Approach to Comping Vol 2

AN APPROACH TO COMPING ADVANCED

Concepts & Techniques

by Jeb Patton

includes 2 CDs

An Approach to Comping vol. 2 ADVANCED CONCEPTS AND TECHNIQUES by Jeb Patton

Cover Design - Linda McLaughlin Book Design - Attila Nagy

©2016 Sher Music Co., P.O. Box 445, Petaluma, CA 94953 www.shermusic.com. No part of this book or audio CD may be reproduced in any form without written permission from the publisher. All Rights Reserved. International Copyright Secured. ISBN 1-883217-87-3

Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 1–Left Hand Comping Inspired by the Forefathers of Jazz Piano . . . . . . . . . 8 Chapter 1A–Playing Tenths in the Left Hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Chapter 1B–Left Hand Comping by Barry Harris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Chapter 2–Comping Fast Tempos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Chapter 2A–Comping Fast Tempos with your Left Hand . . . . . . . . . . . . . . . . . . . . . . . . . .32 Chapter 2B–Comping Fast Tempos with Trombone Voicings . . . . . . . . . . . . . . . . . . . . . 44 Chapter 3–Introduction to Rootless Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Chapter 3A–2-note Shapes over Guide Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Chapter 3B–3-note Shapes over Guide Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Chapter 3C–Comping with Trombone Voicings in the Left Hand . . . . . . . . . . . . . . . . . .74 Chapter 3D–3 and 4-note Shapes over Trombone Voicings. . . . . . . . . . . . . . . . . . . . . . . .89 Chapter 4–The Elegant Comping of Hank Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 4A–Drop 2’s Applied to the Diminished and Sixth-Diminished Scale . . . . Chapter 4B–Passing Chords Revisited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 4C–Other Harmonic Devices that add Motion . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 4D–Comping like Basie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 5–Shapes and Rhythms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 5A–Extracting Shapes from Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 5B–Moving Shapes Outside of the Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 5C–Comping Over the Bar Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

111 112 122 131 148 162 164 193 212

Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Comp/Play Along CD Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

List of Comping Transcriptions 1. Barry Harris’s LH Comping on the changes to “Morning Coffee” from Barry Harris at the Jazz Workshop. Riverside – 1177 (1960) . . . . . . . . . . . . . . . . 14 2. Barry Harris’s LH Comping on the changes to “Luminescence” from Barry Harris Sextet – Luminescence! Prestige – 7498 (1967) . . . . . . . . . . . . . . . . 21 3. Bud Powell’s LH Comping on the changes to “Fine and Dandy” from Sonny Stitt, Bud Powell, J.J.Johnson. Prestige – 7024 (1949) . . . . . . . . . . . . . . . . . 39 4. Bud Powell’s Comping on the changes to “Fine and Dandy” from Sonny Stitt, Bud Powell, J.J.Johnson. Prestige – 7024 (1949) . . . . . . . . . . . . . . . . . .46 5. Ahmad Jamal’s LH Comping on the changes to “Broadway” from Ahmad Jamal’s Alhambra. Argo LPS – 685 (1961); also can be found on Ahmad Jamal Trio Cross Country Tour (Disk 2) Chess Records . . . . . . . . . . . . . . . . . . . . . 80

6. Wynton Kelly’s Comping on the changes to “Remember” from Hank Mobley’s Soul Station. Blue Note – BSP 4031 (1960) . . . . . . . . . . . . . . . . 100 7. Hank Jones’s Comping on the changes to “Falling in Love with Love” from Kenny Dorham’s Jazz Contrasts. Riverside – 0888072301320 (1957) . . . . . . 137 8. Hank Jones’s Comping on the changes to “Did you Call Her Today” from Ben Webster’s and “Sweets” Edison’s Ben and Sweets. Columbia –CK 40853 (1962) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 9. Bill Evans’s Comping on the changes to “On Green Dolphin Street” from Miles Davis’s 1958 Miles. Columbia SL – 1268 (1958) . . . . . . . . . . . . . . . . . . . . . 185 10. Comping in the style of McCoy Tyner on the changes to “Passion Dance” from McCoy Tyner’s The Real McCoy. Blue Note BLP – 4264 (1967) . . . . . . . . . . . . . 197 11. Comping in the style of Herbie Hancock on the changes to “One Finger Snap” from Herbie Hancock’s Empyrean Isles. Blue Note BST 84175(1964) . . . . . . . . . . . . 231

This book is dedicated to the memory of Hank Jones and Horace Silver

ACKNOWLEDGEMENTS Special thanks to the jazz masters Barry Harris, Bud Powell, Ahmad Jamal, Wynton Kelly, Hank Jones, Bill Evans, McCoy Tyner, and Herbie Hancock whose work inspired the creation of this book; Jimmy and Mona Heath, and Tootie and Beverly Heath for their love and encouragement; Harold Mabern, Peter Bernstein, Kenny Barron, David Hazeltine, Michael Weiss, Aaron Diehl, for their incredible contributions and positive feedback; David Wong, Pete Van Nostrand, Jerry Weldon, and Joe Magnarelli for their beautiful playing on the CDs included; Tom Tedesco and Tedesco Studios; the faculty of Queens College for their assistance and support: David Berkman, Mike Mossman, Antonio Hart; to Chuck Sher and the publishing staff; to Linda McLaughlin for the cover design, and of course, to my loving and supportive family. iv

An Approach to Comping: Advanced Concepts and Techniques

Introduction

An Approach to Comping: Advanced Concepts and Techniques This is the book I searched for when I first started playing jazz, but could never find. I wanted to know what the pianist was doing exactly when he/she was comping. It is my hope that this workbook series can uncover some of these mysteries and act as a helping hand for the aspiring jazz musician. It is meant to be a window into the mysterious world of what happens in the background: the groove, the backdrop, the rhythmic conversation, and the colors behind the soloist. It underscores the piano player’s role behind a horn player, as a comper.

Comping is a term to explain how a pianist, guitarist or other chordal instrument plays chords in rhythm to propel, or support the soloist. It is different than playing behind a vocalist in a rubato fashion (often called accompanying) in that there is a propulsive component to it that often reflects the short, percussive sound of the word, “comp” itself. The world of comping is not limited, however, to short, percussive rhythms; comping can be soft and airy, it can be distinguished and subtle, just as it can be vigorous and driving. Just as a language developed in jazz about how to improvise, a parallel language developed pertaining to how to comp. Even though the intangible sublime moments that happen during the interplay between soloist and comper cannot be captured in a book, you can be challenged and inspired by imitating and assimilating some of the comping that is a part of the jazz canon.

This is part two of a two-part endeavor. Each part is completely self-sufficient and can be used alone. Together the two workbooks address the comping language as practiced by thirteen unique pianists with twenty five complete comping transcriptions accompanied by over one hundred comping exercises all aimed at helping the aspiring music student learn about comping, and moreover, about playing jazz. Generally speaking, the two workbooks are divided based on level; thus the two titles: An Approach to Comping: The Essentials and An Approach to Comping: Advanced Concepts and Techniques. In the appendix you will find a complete guide explaining how jazz pianists, classical pianists, non-pianists, jazz vocalists, jazz guitarists, and drummers can best use these workbooks.

Advanced Concepts and Techniques delves deeper into some of the concepts touched upon in The Essentials as well as offers some new approaches to comping. Some of the material is quite advanced, so it is suggested that beginners and non-pianists first work through The Essentials before tackling this volume.

An Approach to Comping: Advanced Concepts and Techniques

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Introduction This workbook is divided into five chapters: Left Hand Comping Inspired by the Forefathers of Jazz Piano; Comping Fast Tempos; Introduction to Rootless Voicings; The Elegant Comping of Hank Jones; and Shapes and Rhythms. In addition to a variety of comping exercises, you will find nine complete comping transcriptions of Barry Harris, Bud Powell, Ahmad Jamal, Wynton Kelly, Hank Jones, and Bill Evans. Some are examples of left hand comping, most are two-handed comping transcriptions as played behind a given soloist. Also, the comping styles of McCoy Tyner and Herbie Hancock are illustrated in detail. You will then be asked to reconstruct the original comping transcription as played by McCoy and Herbie using clues given. As you comp along with each comping transcription/illustration you will be adding new comping rhythms and progressions from the pianist that you are studying to your comping repertoire. The following is a more detailed overview:

Chapter 1 continues from where our discussion of LH (left hand) shells left off in Chapter 2 of The Essentials by adding a third note to the two-note shell thus creating skeletal or related structures meant to be played with the left hand alone. The tenth (often found between the outer two voices of this LH voicing) represents a pivotal sound of jazz piano reminiscent of Teddy Wilson and Art Tatum. It should be studied even if you have to divide the voicing between the hands. The LH comping of Barry Harris is illustrated and discussed.

Chapter 2 deals with uptempo comping. First, the focus is on developing your LH comping during a fast tempo as we delve into Bud Powell’s incredible LH comping. Assimilation exercises are given. Uptempo comping using trombone voicings is discussed at the end of the chapter. Chapter 3 explores rootless voicings and uses them in conjunction with the rhythms, voicings, and progressions of Ahmad Jamal and Wynton Kelly. Two and three-note shapes are placed over guide tones and related structures. In the middle of the chapter your LH gets a work out, as trombone voicings are practiced using the LH alone. Then, three and four-note shapes are placed over trombone voicings. Chapter 4 investigates the incredible comping of Hank Jones by examining his use of drop-2 voicings, passing chords, and comping in the Basie style. Two complete two-handed comping transcriptions are presented and analyzed.

Chapter 5 discusses creating voicings by cutting shapes out of scales, moving shapes outside of the scale, and exploring rhythms that obscure the bar line. In addition, the rhythms, voicings, and progressions of Bill Evans, McCoy Tyner, and Herbie Hancock are presented and studied. Of course, hundreds of exemplary compers are not included in this volume. It is not meant to be an encyclopedic survey of comping. Hopefully, you will be inspired to explore further and study the comping of other great artists on your own. 2

An Approach to Comping: Advanced Concepts and Techniques

Introduction The comping transcriptions contained within span different styles and eras of jazz. It is my belief that the lineage of jazz comping is interconnected in many ways. To be an accomplished comper, one must have a firm grasp of the history, and at the same time be striving forward, in search of your own unique voice. Investigating the jazz canon does not just include learning solos from your heros, but also studying what they are playing when they are not soloing. For a piano player in a jazz quartet or quintet that is most of time. Moreover, it is illuminating to check out what the left hand is doing during a piano solo that is predominately made up of RH lines.

This book offers an opportunity to imitate the masters, and at the same time combine and assimilate the material with the hope of synthesizing something new and unique. The goal is to assimilate the unique language of jazz comping so that you can start to comp tastefully, thoughtfully, and decisively on your own. Comping Transcription Instructions

For each comping transcription, you are advised to comp along with the original recording at different tempos using a slow-down device. The icon found throughout the workbook indicates that the given example, transcription, rhythm guide, progression, or exercise should be used in conjunction with the original recording. Whenever possible hum or sing the melody (if applicable) and/or the horn solo from the original recording as you play through the comping transcription. This way you can begin to get a feel for the interaction between comper and soloist. Afterwards, you may use the CD that accompanies the book to “comp” along with a piano-less band. See CD instructions for more information.

These volumes are to be worked through several times in different ways. As you gain more knowledge and skills regarding voicing styles you may be able to revisit old exercises and apply the new skills learned. In this way, professionals and beginners alike will be able to gain something unique and worthwhile from each exercise found inside. After selected comping transcriptions, a comping guide is provided which outlines the comp in rhythmic notation. Comp through the example following the rhythms using a variety of voicing styles that will be explained in the upcoming chapters. Since the comping transcriptions are dispersed throughout the two volumes, only apply the voicing styles that you have acquired up to that point and then move on to the next exercise. After gaining the skills necessary later in the workbook you may return to that particular comping exercise to apply the new voicing styles learned. The following is an outline of the voicing styles to be applied to the rhythms of each comping transcription. Keep in mind these voicing styles will be explained in detail in the upcoming chapters. An Approach to Comping: Advanced Concepts and Techniques

3

Introduction 1. Comp with LH skeletal structures using left hand alone or splitting the voicing between the hands (from Chapter 1) 2. Comp with rootless voicings (from Chapter 3), 3. Comp with drop 2’s and Basie style voicings (from Chapter 4) 4. Comp with shapes cut from scales (from Chapter 5)

Following each comping guide, five comping rhythms and five progressions are provided. These are rhythms and short progressions extracted from the comping transcriptions. The CR’s (comping rhythms) are to be applied to other standards, the CP’s (comping progressions) are meant to be looped and transposed through the keys. The five comping rhythms and five comping progressions are for the purposes of assimilating some of the language of the comp so that you can apply some of the material in different situations and eventually create your own comping language. CD Instructions.

The most important aspect of this two-volume workbook is what is not written inside. It is the music itself that the workbook attempts to explain. It is vital that you are playing with a CD, or record, or tape, or something if you don’t have enough gigs with live musicians. That’s really how the music is learned, not from words. I realize that many of the examples presented are difficult, some being at break-neck speeds, others are slow but with huge voicings with difficult stretches etc. I’m afraid this is an unavoidable reality of this music. Jazz is hard. On the bright side, I have decided not to simplify anything or give you anything that is watered down. I think that if you are willing to break these transcriptions down to more digestible pieces, and slow the tempo down, you can have a lot of fun comping along with the incredible original recordings (easily available on itunes or amazon.com). As an accompaniment to the original recordings, I’ve created a comp-along CD with piano-less tracks that correspond to all of the comping transcriptions contained within the workbook. To make things a little easier, the corresponding track on the CD is at a much slower tempo compared to the original recording.

The icon found throughout the workbook indicates that the given exercise, transcription, rhythm guide, progression, or exercise should be used in conjunction with the CD included with this workbook. The appropriate track number is listed beside the icon. On the CD, the soloist is not playing the solo from the original recording, and the bass and drummer are not playing the precise notes as played on the original. Here are some pros and cons pertaining to the comp-along CD included in this volume.

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An Approach to Comping: Advanced Concepts and Techniques

Introduction

PROS • The tempo is slower • It’s track contains no piano allowing you greater freedom • Provides a different solo to comp along to over the same progression • It’s not meant to be a mere copy of the original, and thus is more in line with the general idea of jazz: constantly evolving

CONS • You aren’t playing with the jazz masters • You can’t hear the pianist’s placement of comp (where exactly the chord occurs rhythmically in the measure; often these subtleties cannot be written down) • You won’t be inspired by the pianist’s sound he gets from the piano • You can’t hear the pianist’s swing feel and other subtleties • You won’t hear the subtleties of the bass and drums from the original recording

In conclusion, the comp-along CD, although helpful and hopefully fun to play with cannot be a substitute for the original recordings. It is vital that you take the time to acquire the following records/CD’s not just for the purposes of this workbook, but to have them for your own jazz record collection. Each comping transcription is taken from a record that falls under the category of “records every jazz musician should have.” Below is a list of the albums that you will need before going on. If you would rather not purchase the entire album, many of the individual tracks are available on itunes for about a dollar.

You may notice that the selections are all from a period in jazz spanning from the late 1940’s to the 1960’s. This is not to dissuade you from absorbing and listening to the great jazz from the 70’s, 80’s, 90’s and 2000’s, it’s just that much of the foundation of modern jazz comping occurred in that magical twenty-year period mentioned above. Interestingly, the same period gave birth to many different eras and styles in jazz. Gaining an understanding of the comping taking place during this extremely fertile period will allow you to pursue any direction in jazz that you desire. Not only that, hopefully you will be inspired to carve a new path. Please do not proceed to the following chapters without first acquiring these tracks from the original recordings.

An Approach to Comping: Advanced Concepts and Techniques

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Introduction Chapter 1: 1. “Morning Coffee” from Barry Harris at the Jazz Workshop. Riverside – 1177 (1960) 2. “Luminescence” from Barry Harris Sextet – Luminescence! Prestige – 7498 (1967) 3. “Fine and Dandy” from Sonny Stitt, Bud Powell, J.J.Johnson. Prestige – 7024 (1949)

Chapter 2:

1. “Fine and Dandy” from Sonny Stitt, Bud Powell, J.J.Johnson. Prestige – 7024 (1949) 2. “Fine and Dandy” from Sonny Stitt, Bud Powell, J.J.Johnson. Prestige – 7024 (1949)

Chapter 3:

1. “Broadway” from Ahmad Jamal’s Alhambra. Argo LPS – 685 (1961); also can be found on Ahmad Jamal Trio Cross Country Tour (Disk 2) Chess Records 2. “Remember” from Hank Mobley’s Soul Station. Blue Note – BSP 4031 (1960)

Chapter 4:

3. “Falling in Love with Love” from Kenny Dorham’s Jazz Contrasts. Riverside – 0888072301320 (1957) 4. “Did you Call Her Today” from Ben Webster’s and “Sweets” Edison’s Ben and Sweets. Columbia –CK 40853 (1962)

Chapter 5:

1. “On Green Dolphin Street” from Miles Davis’s 1958 Miles. Columbia SL – 1268 (1958); also can be found on ’58 Sessions Featuring Stella by Starlight. Columbia CK – 47835 2. “Passion Dance” from McCoy Tyner’s The Real McCoy. Blue Note BLP – 4264 (1967) 3. “One Finger Snap” from Herbie Hancock’s Empyrean Isles. Blue Note BST– 84175 (1964)

After comping along with the original recordings, use the “comp-along” CD as you venture away from merely copying the masters note by note to creating your own comp that is quite different from the original. In this way the comping transcription is used only as a jumping off point. When Bud Powell or Hank Jones were comping on these records they weren’t playing something they had learned previously, they were in the moment, improvising, creating, and moving the music forward.

In addition to the comping transcription comp-alongs, the accompanying CD contains some helpful tools to help develop your skills playing blues and rhythm changes, as well as playing over the bar line. This includes an interactive drum track to play along with as you delve into the comping rhythms from Chapter 5, and bass and drums playing blues and rhythm changes through the keys to be used as needed throughout the volume to aid in the transposition of voicing styles or progressions. Moreover, tracks without drums are included on so that drummers can experience comping along with the transcriptions included. 6

An Approach to Comping: Advanced Concepts and Techniques

Introduction Finally, as a special bonus, the final section contains two more conversations with some of my favorite musicians that also happen to be some of my favorite “compers.” Unlike in The Essentials, the interviews are by non-pianists offering a different perspective on comping. The first Q and A session is with one of the great voices of jazz guitar, Peter Bernstein. Following that legendary drummer, Albert “Tootie” Heath offers his insight into comping.

Hopefully these informal interviews that address more of the abstract aspects of effective and artful comping will serve as a stimulating contrast to the technical material that makes up most of the volume. Sometimes the wisdom imparted by master musicians that are a part of this great music and that have played with so many legends of jazz can be even more worthwhile and inspiring than studying the actual notes. It is my hope that An Approach to Comping: Advanced Concepts and Techniques can uncover some of the mysteries surrounding the art of comping, challenge you, and ultimately enhance your comping experience. Enjoy every second of music making, not just soloing. Sometimes the real joy happens when supporting someone else, as you and the soloist are elevated to a level that can be reached only when playing together.

An Approach to Comping: Advanced Concepts and Techniques

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Chapter 1 Left Hand Comping Inspired by the Forefathers of Jazz Piano Art Tatum, Fats Waller, James P. Johnson, Bud Powell to name a few, made an indelible mark on jazz piano. Even today, the great modern jazz pianists all owe a large portion of their LH comping repertoire to the great founders of jazz piano. To ignore the contributions of the forefathers would be a mistake.

In this first chapter we examine the transparent and elegant structures employed by everyone from Duke Ellington and Willie “the Lion” and Teddy Wilson, to Thelonious Monk and Bud Powell, to Mulgrew Miller and Geoff Keezer. The sound of tenths is something unique to the piano, permeating the sound of Ragtime, Harlem Stride, Bebop, and beyond. Interestingly, much of this LH comping contains the root. Before using purely rootless structures in the LH (an important feature of modern jazz piano), it is important to gain a firm foundation with these rooted LH voicings. Later, we will study two transcriptions of Barry Harris’s LH comping over familiar harmonic forms. A comping guide, along with comping rhythms and progressions follow the transcriptions to help you assimilate the style.

