[Lessons]
[Audio]
[Bands]
[Biography]
[CD]
[Contact]
[Gear]
[Gigs]
[Lessons]
[Links]
[Listening]
[Music]
[Photos]
[Projects]
[Quotes]
[Reading]
[Studio]
[Sheet Music]
[Shop]
[Thanks]
[Tips]
[Writings]

Lesson 112: Comping Part III - Creative Comping

Using Guide Tones Only - the Tritone

Here I take the tritone through the entire 12 bar blues progression:

Using Chromatic Passing Chords

Here I take the same type of rhythmic idea as above with complete seventh chords and chromatic passing chords through the entire 12 bar blues progression:

Using Fragmented Chords

Here I take two- and three note harmony through the entire 12 bar blues progression:

Using Motivic Ideas

Here I make use of a motif in Night and Day by Cole Porter. The motif consists of two consecutive perfect fifths followed by a major second. It has a nice, open major 9th ring to it. It is a long-time favorite of mine that turns up over and over again in my arrangements, compositions and playing.

Here I make use of the motif in the intro and the first half of the the A part of Night and Day. The motif is transposed as is ( for a Bbadd9 and an Abadd9) and also transposed with the bass note displaced ( for a G7sus4 chord) for nicer voice-leading - some counterpoint to break up the parallelism:

Using Quartal Harmony

Here I make extensive use of quartal harmony in the second half of the form of On Green Dolphin Street by B. Kaper and N. Washington:

2007 Tomas Karlsson. All rights reserved.