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Contents.Types In a standard jazz combo, the or typically comps during the and solos by improvising and.The chordal accompaniment used in jazz is different from the chordal accompaniment style used in many types of, such as rock and folk. In a rock or folk band, a guitarist or piano player will accompany by playing primarily consisting of the notes of the chord known as the,.

Andrew Green Jazz Guitar Technique Pdf Printer Reviews

In the key of C, the G chord would include the notes G, B, and D (the root, 3rd, and 5th of the chord). In a or band, a guitarist often comps by playing (root, fifth and octave, or for fast chord changes, just root and fifth). In a jazz band a guitarist or pianist will comp by playing a variety of chords that include the notes of the chord known as the 3rd, and (jazz chord players often omit the root, because the usually plays the root. The fifth of the chord is also omitted, except when the fifth is flattened or sharpened). In the key of C, the G7 chord in a jazz context might be performed by playing the notes B, E, F, and A (the 3rd, 13th, flat 7th, and 9th notes of the chord). As well, jazz compers may use that contain flattened or sharpened 5ths, sharp 11ths, flat or sharpened 9ths, and flat 13ths for some songs or soloists. For example, an G7 chord might be played with a basic, often the 3rd (B) and 7th (F), along with some of the following notes A ♭, A ♯, C ♯, and E ♭ ( ♭9, ♯9, ♯11, ♭13), subject to the taste and style of the performer and/or the bandleader.In combos with a guitar player, the guitar player usually comps for soloists.

If there is both a pianist and a guitarist, as sometimes occurs in or, they may either alternate comping or comp at the same time. Having two chordal instruments comp at the same time is difficult to do well. The two compers may make different, clashing interpretations of the same chord (e.g., the pianist may add a flat 13th, while the guitarist plays a natural 13th), or the texture may become overly cluttered. This may also result in a fight between the pianist and guitarist. One solution is for the two comping instrumentalists to play sparsely.Chords Comping is almost always improvised by the comping musicians based on a, (which contains the chords written above the melody), or, in, the. The exception is well-known progressions (e.g., ) and such as ', known colloquially as 'Rhythm Changes'. For well-known progressions, the bandleader may simply say 'solos on blues changes' or 'solos on Rhythm Changes', and the comping musicians are expected to be familiar with these chord progressions.

Top soloists playing with the most advanced comping musicians may simply call out the name of jazz standards, and the sidemen will be expected to know the chord progression. For example, the soloist may request ' without providing the compers with a chord chart or sheet music. The compers at the highest professional level would be expected to know this tune.Since there are many variant versions of these chord progressions, the comping musicians will have to come to an unspoken consensus on which chords to use. For example, there are many different used for the last two bars of a 12 bar blues; however, if the bandleader, playing Hammond organ, plays I/VI7/ii7/V7 for the turnaround, most skilled compers will hear these chords by ear and then replicate them in subsequent choruses (each full playing of the 12-bar progression is colloquially called a 'chorus').Drums During -feel songs, will usually comp with one hand on the while playing time on the, typically on the (see ). More skilled drummers often comp with even all three limbs excluding their right-hand ride pattern (snare drum, ). They will most likely develop the simple jazz drum pattern and add a few 'bomb' bass drum notes for extra effect.Horns In small jazz ensembles ('combos') with more unusual instrumentation, horn players (e.g., saxophone, trumpet, etc.) can comp by playing the melody line in the background, or by playing a sequence of notes called ' which outline the harmonic framework.

Guide tones are usually the 3rd, 7th, or 9th notes of a given chord. Guide tone lines are constructed by descending (or ascending) through the guide tones of the chart, normally by semitone or tone. For instance, in a duo for and bass, the saxophonist might comp during the bass solo by playing guide tones.For example, during the standard jazz chord progression ii7/V7/I/VI7 (in the key of C Major, this would be Dm7/G7/C/A7), a horn player might play the guide tones, in whole notes, C (minor 7th of d minor), B (third of G7), A (sixth of C; sixths are added to major chords and dominant seventh chords in jazz even when not specified) and G (minor 7th of A7). This is only one possible guide tone sequence. A second guide tone sequence (in whole notes) might be F (minor third of d minor), E (sixth of G7), D (ninth of C Major; as with sixths, ninths are often added to chord voicings even when not indicated), C# (major third of A7).Drum solo During a solo, the entire band may tacet (called 'laying out' in jazz slang).

Andrew Green Jazz Guitar Technique Pdf Printer Free

Alternatively, the pianist (and possibly the bassist and/or guitarist or organist) sometimes comps, often using a predictable pattern of rhythmically played chords called 'hits'. A well-known example is the second half of ', with 's piano comping for 's drum solo. During piano solos, pianists often comp for themselves, playing melodic lines and solos with the right hand while comping with the left hand.Roles While any jazz instrument can be used for comping, the chordal rhythm section instruments (piano, organ, and guitar) have developed the largest collection of pedagogical materials about comping. Since a jazz soloist has such wide-ranging harmonic, melodic, and rhythmic possibilities, chordal instrumentalists must have a similarly wide range of tools at their disposal to support the soloist properly.Comping musicians must know many different types of so that they can match the mood the soloist is trying to create. To support some soloists, a comper needs to use very simple voicings (such as the 3rd and 7th of a chord).