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An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Chapter 1

Chapter 1A: Playing Tenths in the Left Hand To begin, we revisit skeletal structures and guide tones found in Chapter 2 of The Essentials. This time, however, we play these structures in the left hand, creating voicings commonly employed by the great swing and stride piano players. Most of these voicings require a large span, making them a bit difficult to manage for many. Their sound, however, majestic and transparent, is a crucial part of the jazz canon and inseparable with the general sound of jazz piano. Even if you can’t quite reach a lot of these stretches, playing 2 out of the 3 notes, or playing them in stride style, i.e. playing the bass note alone on beat 1 followed by the upper two notes of the structure on beat 2, is important when building a foundation for left hand comping. At the end of the section we will examine left hand comping as played by Barry Harris during his solos on his tunes, “Morning Coffee” and “Luminescence.” The following progressions include skeletal structures as well as guide tones with a fifth in the bass. In other words, you can substitute the 5th for the root to imply the desired chord. Just as we did with shell voicings, getting use to playing the fifth in the bass is important. Notice the tenths created between the thumb and pinky in many of the voicings Play the following ii7 – V7 – I progressions through the keys. FIG. 1

An Approach to Comping: Advanced Concepts and Techniques

9

Chapter 1

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Now, let’s substitute the V7 with the V7 a tritone away. Play the following ii – bII7 – I progressions through the keys. FIG. 2

Next, practice the following ii – V – I progression employing different inversions of each chord. To create these voicings start with any chord tone as the bottom note. For the middle note skip 2 chord tones and play the 3rd chord tone you come to. For example, if the 3rd is the bottom note, skip the 5th and 7th and play the root as the middle note. For the top note skip 1 chord tone and play the 2nd chord tone you come to. So, to complete our structure with the 3rd in the bass, and the root as the middle note, skip the 3rd and play the 5th as the top note. The complete voicing is 3rd–R–5th (from bottom to top). Notice the spacing: skip 2 chord tones from the bass note; skip 1 chord tone from the middle note to top note. These structures are similar in shape to skeletal structures (R–7–3) 10

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Chapter 1

and therefore sound related when played in a sequence. To avoid m9ths in the voicing or to add variety, a root may be replaced with a 9th as long as the 9th is not the bass note. Practice these structures through the keys. FIG. 3

These types of voicings are used in stride playing and in walking tenth playing. Pianists like Art Tatum were famous for being able to seamlessly improvise long passages of LH walking tenths in his breathtaking piano solos.

Returning to Chapter 2B from The Essentials, we can now add a third voice to the shell voicings. For example, in the following figures we have applied skeletal structures, guide tones with a fifth in the bass, andother related structures built on the 3rd and 7th of chords to create 3-note LH voicings for FIG. 12 and 13 (in Chapter 2B from The Essentials.) These LH voicings could be described as “walking tenths” because they mimic a bass line. Even though not all of the intervals between the outer voices are tenths, the general effect is what’s important. FIG. 4i

An Approach to Comping: Advanced Concepts and Techniques

11

Chapter 1

Left Hand Comping Inspired by the Forefathers of Jazz Piano

FIG. 4ii

Comping Exercise #1: Navigating Through the Blues with LH Skeletal and Related Structures. Compose a simple blues riff for the RH. In your LH improvise/compose a reharmonized blues progression of your choice with skeletal and related structures using half notes. In other words, employ “walking tenths” in your LH. Transpose to F and practice with Track 2. Advanced students may use Track 1 to practice these voicings through the keys. 12

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Chapter 1

Chapter 1B: LH Comping by Barry Harris Back in Chapter 2 of The Essentials we explored the LH comping by Sonny Clark. The transcription represented an example of how pianists can create a harmonic pad for their RH improvisations. LH comping doesn’t necessarily have to be punchy and short. Sometimes longer notes support the RH lines better by clearly outlining the harmony. It is important to realize that comping doesn’t only consist of short jabs at the keyboard.

In this section, LH comping in this way is explored further by studying a pianist who employs larger voicings reminiscent of the swing era. Of course, it doesn’t hurt that Barry Harris happens to have large hands. Instead of shells employed by Sonny Clark, Barry Harris primarily uses skeletal structures in his LH. Even though the harmonic pad created is predominantly stable and sustained, rather than short and choppy, it is not without rhythmic variation. Comping Exercise #2: Exploring Barry Harris’s LH Comp on the changes to “Morning Coffee” and “Luminescence.” Below are two comping transcriptions of Barry Harris’ left hand during his solos on “Morning Coffee” and “Luminescence.” Observe the use of skeletal structures and guide tones with the fifth in the bass. Also, observe the use of passing chords especially in “Morning Coffee” (an example of F Blues). Write in the chord symbols above the treble clef. Play as written if possible, or split between the hands and play as a two-handed comp. For advanced piano students, memorize or transcribe Barry Harris’ RH in the space given. Use the original recording with a slowdown device and comp along with the CD included. Practice selected BHCR’s and BHCP’s (Barry Harris Comping Rhythms and Barry Harris Comping Progressions) at the end of the comping transcriptions. Due to the fact that Barry’s LH comping on “Morning Coffee” contains so many sustained notes, it works better as a LH comping pattern instead of a two-handed comping guide. Pick a standard of your choice and apply some of Barry’s rhythms. Improvise over the harmonic progressions as you transpose them through the keys. As you play through the transcriptions you will find many places where the LH is playing on an upbeat. When listening to the original recording pay special attention to exactly where the syncopation occurs against the beat. Barry has a relaxed rhythmic lope that’s instantly identifiable. Because of this, Barry’s hit on the “and of 4” is going to occur a bit later than it would if played by other pianists. In Chapter 1 of The Essentials, we studied CR’s subdivided in triplets. Barry’s LH comp falls in line closer to that way of playing than if you were to read the transcriptions as written. The interesting thing to note is the fact that Barry’s RH follows a different eighth note feel. The “and of 4” in the RH is later than it would be in classical music, however ever so slightly earlier than the “and of 4” in Barry’s LH. In other words, the level of swing between eighth notes is different between the hands. Barry’s LH is simply more relaxed than his right. This rhythmic interplay is incredibly complex to try to figure out mathematically. It’s another example of an element of jazz that must be heard and felt, rather than parsed and analyzed. This creates some question as to whether the LH hit is on the “and of 4” or on “1” An Approach to Comping: Advanced Concepts and Techniques

13

Chapter 1

Left Hand Comping Inspired by the Forefathers of Jazz Piano

of the next bar. Often, the hit occurs between the “and of 4” and “1.” Again, the transcriptions are guides. Nothing is written in stone. Be sure to always go back and listen to the original recording. Play along with the FIG. 1

14

and with

Track 1 (demo) and Track 2 (no piano).

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Chapter 1

15

Chapter 1

16

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Chapter 1

17

Chapter 1

18

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Chapter 1

FIG. 2

An Approach to Comping: Advanced Concepts and Techniques

19

Chapter 1

Left Hand Comping Inspired by the Forefathers of Jazz Piano

FIG. 3

For “Luminescence” play along with the 4 (no piano).

20

and with

Track 3 (demo) and Track

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Chapter 1

FIG. 4

An Approach to Comping: Advanced Concepts and Techniques

21

Chapter 1

22

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Chapter 1

23

Chapter 1

24

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Chapter 1

25

Chapter 1

Left Hand Comping Inspired by the Forefathers of Jazz Piano

FIG. 5

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An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Chapter 1

27

Chapter 1

28

Left Hand Comping Inspired by the Forefathers of Jazz Piano

An Approach to Comping: Advanced Concepts and Techniques

Left Hand Comping Inspired by the Forefathers of Jazz Piano

Chapter 1

FIG. 6

An Approach to Comping: Advanced Concepts and Techniques

29

Chapter 1

Left Hand Comping Inspired by the Forefathers of Jazz Piano

FIG. 7



30

An Approach to Comping: Advanced Concepts and Techniques

Chapter 2 Comping Fast Tempos Part of what it means to be an effective comper is to be able to play in any situation and make the soloist feel comfortable and add to the groove of the band. Sometimes this calls for playing an extremely slow ballad, or an inbetween medium to slow tempo, or to play an upbeat standard. At times it means to play an extremely fast tempo. Playing the extremes of the spectrum of tempi has always been unique to the jazz experience. Jazz is always challenging its boundaries; that’s part of the definition of what jazz is. Inevitably you will be in a situation where you need to play fast. Even if you do not have the extreme technique to play nonstop eighth notes at a blistering tempo, you can still offer support that fits. It doesn’t require herculean virtuosity. Your role as a comper is to make everything feel settled, yet moving forward. Your job is to make the band swing. In this chapter we will investigate comping with our LH as well as two-handed comping at a fast tempo. Exercises and transcriptions are provided to help point you in the right direction.

An Approach to Comping: Advanced Concepts and Techniques

31

Chapter 2

Comping Fast Tempos

Chapter 2A: Comping Fast Tempos with your Left Hand The Barry Harris comping transcription from the previous section is played at a brisk tempo. Still, Barry manages to play all kinds of syncopated rhythms at a med/up tempo. As we increase the tempo, the space between the beats becomes smaller and smaller making it increasingly more difficult to play squarely off the beat. Often inexperienced players end up comping in between beats, or at the very least, never find the groove, leading to problems with rushing or slowing down.

One effective solution is to perceive the tempo as half as fast. In this new half time feel we can play familiar comping rhythms like the Charleston. In the fast tempo these familiar CRs take on a new form. Instead of playing: FIG. 1

? 44 .. Û .

Û J

.. .. Û

|

Œ

‰

Û.

..

at a fast tempo you would play: FIG. 2

FTCR 1

? 44 .. | .

FTCR 2

? .. |

3

Û Ó

..

| Œ

|.

..

In other words, we double the rhythmic value of each note in FIG. 1 to get our new comping rhythm (FIG. 2). In this way, we avoid the “ands” completely and focus on comping on either beat 1, 2, 3, or 4. This decreases the likelihood of finding ourselves comping in the cracks, and we can therefore be more decisive when we comp at the fastest of tempi.

Let’s now add these 2 Fast Tempo Comping Rhythms to our list of CR’s. FIG. 2 consists of FTCR 1 and FTCR 2. As we start to explore left hand comping at uptempos, we turn our attention to one of the most influential and formidable voices in jazz, Bud Powell. Spend some time listening to Bud comp for himself on some of his trio albums such as “Jazz Giant” on Verve.

32

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

Bud made famous a distinctive LH comping device that he often employed while soloing. Listen to “All God’s Children Got Rhythm” or “Get Happy” for a reference. The LH figure is at times a pedal point or drone, that contains a rhythmic propulsion that sets off the RH line above it. Below is an example of this LH figure streamlined and simplified to fit the next comping exercise. Practice the LH alone: FIG. 3

Also try the following incorporating the V7b5. FIG. 4

If the tempo is incredibly fast, you will need to practice these left hand figures playing the low “C” on “3” instead of on the “and of 2.” For our purposes, we will focus on the latter placement.

To fully digest these LH figures, we need to be able to freely improvise on top of them with our RH. Here are some exercises that address this obstacle and also build independence between the hands. For FIG. 5-8 use the LH drone figure from FIG. 3 (without the flatted fifth for the dominant chord). In the RH, practice the following patterns based on major scales. Each pattern has a target note (the note of the major scale that you are on) and diatonic and chromatic neighbors. An Approach to Comping: Advanced Concepts and Techniques

33

Chapter 2

Comping Fast Tempos

The 4-note diatonic pattern (ascending) is constructed like this: 1. 2. 3. 4.

diatonic step above target note target note (note of the major scale) chromatic lower neighbor of the target note back to the target note

4-note diatonic pattern (ascending) FIG. 5

Note that sometimes the chromatic lower neighbor is contained within the diatonic scale. The 4-note diatonic pattern (descending) is constructed like this: 1. 2. 3. 4.

chromatic lower neighbor of the target note target note (note of the scale) diatonic 3rd above the target note diatonic step above the target note

4-note diatonic pattern (descending) FIG. 6

The 3-note pattern is easier. It is the same ascending and descending. The construction is as follows: 1. chromatic lower neighbor of the target note 2. target note 3. diatonic 3rd above target note

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An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

3-note diatonic pattern (ascending and descending) FIG. 7

Comping Exercise #3: Diatonic Patterns with the Bud Powell Pedal/Drone. Comp using the Bud Powell pedal/drone pattern (from FIG. 3) in your LH as your RH plays the 3 and 4-note diatonic patterns. Feel free to mix and match to create unique melodic patterns. Practice the patterns in both 8th notes and triplets. Also, experiment with accenting different notes of the patterns. Here is one example: FIG. 8

To better fit the V7b5 Bud Powell pedal/drone pattern (from FIG. 4) we can work with the whole tone scale in our RH. In the key of F we will be using the C whole tone scale. Often when soloing in jazz, look to the dominant of whatever chord you are playing. It provides a feeling of motion; tension that can be easily resolved at any time by moving toward the tonic. The following pattern captures an important aspect of the bebop sound especially when coupled with the LH syncopated pedal/drone pattern (from FIG. 4). 4-note whole tone pattern (descending) 1. 2. 3. 4.

target note (the note of the whole tone scale that you are on) diatonic 3rd above target note chromatic lower neighbor

An Approach to Comping: Advanced Concepts and Techniques

35

Chapter 2

Comping Fast Tempos

FIG. 9

You can build a related ascending pattern like this: 4-note whole tone pattern (ascending) 1. 2. 3. 4.

target note (the note of the whole tone scale that you are on) diatonic 3rd above target note chromatic upper neighbor of target note

FIG. 10

By making minor adjustments to the RH pattern, you can come up with hundreds of variations. Try placing the second note of the 4-note whole note pattern on the beat. Also, you can add extra upward leaps to the pattern by inserting an extra diatonic 3rd(s) that leads to the target note. By adding this wrinkle to the pattern, it becomes asymmetrical and rhythmically more interesting. This difference is highlighted when you add accents as shown below. FIG. 11

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An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

Comping Exercise #4: Whole Tone Scale Patterns with the V7b5 Bud Powell pedal/ drone: Comp using the V7b5 Bud Powell pedal/drone pattern (from FIG. 4) in your LH as your RH plays the 4-note whole tone pattern. Experiment with tweaking the pattern to create asymmetries in the RH. Add accents.

Comping Exercise #5: Improvising over LH Shells and Skeletal Structures using FTCRs. Finally, freely improvise with your RH as your LH plays a shell, skeletal structure, or drone pattern employing FTCR 1 or FTCR 2 over a I-VI7-ii7-V7 sequence or equivalent progression. Play in multiple keys. For readers with no soloing experience use the diatonic patterns above from FIG. 5, 6, 7, and 8. One pattern will work for all four chords of the sequence. In other words, if you are in C the diatonic patterns derived from a C major scale will work for the I, VI7, ii7, and V7 (Cmaj7, A7, Dm7, G7). Use Track 5 to practice the next two progressions through the keys. On the CD the figures shown are repeated 2 times before moving up a half step. For the next two examples the chords change every two beats. LH drones work well for this exercise. For hits on the “2” you can play the chord symbol on “1” or “3”; for hits on “4” anticipate the harmony of the next bar. FIG. 12

FIG. 13

An Approach to Comping: Advanced Concepts and Techniques

37

Chapter 2

Comping Fast Tempos

In FIG. 14 and 15 there is one chord per measure. Use Track 6 to practice these progression through the keys. On the CD the figures shown are repeated 2 times before moving up a half step. FIG. 14

FIG. 15

Comping Exercise #6: Exploring Bud Powell’s LH comp on the changes to “Fine and Dandy.” We are now ready to tackle our next comping transcription. Designed for pianists, this one should be slowed down at first. For those of you with smaller hands, feel free to redistribute the LH voicings between the hands. This is an example of LH comping as played by Bud Powell during his solo on “Fine and Dandy” on the record entitled Sonny Stitt, Bud Powell, and J.J.Johnson. Pay attention to the LH syncopations and accents. With the exception of a few hits on the “and of 4”, most of the comping transcription consists of hits on 1, 2, 3, or 4. FTCR 1 and 2 and closely related variations occur throughout the comp. Bud’s propulsive power is undeniable, and much of his energy emanates from his LH comping. Advanced pianists should memorize and write in Bud’s RH solo. As always, improvising your own solo in your RH while playing Bud’s LH comping is always helpful for building independence and inspiring your RH lines. Use the and Track 7 (demo) and Track 8 (no piano).

38

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

FIG. 16

An Approach to Comping: Advanced Concepts and Techniques

39

Chapter 2

40

Comping Fast Tempos

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

FIG. 17

An Approach to Comping: Advanced Concepts and Techniques

41

Chapter 2

Comping Fast Tempos

FIG. 18

42

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

FIG. 19

An Approach to Comping: Advanced Concepts and Techniques

43

Chapter 2

Comping Fast Tempos

Chapter 2B: Comping Fast Tempos with TV’s Let’s return to our two fast tempo comping rhythms from FIG. 2 of Chapter 2A: FIG. 1

These two rhythms work quite well when applied to TV’s.

Comping Exercise #7: Isolating FTCR 1 and FTCR 2. Practice an uptempo tune using TV’s over bass notes with either FTCR 1 or FTCR 2 for the entire form.

Comping Exercise #8: Constructing Your Own Up-Tempo Comping Pattern. Choose an uptempo tune and comp on “1” and “3” of every bar. Once in a while, to add punch and a feeling of forward motion, comp on “2” or “4.” When you play on “2” or “4” do not play the half note on “1” or “3” immediately before or after. For example: FIG. 2

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An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

Let’s now take a look at Bud Powell’s up-tempo comping behind Sonny Stitt on “Fine and Dandy.” We return to the authoritative and all-important record of flawless bebop playing: Sonny Stitt, Bud Powell, and JJ Johnson. Listen to how effortlessly Bud comps, even at the most blistering speeds. It never feels frantic or rushed.

Comping Exercise #9: Shedding Using Bud Powell’s Comp on the changes to “Fine and Dandy.” The comping transcription starts after the melody. The comping rhythm guide that follows starts from the beginning of the melody chorus. Again, use a slow down device to play along with the as well as using the play-along Track 9 (demo) and Track 10 (no piano). For advanced students, comp along with the fast version: Track 11 (demo) and Track 12 (no piano).

An Approach to Comping: Advanced Concepts and Techniques

45

Chapter 2

Comping Fast Tempos

FIG. 3

46

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

An Approach to Comping: Advanced Concepts and Techniques

Chapter 2

47

Chapter 2

Comping Fast Tempos

FIG. 4

Bud Powell's Comping Guide on the changes to "Fine and Dandy" o

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An Approach to Comping: Advanced Concepts and Techniques

Chapter 2

Comping Fast Tempos

Bud Powell's Comping Guide on the changes to "Fine and Dandy"

2 F maj9

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An Approach to Comping: Advanced Concepts and Techniques

G b9

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49

Chapter 2

Comping Fast Tempos

FIG. 5

50

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

FIG. 6

An Approach to Comping: Advanced Concepts and Techniques

51

Chapter 2

Comping Fast Tempos

Up-tempo Rhythm Changes We will conclude by discussing an approach to comping up-tempo rhythm changes. To do this, we need to return to our discussion of LH comping from Chapter 2A. Our LH has to be the foundation. By keeping our LH comping harmonically simple, we can give the soloist or our own RH more room to stretch while playing lines. If you study the great LH comping of Barry and Bud Powell during rhythm changes you will notice that they seldom ever play half note changes in their left hand for an entire “A” section. The bass player usually handles all of the I-VI-ii-V movement freeing the pianist to play something harmonically more simple yet rhythmically propulsive on top. Check out the LH comping from the example below. It employs a drone reminiscent of the ones that we practiced in Chapter 2A that fits the deep harmonic structure of rhythm changes. The method of highlighting beat 4 or beat 2 of the next measure is followed to produce rhythmic propulsion. Practice only the LH pattern in many keys. As you get more comfortable, you can begin adding TV’s to your RH following the rhythm of the LH.

The following is a highly rhythmic style of comping in which the two hands play different rhythms at times. This style implements TVs over shells, creating a strong somewhat raucous comping style. It isn’t quite as elegant as the spread voicing style because of the doubled notes. The style is effective, however, especially when you need to be strong and forceful. Notice how the harmony has been simplified for the first four bars. It’s not until bar 5 that we see significant harmonic motion. The Cm11 on beat 4 of m. 1 acts as a diatonic passing chord, specifically as a passing ii chord (Pii). The underlying harmony resembles the deep harmonic structure studied in FIG. 1 of Chapter 3D from The Essentials. The passing ii chord functions as V7 creating the basic progression: I–V7–I–V7. This simplification is useful when playing fast.

52

An Approach to Comping: Advanced Concepts and Techniques

Comping Fast Tempos

Chapter 2

FIG. 7

Comping Exercise #10: Up-Tempo Rhythm Changes. Use the LH comping pattern above as a guide. First, practice improvising with your RH while playing the pattern with your LH. Then, use trombone voicings in your RH to create your own rhythmic comping pattern. The above example offers one solution.

