Lesson 87: Harmony - Static Versus Dynamic
Harmonically Static Situations: Comping
The ultimate harmonically static situation would be one chord, for example Dm7. This doesn't mean that you have to or even should stick to the Dm7 chord when comping. You can choose a scale/ a mode which contains the Dm7 chord and play within that. There are several ways to do this:
Harmonically Static Situations: Soloing
It's both easy and very difficult to solo over static harmony. An advantage is that you don't have to worry about a lot of changes and you can therefore more freely develop your ideas. A disadvantage is that when the background is static, it's entirely up to the soloist to create interest and momentum in the music, and that can be a problem. Ways to create interesting lines over a harmonically static background are:
Harmonically Dynamic Situations: Comping
In a harmonically very dynamic situation, it's not necessary to grab every chord. Often you have to simplify, ways to do that are:
Harmonically Dynamic Situations: Soloing
When soloing over rapid chord changes, you can take advantage of the chord changes in the background and play very statically yourself. There are several ways to do this:
Often it is possible to identify one or several tonal centers in a tune. Check out lesson 46, which goes into this subject.
© 2006 Tomas Karlsson. All rights reserved.