C7#9
    or a dom7th chord could have different extensions... C7#11 could become C7alt.

    Moving need to develop a collection of Approach Chord(s) and organization of their use.

    I generally only use,

    -Dominant chords and their organization
    -Diatonic chords and their organization
    -chromatic or constant structure and the organization of use... Db13 Eb13 F13... usually based on patterns.
    -bass patterns and their organization... common bass groove patterns and what chords I voice on top of the bass patterns.
    and the biggie and most used...
    -Chord Patterns and their organization, which include II V's etc...

    Then what I do is use subs for the above mentioned approach chords ... you basically have almost any chord change and on almost any root available now. (all this with reference to being part of a groove and feel).

    Now you develop some short "groove melodies". If your into Jazz you play II V's ... so just like you can play II V's, different voicings of the chords have different lead notes... what you want to do is now make those lead notes become short lead lines...melodies that repeat in patterns... and then just play the chords below. Rather than play the chords and voicing and the top note just be from the voicing or chord form.... you be in control of what those lead lines are, the the chords are just their to accent your lead line or melody.

    So now the groove and feel aspect... all your chords and lead lines need to work and be part of that rhythmic accent pattern... the groove and feel.

    What will happen... eventually you don't really need to think about any of this... you just play. Because you've trained your ears and technique to naturally perform in this style... when you choose to. What will happen... You will choose to perform in this style or at least use as basic reference... when you play... A LOT. Because you find your able to perform within an ensemble... you become part of the band and work together. You'll feel what you play because there is something to feel.

    Sorry for such a long BS... but I'll start posting short vids of the actual chords, lead lines and grooves, I'll start with just I IVs... F7 to Bb7 etc... The V chord is really just a turn around...
    Last edited by Reg; 12-21-2014 at 01:19 PM.

  14. #13
    Thanks a lot. I am sure that took some time and effort, but it is helpful. I also checked out more of your videos on comping, etc., and your approach is coming together for me. I look forward to seeing the short vids you mentioned when you get the chance.
    I wish you the best for the New Year!

  15. #14

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    No shade intended Reg. Just saying I've seen alot of your video's and think they're great information and playing BUT.. I'm an advanced level player FYI and think your vids would be even much better if you slowed down your playing sometimes so the ideas can be grasped more easily. Otherwise great playing and information. I figure if an advanced player like me is wishing you would slow down sometimes that a beginner or intermediate player would really benefit from that.

  16. #15

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    No shade intended Reg. Just saying I've seen alot of your video's and think they're great information and playing BUT.. I'm an advanced level player FYI and think your vids would be even much better if you slowed down your playing sometimes so the ideas can be grasped more easily. Otherwise great playing and information. I figure if an advanced player like me is wishing you would slow down sometimes that a beginner or intermediate player would really benefit from that.

  17. #16

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    Here's a quick tutorial on slowing down [and speeding up] YouTube clips.

    I only learned to do this a few days ago.....I'm your typical ol duffer on the tech side
    so I was pretty stoked to get this function going in a few minutes.

  18. #17

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    Of course, I am like the others who thank you for taking the time to post this.

    I have been working on Blues comping an immediately you solved a riddle I had when you mention the 3-6-2-5 (as opposed to the 1-6-2-5), with the 3 being a sub for the 1. I was puzzled by a transcription from a piece that had a Bm7 immediately following the 1 chord, a G7.

    You put a lot out there in a short time. A lot of information was given, which forces guys like me to stop and start the video and analyze the chords and their relationships to basic I7 - IV7 -V7 Blues scheme.

    I really don't know of any other way to get that information out without making a series of short videos worthy of a Hal Leonard DVD series.

    So for now, I am printing out my blank chord chart sheet and will stop and start the DVD to write down the chords. Then I will see what you were doing.

    I am aware of the use of devices such as chord substitution, approach/leading chords targeting a chord from a half step away, little mini "iim7-V7" (also called Vsus-V7) movements, tritone action to approach target chords, and slipping and sliding.

    I am going to see what "gold" you have put out there. Like George Benson said, "If you put it out there, I will steal it." Thankfully, you are giving it away for free. I just hope my Youtube downloader can capture your video.


  19. #18

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    Thank you so much for that Youtube info!!!!!! OMG- I'm not at my computer now, but do you know if when you slow down a video if it keeps it in the same pitch?

    Thanks again.


  20. #19

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    Your playing and ideas are great, but as others have mentioned they move pretty quick. But I'm an old dog.

    best to you.