By playing Cb in the LH on beat 4 of m. 1 and beat 4 of m. 3 instead of C natural, you can imply a whole tone sound. If playing with RH TVs, use V7#5 in place of Cm11 for this variation. Use Track 3 and/or 4 to take the pattern through the keys. For a very fast Bb Rhythm Changes use Track 13 (without piano).

An Approach to Comping: Advanced Concepts and Techniques

53

Chapter 3 Introduction to Rootless Voicings We are now ready to explore the centerpiece of comping in modern jazz: comping without the root. Since the era of Wynton Kelly and Bill Evans there has been a shift in the way of approaching voicings when playing with a rhythm section. Pianists of today predominantly use rootless voicings while comping. There is no bright yellow line, however, separating the great compers of the past and contemporary pianists. We’ve seen in all of the comping examples so far pianists employed rootless voicings as part of their voicing repertoire. Therefore, our goal should be enhancing our harmonic palette for comping. We are adding to our library, not replacing its contents. We want to be able to use the right voicing for the right situation. Voicings with roots have an earthier sound; rootless voicings are more modern and sleek. To only play rootless voicings can be one-dimensional, just as being anchored to the root all of time can be limiting.

Often in jazz camps and other places that require a pianist new to jazz to perform in a combo after only a few days, rootless voicings are given to the student to serve as an instant fix. To fit into the rhythm section, the student is given ready-made shapes that are often memorized and learned by rote. Students are often chastised for playing a root—the reason being the bass player might get mad because the pianist is invading his/her realm in the context of the combo. Consequently the jazz newbie learns rootless voicings that are usually voiced too high, yielding a sound that is too thin, and is forever stuck in the upper regions of the piano.

Hopefully at this point we have an advantage over the jazz camp piano student. We have seen a variety of voicing styles applied to real musical situations as played by the jazz masters. Because we went through the whole gambit of rooted voicings in The Essentials, our ear is grounded—we can hear the root even if it is not implicitly played and there is no bass player. As you go forward, it is my hope that we can integrate these new sounds with our growing repertoire of voicings. This chapter is divided into four sections highlighting four different rootless voicing techniques: 2-note shapes over GTs; 3-note shapes over GTs; TVs and related shapes played with the LH; and 3 and 4-note shapes over TVs.

Accompanying this material will be three comping transcriptions containing examples of these voicings, including: Ahmad Jamal’s left hand comp on the changes to “Broadway”, Red Garland’s comp on the changes to “Diane” adapted for the LH, and Wynton Kelly’s two-handed comp on the changes to “Remember” behind Hank Mobley.

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An Approach to Comping: Advanced Concepts and Techniques

Introduction to Rootless Voicings

Chapter 3

Chapter 3A: 2-note Shapes over Guide Tones In the following section we concentrate on a beautiful and rather delicate voicing–one that contains the two guide tones (GTs) or closely related shape in the LH and a small 2-note shape in the right. By this point, being able to play the guide tones of a given chord should be relatively quick and easy. If we can have our left hand quickly find the 3rd and 7th without thinking about it, we can focus our attention on the right hand and weave chromatic melodies that also function as the upper extensions of the chord.

Being able to discern the GTs clearly in the left hand is important. They serve as the principle identifier of the rootless voicing. When playing with bass and drums, being clear with what rootless voicing you are playing is essential. For now, only playing the 3rd and 7th (6th) in the LH is one simple way to accomplish this. Later, when we add more notes to our LH rootless voicings, it is my hope that the GTs will still be clear and easy to hear.

Below, practice through the A section of rhythm changes with only the two guide tones in the LH. Next add a voice in the RH no more than a fourth away from the top note of the LH. As you move to each subsequent chord, move the RH voice to a tension or chord tone close by, thinking of the horizontal line. See example below. FIG. 1

After playing through the example above, go back through it yourself. Feel free to use different tensions/chord tones of your choice in the RH or inverted guide tones in the LH while striving for clear voice leading.

To convey this open-endedness we will use a new symbol. The “alt” chord symbol simply means that the tensions added to the root, third, and flat seventh are found within An Approach to Comping: Advanced Concepts and Techniques

55

Chapter 3

Introduction to Rootless Voicings

the altered scale. It’s the players’ choice as to which note to choose. If we were using more notes in our voicing, the “alt” symbol usually implies that at least one of the tensions must by a b13 (#5) in order to give the altered chord its characteristic sound. For this exercise, however, you can choose b9, #9, b5, or b13 for the RH voice.

Compared to the more massive rootless voicings containing TV’s in the LH (to be discussed later in this chapter) or rooted spread voicings from Chapter 5 of the Essentials, these transparent, smaller voicings are more negatively affected by doubled notes and other offenses listed later in this section. They are, in a sense, more fragile. As we continue to explore more comping transcriptions and see traditional jazz piano voicing rules being broken left and right, we realize that trying to pin down voicings to a set of rules is fruitless. There are, however, some voicings that seem to pop, and others that are weak and milquetoast-like. It’s worth it to try to come up with some reasons why this is the case. Imagine a spectrum of voicings consisting of 2 and 3-note shapes over guide tones. On one side you have voicings that are completely dissonant, and unusable in many traditional situations. On the other side of the spectrum, you have chords that don’t sound hideous, but still lack something. Many of these chords sound empty, or have a plain quality. In the middle you have chord voicings that are clean and defined with a certain sonorous richness. What are the reasons for the differences in sound?

It may be because of certain clashes, spacing problems, or doubling within the voicing. Below is a list of potential crimes you can commit against 2 or 3-note shapes/GTs. These have a cumulative effect; the more of these infractions you commit and the more serious they are, the weaker the overall sound of the voicing. Of course, sometimes the infractions can add a bluesy or distinctive character and can therefore be desirable. Plenty of beautiful and iconic voicings played by Thelonious Monk contain many of these socalled infractions. Nonetheless, generally speaking, certain things should be avoided to ensure an effective voicing. The infractions (in approximate order from most severe to mildly offensive) include: • • • • • • • • •

Creating a m9th somewhere in the voicing (except in certain modal contexts) Having a half step under the top voice Doubling an octave above the bottom voice Having a P5 in the LH when the bottom note is not a 3rd or 7th Having a space between the hands of more than a fourth Doubling one of the GT’s in the RH Having a natural fifth in the alto voice when creating 4-note dominant chords Playing the root somewhere in the voicing other than in the melody Having a P5 in the LH

When building these chords consider note categories. For a chord to be complete you need a root (or something like a root), a 3rd (or 4th if it’s a sus chord), a 5th (or something like a fifth), and a 7th (or 6th if it’s a 6th chord). The following is a chart showing note 56

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categories. The top two rows refer to the RH, the bottom to the LH. When building these voicings make sure you have one note from each category. The quality of chord and choice of tensions will determine which note from each category you choose. Keep in mind, the RH and/or LH could be inverted. Root Category: R, 9, #9, b9 (or ∆7 if GTs contain the 6) 5th Category: 5, b5, #11, 11, #5 (b13), 13 7th Category: ∆7, b7, bb7, 6 3rd Category: 3, b3, or 4

Comping Exercise #11: Working with 2-note Shapes/GTs Through Rhythm Changes. Navigate through an entire chorus of rhythm changes using 2 notes over GTs. The first eight bars are done for you. As you play through the next example, strive to hear the horizontal motion between the voices. First focus on horizontal lines generated by 3–7 and 7–3 motion in the LH. Then see if you can hum the alto voice. Finally, hum the soprano line while playing the alto line and vice versa. Use Track 3 and/or 4. Always listen to the bass player for the harmony. There may be some slight differences from what is printed below. FIG. 2

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Comping Exercise #12: Improvising a Melody and Countermelody using 2-note Shapes/GT’s. Navigate through the following progression by improvising a melody and countermelody using 2 notes over GTs while keeping the C pedal. The first four bars are done for you. Find a melody and countermelody that works with the chords. Then, experiment with your own chord changes. FIG. 3

Each four-note voicing above contains one note from each category (root, 3rd, 5th, and 7th). For example, Fmaj9 contains a C (from the 5th category); a G (from the root category); an E (from the 7th category); and an A (from the 3rd category). Note the use of ∆7 as a tension for Fo7 fulfilling the root category.

Having a P5 in the LH can upset the delicate balance of these 4-note voicings. The perfect fifth interval, like the octave, can sometimes overpower the sound of the voicing. When inverting the guide tones of maj7, min7, min7b5, and 6 a P5 is created. Be careful of using this inversion too much. In fact, the inversion of the major sixth guide tones (with the 6th as the bottom note) should be avoided all together. A P4 or A4 is more desirable than the P5 when creating these types of voicings.

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Introduction to Rootless Voicings Modified Guide Tones

Occasionally it is necessary to modify the guide tones in the LH to create the versatile 4th interval. Modified Guide Tones (MGTs) can be defined as two notes that function like guide tones but are not 3rd and 7th (6th). For example, when constructing minor chords, instead of the normal GTs, you can use MGTs (1-4) or (4-b7). For half-diminished and diminished you can use MGTs (1-b5) or (b5-1). Note that in these cases, the root is played in the voicing. MGTs (1-4) and (4-b7) should not be inverted. Their inversions, (4-1), and (b7-4) are both P5s. As we have pointed out, this is an undesirable interval for your LH especially when the bottom note is not the 3rd. Also, when using MGTs, the rule regarding having one note from each category does not apply.

Below is a chart outlining some useful 4-note chord voicings. To build the chord, play the 2-note shape in the RH over the guide tones of the chord symbol. MGTs are indicated when necessary. Be careful that the RH interval or the space between hands does not become too wide. Also, be aware of other infractions such as having the root under the melody, having a P5 in LH when the bottom note is not a 3rd, or having a natural 5th in the alto voice for dominant chords.

A roman numeral next to the GTs or MGTs indicates the preferred inversion. (I)=the LH shape should be used in the non-inverted form. If there is no roman numeral indicated, the LH shape may be inverted freely. Major Chords: Chord Name



2-note shapes/GTs or MGTs

C6/9 Cmaj7 Cmaj7(#11)

Dominant Chords: Chord Name

9 & 5/C6 (I) 9 & (5 or 13)/Cmaj7 9 & #11/Cmaj7

Any type of C7 containing 0, 1, or 2 tensions

7sus Chords:

2-note shapes/GTs

(R, 9, #9, or b9) & (#11, 5, #5 or 13)/C7

Use any of the minor chord voicings containing m7 GTs or MGTs listed under “Minor Chords” transposed a P5 higher. For example, for C7sus you can use Gm7 voicings over C in the bass. An Approach to Comping: Advanced Concepts and Techniques

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Cm7

2-note shapes/GTs or MGTs

(R or 9) & (5 or 11)/Cm7 b7 & b3/MGTs (1-4) (I) b3 & 5/MGTs (4-b7) (I) (R,9, or ∆7) & (5 or 11)/Cm6

Cm6/9

You can create rootless m6/9 voicings by thinking of them as dominant chords built on the IV. The rootless voicing for Cm6/9 is the same as the rootless voicing for F13. Half-diminished Chords: Chord Name



Cm7b5

2-note shapes/GTs or MGTs

(R or 9) & b5/Cm7b5 (b7 or b13) & (b3, 9, or 11)/MGTs (1-b5)

Alternatively, you can generate half-diminished voicings by thinking of them as dominant chords built on the bVI. The 4-note voicing for Cm7b5 using MGT (1-b5) or (b5-1) is identical to the rootless voicing for Ab13. Diminished Chords: Chord Name

Co7



2-note shapes/GTs or MGTs

(R, 9, or ∆7) & (b5, 11, or b13)/Co7 (bb7, ∆7, or b13) & (b3,11, 9)/MGTs (1-b5)

By thinking in terms of related diminished chords, you can quickly create other diminished voicings. Co7, Ao7, Gbo7, and Ebo7 are considered related since they share the same chord tones. Therefore the guide tones for Ao7 are the same as the MGTs for Co7. Once you generate one diminished voicing, simply transpose it up or down a m3 to access the other voicings. We now need to apply these chords to a real situation.

Comping Exercise #13: Comping through Standards Using 2-note Shapes/GTs or MGTs: Experiment by comping through your favorite standard using these 2-note shapes/GTs or MGTs.

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Chapter 3B: 3-note Shapes over Guide Tones In Chapter 5 of The Essentials, we examined various 3-note RH shapes to be played over a LH shell. This time, we will be building on top of guide tones, creating a need for slightly different 3-note RH shapes. Because the GTs are often already contained in the LH, these chord tones should be avoided in the RH. In this section we will examine two of the most quintessential 3-note shapes (and their inversions) that work well over guide tones: triads and fourths.

It should be noted, however, that since we are now working with 5-note shapes that are a bit more substantial compared to the 4-note shapes from the last chapter, we are able to get away with a limited amount of doubling of guide tones in the RH.

Below are a few examples of triads over GTs of greater or lesser degrees of effectiveness due to the number of infractions committed. Because of the m9th present, this voicing does not work well. FIG. 1

Since no infractions are committed in the following case, this voicing is highly effective. FIG. 2

The following two voicings fall inside a grey area of adequate, but not great. They contain various infractions including the doubling of GTs, or a root present inside the voicing. At this point, it becomes somewhat subjective.

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FIG. 3

It can be helpful to examine the intervals within the chord. A colorful satisfying voicing often contains a mixture of 7ths, 9ths (2nds), and 4ths. Traditional staid voicings have more 3rds. To me the first voicing (F13) is more successful than the second voicing (F9). Notice the 9th between the bottom voice and the middle voice in the RH. In the F9 voicing the interval between the bottom voice and middle voice in the RH is a 10th(3rd). If you lower the RH middle voice a half step producing an F9(#11) listen to the difference. In the end, both voicings are not ideal since they contain doubled guide tones, but are certainly used effectively in many situations by many pianists. Triads/GTs and MGTs

Let’s now investigate triadic shapes over guide tones (GTs) and modified guide tones (MGTs) for various chords. The easiest way to generate potential triads is to examine the parent chord scales for each chord in question. Then, we can try different triads generated from the chord scales and measure their effectiveness considering any infractions against the chord voicing from the above list. Below is a table of chord names, chord scales, triads/GTs (MGTs) and RH triadic shapes in general terms categorized in terms of chord quality. When describing RH triadic shapes ∆=major, m=minor, o=diminished, +=augmented, and t=triad. Keep in mind that this is not an encyclopedic list of all possible chords, but just a compilation of some of the important ones.

The triads and GTs are very manageable, and can be inverted separately in each hand. Again, roman numerals are used if there is a preferred inversion for the LH GTs or MGTs. If no roman numeral is indicated, the GTs or MGTs may be freely inverted. Try to have no more than a 4th between your hands so that the voicing sounds like one sound instead of two separate entities. Avoid doubling the lowest voice. Doubling the highest voice is possible, although not ideal.

I’ve included only the triads that yielded voicings with the least amount of infractions and/or sounded the best. Often, if two or more infractions were found, the voicing was not included. There is always an element of subjectivity when deciding. Use your ears. The most effective triads/GTs (MGTs) are in bold, and have no infractions. All RH upper structure triads are also reflected in general terms in the right-hand column. 62

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Introduction to Rootless Voicings Major Chords: Chord Name

Chord Scale

C6/9

Major

Cmaj9(#11)

Lydian

Triads/GTs (MGTs)

General Terms

G/C6 (I) Em/MGTs(6-9) (I) D/C∆7, D/C6 (I), Bm/ C6 (I)

∆t off the P5 mt off the M3 ∆t off the M2, ∆t off the M2, mt off the M7

For major 6/9 avoid having a P5 between the bottom two voices. Usually, having the 3rd on the bottom works the best. Dominant Chords: Chord Name

Chord Scale

Triads/GTs

General Terms

C7(13) C13(#11)

Mixolydian Lydian Dominant

Am/C7 D/C7, F#o/C7,

mt off the M6

C7(#9) C7(#11b9) C13(#11,#9) C13(#11b9) etc.

Half-Whole Diminished

Eb∆/C7, F#∆/C7, A∆/C7, Cm/C7, Ebm/C7, F#m/C7, Co/C7, Ebo/C7, F#o/C7, Ao/C7

∆t off the m3, ∆t off the A4, ∆t off the M6, mt off the R, mt off the m3, mt off the a4, ot off the R, ot off the m3, ot off the A4, ot off the M6 ∆t off the m6 ∆t off the d5

C9(#5)

C7(#5#9)

Whole Tone

Altered

D+/C7, Ab+/C7

Ab∆/C7, Gb∆7/C7

∆t off the M2, ot off the A4, +t off the M2, +t off the m6

7sus Chords Use any of the minor chord voicings containing m7 GTs or MGTs listed under “Minor Chords” transposed a P5 higher. For example, for C7sus you can use Gm7(13) or Gm7(11) voicings over C in the bass.

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Minor Chords: Chord Name



Chord Scale

Triads/GTs (MGTs)

Cm7(13)* Cm7(11)

Dorian

Cm6/9, Cm∆7(13,9) Cm∆7(11,9)

Melodic Minor (ascending)

General Terms

Dm/Cm7*, F∆/Cm7*, Eb/MGTs(1-4) (I), Eb/MGTs(4-b7) (I) Dm/Cm6, G∆/Cm6, Bo/Cm6

mt off the M2, ∆t off the P4, ∆t off the m3, mt off the M2, ∆t off the P5, ot off the M7

* – Always keep the big musical picture in mind when adding tensions. If you are playing Cm7 in context of a ii7 –V going to Bb major, the 13th is usually omitted because it confuses the movement to the V7 chord. Half-diminished Chords: Chord Name

Chord Scale

Cm7b5

Locrian#2 Locrian

Triads/GTs (MGTs)

General Terms

Do/MGTs(b5-1), Gb+/MGTs(1-b5), Bb∆/MGTs(1-b5), Ebm/MGTs(1-b5) (I)

ot off the M2, +t off the d5, ∆t off the m7 mt off the m3

To generate rootless half-diminished chords think of them as dominant chords built on the bVI. The voicing for Cm7b5 is identical to the rootless voicing for Ab13. Simply find the dominant chord a M3 below and build a rootless voicing using the guide tones belonging to the dominant chord. Cm7b5 is very similar to Ab7/C. Since the GTs of the bVI7 contain the root of the half-diminished chord, all choices have at least one infraction. Diminished Chords: Chord Name

Co7

64

Chord Scale

Whole-Half Diminished

Triads/GTs (MGTs)

Bo/Co7, Do/Co7, Fo/Co7, Abo7/ Co7, Bm/Co7, Do/ MGTs(b5-1), Fo7/ MGTs(b5-1), Abo/ MGTs(1-b5), Bo/MGTs(1-b5)

General Terms

ot off the M7, ot off the M2, ot off the P4, ot off the m6, mt off the M7, ot off the M2, ot off the P4 ot off the m6, ot off the M7

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Due to the volume of acceptable diminished voicings, only a select few were selected. We now need to apply these chords to a real situation.

Comping Exercise #14: Using Triads/GTs (MGTs) to Comp through Rhythm Changes. Complete a chorus of Rhythm Changes using Triads/GTs. The first eight bars are done for you. Feel free to use your own chord changes and/or extensions. Use Track 3 and/or 4. FIG. 4

4th Shapes/GTs and MGTs Another very important 3-note shape that can be placed over guide tones or modified guide tones is the fourth shape (two fourths stacked on top of each other). Following the same list of infractions to avoid, we can come up with several fourth shapes that work well over GTs (MGTs). Again, we can select chord scales to accompany different chord qualities and see what 4th shape derived from the scale works. Below is a table reflecting chord name, chord scale, related 4th shape/GTs (MGTs) and RH shape described in general terms for several different chord qualities. Note that the 4th shapes are described starting from the top note. Remember to keep the hands no more than a 4th apart. If you are working with the 8-note diminished scale, drop a diatonic 5th and then a 4th. The end product still closely resembles a RH fourth shape.