However, for other soloists who play in a very dense, complicated style, compers may need to use chords with many additional extensions, such as 9ths, 13ths, and altered voicings; they may also depending on the soloist, thus creating a feedback of idea exchange between the soloist and the comper. For the most sophisticated soloists, a comper may need to be able to respond in real time to newly improvised implied chord changes.Compers must have an understanding of rhythm that allows them to respond to the rhythms and beat patterns the soloist plays, such as Latin or Afro-Cuban rhythms. As well, they must have a melodic sense based on a knowledge of a huge repertoire of different scales and scalar patterns, to be able to improvise countermelodies to supplement the soloist's melodies and fill in empty spaces.By comping, pianists, organists, and guitarists provide the 'glue' that holds the rhythm section together. They take the soloist's improvised solos and melodies and add harmonies (as a bass player does) and rhythms (as a drummer does). By doing this, the comper helps ensure that the band is always at the same energy level as the soloist. And are examples of pianists who are responsive when comping. Usually comped busily, while comped sparsely.

There is no single appropriate way to comp for a soloist.Adapting to soloist A comper adapts his or her style to that of the soloist. In a jazz band with multiple soloists, this may require different styles for different soloists. For example, the saxophone player in a band may imply many extensions and altered chords in his soloing (e.g., b9, b13, etc.).

For this soloist, a comper may decide to play and dense harmonies. The next soloist, a, may play sparse, delicate melody lines, with lots of space. For this soloist, the comper may use open voicings, omit passing chords, and try to play mainly in the space left by the soloist. If a soloist starts implying a certain style or feel in his solo, whether this is Afro-Cuban music or hard-driving swing, the entire rhythm section may shift to this style to support him.In a tune, if a soloist starts playing in a style, the comping musicians may adapt and shift into a rock-influenced groove.

A guitarist who is comping may turn on an pedal to add -style 'growl' to his tone. A guitarist may also use other, such as a. A keyboardist playing or may turn up his to produce a natural tube overdrive tone for his sound. A drummer may shift to a rock style of drumming.Soloing In all but the largest, the comping sidemen in a jazz show are often called upon by the to improvise a solo.

Here, the comper takes centre stage and performs an improvised melody line. For 1920s and some jazz, the comper may embellish the melody line and improvise by ear during his solo. For -style groups, the comper playing a solo will often base his improvisations on the of the song. Bebop tunes often have one, two or even three chord changes per bar and some tunes change keys every few bars; as such, it is hard to solo 'by ear' on a Bebop song.See also., a type of ensemble which poses particular comping challenges, since there are usually two chordal instruments which have to share the accompanying tasks (e.g., and guitar)Further reading. Green, Andrew (2005). Jazz Guitar Comping.References.

Yeah the licks book are very good and help a lot. They have also helped my reading of standard notation a lot and I am getting a lot faster at this.The Cellular approach book - I haven't really delved into that one too much as I bought it at the same time as I got Line Games and I'm concentrating on Line Games more. However, in the Cellular Approach, Randy talks about melodic cells based around the extension of the chord that you are playing over.

The best example I can think of is John Coltrane's 1-2-3-5 patterns eg C-D-E-G.Randy has lots of these cells in his book and he uses them to connect the changes. For example he would play a 4 note cell that would start on the 3rd of a chord, and then would start all over again on the 3rd of the next chord. He also has examples of how players such as Michael Brecker use these cells in their playing.The reason I haven't really started with the Cellular book is because Randy makes references to hexatonics in it and his Line Games books covers hexatonics in depth so I felt it was best to start there.My favourite is the Line Games book definitely. Well I would say:Chordal ideas and comping:Jazz Guitar Standards Vol I and IIChord Khancepts.Creative Chordal Harmony for guitar - mostly advanced chordal ideas and no comping ideas.Soloing with arpeggios:Jazz Guitar Structures by Andrew GreenCellular Approach by Randy VincentSoloing with a scalar approach:Pentatonic Khancepts - using pentatonics exclusivelyLine Games - using hexatonics and bebop scalesThe Best of Pat Martino - gives details on how he uses Dorian over various chords.

I have a similar collection, two shelves full of music books. Most of it is useless and sits on the shelf. Particualrly the lick-type of books.The best material I've found for learning jazz:Mike Longo's The Rhythmic Nature of Jazz, & Sight-Reading Syncopation;Hal Galper's Forward Motion, & YouTube Masterclasses;Charlie Parker Omnibook; David Baker's How to Play bebop;Bert Ligon's Jazz Theory Books, & Connecting Chords with Linear Harmony (Throw out the Mark Levine book if you have it);Jerry Bergozi's books.And of course, just doing transcriptions to learn vocabuary, and practicing them along with the recordings to develop rhythm/swing. Free source code control.