  21. #20

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    Quote Originally Posted by Jonathan Levin

    Thank you so much for that Youtube info!!!!!! OMG- I'm not at my computer now, but do you know if when you slow down a video if it keeps it in the same pitch?

    Thanks again.

    The software called Transcribe which is excellent transcription tool you can put downloaded YouTubes in and slow them down and keep the pitch.

    Transcribe! - software to help transcribe recorded music

  22. #21

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    Thanks Docbop.

    I'll have to check that out. FYI- I am back at my computer and the slow setting on YT does indeed keep the pitch of the song! Though the quality is a little funky...

    So if there is something that you can't find the sheet music for, in my case a song by Tony Rice called Manzanita, nice way to kind of get a grip on what's going on.

    Done hijacking thread. Sorry Reg!


  23. #22

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    I happened upon your video, "Jazz Modal Playing", while hunting for something Miles Davis stuff. I revisited it a few times and started to watch more videos and gave been enjoying and learning from them. I didn't connect you back to JGF until today. I appreciate your playing and willingness to share. Oh, and a thumbs up for the AA.

  24. #23

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    I followed the instructions on how type HTML5 after the url, I get to choose HTML5 how nice, when I click settings I get redirected to a screen to send some teenager money. I don't care for these kind of railroad jobs. But just to see what would happen I sent some money NOTHING HAPPENED. No info about waiting till the kid decides if I'm terrorist or not, `no you will be sent instructions and the secret decoder ring. NOTHING. I even restarted the computer and by now I'm thinking scam. Do I have to wait till he checks paypal's credentials? I don't think this could be the intended result or this kid would be history by now. Anybody get this to work?


  25. #24

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    Yes, it worked fine and without a redirect for money. The link is

    About 2/3 of the way down on the left - if there is a blue box with the words "Request the HTML5 player" then click on that. It should turn black and the words will have changed to "Use Default Player" which indicates you browser has now switched to the HTML5 player and you'll have the speed selection option.

  26. #25

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    Reg, what is the model and maker of your guitar?

  27. #26

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    94 Guild artist award with the bartolini pick up made for them...

  28. #27
    I think Reg should make a Instructional video on comping ideas, I know I would buy it!!!!!!

  29. #28

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    I'd like to thank you Reg for sharing this video. It's an oldie, but I've just found it.
    IMHO it is the greatest instructional short video on blues comping I've ever seen.

    Yeah, you move pretty fast but the fluency and sheer amout of knowledge you put in 6 minutes are priceless.
    I'm trying to follow you with a looping add-in for Youtube. I have to stop it and figure out your voicings. But that's OK, it's great way to learn and expand my comping vocabulary.

    Thank again for sharing this one and all the other videos.

  30. #29
    destinytot Guest
    Adding my thanks and admiration.

  31. #30

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    I've seen this video before but never taken the time to get anything out of it. Thanks for reminding me. I really enjoyed some of your chord voicings. The melody line on top is always good to work on too.

    Here were some of my favorite vamps:


    Played over the V chord, Gsus to ?. I like the feel you played this with in the video.

    And then this 1 6 2 5 (not exactly like Reg played it)
    x x 13 12 10 13
    x x 10 11 11 10
    x x 8 10 8 10
    x x 8 9 9 8

    But most importantly, play them with groove!

  32. #31

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    Wow this is great and for me timely. I have really taken on board Reg's suggestion that it all comes from learning forms and have been learning jazz blues forms through heads and just started exploring comping /lead lines /grooves/ playing harmonies under melodies etc . One thing I got from this video is the idea of playing one thing of another as a framework with a groove as a basis - eg: a rhythmic idea against a melody . This a great vid I had never seen- thanks Reg and whoever revived the thread


  33. #32

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    Just a comment about the speed factor in all your videos Reg, don't slow down.
    I've been playing for almost 40 years and a former session player, and I've just personally never been fond of a slow approach, you miss the whole feel and groove and you need to see and hear it at speed to really grasp it, that and I learn best from a faster delivery of concepts with hands-on example it just makes more sense to me. While that slow-mo learning has as much to do with ego and profit as anything else, I've also never learned well from anything other than full speed. Having something like your videos is endlessly useful, and I can stop and start a video if I need to digest something, but your all-on speed is not just super helpful and packed with a lot of information in a short time frame, but it's damn fine inspiring too... I love it! Keep it up!