Lesson 137: Comping Part IV - Rhythms and Voicings
My Other Lessons on Comping
Practice the following standard comping rhythms:
Here is an MP3 file of a guitar taking a Cm7 chord through all of these rhythms. Play along with it so that you get the feel of every single one of them.
Check out lesson 125, where I talk about chord voicings playable on the guitar. The idea is to learn and make up a personal library of fingerings/ voicings that are
Four Note Voicings/ Rootless Voicings
Four note voicings is usually the most you will need. The most important notes of a chord are the 3rd and the 7th and the third and fourth voice can be chosen from the 5th, 9th, 11th or 6th/ 13th.
Often these voicings are referred to as rootless voicings. This is a bit misleading, since a rootless voicing can contain the root of the chord, but it means that the root is not the lowest note.
Below you can see a few examples of how four note voicings can be taken through a II-V-I cadence. First a few versions in C major: Dm7 - G7 - Cmaj7 and then three versions in C minor: Dm7b5 - G7b9 - Cm7.
Here is a very good example of very playable, rich chord voicings taken through a standard jazz blues progression in C:
Last, but not least, a chordmelody arrangement. The shout chorus of Splanky by Neal Hefti is playable using very few fingerings/ voicings and it is a very good example of versatile voicings.
© 2015 Tomas Karlsson. All rights reserved.