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Major Chords Chord Name

Chord Scale

Cmaj9(13) C69

4th Shapes/GTs

Major Major

G-D-A/C∆7 C-G-D/C6 (I)

General Terms

from P5 from R

Dominant Chords Chord Name

C7(13)

C7(#11) C13(b9#11) C7(#5#9)

Chord Scale

4th Shapes/GTs

General Terms

Mixolydian

C-G-D/C7, G-D-A/C7 F#-C-G/C7 C-Gb-Db/C7, F#-C-G/C7 Db-Ab-Eb/C7, Gb-Db-Ab/C7

from R from P5 from A4 Drop 5th and 4th from R or A4 from m2 or A4

Chord Scale

4th Shapes/GTs

General Terms

Lydian Dominant Half-Whole Diminished Altered

7sus Chords Chord Name

C7sus

Mixolydian

C-G-D/C7sus, G-D-A/C7sus

from R or P5

Minor Chords Chord Name

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Chord Scale

4th Shapes/GTs

Cm7(11)

Dorian (omit the 6th)

Cm7(13) Cm69

Dorian Melodic Minor (Ascending)

C-G-D/Cm7, F-C-G/Cm7, Eb-Bb-F/ MGTs (5-1) (I) G-D-A/Cm7 C-G-D/Cm6, F-C-G/Cm6

General Terms

from R from P4 from m3 from P5 from R from P4

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Cm7b5

Chord Scale

4th Shapes/MGTs

Locrian(#2) or Locrian Locrian (#2)

Ab-Eb-Bb/ MGTs (1-b5), Eb-Bb-F/ MGTs (b5-1) D-Ab-Eb/ MGTs (b5-1)

General Terms

from m6, m3, or M2

Diminished Chords Chord Name

Co7

Chord Scale

Whole-Half Diminished

4th Shapes/GTs

C-Gb-D/Co7, F#-C-G#/Co7

General Terms

Drop 5th and 4th from R or A4

Let’s return to our Rhythm Changes example and apply these 4th shapes/GTs. Remember that inverting the 4th shape is ok as long as the spacing between the hands remains relatively consistent.

Comping Exercise #15: Using 4th Shapes/GTs and MGTs to Comp Through Rhythm Changes. Complete a chorus of Rhythm Changes using 4th shapes/GTs. The first 8 bars are done for you. Observe the inverted 4th shapes. Feel free to use your own extensions. Use Track 3 and/or 4. FIG. 5

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Tweaking the middle voice of a RH 4th shape yields many different chords of varying color. One of the most common modifications is to raise the middle voice of the RH 4th shape up a whole step to generate the following colorful voicings. FIG. 6

In the following figure, the middle voice of the RH moves around yielding interesting voicings containing 4th shapes/GTs with plenty of inner movement.

Comping Exercise #16: Using 4th shapes/GTs with a Moving Middle Voice in the RH. Practice the following progressions through the keys. FIG. 7

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Comping Exercise #17: Synthesizing Both Types of 3-note Shapes/GTs. Returning to our original modified I-VI-ii-V progression from the last section in which we improvised a melody and countermelody, use any of the above 3-note shapes/GTs to create a beautiful progression over the C pedal, paying attention to the voice leading between the inner voices. You can use any inversion of triads, 4th shapes, or modified 4th shapes. The example below utilizes most of the original melody and countermelody, and places a new melody above. The C pedal pattern is slightly adapted to make it easier to play the voicings. For those with small hands, omit the bass figure, and play with a bass player, or recording of yourself playing the bass figure. This is meant as a rubato intro to a ballad, so go slowly. Go for this kind of counterpoint when making your progression.

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FIG. 8

As you have probably noticed, combining triads (especially in 2nd or 3rd inversion) or 4th shapes with GTs or MGTs often yields a voicing that could be labeled as a 4th voicing, i.e. a voicing that predominantly consists of 4th intervals. This is true because of the fact that an inverted triad contains a fourth, the spacing between your hands is often a 4th, and the GT is often a 4th. As we will see later, comping using 4th voicings is critical to modern jazz piano. Wynton Kelly, Hank Jones, Bill Evans, McCoy Tyner, and Herbie Hancock all make excellent use out of this iconic sound. Below is a quick reference guide to some of the most important 4th voicings presented as five ii-V-I progressions. The guide shows three unique voicings for tonic major; three voicings for m7(11); five dominant voicings including 9(13), 13b9, and 7alt; two half-diminished voicings; and three voicings for tonic minor. The voicings for G13, G13b9, and G7alt can be used for Db7alt, Db7#9, and Db13(#11) just as the voicing for G13b9 can also work for Abo7 or Do7. After all, these chords share the same guide tones. For the half-diminished voicing in m. 10, the natural 9 can be substituted with the b3 if the natural 9 clashes with the melody played by the horn player or singer.

Comping Exercise #18: ii-V-I with 4th Voicings. Experiment by choosing one voicing from each column to create a variety of major and minor ii–V–I voicings. Strive for good voice leading especially between V and I(i). Transpose and apply to standards of your choice.

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FIG. 9

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RH shapes are described in terms of 4th shapes dropped from a scale tones or major or minor triads built off of scale tones. For example, “4th–R” refers to the RH being a 4th shape dropped from the root; “Mt–P5” refers to the RH being a major triad built off the perfect fifth. Most RH shapes are placed above GTs. MGTs are indicated when necessary. The asterisk refers to modifying the 4th shape by moving the middle voice up a whole step. Comping Exercise #19: Applying 4th Voicings to standards. Drawing from the extensive library of 3-note Shapes/GTs (MGTs) that we have assembled, play through the changes to “On Green Dolphin Street” using half notes. Below is one possible solution. Comp along with Track 14. FIG. 10

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Go back through FIG. 10 and indicate the triads or 4th shapes in the RH over the GTs or MGTs in the LH. Create your own chart listing some of your favorite 3-note shapes over GTs/MGTs for different chord qualities. Apply these voicings to several standard tunes.

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Chapter 3C: Comping with Trombone Voicings in the Left Hand The importance of developing a strong left hand cannot be stated enough. Everything happens rhythmically and harmonically from the LH. It’s the hand that’s in charge of the musical situation. It is my hope that progressions that are already familiar to your right hand will become equally familiar to your left. The switch can be a bit confusing, but luckily there isn’t a lot of new material to be learned.

To review, practice comping through a blues using trombone voicings (TVs). Remember, TVs refer to closed position chords, meaning all notes are within a span of an octave. In The Essentials we studied 3 and 4-note TVs for RH extensively. In the following exercises, we will be playing the TVs with our LH.

Let’s begin by building 3-note TVs by adding one tension above the GTs that is within reach. Below is an example inspired by FIG. 3 in Chapter 3B of The Essentials. Some modifications were made, mainly to avoid a P5 between the bottom two voices (a sound that tends to overpower the delicate 3-note TV.) Also, tensions were chosen for dominant chords to maximize the amount of 4ths in the voicing.

A blues riff is added in the RH in octaves that works with a variety of LH TVs. This is only to add body to your voicings and provide a harmonic backdrop. In Chapter 3D, we’ll investigate these RH shapes more closely. For now, use them as a kind of anchor to the feeling and sound of the blues. Concentrate more on the LH voicing. Although a bit unusual, the momentary dissonance in m.6 adds to the blues feeling. Here’s an example of the m9 infraction being allowable. Transpose and experiment with inverting the GTs. Use different comping rhythms.

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FIG. 1

Next, instead of adding the tension above the GTs, add it in the middle. This is a LH comping technique used extensively by McCoy Tyner early in his career. You may have to substitute the root for the 9th or 5th for the 13th to avoid a half step between the top two notes in your LH. Add CRs, transpose and experiment with inverting the GTs.

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FIG. 2

Comping Exercise #20: Practice Blues using 3-note TVs in the LH while playing an octave-based blues riff in the RH. Mix up TVs containing the tension above and TVs containing the tension in between. Use Track 1 for blues through the keys.

Comping Exercise #21: Adapting Bebop Comping Transcriptions for your LH. Experiment playing some of the RH TVs found in the transcriptions from The Essentials with your LH. Below is an adaptation of Red Garland’s comp for the LH on the changes to “Diane.” Spread voicings are converted back to TV’s by lowering the top note an octave and omitting the root. TV’s that were split between the hands are now just played with the LH. Use the of Steamin’ with the Miles Davis Quintet and practice the LH comping behind Miles’s solo. Also, play along with a piano-less track by using Track 15.

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FIG. 3

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Red Garland was a huge fan of Ahmad Jamal. Garland’s use of space and relaxed swing feeling with the short comps on the “and” of two and four are arguably Jamalisms adopted by the great Red Garland. Comping Exercise #22: Swing along with Ahmad Jamal on the changes to “Broadway.” Join Ahmad, Israel Crosby, and Vernell Fournier on the classic recording from his Cross Country Tour of the late 50s and early 60s. The group’s level of cohesiveness from playing six nights a week for a period of years is unrivaled. Ahmad’s LH comp is truly amazing for it’s rhythmic propulsion and swing. If you do nothing else but comp along with the record, you will experience a new level of swing that might surprise you. You have to try it to understand what I mean. Pay special attention to exactly where the “ands” are placed in the measure. Red Garland, Monty Alexander, Miles Davis, and countless others were deeply affected by Ahmad’s musical vision of drama and space.

For now, concentrate on Ahmad’s left hand. Advanced students can interact with Ahmad using their RH, while still preserving Ahmad’s LH. Write in the chord symbols above the treble staff. Space is provided in the RH to write in some RH shapes to be discussed in Chapter 3D. As usual, Comping Rhythms and Comping Progressions follow. Use the and Track 16 and 17. Please note: the comping transcription starts from Ahmad’s solo (after the melody); the comping guide starts from the beginning of the melody chorus. The demonstration ( Track 16) starts from the solo break right after the melody chorus; the piano-less track ( Track 17) start from the beginning of the melody chorus. Note: there are slight differences between what is played on the demo CD and the written transcription.

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Chapter 3D: 3 and 4-note Shapes over Trombone Voicings In the following section, simple 3 and 4-note RH shapes are added to rootless LH TVs and applied to the blues. We will be using 3-note trombone voicings in the LH. For identification purposes, (A)= a TV built off the 3rd; (B)= a TV built off the 7th. Occasionally, other LH shapes will be used and labeled accordingly.

Unlike the more fragile voicings from Chapter 3A and 3B, these 6 and 7-note voicings are more robust and full. This time, it is ok to have some distance between the hands, at least for the first two types of voicings. Since, the TVs in the LH are complete chords by themselves they don’t need to be within a 4th of the RH shape. Not only that, because of the size, you can get away with more of the infractions from the list in Chapter 3A. As we will see from the Wynton Kelly comping transcription at the end of the section, by doubling certain notes and even including a few minor ninths here and there, you can create a unique, swinging big band sound from the piano. In fact, these voicings are often utilized in a trio to give the impression of a bigger band sound, and used in comping to create the effect of a big band backing the soloist. Famous practitioners of this style of voicing include everyone from Wynton Kelly, and Red Garland, to Oscar Peterson, Ahmad Jamal, and Phineas Newborn. 3-Note Octave-Related Shapes over TVs The simplest RH shape you can use to combine with a LH 3-note TV is 1-5-1 or 5-1-5 of the chord. Below is an illustration of these rootless voicings through a blues in F that you might encounter in a jam session using simple 3-note TVs in the LH.

Note the passing chords in bar 4 and bar 8 and well as the turnaround in bar 11 and 12 in each chorus. The top note of the LH should form a nice line as the RH 1-5-1/5-1-5 shape smoothly passes from chord to chord. In other words, large leaps should be avoided and common tones between chords should be observed. Observe how we start with the (A) voicing for the F13 TV (built off the 3rd in the LH). Also, pay special attention to altered notes. If the 5 or 9 are altered in the LH it should also be altered in the RH. After you feel comfortable with the voicings, add a CR or combination of CRs to create forward motion. Try this chorus in several different keys being sensitive to range. Avoid voicings that are too thin or too muddy.

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FIG. 1

For the next chorus use 13-9-13, 9-13-9, 5-9-5, or 9-5-9 in the RH for dominant chords with natural tensions. For dominant chords with altered tensions use #9-#5-#9 or #5#9-#5. For m9 chords avoid 13’s, use 9-5-9, 5-9-5. These RH voicings are very similar to 1-5-1/5-1-5, only 5 can be replaced with 13 and root can be replaced with 9. In other words, RH voicings consist of one note from the root category and one from the 5th category with the top note doubled an octave below. For the next chorus we start with a (B) voicing for the F13 TV in the LH (built off the b7th) FIG. 2

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4-Note Upper Structure Triads over TVs The next RH shape to be combined with our LH TVs is the 4-note upper structure triad (UST). In Chapter 5 of The Essentials, we used triads over shells to create spread voicings. In Chapter 3B of this volume, we used triads over guide tones to create 5-note rootless voicings. Now we will use the same idea to create more substantial rootless voicings for comping. This time we will use triads with the top note doubled and octave down to create 4-note triadic shapes over TVs. There are a couple of things to keep in mind:

1. Make sure the tensions used in the RH are compatible with the tensions used in the LH.

For example, over dominant TVs with altered tensions (#5(b13),b9,#9, and/or#11) you can most commonly add a major triad built off the b6 or b5 of the chord, or a minor triad built off the m3. For F7#5#9, you could play a Db major, B major, or Ab minor triad in the RH (in any inversion) over the LH TV. Notice how the tensions in the RH are compatible with the tensions in the LH i.e. from the same chord scale. FIG. 3

2. Be careful of minor ninths especially now that you are working with more notes in the LH. However, since the voicing is more substantial, certain doublings and/ or infractions are allowable.

Although mixing natural 9s and 13s with #9’s is unusual, it can create a unique bluesy sound. Below we build a minor triad off the root for the RH shape and place is over a 3-note 13th voicing. Notice the tritone created between the 13 and #9, and the minor ninth formed between the natural 9 and #9 in the second voicing.

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FIG. 4

Since we are always doubling the top note, the following voicings have at least one infraction, and are therefore not highlighted. (A) and (B) LH voicings are designated; if there is no indication, the TV may be played in either position. For now, use 3-note TVs in the left hand. Major Chords: Chord Name

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Chord Scale

C69

Major

Cmaj13 Cmaj9(#11)

Major Lydian

4-note UST/TV

C/C69(A) G/C69(A), Em/C69(A) G/Cmaj13(B) D/C∆9(A), Bm/C69(A)

General Terms

∆t off the R ∆t off the P5, mt off the M3 ∆t off the P5, ∆t off the M2, mt off the M7

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Chord Scale

C7(13)

Mixolydian

C13(#11) C9(#5)

Lydian Dominant Whole Tone

C7(#9) C7(#11b9) C13(#11,#9) C13(#11b9) etc.

Half-Whole Diminished

C7(#5#9)

Altered

4-note UST/TV

C∆/C9(A) or C13(B) Am/C9(A) or C13(B) D/C9(A) or C13(B) D+/C9(A) or C7#5(B), Ab+/ C9(A) or C7#5(B) Eb∆/C7#9(A), F#∆/ C7#9(A), A∆/ C7b9(A) or C13(B), Cm/C7#9(A) or C13(B), Ebm/C7#9(A), F#m/C7#9(A) or C13(B), Am/C7b9(A) or C13(B), Co/C7#9(A) or C13(B), Ebo/ C7#9(A) or C13(B), F#o/C7#9(A) or C13(B), Ao/ C7#9(A) or C13(B) Ab∆/C7#9(A) or C7#5(B), Gb∆7/C7#9(A) or C7#5(B)

General Terms

∆t off the R

mt off the M6 ∆t off the M2, +t off the M2, +t off the m6 ∆t off the m3, ∆t off the A4, ∆t off the M6, mt off the R,

mt off the m3, mt off the A4, mt off the M6 ot off the R,

ot off the m3, ot off the A4,

ot off the M6 ∆t off the m6 ∆t off the d5

7sus Chords Use any of the minor chord voicings containing m7 or m9 TVs listed under “Minor Chords” transposed a P5 higher. For example, for C7sus you can use Gm7(13), Gm(11), Gm9, or Gm7 voicings over C in the bass.

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Minor Chords: Chord Name

Cm7(13)* Cm7(11) Cm9 Cm7

Cm6/9, Cm∆7(13,9) Cm∆7(11,9)

Chord Scale

Dorian

Melodic Minor (ascending)

4-note UST/TV

General Terms

Dm/Cm9(A)* or Cm7(B)*, F∆/Cm9(A)* or Cm7(B)*, Gm/Cm9(A) or Cm7(B) Cm/Cm7(A) or (B) Eb/Cm7(A) or (B) Dm/Cm69(A) or (B), G∆/Cm69(A) or (B), Bo/Cm69(A) or (B)

mt off the M2*, ∆t off the P4*, mt off the P5, mt off the R, ∆t off the m3

mt off the M2, ∆t off the P5, ot off the M7

* – Always keep the big musical picture in mind when adding tensions. If you are playing Cm7 in context of a ii7 –V going to Bb major, the 13th is usually omitted because it confuses the movement to the V7 chord. Half-diminished Chords: Chord Name

Cm7b5

Chord Scale

Locrian Locrian(#2)

4-note UST/TV

Ab∆/Ab9(A) or Ab13(B) Ab∆/b7-b3-b13 Do/Ab9(A) or Ab13(B), Gb+/Ab9(A)

Bb∆/Ab9(A) or Ab13(B)

General Terms

∆t off the m6 /bVI7,

∆t off the m6 /4ths off the m7, ot off theM2 /bVI7, +t off the d5 /bVI7, ∆t off the m7 /bVI7

To generate rootless half-diminished chords think of them as dominant chords built on the bVI. The voicing for Cm7b5 is identical to the rootless voicing for Ab13 with natural tensions. Simply find the dominant chord a M3 below and build a rootless voicing using the guide tones belonging to the dominant chord. The second choice listed above is a 4-note triadic shape over a 4th shape built off the b7. As we’ll see at the end of this section, this unique half-diminished voicing was used by Wynton Kelly.

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The situation should dictate whether you draw from the locrian or locrian(#2) to create the half-diminished chord. Certain bluesy or diatonic melodies with m7b5 chords call for the more basic locrian sound. In the final analysis, it’s really about personal taste and preference. Diminished Chords:  Chord Name

Co7

Chord Scale

Whole-Half Diminished

4-note UST/TV

Co/Co7(A) or (B) Do/Co7(A) or (B) Ebo/ Co7(A) or (B) Fo/ Co7(A) or (B) Gbo/ Co7(A) or (B) Abo/ Co7(A) or (B) Ao/ Co7(A) or (B) Bo/ Co7(A) or (B) B∆/Co7(A) or (B) D∆/ Co7(A) or (B) F∆/ Co7(A) or (B) Ab∆/ Co7(A) or (B) Bm/ Co7(A) or (B) Dm/ Co7(A) or (B) Fm/ Co7(A) or (B) Abm/ Co7(A) or (B)

General Terms

ot off the R, ot off the M2, ot off the m3, ot off the P4, ot off the d5, ot off the m6, ot off the M6, ot off the M7, ∆t off the M7 ∆t off the M2, ∆t off the P4, ∆t off the m6, mt off the M7, mt off the M2, mt off the P4, mt off the m6

Make sure the top note of the LH TV doesn’t clash with the RH triadic shape. Avoid m9ths. Feel free to use the R or b5 for the top note of the LH TV. Also, be careful of too much doubling.

Comping Exercise #23: UST over TVs Through the Blues: For the next blues chorus observe the upper structure triads over TVs. Feel free to transpose and add CRs. Use Track 1 to practice blues through the keys.

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FIG. 5

Keep in mind, all of the above exercises and examples can be done with 3 notes in the RH simply by omitting one of the two notes in the middle. You’re left with an octave shape with one note in between. The 3-note RH shapes have a sleeker sound than the 4-note triadic shapes that can be a bit heavy if over used. 4th Shapes over TV’s

The last 3-note RH shape that we will discuss is the 4th shape, or two fourths stacked on top of each other. Unlike the 3-note octave related shapes/TVs and the upper structure triads/TVs, 4th shapes/TVs work best when there isn’t too much space between the hands. Usually the aim should be about a 4th between the hands. Since the LH trombone voicing is also often in 4ths, this style of voicing presents a quick and easy way to generate 4th voicings (voicings consisting primarily of 4ths). Like before, we will be working from the top down when creating our RH shapes Major Chords: Chord Name

Chord Scale

4th shape/TV

C69

Major

G-D-A/C69(A)

Cmaj9(#11)

Lydian

E-B-F#/C69(A)

Cmaj13

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Major

D-A-E/Cmaj13(B)

General Terms

∆t off the P5 mt off the M3 ∆t off the P5 mt off the M3 ∆t off the M2, mt off the M7

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Chord Scale

C7(13)

Mixolydian

C7(#11) C13(b9#11)

Lydian Dominant Half-Whole Diminished Altered

C7(#5#9)

4th Shape/TV

General Terms

C-G-D/C13(B), G-D-A/C9(A) F#-C-G/C9(A) C-Gb-Db/C13(B), F#-C-G/C7#9(A) Db-Ab-Eb/ C7#5(B), Gb-Db-Ab/ C7#9(A)

from R from P5 from A4 Drop 5th and 4th from R or A4 from m2 from A4

7sus Chords Chord Name

Chord Scale

C7sus

Mixolydian

4th Shape/TV

General Terms

C-G-D/C7sus(B), G-D-A/C7sus(A)

from R or P5

4th Shape/TV

General Terms

Minor Chords Chord Name

Chord Scale

Cm7(11)

Dorian (omit the 6th) Melodic Minor (Ascending)

Cm69

C-G-D/Cm7(B), F-C-G/Cm9(A) C-G-D/Cm6(B), F-C-G/Cm69(A)

from R from P4 from R from P4

Half-Diminished Chords Chord Name

Cm7b5

Chord Scale

Locrian(#2) or Locrian Locrian (#2)

4th Shape/TV

General Terms

Ab-Eb-Bb/Ab13(B) Eb-Bb-F/Ab9(A) D-Ab-Eb/Ab9(A)

from m6, m3, or M2

Diminished Chords Chord Name

Co7

Chord Scale

Whole-Half Diminished

4th Shape/TV

General Terms

Gb-C-Ab/Co7(9)(A), C-Gb-D/ Co7(b13)(B),

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Comping Exercise #24: 4th shapes/TVs Through the Blues. Below, 4th shapes/TVs are applied to the blues. Be careful of having too much space between the hands. Again, feel free to transpose and add CRs. Use Track 1 to practice blues through the keys. FIG. 6

Finally, let’s add more chord changes to our blues chorus and add a combination of octave-related shapes, upper structure triads, and fourths over our TVs to a create a variety of rootless voicings applied to the blues. This is meant as a summary of skills addressed in Chapter 3D.

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FIG. 7

Comping Exercise #25: Comping through the Blues using the shapes studied in Chapter 5D. Use your own chord progressions, extensions, and voicings, and play through several keys of your choice. Use Track 1 to practice blues through the keys.

Comping Exercise #26: Converting Ahmad Jamal’s and Red Garland’s LH Comping into Two-Handed Comping. Using shapes from Chapter 3D, comp along with Ahmad Jamal and Red Garland using both hands. 3-note octave-related shapes over TV’s will work very well. Use the to comp along with Ahmad Jamal and Red Garland. Or, use Track 17 to work with a piano-less track to “Broadway” and Track 15 to work with a piano-less track to “Diane.”

Comping Exercise #27: Comping along with Wynton Kelly on “Remember.” Join Hank Mobley, Wynton Kelly, Paul Chambers, and Art Blakey on “Remember” from Hank Mobley’s incredible record, Soul Station. The comping transcription begins from Hank Mobley’s solo. Pay attention to the way Kelly builds density and rhythmic activity to match to arc of Hank Mobley’s solo. Also, notice some of the unusual doubling Wynton employs at times and the use of minor ninths toward the end of the transcription adding to the bluesy feeling. The comping guide begins from the melody chorus. Use the and Track 18 (demo) and 19 (without piano). Note: the demo track starts from the solo break (two measures before the top of the second chorus). The piano-less track starts from the top of the melody chorus.

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FIG. 9

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FIG. 10

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FIG. 11 repeat progression a whole step higher

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Chapter 4 The Elegant Comping of Hank Jones Sometimes comping can be explosive and driving. Sometimes comping can be light, transparent, and elegant. This chapter focuses on the latter style. Just as comping in the bebop style often has a propulsive, driving component to it, comping using the “elegant voicings” described in the following two sections illustrates an alternative style. Barry Harris offers a bridge between these to sensibilities. While Bud Powell’s comping style has an unrelenting, aggressive tinge, Barry Harris creates a lighter feeling with his touch and feel, even when using some of the same physical voicings. In this chapter we introduce the eloquent comping of Hank Jones as a continuation of this sophisticated, airy, subtle sensibility. In the modern world of jazz, the highly rhythmic approach practiced by many of the younger pianists especially in the realm of comping, sometimes leads to harsh piano playing. Hopefully, this chapter offers a balm to this common pitfall. Elegant comping can be observed in many of the veteran players including: Barry Harris, Cedar Walton, Hank Jones, John Lewis, Count Basie, Oscar Peterson, Tommy Flanagan, Billy Taylor, Richard Wyands, Norman Simmons, Sir Roland Hanna to name only a few.

Focusing on two important comping transcriptions by Hank Jones, this chapter hopes to illustrate important elegant comping techniques. First, is an in depth study of drop-2 voicings and how to assimilate them into your playing. Second, passing chords are revisited using drop-2s. Third, other harmonic devices used by Hank Jones are explored. And fourth, Count Basie’s seminal style is investigated through the lens of Hank Jones.

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Chapter 4A: Drop-2s applied to the Diminished and Sixth-Diminished Scales Drop-2 voicings are created by dropping the 2nd voice from the top of a 4-note closed position chord down an octave. They should be somewhat familiar. In Chapter 5 of The Essentials we presented the idea of dropping the 2nd voice from the top of trombone voicings to create drop-2s. Then, by placing the 4-note drop-2 voicings over bass notes, we were able to create 5-note spread voicings. In the Horace Silver comping transcriptions at the end of the chapter there were quite a few examples of 4-note drop-2 voicings (see the first two voicings in m. 2 of Horace Silver’s comping on “Airegin”). In the previous chapter of this volume we discussed building voicings by placing twonote shapes above guide tones. These voicings are in fact drop-2. The difference now is that we have access to four inversions for each chord symbol. Our LH is no longer relegated to playing only the guide tones.

By manipulating three iconic scales, we can access a huge inventory of drop-2 voicings. Spend some time learning the major sixth-diminished, minor sixth-diminished, and diminished seventh scales in drop-2 position in all 12 keys.

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FIG. 1

Out of these incredible scales of chords we can extract useful drop-2 voicings. Major Drop-2s

From the C6–diminished and G6–diminished scales we can extract a large variety of C major drop-2 voicings. To begin with, play each sixth chord from both scales over a C pedal. This gives you drop-2 voicings for C6 and Cmaj9. FIG. 2

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For each sixth that you extract from the scale you can borrow notes from the passing diminished a step away to access different tensions. For each sixth you can replace the root with 9; 6 with ∆7; the root with ∆7; or the root and 6 with 9 and ∆7. Note that Cmaj9 can be generated by using C6 and borrowing two notes or by using G6.

Below is an illustration of this kind of borrowing using the C6–diminished scale to create drop-2 voicings. The hollow note heads denote tones belonging to the sixth chord; the black note heads denote tones belonging to the passing diminished. FIG. 3

You will notice that not all of the inversions have a uniform sound. Some are thin, some are unstable and muddy, some are full and satisfying etc. For effective jazz voicings there are several considerations: the functionality of each note in the voicing, the space between notes, the order, and the range. For the clearest sound, make sure guide tones of the complete chord including the bass note are present. Be careful not to be confused with the sixth chord on top. When determining the functionality of each note of the chord, compare it to the bass note. Sometimes however, especially with dominant and half-diminished chords, it is desirable to have a voicing in which one of the guide tones is only implied. This would be true if you desire a more mysterious or haunting sound. We know from before that when a m9th is formed in a voicing a warning bell should go off. Use sparingly and with caution. For example, the 3rd inversion of the Cmaj7 drop-2 contains this distinctive interval and should be used only in special situations. You also have to be careful with inversions containing a 9 or 13 in the bass, or containing a 3rd between the bass and tenor. These inversions will tend to be more delicate, 114

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thin, and unstable. The lower you play drop-2 voicings on the piano, the more important it is to have a root or fifth in the bass. Having said all of this, exploring all of your options is your best bet. Just be aware of the sound of each inversion and use it when the situation calls for it. At this point, you shouldn’t be merely learning voicings mathematically to plug in when you see a certain chord symbol, but rather expanding your palette of colors to become a deeper musician and accompanist.

Now, let’s examine the G6-diminished scale. As we did before, let’s borrow from the passing diminished. To keep guide tones in the voicing, our choices are somewhat limited: thinking in terms of G6, borrow the 9 to replace the root and then borrow the ∆7 to replace the root. Work out the inversions with the borrowed notes. Later we will make adjustments and/or omit some of the weaker choices. FIG. 4

Dominant, Half-Diminished, and m6/9 Drop-2s For dominant qualities concentrate on three scales: vm6–diminished, biim6–diminished, and bii–diminished. If you become accustomed to borrowing from the passing diminished of these three scales in drop-2 position you can gain access to a very large inventory of dominant drop-2s. The vm6–dim contains the brighter qualities: 9, 13, 9#11, and 13#11; the biim6–dim contains the darker qualities: 7alt. The bii–dim accesses the 13b9#9 half-whole sound. For the brighter sound of C7 we turn to vm6–diminished, or Gm6–diminished. First extract all of the sixth chords from the scale and play over a C pedal to create voicings for C9. Now let’s borrow from the passing diminished. For each inversion of Gm6 in drop-2, replace the root with the 9; 6 with ∆7; the root with ∆7; and finally, the root and 6 with the 9 and ∆7. As you go through the different inversions, be aware of m9s, tensions (9 and 13) on the bottom, a low 3rd between the bass and tenor. Later we will make adjustments. For now, let’s consider all of the options. If there’s a sonority that is particularly dissonant, feel free to resolve the diminished note back to the note belonging to the sixth chord. An Approach to Comping: Advanced Concepts and Techniques

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FIG. 5

To access the altered-dominant sound let’s examine the bii6–diminished, or in this case, the Dbm6–diminished scale. Following the procedure above, we extract the sixth chords in drop-2. Then replace the root of Dbm6 with the 9, 6 with ∆7; the root with ∆7; and finally, 6 and the root with 9 and ∆7. Again, let’s consider all of these options. Later we can make adjustments. FIG. 6

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Now that we have the drop-2s from the Gm6–diminished and Dbm6–diminished scales we can access beautiful half-diminished, m6/9, and minor major drop-2s simply by changing the bass note. For example, if we take all of the voicings from FIG. 5, which are derived from the Gm6–dim scale, and place them over an E in the bass we instantly gain access to Em7b5, Em9b5, and Em11b5. If we play them over a G pedal, we get voicings for Gm6, Gm(maj7), and Gm69. Interestingly, we can play the same Gm6–dim-derived drop-2 voicings to imply C13(#11), E half-diminished, or G tonic minor. Pay special attention to the guide tones. Certain inversions that didn’t work well for C13#11 now work fine because they contain the 3 and 7 of E half-diminished and/or Gm6/9.

We can do the same thing with FIG. 6. This time we start with C7alt derived from the Dbm6–diminished scale. To convert to half-diminished we transpose the bass of Dbm6 down a m3; to access 13#11 we transpose the bass of Dbm6 down a fifth. Dbm6– dim-derived drop-2s are therefore the same for Gb13#11, Bb half-diminished and C7alt. Again, certain inversions now come alive because they contain the guide tones of Bb half-diminished and/or Gb13#11. For 13b9#9 chords, work with the diminished seventh scale starting on the b9. For C13b9#9, use the Dbo7 scale, consisting of alternating inversions of Dbo7 and Co7. Remember, a diminished scale is made up of eight notes: four diminished chord tones and four “dominant” notes located a half step below. The “dominant” notes refer to roots of the four related dominant chords. In the case of Dbo7, the four diminished chord tones are Db, E, G, and Bb; the four “dominant” notes are C, Eb, Gb, and A (referring to C7b9, Eb7b9, Gb7b9, and A7b9). Therefore you can use the Dbo7 scale to play C7b9, Dbo7, Eb7b9, Eo7, Gb7b9, Go7, A7b9, or Bbo7.

First extract the inversions Dbo7 in drop-2 position, and play them over a C pedal to create C7b9 voicings. Next borrow the #9 and/or the 13 from the D#o7. Here are drop-2s for C7#9b9 and C13#9b9 extracted from the Db diminished seventh scale, also known as the C half-whole diminished scale. In the figure below the hollow notes denote tones taken from Dbo7; the black notes denote tones taken from the passing diminished, Co7. All borrowed notes are in the soprano and/or alto. Note that in this case, it is allowable to have b9 at the bottom of the voicing.

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FIG. 7

Minor 7 and 7sus Drop-2s To access minor 7(9) and related chords use bIII6–diminished. For example, for Cm7(9) use the Eb6–diminished to generate drop-2s. First extract the sixth chords for Cm7; then borrow the ∆7 and replace the 6 of Eb6 to create Cm9. Because we want guide tones in the voicings, we can skip the other borrowing options. Again, we will adjust the inversion containing the 9 in the bass later. FIG. 8

These voicings can be used for 7sus by changing the bass note. Use the equation, I7(9) sus = vm7(9)/I. So, the drop-2s in FIG. 8 could be placed over an F pedal to create F7sus or F9sus. Diminished Drop-2 For diminished chords, work with the diminished scale starting from the root of the scale. In C, use the C–diminished seventh scale consisting of alternating inversions of Co7 and Bo7.

First extract the inversions Co7 in drop-2 position. Next borrow the alto and or soprano voice from the passing diminished (Bo7) to add tensions. Here are drop-2s for Co9(13) (∆7), extracted from the C diminished seventh scale, also known as the C whole-half diminished scale. Enharmonics are used to highlight the 2nd inversion major triads in the RH. 118

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Comping Exercise #28: Etude for Drop-2s. Practice the following drop-2 etude through the keys. This is an edited compilation of some of the most effective sixth-diminished and diminished-derived drop-2s that involve borrowing. Note small adjustments and/or omissions are made to avoid m9s, tensions (9 and 13) on the bottom of the voicing (except for 7sus and 7#11b9), and a low 3rd between the bass and tenor. Experiment with extending the etude into higher octaves. In this case it is sometimes ok to have the 9 or b9 on the bottom especially for major, natural dominant, and altered. For major and dom13, substitute 9 for the root in the higher octaves; for 7(#9#5), substitute b9 for the root in the higher octaves.

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FIG. 10

Comping Exercise #29: Playing a Standard with Drop-2 Voicings. Take a standard (like Stella by Starlight) and play a chorus using drop-2 voicings in different inversions in half notes. Try to do this in time even if it means choosing a very slow tempo. Feel free to employ passing chords from Chapter 4 of The Essentials. The possibilities are endless. Practice with Track 20 (demo) and Track 21 (without piano).

For a more exotic sound, experiment with extracting drop-2 voicings from a m6-dim scale over an alternate bass note. For 7alt use the m6–dim scale a m2 above; for half-diminished chords use the m6–dim scale a m3 above; and for 13(#11) use the m6–dim scale a P5 above. 120

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Chapter 4B: Passing Chords Revisited Now would be an excellent time to review Chapter 4A and 4B from The Essentials by applying drop-2 to all of the trombone voicings (4-note closed position) found in the chapter. To review, here are some of the important passing chords discussed along with comping exercises. Subdominant

This diatonic, mild-sounding passing chord motion approaches a target by using its ii or IV chord. You can borrow from the minor mode and use iim7b5 or iv. “Psubd” and “Psubd(m)” will be used to label the subdominant and minor subdominant passing chord. It tends to have a down home church-like sound. FIG. 1

Practice moving from IV6 (ii7) or iv6 (ii7b5) to I major using different drop 2 inversions through the keys. Use the drop-2 reference guide from the last section. Chromatic

Simply put, this passing chord approaches the target by half step. Although rich in chromatic tones, if used too much it can have an overly parallel sound since all voices move in parallel motion. “Pchr(A)” and “Pchr(B)” will be used to label chromatic passing chords approaching the target from either above or below. If two or more chromatic passing chords are used in sequence: “Pchr(A) x (# of chords).” FIG. 2

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Practice Pchr(B) – target using the two inversions given in several different keys. Diminished

Diminished seventh chords can approach a variety of targets from either a half step below, from the same plane, or from a half step above. These three types of passing diminished chords are labeled: “PdimT1”, “PdimT2” and “PdimT3” respectively. The most common type is PdimT1 (passing diminished approaching from a half step below) since it possesses such a strong magnetic pull resembling V7-I. All four voices move when approaching a major or minor sixth target. FIG. 3

As a memory aid, we can label the three types of passing diminished chords as part of harmonic moves named after iconic pianists or songs associated with the sound. The move using PdimT1 is called “Barry” because it involves using the passing diminished a half step below the target, the one used to create Barry Harris’s sixth-diminished scale. The move incorporating PdimT2 is called “Basie” because it sounds like Basie’s iconic plink-plink-plink ending. Finally, the move using PdimT3 is called “Ladybird” if it approaches a major target like in the first bar of Tadd Dameron’s composition in which the C major chord moves from ∆9–dim–∆6. The move with PdimT3 is called “Body and Soul” when approaching a minor target (often iim7) like in bar 4 of the iconic song. FIG. 4

Practice FIG. 4 using different inversions and in different keys. In this case, 6/9 is interchangeable with 6, maj7 or maj9. Because 6/9 sounds best in the inversion shown, this sort of substitution will be necessary.

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Dominant Dominant passing chords can approach a target from the V7, VII7, or from the same plane (I7) of the target. Approaching the target from its V7 is the strongest type of dominant passing chord. The labeling goes as follows: “Pdom(A)” = passing dominant from the V7 above; “Pdom(B)” = passing dominant from the VII7 below; and “Pdom(SP)” = passing dominant from the same plane. Note that Pdom(A) could also refer to the tritone substitute of V7, bII7. Both dominant chords are “above” the target. When using Pdom(B) avoid the natural 9; it causes an undesirable pairing of b3 with b9. There is some overlap when defining these passing chords/moves. For example Bo7– Cmaj9 could be described as G7b9–Cmaj9 just as Co7–Cmaj9 could also be explained as B7b9–Cmaj9.

The moves below, however, contain notes outside of the diminished scale. Therefore they’re better explained in terms of Pdoms. G7alt–C cannot quite be described as Bo7–C due to the Eb(D#) contained in the dominant chord. B7alt–C is a bit different than Co7–C due to the G contained in the dominant chord. And it is better to describe C7alt–C (major and minor) as Pdom(SP)–target because the Ab contained in the dominant chord is outside of the Db diminished scale. The important thing here is that the diminished and dominant passing chords are intimately related. PdimT1 is analogous to Pdom(A); PdimT2 is closely related to Pdom(B); and PdimT3 is almost the same as Pdom(SP). Thinking in terms of Pdoms gives you access to one or two more notes. Other than that, Pdims and Pdoms are essentially the same. Pdom(SP) is rare when passing to a major target, but a bit more common when passing to ii7(9). Practice these moves using different drop-2 inversions and transpose. Minor adjustments and/or omissions will have to be made to avoid m9s, tensions on the bottom, or low 3rds. The G pedal in the second measure avoids the octave C in the middle of the voicing. FIG. 5

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Using the Entire Scale to Create Passing Movements One of the secrets to mastering passing chords is not only extracting inversions with borrowed notes from the diminished and sixth-diminished scales, but actually employing large parts of the scales when creating passing movements. Thinking in terms of scales of chords instead of individual chord inversions helps to make your passing movements more fluid. Incorporating borrowed notes adds more color to the motion.

Below are examples of passing chord motions derived from these iconic scales. Remember, chords are always in motion and voices are always moving horizontally. Observe all of the borrowed notes from the passing diminished chord. Exploring Passing Chord Movements Using the Diminished Scale

The diminished scale is an excellent source of movement for your passing chords. For our purposes we will concentrate on PdimT1 and T2, the diminished sevenths that are a half step below or on the same plane as the target chord. Because these two types correspond to dominant chords above and below the target they possess the greatest magnetic pull.

Experiment with using the two diminished scales associated with PdimT1 and T2 to create passing movements and probing melodies to approach a target. Now you are not confined to 4-note drop 2s; any shape using any amount of notes is fair game provided you stay within the given diminished scale. Make sure to use all eight notes from the diminished scale: the diminished chord tones along with the dominant notes located a half step below. Below are two examples using the Bo7 and Co7 scales to approach C major. FIG. 6

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ii–V–I and Related Progressions Using the Sixth-Diminished Scale The m6 built on the 5th of the scale gives you a dominant ninth voicing if you place it over a root in the bass. Dm6/G is an effective voicing for G9. Applying the Dm6-diminished scale gives us a whole scale of chords we can use for G9.

If we move a m3rd a way in either direction we access other minor sixth-diminished scales that can work in place of the Dm6-diminished scale. Chords that are a m3 away from each other are very much related. Remember Co7, Ebo7, Gbo7, and Ao7 are all related; C7, A7, Gb7, and Eb7 are all related, etc. Barry calls these chords “brothers and sisters.” Therefore the “brothers and sisters” of Dm6 are Fm6, Abm6, and Bm6.

The associated sixth-diminished scales should work for variations of ii–V (Dm7–G9). For the most part they do. The only thing to be careful of is the m9 interval, which can give the move a highly dissonant sound. Bm6 is seldom used because the F# clashes with the dominant 7th of the G9. For our purposes, we’ll concentrate on Dm6-dim, Fm6-dim, and Abm6-dim. If Dm6dim is a scale of chords for G9, Fm6-dim works in place of Bb9 and Abm6-dim works in place of Db9. G9–C major is of course, V7–I; Bb9 (Fm6) – C major is an example of minor subdominant – tonic motion; and Db9 – C major is tritone substitution of V7–I. It is also possible to preserve the G in the bass for all three sixth-diminished scales, yielding three different dominant seventh colors: G9 – C major, G7sus(b9) – C major, and G7alt – C major. Therefore, these three scales enable us to approach the tonic in several interesting ways.

Below the Dm6-dim, Fm6-dim, and Abm6-dim scales are dove tailed with the C6-dim to create three alternative moves for ii–V–I. Each move is rich with passing chord movement, using a good portion of the sixth-diminished scale. Transpose to various keys. FIG. 7i

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FIG. 7iii

To add more motion, we can change the Dm6 to a Dm7 (the related ii7 of G9) and play the F6–diminished scale. Interestingly, both F6-dim and Dm6-dim share the same passing diminished chord. Don’t resolve to G9 until the last minute, right before moving to tonic.

Like before we can experiment with the siblings of F6-dim to access more colorful harmonic alternatives. Below, F6-dim, Ab6-dim, and B6-dim, the scales associated with Dm7, Fm7, and Abm7 are used in place of Dm7–G9. The ii chord and its siblings are extended as scales of chords. Right before resolving to I, the Dm7, Fm7, or Abm7 resolves to G9, Bb9, or Db9. Because we are essentially substituting the movements for Dm7–G9 (or G9 by itself), any chord movement containing an F# will clash with the F-natural from the G7. But because the Abm7 (B6-dim) eventually resolves to Db9#11 (from the Abm6-dim scale), the problematic major 7th/dominant 7th clash is solved. Again, transpose the following to various keys.

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FIG. 8

The Flexible m7 If we build seventh chords on each degree of a major scale, we generate three major sevenths (on I, IV, and V), three minor sevenths (on ii, iii, and vi) and one half-diminished chord (on vii). This means that if we are in a standard tonal situation and see a Dm7 chord we know it can be either the ii7 in C, the iii7 in Bb, or the vi7 in F. Interestingly, that Dm7 is part of the C6–dim, Bb6–dim, and the F6–dim scales if you allow borrowing from the passing diminished. Dm7 is actually C6 with two borrowed notes; Bb6 with two borrowed notes; or F6 with no borrowed notes. Since the m7 is part of three unique major sixth diminished scales you can use any of the three passing diminished found in the three scales. Of course, selecting the C#o7 for Dm7 gives you the smoothest motion, but Do7 or Ebo7 are also viable passing diminished options. This also goes back to the above-below-same plane theory from The Essentials. It is up to you which passing diminished you use when playing m7. When practicing ii–V in the key of C, it is sometimes desirable to create a diatonic melody containing notes outside of the F6–dim scale. For Dm7–G7, besides using C#o7 to pass to F6, experiment using Do7. The flexibility of the m7 chord allows you to choose the passing diminished chord that best suits your comping melody. Practice the progression below through the keys. FIG. 9

Comping Exercise #30: ii-V-I Using the Diminished and Sixth-Diminished Scales. Practice ii-V-I in creative ways using the diminished and sixth-diminished scales. Also employ chords possessing brother-sister relationships. 128

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Other “Drop” Voicings using Diminished and Sixth-Diminished Scales Besides drop-2 voicings, it is wise to become accustomed to other “drop” voicings including drop-3, drop-4/2, and drop 2/3. When comping it is true that the drop-2 voicing is the most movable, useful, and prevalent. As we are about to see in the next two transcriptions, Hank Jones favors the drop-2 when employing “drop” voicings. Nonetheless, to gain maximum facility using the sixth-diminished, and diminished scales, investigating the other “drop” voicings is critical. Moreover, employing a variety of “drop” voicings allows you to add contrary motion and greater subtlety to your chord movements. First, here is a quick review of the basic “drop” voicings. FIG. 10

In measure one, the C6 is in standard closed position; in measure two, the second voice from the top is dropped an octave to create a drop-2 voicing; in measure three, the third voice from the top is dropped an octave to create a drop-3 voicing; in measure four, the 2nd and 3rd voices are dropped an octave to create a drop-2/3 voicing; and finally in measure five, the 2nd and 4th voices are dropped an octave to create a drop-2/4 voicing. Try playing through various target-diminished scales using these “drop” voicings.

By alternating between drop-3 and drop-2 you can add contrary motion to the C6-diminished chord movement. Practice the following ascending and descending patterns. Try them using minor sixth targets. Transpose to several keys. FIG. 11

Here is a ii-V-I progression utilizing tritone substitution. Notice how we are alternating between drop-3 and drop-2. Transpose to several keys. An Approach to Comping: Advanced Concepts and Techniques

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FIG. 12

Finally, here is a pattern using closed position chords. Essentially the pattern moves between I6-diminished and IV6-diminished or #iv diminished scales. FIG. 13

Comping Exercise #31: Exporing Other Drop-Voicings. Complete the following patterns that use the same template found in FIG. 13. The first one alternates between drop-3 and drop-2; the second one alternates between all four “drop” voicings: drop2/4, drop-2, drop-2/3, and drop-3. Notice the voice leading. Transpose to all 12 keys. FIG. 14

FIG. 15

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Chapter 4C: Other Harmonic Devices that add Motion There are several other ways to add motion to the harmony besides adding passing chords between the basic changes. For our purposes we will take a look at two important categories: reharmonization and adding contrapuntal lines.

The great compers, like Hank Jones, often reharmonize small sections to add motion and splashes of color to a progression. This type of reharmonization is usually done on the fly and doesn’t radically change the harmonic fabric of the tune. The other members of the band do not need to have a separate chord sheet of reharmonizations; these momentary alterations of the harmony happen at a more subtle level, still allowing the soloist room to play on the more traditional changes. Hank Jones is a master at slipping in subtle motions that last two bars or less, just long enough to give a little lift to the tune. The following is a breakdown of six different types of reharmonization techniques employed by Hank Jones followed by a brief explanation of how he incorporates contrapuntal lines into his comping. The original basic chords are written above Hank Jones’s reharmonization. Inserting a related ii7 or related V7 chord

This familiar technique was touched on in Chapter 2 of The Essentials. In essence, a dominant seventh chord can be preceded by its related ii7 (rel ii7) to add motion; or conversely, a ii7 chord can be replaced with its related dominant seventh chord (rel V7).

In the example below, Jones adds the ii7 chord in measure 2 to delay the resolution to V7. FIG. 1i

Here, Jones replaces the original Ebm7 (ii7/IV) with Ab7 (V7/IV) before inserting a PdimT1 enabling him to circle back to the original ii–V en route to Db major.

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FIG. 1ii

Diatonic Walk-Up Hank Jones often plays three ascending diatonic chords in a row to add motion while still maintaining the basic harmony. For example, he walks up from the ii chord to the IV chord in place of ii7, from I to iii in place of tonic major, or i to III in place of tonic minor. Tritone Substitution

The most standard example of this device is substituting the V7 with a dominant chord a tritone away (bII7). From the last section we learned that you can access compatible “brother and sister” chords by transposing the original chord up or down m3s. The chord or chord progression a tritone away is therefore compatible, and a worthy substitution. Tritone substitution (tt sub) can also be applied to ii7, which can be replaced with the minor seventh a tritone away (bvi7). Hank Jones often substitutes the entire ii–V progression with the ii–V a tritone away (bvi7–bII7).

Below is an example of a diatonic walk up starting from ii7 followed by tritone substitution with an added rel ii. FIG. 2

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Basie Walk-up Similar to the diatonic walk-up, the Basie walk-up adds motion by inserting ascending chords in place of I. The difference is that this device incorporates a #ii chord, usually PdimT2, in between ii and iii to create a four-chord progression. A typical basie walk-up would involve replacing tonic major with I–ii7–#iio7–I or I–IV6–#ivo7–I. Other variations include: I–iim6–#iim6–I or I–ii7–#iim6–I. FIG. 3

Harmonic Side-Slipping Inspired by Art Tatum, this harmonic device involves inserting a ii–V a half step above the normal ii–V from the traditional changes. Tatum would often go further and actually briefly modulate a half step higher only to immediately move back to the original key. For example instead of Dm7–G7, Tatum might play Ebm7–Ab7–Dbmaj–G7. In the example below, Hank Jones side-slips up a half step by preceding the normal ii–V with the ii–V a half step higher. Often this entails speeding up the harmonic rhythm from half note changes to quarter note changes. Harmonic Side-Slipping will be labeled “harmonic S-S” in the transcriptions. FIG. 4

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Using Turnarounds This device involves inserting a set of chords in the final two bars of a section or chorus to harmonically “turnaround” to the top of the next section or chorus. The most famous turnaround in jazz is probably I–VI7–ii7–V7. Jazz musicians from the beginning have been experimenting with novel and creative ways to turnaround to the top of the tune. A short list of some common turnarounds can be found in Chapter 2 of The Essentials. A great piano player can create different turnarounds for each chorus of a song to add tension that is released at the top of the next chorus. Below is an illustration of this device as Hank Jones uses a turnaround to get back to the top of the next chorus of Falling in Love with Love. FIG. 5

Inserting Dominant Seventh Cycles Again, influenced by the great Art Tatum, Hank Jones often inserts mini harmonic cycles for one or two measures to add unexpected motion to a song. A dominant seventh cycle refers to a progression of dominant chords that follows the cycle of fourths. Tatum and Jones understood the wonderful magnetic pull of dominant chords located a P4 away. In the example below, Hank Jones precedes the Ab major with two dominant chords (Bb7 and Eb7). Then, each dominant chord is preceded by its related ii7 (Fm7–Bb7–Bbm7– Eb7). Finally a line is created from the top voice of each chord. The final progression then becomes: Fm9–Bb7b13–Bbm7–Eb13(b9). FIG. 6

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Adding Contrapuntal Lines The great accompanists hear lines in their chordal accompaniments. Barry Harris’s entire harmonic system is based on the belief that chord playing is meant to be linear; before you play a chord you should hear a melodic line. A chord is part of a scale of chords, so melodic lines can be easily harmonized. Chords and melody are essentially the same. The masters are able to hear a melodic line, harmonize it, and insert it in a song behind a soloist as effective complimentary material. Sometimes, the chord itself isn’t necessary, just the melodic line. The technique of adding contrapuntal lines can be very effective when playing with another chordal instrument in a situation in which there are two musicians comping simultaneously. Comping with contrapuntal lines is texturally different than chordal playing. Often, the two comping textures can coexist and not get in the way of each other.

In the transcriptions to be discussed, Hank Jones uses specifically, descending chromatic contrapuntal lines (“Dchr CL”). He is able to creatively disguise them inside chord voicings. Below is an example of an unusual descending chromatic contrapuntal line that is also tucked inside of the voicing. The line descends chromatically from the ninth of Fm all the way to the b3 of Bbm7. FIG. 7

Now we are ready to tackle our next comping transcription. This one is taken from Kenny Dorham’s Jazz Contrasts and it features Hank Jones’ comping behind Kenny Dorham on “Falling in Love with Love.” Rich with drop-2 voicings, passing chords, and harmonic devices just discussed, it serves as a beautiful illustration of the concepts explored so far. What is striking about this comping transcription is its intrinsic beauty; its ability to stand up on its own. It can be played without the recording and it sounds like a probing, sensitive piece based on the changes of “Falling in Love with Love.” The melody of the chordal sequence is always apparent. Hank Jones uses a lot of internal motion, subtle secondary melodies, and interesting rhythms while maintaining the most sublime sonority from the piano. Pianists of his generation had a firm command of the big band repertoire. His comp is full of big band references, shout choruses, backgrounds, etc. His concept is definitely orchestral. His touch is always exquisite. As you play along with the recording(s) be mindful of these things. An Approach to Comping: Advanced Concepts and Techniques

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Comping Exercise #32: Comping Along with Hank Jones on the changes to “Falling in Love with Love.” Join Oscar Pettiford, Hank Jones, Max Roach, Kenny Dorham, and Sonny Rollins as you play along with Hank Jones from the original record, . Hank Jones’s comping during the trumpet solo is fully notated with chord symbols. Besides mastering the written music, consider the underlying harmonic thinking.

The comping guide that follows only contains the basic changes with the passing chords and harmonic devices labeled. Passing chords precede targets, requiring you to read a few chords ahead. The entire chord including the bass note is considered a target, the exception being slash chords–in which the target is the numerator. As you play along with the simple chord sheet, try adding in some of Hank Jones’s beautiful motion. You can refer back to the comping transcription. At this point, playing the precise voicings that he played is less important than mastering his moves and understanding the thought process behind them. Note that the comping guide begins with the melody chorus. After the comping guide, sample comping rhythms and comping progressions are presented to isolate and practice. Comp along with Track 22 (demo) and Track 23 (without piano). Note: the demo track starts one bar before the first solo chorus. The piano-less track starts from the top of the melody chorus.

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FIG. 9

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FIG. 10

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Chapter 4D: Comping like Basie To comp like Basie is to put everything in the perfect place with the utmost musicality, all while generating an unrivaled feeling of swing. Obviously, this cannot be taught in a book. What we can do is listen to Basie, and try to understand some of the basic elements. It’s no wonder why so many of the great pianists from Ahmad Jamal, Oscar Peterson, John Lewis, Wynton Kelly, and Phineas Newborn have been devotees of the Basie style. Count Basie was the master of what not to play, the orchestrator of the most dramatic effects, and the genius knowing how to perfectly set up the most grandiose big band sounds with the tiniest of plinks from the upper register of the piano. He was the master of the understatement, always eloquent and clear, and inimitable. In the following section, we will experiment with some of Basie’s most common progressions and rhythms, and investigate Hank Jones’s uncanny channeling of Basie’s spirit during his work on the record, Ben and “Sweets.” The Classic Basie Ending

In Chapter 3D of The Essentials we delved into Rhythm Changes and found a curious progression that could be used instead of the I-VI-ii-V progression many people play. It was a simple chord progression that I first remember hearing in 4th grade band class– the basic melody being: root, 3, 4, #4, 5. It is no coincidence that this tune is also one of the common bass lines studied in Chapter 1 of The Essentials, or the same tune that Ahmad Jamal quoted in the middle of his comping on “Broadway” where he suddenly played an octave bass line reminiscent of Count Basie in measures 61 and 62. Within that iconic bass line is the motion, IV-#ivo7-I. In the last section we labeled this move, “The Basie.”

To see some examples of the move in action let’s take a look at one of Basie’s iconic endings. The famous “plink”, “plink”, “plink” ending is essentially IV-#ivo7-I. Although it is often voiced with the root on the top of each voicing, it can be played in countless ways. Here are a few examples. Feel free to use both hands.

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FIG. 1

Note the drop-2 style voicings. When playing this ending be careful not to rush, and keep the notes very short.

The Basie move can be thought of in a number of different ways depending on what notes the bass player plays: IV–#ivo7–I, ii7–#iio7–iii, IV–VII7b9–I, or even ii7–bVI7–I. Remember, F#o7 is related to B7, and B7 and Ab7 are in the same family of dominant seventh chords. Of course, often the piano is playing this progression alone as a Basie-inspired ending, making all of this a moot point.

Comping Exercise #33: Basie-inspired Comping Patterns. Below are five progressions containing some of Basie’s signature comping patterns. If you have smaller hands, split the chord voicings between the hands. Play through the keys, possibly over a V pedal. Also experiment with linking the progressions together. For example, play the progression in the following order: P1–P6–P3–P4–P5–P2

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FIG. 2

Comping Exercise #34: Filling the Spaces with Basie-inspired Comping Patterns. Below are twelve more possible comping patterns from which to choose. They are already transposed for you. Write in the implied chord changes. Use your harmonic sense to select an appropriate comping pattern as you answer the one bar riff using Track 24. As you comp along to the CD fill in the spaces with either one of these comping patterns or with silence. Sometimes silence has much more impact than filling up an empty space with a complicated comping pattern. As you play, think about these two words: “elegance” and “simplicity.” Note that the exercise is based on the changes to Ellington’s “In A Mellow Tone.”

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FIG. 3

There is more than one solution. One possibility is to answer the one-bar riffs using the comping patterns in this order: 3, 7, 9, 8, 6, 10, 1, 4, 11, 2, 9, 5, 11, 12, 3.

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Comping Exercise #35: Studying Hank Jones’s Comping on the changes to “Did You Call Her Today.” Finally, it’s time to study one of the greatest comps on record. Comp along with Hank Jones, Harry “Sweets” Edison, George Duvivier, and Clarence Johnston on “Did You Call Her Today” from the incredibly swinging Ben and “Sweets.” To make things a bit easier, the tune is based on the same changes as the Ellington standard studied on the previous page. The transcription starts from the beginning of the trumpet solo. Again, a comping guide illustrating some of Hank Jones’ moves is provided after the transcription using rhythmic notation. Many of the passing chords and harmonic moves are labeled, and can be added to the basic changes. Note that the comping guide starts from the melody chorus (immediately after the 8-bar introduction). Sample comping rhythms and progressions are included at the end.

This is another example of Hank Jones’s exquisite touch, taste, and harmonic genius. Not only was he a great practitioner of the Basie style, Hank Jones was able to elevate the art form, imbuing it with his own unique language and personal flair. Use the and Track 25 (demo) and Track 26 (without piano). Note: the demo track starts from the solo break. The piano-less track starts from the top of the melody chorus.

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Chapter 5 Shapes and Rhythms In this final chapter we take a look at three important comping transcriptions by three giants of modern jazz piano. Each transcription serves as an illustration of complete freedom of expression while comping. We move away from ii-V-I’s, chord tones, and extensions. Instead, we explore three concepts: thinking of chords as shapes cut from scales, how you can use shapes to guide you to new harmonic vistas, and comping over the bar line.

In Chapter 5A, we investigate how extracting shapes from scales can help in creating an unlimited supply of voicings. Then, simply by changing the bass note, we can generate a library of interesting modal voicings. Finally, by moving from scale to scale we can find an array of voice leading options. Bill Evans’s comp on “Green Dolphin Street” behind John Coltrane will be our first transcription that we study. Having an almost impressionistic sound, Evans demonstrates how one can move through changes effortlessly by playing a series of upper structure triads or other shapes cut from parent scales.

In 5B, we discuss playing “outside” of the key through the use of harmonic planing, i.e. moving shapes in parallel motion to move outside of one given scale. From there, we turn our attention to McCoy Tyner’s comping behind Joe Henderson on “Passion Dance.” A pioneer in so many ways, McCoy moves probing 4th shapes around using parallel and contrary motion, superimposing them on top of a pedal point to create exotic vertical sonorities that have a revolutionary and otherworldly quality. It’s as if the very shape of his chord takes him to harmonic places less traveled creating an enormous sense of tension and release. His sound represents openness and freedom while still maintaining a feeling deeply rooted in the jazz tradition.

In 5C, we concentrate on rhythm. Returning to our investigation of cross rhythms and displacement, we concentrate on comping rhythms that obscure the bar line. We then examine Herbie Hancock’s comping on “One Finger Snap” behind Freddie Hubbard. Herbie has inspired so many with his clarion call, his clean touch and pristine articulation. His constant stretching of rhythmic and harmonic boundaries, and the newness of his voice resonates with people from all generations. It is my hope, that this study will increase your rhythmic freedom, improve your sense of time and groove, and aid in increasing your level of concentration when you play music. It is important to recognize, however, that abusing the concept of rhythmic displacement can create some potential problems. Always consider for whom you are comping and the context in which you are playing. Comping over the bar line for non-musical reasons such as showing off, practicing on the bandstand, or purposely trying to lose horn player can get you in hot water with the band leader or others in the rhythm section–especially if you are not careful with your own sense of time. Comping 162

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over the bar line should also not be used constantly as your only device to make something musical happen. It is my hope that all of the other comping devices found within comping transcriptions from earlier chapters can also be assimilated and appreciated. In other words, rhythmic complexity is not the only option we have for comping. Count Basie proves this fact in just a few measures. Besides that, comping over the bar line isn’t necessarily a device that was just invented. Remember, back in 1959, Horace Silver was already comping over the bar line as illustrated in “Blowing the Blues Away.” As you expand your knowledge of history, and begin to see the roots of many of the devices that are used today, your playing will carry more weight.

After completion of this final chapter of the workbook series it is my hope that your own comping will have expanded exponentially. Much of the material contained in the final chapter is presented as a collection of possibilities aimed at expanding your own original concept. It is a departure from the previous chapters, which are more focused on examining and assimilating comping techniques from the jazz canon. In the final analysis, the ultimate goal is for your comping and playing in general to encompass the whole history of jazz while still reaching forward with an honest, true, and unique voice.

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Chapter 5A: Extracting Shapes from Scales In this section we move away from thinking of chords in terms of numbers. Instead of focusing on chord tones and extensions, we now shift our attention to chord scales and extracting shapes to form new voicings. In this way we can generate an unlimited supply. In Chapter 4, we experimented with this idea using the diminished and sixth-diminished scales. Now we extend the idea to the major scale, melodic minor scale, the whole tone scale, and revisit the diminished scale. Out of these scales come many common as well as uncommon voicings used by modern jazz pianists. The basic idea is the same, always strive to play chords in a linear way instead of thinking of them as floating sonorities that sit there in space unrelated to what happens before or after. Without the passing diminished chord embedded in these new scales, the movements tend not to have the strong V7–I magnetic pull; instead the sound is more nebulous, floating, ethereal. This modern sound associated with such great artists as Miles Davis, John Coltrane, and McCoy Tyner is described by many as “modal.” By extracting shapes from major, melodic minor, whole tone, and diminished you can create modal voicings. Major

We can begin creating interesting voicings by cutting small, simple shapes out of the major scale. First play through the 12 major scales using triads in all inversions. Be creative with the top line by playing every other scale tone. Play these patterns with your right hand as you hold the root or root-5th with your left hand. Then try the patterns with your left hand as you hold the root with your right hand. FIG. 1

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Next practice other small shapes that incorporate 2nds and 4ths in addition to 3rds through the major scale. Shapes to examine include: 3rd/2nd; 4th/2nd; and 3rd/2nd/3rd (standard shape of a trombone voicing). Since you are dealing with only one scale, you don’t have to be specific with the qualities of the intervals. At different points along the scale you might have a M2 or m2, M3 or m3, P4 or a4. If you make sure that each voice moves diatonically, you don’t have to be concerned with these details. Get use to the general shape and the way it sounds at any point along the scale. Your fingers will intuitively make the small adjustments if you can hear scale’s overall sound. Again, as you proceed hold a root or root-5th in the left hand. Then try the patterns with your left hand as you hold the root with your right hand. FIG. 2

Let’s revisit Hank Jones’s comping transcription on “Falling in Love with Love.” In it he makes good use of a common drop-2 shape. In terms of intervals, this shape could be described as a 5th over a 3rd over a 4th. Take this shape through several major scales. Split the shape between the hands. Although this shape is larger, there are no pesky m9ths to contend with, no matter where you play it along the scale. FIG. 3

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Comping Exercise #36: Cutting Shapes from Major Scales. Take a 5th over a 2nd over a 4th through six major scales in the following manner. FIG. 4

Again, split the shape between the hands. Next, take a shape of your choice and move through several major scales. For now, avoid shapes that generate m9ths. Leap around so that you are not always moving stepwise. The Modes of the Major Scale

The good news is that if you’ve successfully navigated through all 12 major scales using the shapes outlined above, you’re well on your way to mastering modal voicings. By using an alternate bass note, a variety of voicings can now be produced for iim13 (dorian), iii7(b13b9) (phrygian), IVmaj13(#11) (lydian), V7sus13 (mixolydian), vim7(b13) (aeolian), and viim7(b13#9b9b5) (locrian).

In the LH play an alternate bass note derived from the major scale (other than I). Then play three or four-note closed position chords with the RH. Be creative with the direction and shape of the melodic line as you traverse up and down the scale. Below, aeolian and phrygian modal voicings are illustrated using the C major scale. FIG. 5

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Comping Exercise #37: Exploring the Modes of the Major Scale. Over alternate bass notes, cut a variety of small shapes and simple drop 2 voicings from major scales to create modal voicings in several keys of your choice. Modal 4th Voicings

As we enlarge the shape, we are faced with some complications. A larger shape requires some tweaking as you cut through scales. To demonstrate this let’s experiment with two iconic shapes in modern jazz piano: the 4th voicing in it’s pure form made up entirely of 4ths, and the “So What Voicing” made up of a stack of 4ths with a 3rd on top (famously played by Bill Evans in his comp during the melody of “So What.”) Taking the pure 4th voicing and cutting through the D dorian scale we get a full spectrum, from gentle, consonant voicings to spicier, modal-sounding chords. The intervallic makeup gives each chord built on a different scale degree a unique sound. When the tritone is in the middle or at the top of the chord, the spiciness is more pronounced. Take some time and extract this pure 4th voicing through several dorian scales. D dorian is illustrated below. FIG. 6

As great as this sound is, in some situations this modal, spicy sound is not appropriate. We need something a bit milder in our palette.

If we extract the “So What Voicing” from the D dorian scale milder voicings are generated (like the one built on D), but now some are highly dissonant (like the one built on F). This is due to the m9th present. To alleviate this issue, raise the top note (of the m9th) a scale step. To avoid internal tritones, lower the top note (of the A4th) a scale step. See the adjustments made below. The notes in parenthesis have been raised or lowered a scale step.

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FIG. 7

By modifying the “So What” voicing several useful 4th voicings are generated that overall are less modal-sounding than 4ths cut directly from the scale. In this way, the modified “So What” voicings fit in more traditional situations. Some of the voicings you’ve seen before in Chapter 3, as shapes over GTs. Nonetheless the concept behind building these voicings is to extract shapes from scales. For this reason, in this chapter we will refer to all of the voicings from FIG. 6 and 7 as modal 4th voicings. At this point, personal taste becomes part of the equation. Both progressions are important and relevant. It’s up to you to mix and match while trying to choose the chord that best fits the moment. Even though some of the voicings in FIG. 6 are quite pungent, the second and fifth chords are basic and fundamental. Leaving them out of your practice regimen would be a mistake. To address this issue, I’ve created a hybrid progression containing a mix of modal 4th voicings from FIG. 6 and 7. FIG. 8

All three of the above progressions are effective when faced with the challenge of having to comp for a long period of time (8 or 16 bars) over one minor chord. This is characteristic of many modal tunes. Before moving on, practice FIG. 6, 7, and 8 in all keys.

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Comping Exercise #38: Comping with Shapes Through a Simple Minor Blues Using the shapes cut from the dorian scale for the i7 and iv7 chords, experiment with all of the shapes studied so far. Use rootless voicings from Chapter 3 for the bVI7 and V7alt chords. Follow the chord changes provided below in the key of C minor and add CRs of your choice. Practice with the corresponding track from the “comp-along” CD as you play minor blues through the keys. Note that even though the key signature reflects C minor, C dorian and F dorian (with a natural 6th) is often used when playing C minor blues. Use

FIG. 9

Track 2 for minor blues through the keys.

ii-V-I Using Modal Voicings The dorian, mixolydian, and ionian modes are the basic parent scales often associated with the traditional ii-V-I progression. Because the scales draw from the same major scale the 4th voicings generated from the dorian mode can be used for the other two modes.

The only thing to consider is emphasis and order. Thinking in terms of guide tones and modified guide tones (for a moment), the strongest voicings for Dm7 would be the first, fourth, and seventh voicing from FIG. 7, and fifth voicing from FIG. 8. If you are voicing G13, then the third voicing from FIG. 7 becomes the strongest. For C6/9, the second and sixth voicing are strongest from FIG. 7, and second voicing from In the next figure voicings from FIG. 7 and 8 are placed so that the strongest ones correspond to the chord of the moment. Simply by rearranging the order and mixing and matching voicings from each progression, several compelling voicing solutions to ii-V-I in C become apparent. See below.

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Comping Exercise #39: Comping ii-V-I using Modal 4th Voicings. Using the play along CD from The Essentials, or with a bass player (record yourself walking a bass line if necessary) comp through ii-V-I progressions in all 12 keys using modal 4th voicings. Melodic Minor and its Modes

Besides practicing the modes of the major scale, you should experiment with the modes of the melodic minor (ascending). Learning the scale from any note—with any shape is essential. Comping Exercise #40: Exploring the Melodic Minor Scale. Using small shapes and simple drop 2 voicings (like the shapes used in FIGs 1-3) navigate through melodic minor. Transpose to several keys. 170

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After familiarizing yourself with the melodic minor scale experiment with its modes.

Comping Exercise #41: Exploring the Modes of the Melodic Minor Scale. Catch an alternate bass note from the melodic minor scale in the pedal and cut small shapes and simple drop 2 voicings to create modal voicings for im∆9, iisus7(13b9), III∆#5, IV7#11, Vsus7b13, vi9b5, and VII7alt. These chords have a lot of similarities. The only real difference is the bass note. Since we are now dealing with rootless voicings, you can handle all five situations cutting shapes from the same scale. Be creative, go up, down, skip scale steps, etc. Note that we have already done this with major scales. See FIG 4 above. Minor ii-V-I with Modal Voicings

The three main chord scales often associated with minor ii-V-I are ii locrian (#2), V altered, and i melodic minor. Interestingly, all three scales are melodic minor, just transposed. For example, in the key of C minor: for Dm7b5 use the D locrian (#2) scale, also known as the 6th mode of F melodic minor; for G7alt players use the G altered scale, also known as the 7th mode of Ab melodic minor; and for Cm6/9 use C melodic minor.

We can use modal 4th voicings for minor ii-V-I. Note that not every voicing generated from each scale step is used. Modifying “So What” voicings extracted from melodic minor does not work as well as it does for major. There are still, however, some worthwhile voicings to mine from the scale. The gems tend to be the “So What” voicings that don’t need modification because they don’t contain m9ths or internal tritones. For iim7b5 and V7alt only two exist for each scale. For Dm7b5 the modal 4th voicings built off the second and third degree of the F melodic minor scale fall into this category; for G7alt the modal 4th voicings built off the second and third degree of the Ab melodic minor scale have this distinction. For the Im69, four modal 4th voicings are illustrated below: voicings built off of the second, third, fifth, and sixth degree of the C melodic minor scale. These voicings are both modified and unmodified “So What” voicings. FIG. 11

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Comping Exercise #42: Using Modal 4th voicings to play through minor ii-V-I. Using the voicings from FIG. 11 practice through the keys. Moving from Scale to Scale with Modal Voicings

It is important to be able to move from one scale to another, resolving shapes from the first scale to shapes from the second scale. If you are playing one shape from a certain scale you should be able to find the closest notes (and in so doing so, the closest shape) in the second scale.

Close your eyes and imagine the G altered scale as played on the keyboard. Remember, G altered scale = Ab melodic minor starting on the 7th degree. Imagine the keyboard lights up showing you the notes of the altered scale. Notice how it creates a unique landscape of black and white keys. Now, place your hands randomly on the keyboard, and play any six or seven notes of the G altered scale. As you get more comfortable with this exercise, make sure your voicings do not contain any m9ths. Also, try it without doubling any notes between the hands.

After getting this together, move your hands to a random voicing of the Cm∆7 by moving the notes from the G altered scale to nearby notes of the C melodic minor scale. Avoid m9ths and doubling notes. At this point we are thinking in terms of scales, not chords. In other words, the chord symbol, Cm(maj7) refers to the entire melodic minor scale; adding more tensions to the chord is possible. Below is one example. FIG. 12

Comping Exercise #43: Comping with Shapes over a Minor Blues Using Passing Chords. Let’s return to our minor blues workout from FIG 9. This time we will be drawing from the melodic minor scale for the i and iv chords. Employ passing chords generated from the V7or V7/iv altered scale to create more movement. Use the corresponding track on the “comp-along” CD to begin moving the minor blues through all 12 keys. Below is one example of how to traverse through a C minor blues using shapes cut from the G altered scale and C melodic minor for the i chord; C altered and F melodic minor for the iv7 chord; Ab Lydian dominant for the bVI7 chord; and G altered scale for the V7alt. Add CRs of your choice. Use Track 2. 172

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FIG. 13

Augmented In Chapter 2 we touched upon the whole tone scale when creating RH patterns for our LH drones. Let’s revisit the scale, this time finding shapes and moving through the scale. In the example below, we examine a shape used by McCoy Tyner that captures the whole tone scale’s sound. The RH plays a M3 over a m6 (octave related shape) as the LH plays an augmented triad. FIG. 14

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Comping Exercise #44: Cutting Shapes from the Whole Tone Scale. Create your own shapes to extract from the whole tone scale and play over a pedal point. The effect should sound a little like Debussy. Diminished

Our next parent scale to explore is the diminished scale. In the last chapter we explored the diminished scale as explained by Barry Harris. The following section is an alternate way of explaining the iconic scale. Both explanations are valid and can coexist. In fact, thinking about the scale in numerous ways helps solidify your own understanding of the underlying harmony. If we start with Co7 we can construct a scale in two ways: either by adding the notes of Do7 or by adding the notes of Dbo7. The combinations of diminished chords yield two diminished scales, the whole-half and the half-whole, each consisting of eight notes. These names refer to the scale’s construction, either whole step-half step or half stepwhole step. See below. FIG. 15

In Chapter 4 of The Essentials we learned about the three essential diminished chords. Since we have two possible scales for each chord, it’s important to learn the six scales and how they relate to chords. The following is a chart showing the six essential diminished scales, and their related diminished chords and dominant seventh chords. C whole-half scale Co7, Ebo7, F#o7, Ao7 B7, D7, F7, Ab7 B half-whole scale

Db whole-half scale Dbo7, Eo7, Go7, Bbo7 C7, Eb7, F#7, A7 C half-whole scale

D whole-half scale Do7, Fo7, Abo7, Bo7 Db7, E7, G7, Bb7 Db half-whole scale

It’s important to realize that the C whole-half diminished scale (for example) is identical to the B half-whole. The only difference is the starting note. In this way there really are only three unique diminished scales. Even though it is repetitive to memorize all six scales, it can come in handy when applying them to chords. The whole-half scale works for diminished chords; use the half-whole for dominant seventh chords. 174

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It’s not enough just to know the theory. Your fingers have to know the feel of the three unique diminished scales and you have to hear the four related dominant seventh chords that correspond to each unique diminished scale. In other words C whole-half/D halfwhole (one of the three unique diminished scales) corresponds to B7, D7, F7 and Ab7.

Below are two progressions inspired by Bill Evans, in which the LH plays G7, Bb7, Db7, or E7 guide tones as the RH play triads extracted from Bb half-whole diminished scale (the parent scale in this situation). Feel free to refer to the chart above. As the triads ascend the LH GTs you can switch to other guide tones of related dominant seventh chords or invert them to limit the space between the hands. Experiment with adding different bass notes corresponding to the four related dominant seventh chords. Catch the bass note in a new pedal right before the beat and jump to the top five notes of the voicing on the beat. Go slowly. FIG. 16

Earlier, we investigated the effectiveness of upper structure triads extracted from scales over guide tones to create our tables in Chapter 3. Certainly, some triads worked better than others. This time, however, we use the entire scale, passing through the less effective triads and emphasizing the triads that work better vertically. Playing the scale all the way through using triads gives a strong sense of horizontal motion. The line created trumps the less important vertical considerations. When you practice this imagine that the piano keys light up showing the “keyscape” of the diminished scale. Now make the triadic shape in your RH and move through the illuminated region of the piano. Comping Exercise #45: Cutting Diminished Scale Shapes in Each Hand from a Lighted Keyboard. Continue with the lighted keyboard analogy as you explore other shapes cut from the diminished scale. This time free yourself from the guide tones by practicing shapes in each hand alone as you move up and down the diminished scale. An Approach to Comping: Advanced Concepts and Techniques

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Play through the following figure illustrating small RH shapes cut from the half-whole diminished scale with LH bass notes. Notice how the shape expands every two measures. Now create your own diminished chord progression. FIG. 17

Comping Exercise #46: Cutting Random Shapes from a Lighted Keyboard. Imagine the diminished scale in your head, and think about the tactile sensation of playing through the scale. Pick your hands up and place them on the keyboard playing a random configuration of the diminished scale. Try different sizes of voicings. Avoid m9ths and doubling notes. Below, shapes extracted from the Abo7 whole-half scale/G7b9 halfwhole scale are illustrated. These voicings could work for Abo7 or G13#11b9.

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In order to fully assimilate modal voicings it’s important to apply them to a typical standard song. Let’s experiment further with “On Green Dolphin Street” from Chapter 3 by using shapes and 4th voicings cut from scales.

Comping Exercise #47: Applying Modal Voicings to Standards. Below is one way to navigate through “On Green Dolphin Street” using modal shapes and 4th voicings. The scale from which the shapes are extracted are listed as part of the chord symbol. Read through the solution below, and then comp through the standard in real time using your own modal voicings. Practice with Track 14. FIG. 19

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Sometimes finding new voicing techniques means using familiar shapes in new ways. One way to construct unique sounding 6-note rootless voicings is to stack two triads derived from a single scale. As long as the triads are not too far apart you can invert freely invert each triad to find more possibilities. 2nd and 1st inversion triads work best in these voicings. For a complete chord sound, the stack of triads should contain the GT’s somewhere inside. In many cases, the GT’s are not contained inside, creating a more ambiguous, open sound. In certain situations, this type of sound can be more desirable, especially when you do not want to spell out the chord so forcefully when the horn player may be “stretching out”, or playing outside of the harmony. Try the following stacks of triads over “C” in the bass to create the following chords. The bass note is the root of the parent scale from which the triads are derived. The column on the right describes the chord voicings in general terms. Major Chords: Chord Name

Chord Scale

Cmaj9 D/C C∆9#11 C∆13#11

Major Lydian Lydian Lydian

Triads/Triads

G∆/C∆ D∆/C∆ Bm/C∆ D∆/Em

General Terms

∆t off P5/∆t off root ∆t off M2/∆t off root mt off M7/∆t off root ∆t off M2/mt off M3

Dominant Chords: Chord Name

C13#11 C7alt

C13(#11b9)

Chord Scale

Lydian Dominant Altered

Half-Whole Diminished

Triads/Triads

D∆/Eo Am/Gb+ Ab∆/Gb∆ Ab∆/Bbo Ao/Dbo Ebm/Dbo

General Terms

∆t off M2/ot off M3 mt off M6/+t off d5 ∆t off m6/∆t off d5 ∆t off m6/ot off m7 ot off M6/ot off m2 mt off m3/ ot off m2

7sus Chords: Chord Name

C7sus

Chord Scale

Mixolydian

Triads/Triads

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Minor Chords: Chord Name

Chord Scale

Cm11

Triads/Triads

Dorian (omit 6) (more traditional ii-V-I) Dorian (more modern ii-V-I or modal situation) Melodic Minor

Cm13 Cm69

General Terms

Bb∆/Eb∆ Bb∆/Cm

∆t off m7/∆t off m3 ∆t off m7/ mt off root mt off M2/ ∆t off m3,

Dm/Cm

mt off M2/ mt off root

Dm/Eb∆

Half-Diminished Chords: Chord Name

Cm11b5

Chord Scale

Locrian(#2)

Triads/Triads

Bb∆/Co Do/Co

General Terms

∆t off m7/ ot off root, ot off M2/ ot off root

Diminished Chords: Chord Name

Co7

Chord Scale

Whole-Half Diminished

Triads/Triads

Abo/Co

Do/F#o

General Terms

ot off m6/ot off root ot off M2/ot off d5

Here is a summary of the stacked triad voicings with “C” in the bass listed above. Two different inversions are given for each chord voicing.

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FIG. 20

Comping Exercise #48: Comping with Stacked Triads over a F7sus Blues. Create 6-note rootless voicings as described above to create stacked triad voicings. Make sure to vary the inversions of your triads. Avoid doublings and minor ninths. Below you’ll find slight variations from the above list in FIG. 14 to give you more options. Keep in mind the altered and Lydian dominant scales are identical, only the starting point is different. Here is a guide for the synchronizing the chord symbols and scales found in a 7sus blues with the stacked triads in general terms:

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7sus = Mixolydian = mt off M6/∆t off m7 (or) ∆t off the root/ ∆t off m7 7alt = Altered = ∆t off m6/ot off m7 (or) ∆t off m6/ ∆t off d5 13#11 = Lydian dominant = ∆t off M2/ot off M3 (or) ∆t off m6/ ∆t off root Use

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FIG. 21

Comping Exercise #49: Applying Stacked Triad Voicings to “On Green Dolphin Street.” Apply all of these new beautiful voicings to a standard song. Drawing from the list above (p. 137), play through “On Green Dolphin Street” using mostly whole notes. Since the voicings are more complex than the 4th voicings from Chapter 3 you can move more slowly. Feel free to linger on certain harmonies. Also, due to the overall modern sound from these voicings, feel free to incorporate m13 voicings as part of ii-V-I progressions. Comp through the standard in real time. Below is one possible solution. Practice with Track 14.

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As we will see later, Herbie Hancock uses this kind of six-note rootless voicing to create an impressionistic, refreshing modern sound. But before we get to that, let’s take a look at the comping from a hugely influential pianist who makes great use of shapes cut from scales. I am speaking of the incomparable, Bill Evans. Since we are now familiar with 4th voicings and stacked triad voicings as applied to “On Green Dolphin Street”, let’s examine Bill Evan’s own comping behind Coltrane on this beloved jazz standard.

A master of harmonic motion, Bill Evans seems to be able to roll out unlimited voicings, one after another, over which Coltrane soars above. Check out the beginning of the second chorus, a truly magical moment between soloist and the pianist’s comp.

Comping Exercise #50: Studying Bill Evans’s Comping on the changes to “On Green Dolphin Street.” Follow the directions for working with comping transcriptions, comping rhythms, and comping progressions from the beginning of the volume as you delve into Bill Evans’s world of comping. Comp along with the and with Track 7. For a demonstration of the transcription listen to Track 6.

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On the next page, apply voicings of your choice as you follow Bill Evans’s comping rhythm. Experiment with cutting shapes out of major scales. For bars 1 and 2 use Eb major; for bars 3 and 4 use Eb dorian (Db major); for bar 5 use F major; for bar 6 use E major; and for bars 7 and 8 use Eb major. If you notice, in the first chorus, Bill Evans avoids the m3 on the Ebm11 chord in the 3rd bar of the A sections, implying Bbm11/Eb which gives an open, more expansive sound. During the second chorus, he is careful not to use the 4th degree in his voicings when the parent scale is major, and the 6th degree when the parent scale is dorian. These are sometimes referred to as “avoid” tones. The 4th degree in a major will clash with the major 3rd (a half step or minor ninth away), and the 6th degree can clash with the minor 7th (a half step away) and emphasizes the m13 sound (which is sometimes undesirable). Use the

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Chapter 5B: Moving Shapes Outside of the Scale Tension that is eventually released is usually what we are going for in music. It’s what makes music exciting and fun to listen to. We can do this while playing “inside” (of the chord changes) or playing “outside.” There are millions of subtle ways of playing the changes and building tension to be released that should be addressed before throwing away the harmony and embarking on building tension by playing “outside.” Nonetheless, always playing every change can be limiting, just as never playing any of the changes can be boring. It’s up to the individual player to come up with their own personal ratio of playing outside vs. inside. Again, building tension can mean something as simple as playing the 9th or 13th of the chord rather than the root or 5th. In other words, I do not want to give the impression that the only way to build tension (and therefore interest) in a solo is to ignore the harmony. Some of my favorite players always play “inside”, but in a way that’s always interesting because of melodic surprises and creative turns of a phrase. In this section, however, we discuss venturing outside of the conventional harmony using shapes that are transposed to find new ways to get to a harmonic destination. Reaching that destination is usually where the feeling of release happens. Having mysterious vertical sonorities right before can add a considerable amount of tension. Songs have deep harmonic structures that are more fundamental than the myriad of chordal substitutions and passing chords that are often part of the normal chord changes. Two easy examples that immediately come to mind are the blues and rhythm changes. These two song forms can be reduced to their fundamental deep harmonic structures. 12-bar blues is some variation of I-I-I-I-IV-IV-I-I-V-IV-I-I. The “A” section of rhythm changes can be simplified to the following deep harmonic structure: I-V-I-V-I7-IV-I-V. Knowing or sensing these deep harmonic structures are paramount when improvising reharmonizations, or venturing outside of the normal chord changes. These basic signposts of a song allow you to find your way back inside the harmony. In the last section we cut shapes from scales and moved them around while keeping within the parent scale. In this section we take shapes and move them across scales chromatically. Because of the chromatic nature of these exercises we have to be more specific when describing the shapes and provide qualities of the intervals we will be using. This kind of movement is sometimes referred to as parallel motion or harmonic planing. We will focus on the shape and see where it leads us when we move it around. Let’s begin by taking a P4 over a M2. Move the shape chromatically up and down the piano. Next, apply the dotted quarter cross rhythm to this RH shape while playing a Bb pedal in the LH. Play the first four bars of the Bb blues using this comping pattern. In measure five, resolve to an Eb13 chord.

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FIG. 1

The shape is nebulous enough not to imply a specific chord. In this way, it can be moved freely across the chromatic spectrum and not get in the way of the soloist. Major seconds and perfect fourths are mild intervals that tend to fit into any harmonic situation. By keeping the shape intact you create a kind of harmonic expectation, which makes each subsequent P4/M2 shape seem appropriate. The effect created is unsettling and tension-filled, yet still reasonably open and mild (because of the intervals). This hazy harmonic and rhythmic tension is resolved in measure five.

Comping Exercise #51: Harmonic and Rhythmic Tension and Release. Use the CD included to comp along with the rhythm section on the changes to Horace Silver’s “Blowin’ the Blues Away.” Apply these chromatically moving shapes when you get to the dotted quarter cross rhythm section in the third chorus. In doing this, you are suspending the resolution for an entire 12-bar chorus. The rhythmic tension that is building is multiplied by the new harmonic tension that we are adding on top. Experiment with displacing the pattern. The example provided below starts on beat one and uses the familiar 4th shape with a 3rd on top from the previous section. To maintain some semblance of the form, include a few shapes that actually correspond to important signposts contained within the deeper harmonic structure. For example, try to show where the IV7 chord comes in measure five, where the ii7 chord happens in measure nine and the where the turnaround happens in measure eleven and twelve. Besides that, you are free to play whatever sound you hear swirling around inside of your head. Use 194

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FIG. 2

Fourths are great intervals to use when creating shapes to move chromatically. To avoid too much tiresome parallel motion you can introduce some contrary motion in your patterns. Experiment with adding a triad over two fourths to your palette of shapes to create contrary motion as you move chromatically. Eventually, resolve to C minor. One example is provided below.

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FIG. 3

Next, we examine McCoy’s powerful and transcendent comping on “Passion Dance” behind Joe Henderon’s solo. The amount of intensity generated by McCoy, Elvin, and Ron is truly unmatched. The comp is full of chromatic movement of P4 and M2 related shapes, and over flowing with cross rhythms. Although there is predominantly parallel motion throughout, at certain times McCoy employs chromatic contrary motion yielding some highly unusual sonorities.

Comping Exercise #52: Studying McCoy Tyner’s Comping Style on the changes to “Passion Dance.” The following is an illustration of comping in the style of McCoy Tyner on the changes to “Passion Dance.” It contains many elements of the original transcription, but is far from the original. The solo chords to “Passion Dance” are often notated as F pedal (open) or F7sus (open). This implies that the pianist is free to choose his/her own harmonies, keeping in mind that F7sus is home base. Chord symbols in paranthesis refer to moving harmonies superimposed on top of the basic F pedal. McCoy moves in and out of the basic F7sus tonal center traversing multiple key centers yet always returning to F7sus, usually after eight bars. Notice how McCoy plays a strict 32 bar form even though the harmony is open-ended. As stated before, it’s as if the chord shapes themselves dictate the harmony. “7sus” refers to chords with a sus4 and b7 without a minor 3rd; “m11” refers to chords with a minor 3rd, sus4 (11), and b7. 6/9 and m13 chords are rootless in the transcription. “IVS” stands for “Indistinct Vertical Sonority” and is used to describe chords that are atonal and cannot be described by a chord symbol. They are often the result of horizontal movement within the progression. Make sure you are listening to the , then play through FIG. 4 using Track 10 (without piano). 196

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Let’s delve into some of McCoy’s favorite voicings before tackling the comping guide. That way you will more easily be able to navigate through the myriad of chord changes.

In general, he uses a large number of what I am labeling m11 voicings. Perhaps it would be more appropriate to label them as m7(add4) since they do not include the 9th in most cases. Nonetheless, m11 suits our needs since the symbol is so compact, and McCoy moves around so much, even in one measure. The following is a table of some of the favored voicings used by McCoy. When reading the comping guide you are faced with quite a bit of overlap. In other words, one voicing can be labeled several different ways depending on how you think about it: Cm11 could be viewed as F7sus, or even Eb69. This is especially true since all of these chords are being played over an F pedal. Naming chords becomes quite subjective. It is up to you to find what system works best for you.

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Major Chords Chord Name

Chord Scale

C69

Major

Cmaj13

Major

General Terms

4ths from R/C6 GTs; Mt off the R/ 4ths from the 9

Mt off the P5/ C6 GTs or 4ths from the 9

Sus Chords C7sus

Mixolydian

C13sus

Mixolydian

(LH) 4ths from m7; 4ths from P4 or m7/ 4ths from m7; Mt off the m7/5-1 (MGTs); 4ths from m7/5-1 (MGTs); M2 from P5/ 4ths from m7 Modified 4ths from R/ 4ths from m7; 4ths from the 9/ 4ths from m7

Minor Chords Cm11

Dorian

Cm13

Dorian

P4 from m3/1-4 (MGTs); Mt off m3/1-4 (MGTs) or 4ths from m7; M2 from P4/ 4ths from m7; 4ths from m3/ 4ths from m7; 4ths from m3/ 4ths from P4

4ths from the R (6 notes); 4ths from the 13 (6 notes); 4ths from the P5 (6 notes)

As you go through the following illustration of the voicings listed in the table above, you will notice that many of the RH 4th shapes are inverted yielding many major seconds in the voicing. 204

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Here are some of McCoy’s favored voicings in C: FIG. 5

Comping Exercise #53: Reconstructing McCoy’s Original Comping. Transpose the voicings above to all 12 keys. Then, apply the voicings above (or voicings you transcribe from the ) to the following comping guide to reconstruct McCoy’s original comping. You may have to write the comping transcription down on staff paper. Then play along with the at a slower speed or use Track 10. Consult Track 9 for a demonstration.

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Chapter 5C: Comping Over the Bar Line Finally, we will more intensely examine comping rhythms that involve going over the bar line. This involves using cross rhythms in which a competing rhythm is superimposed over the 4/4 meter and obscures beat one. Comping like this allows the piano and drummer to often match up with a secret language of rhythms that go against the conventional meter. The effect can add to the tension that may or may not be released. On one hand it can enhance the rhythmic landscape, add to the excitement in the rhythm section, and make 4/4 have more twists and turns. On the other hand, it can be a device that is abused, making music too much like a math problem and making it not fun to play with. Just as in the previous chapter, there is a balance that has to be reached between forced harmonic and rhythmic tension that tends to be more dissonant and simple and direct music that tends to be more consonant. This is subjective and in the final analysis has to be decided by the performer in the moment. In any case, being aware of these rhythmic possibilities and equipped with the skills to participate if you choose is important. Comping Rhythms that Obscure the Bar Line on the Eighth Note Level.

For the first part of our rhythm considerations we will examine rhythms on the 8th note level meaning the rhythmic event either happens on the down beat or the upbeat. Because of this, swinging 8th notes are not a problem. It just means that the upbeat may be delayed by varying degrees depending on the pianist. From the beginning of these volumes, we have been dealing with cross rhythms that play against the 4/4 meter. In Chapter 1 of The Essentials, we explored the dotted eighth note cross rhythm. Later in Chapter 5, we examined Horace Silver’s use of dotted half note cross rhythms. The wider rhythmic interval made this cross rhythm a bit harder to internalize for the novice. Both of these patterns obscure the feeling of beat one, and can be considered comping rhythms that go over the bar line. In this section, let’s continue with the idea of 3 over 4. This time, instead of starting the cross rhythm on a downbeat, we will start the pattern on an upbeat. Cedar Walton and Billy Higgins employ this comping rhythm as they play behind Donald Byrd on the Hank Mobley’s album, Far Away Lands (1967, Blue Note – BST 84425). During the track, “No Argument” listen to the last eight bars of Donald Byrd’s first chorus into the first four bars of his second (2:54). The comping rhythm is written out in the example below. Notice how Cedar starts the rhythmic sequence in measure three and then comes out of it in measure ten.

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FIG. 1

This is one of those rhythms that if started by the drummer or the pianist, the other member of the rhythm section can pick up on it and participate. If the drummer and the pianist play the cross rhythm together, it becomes stronger and almost like a mini arrangement. The most experienced pianists and drummers have a working knowledge of several of these sort of rhythms to be used at the appropriate time as well as the ability to recognize and react when a cross rhythm is being initiated. The purpose is to heighten the excitement within the rhythm section, and give the soloist a boost. Interestingly, this comping rhythm occurs frequently in Herbie’s comping behind Freddie Hubbard as we will see at the end of this section.

Comping Exercise #54: Displaced Dotted Half Note Cross Rhythms. Use the comping rhythm from FIG 1 as a guide and apply it to a Bb blues progression using rootless voicings. Start the cross rhythms on the “and of 3” in bar 1. Practice with the “comp-along” Track 11. Even though we have been concentrating on 4/4 let’s venture into the world of 3/4 for a moment and explore the converse of these comping rhythms. Instead of grouping 3 beats in 4/4, we will now be playing groups of 4 beats in 3/4 time. The example below illustrates the comping rhythm used by Wynton Kelly when comping during the melody of “Someday my Prince will Come” (from Miles Davis’s Someday my Prince will Come, 1961, Columbia CS – 8456). Aside from minor deviations, Wynton plays this cross rhythm for the first two halves of the form behind the melody (0:39 and 0:59).

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FIG. 2

Comping Exercise #55: Comping in Duple Meter in 3/4 Time. Using the “compalong” CD, comp with the rhythm section employing the above comping rhythm from FIG. 2 with rootless voicings over the changes to “Someday my Prince will Come.” Use Track 12 (demo) and Track 13 (without piano). 214

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Taking this concept a little further, let’s check out Herbie Hancock’s comping rhythm at the fifth bar of the fifth chorus of George Coleman’s solo (6:50) on “All Blues” (from Miles Davis’s My Funny Valentine, 1964, Columbia – CS 9106). Below is an illustration of his comping rhythm during the fifth chorus that sounds like it’s in an odd meter because of the accents off the beat and then on the beat. It sounds very close to some of the odd-meter groupings to be studied later in the chapter. It is indeed six beats in length, however. The feeling of comping over the bar line comes from the fact that Herbie accents in a way that highlights a duple feeling. In other words, he is comping in 6/4 divided 2, 2, and 2, instead of 3 and 3. FIG. 3

Comping Exercise #56: Comping in Duple Meter in 6/4 Time. Using the “compalong” CD, comp with the rhythm section employing the above comping rhythm from FIG. 3 with rootless voicings over the changes to “All Blues.” Use Track 14 (demo) and Track 15 (without piano). An Approach to Comping: Advanced Concepts and Techniques

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One of the most beautiful and tension-filled rhythm section comping collaborations, in my view, is between Kenny Kirkland and Jeff “Tain” Watts as they sizzle and churn on “Black Codes” (from Wynton Marsalis’s Black Codes, 1985, Columbia). Below is an illustration of an excerpt of the comping rhythm employed by Kenny Kirkland during his own piano solo containing an interesting long meter version of the 5 over 4 cross rhythm. Usually this particular cross rhythm is heard happening twice as fast (as we will practice later in the chapter). Because of the exceptionally wide rhythmic intervals, the bar line is completely obscured. Listen to Kenny’s last chorus of his piano solo starting in the fifth bar (8:30). Each group of 5 quarter notes (give or take an eighth note) are shown with brackets above. The following example is Kenny’s comping rhythm as played on the record complete with anticipations and modifications that somewhat blur the groupings. Obviously, this was played in the heat of the moment, and not something preplanned or worked out. FIG. 4i

The following is a simplified version, clearly showing the 5-beat groupings superimposed over the 4/4 meter. FIG. 4ii

Comping Exercise #57: Comping Using 5 Over 4 Cross Rhythms. Use the comping rhythm from FIG 4ii and apply it to rootless voicings for playing through a F blues. Practice with the “comp-along” Track 16. 216

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At this point, we return to our boogie woogie bass pattern from Chapter 1A of The Essentials, this time notated in eighth notes rather than in triplets. We will be using it to practice odd metered comping rhythms superimposed over 4/4. To make things a bit easier we will start with comping rhythms in groups of 5 eighth notes (instead of groups of 5 quarter notes as seen in FIG. 4). Since the rhythmic intervals are smaller, it’s a little easier to feel the underlying 4/4 meter. In your LH start the boogie woogie pattern in “C.” For now we won’t change chords, we’ll just loop the LH pattern. Subdivide the beat so you are counting eighth notes. Instead of counting to eight (and thus highlighting beat one of each measure) count to five and then start again at one. Count this group of five eighth notes over and over before getting your RH involved. When you feel secure with the underlying 4/4 meter even while counting to five over and over, add your RH. Start on beat one, and play the first and third eighth note of every group of five eighth notes. The composite rhythm should sound like a loop of two slightly lopsided rhythmic occurrences. Experiment with counting “1, 2”, “1, 2”, “1, 2”, etc. Next, displace the “1, 2” comping rhythm so that you play the second and fourth eighth note, and the third and fifth of every group of five eighth notes. Below this displacement is shown. To play the first and third eighth note of every five note group start from measure one and repeat; to play the second and fourth eighth note, start from measure four and repeat; and to play the third and fifth eighth note, start from measure two and repeat.

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FIG. 5

Next, using your RH over the one-chord boogie woogie bass pattern, play the first eighth note only from every group of five eighth notes. After mastering that, try playing only the second eighth note of every group of five eighth notes. Continue down this path, practicing only the third, fourth, and fifth eighth note of every group of five eighth notes. Now try these eight odd-metered comping rhythms in 5/8 (beat 1 and 3; beat 2 and 4; beat 3 and 5; beat 1 only ; beat 2 only; beat 3 only; beat 4 only; and beat 5 only) over a LH blues boogie woogie pattern. Strive to hear the form and where the change of chord comes. It may help to pat your feet on 1 and 3 of every measure to keep track of where you are.

Below is an illustration of one of these comping rhythms: The RH plays beat 2 only of the 5-note group over a LH blues boogie woogie pattern. “C” works well over C7 and F7. When the LH switches to G7 move the RH up a whole step to “D.” In measure twelve you will be left with one extra eighth note (if the form had been fifteen bars it would work out perfectly). Practice with the “comp-along” Track 17 (the drummer plays the rhythm with you). After playing the rhythms with the boogie woogie LH try playing the rhythms with two-handed rootless voicings, without the bass reference. This latter method is more challenging and will better gauge whether you have mastered the odd-metered rhythm.

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FIG. 6

Comping Exercise #58: Comping in 5/8 while Playing 4/4. Use any of the eight odd-metered comping rhythms from above and apply them to rootless voicings for playing through the blues. Use Track 24 (the drummer plays the shuffle beat only). We now turn to comping 7/8 while playing 4/4. Again, loop the boogie woogie pattern in “C” with your LH. Subdivide the beat so you are counting eighth notes. Instead of counting to eight (and thus highlighting beat one of each measure) count to seven and then start again at one. Count this group of seven eighth notes over and over before getting your RH involved. An Approach to Comping: Advanced Concepts and Techniques

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When you feel secure with the underlying 4/4 meter even while counting to seven over and over, add your RH. Start on beat one, and play the first, third, and fifth eighth note of every group of seven eighth notes. The composite rhythm should sound like a loop of three slightly lopsided rhythmic occurrences. Experiment with counting “1, 2, 3”, “1, 2, 3”, “1, 2, 3”, etc. Next, displace the “1, 2, 3” comping rhythm so that you play the second, fourth, and sixth eighth note, and then the third, fifth, and seventh eighth note of every group of seven eighth notes. Below this displacement is shown. To play the first, third, and fifth eighth note of every seven-note group start from measure one and repeat; to play the second, fourth, and sixth eighth note, start from measure seven and repeat; and to play the third, fifth and seventh eighth note, start from measure six and repeat. FIG. 7

Next, using your RH over the one-chord boogie woogie bass pattern, play the first eighth note only from every group of seven eighth notes. After mastering that, try playing only the second eighth note of every group of seven eighth notes. Continue down this path, practicing only the third, fourth, fifth, sixth, and seventh eighth note of every group of seven eighth notes. 220

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Now try these ten odd-metered comping rhythms in 7/8 (beat 1, 3 and 5; beat 2, 4, and 6; beat 3, 5, and 7; beat 1 only ; beat 2 only; beat 3 only; beat 4 only; beat 5 only, beat 6 only; and beat 7 only) over a LH blues boogie woogie pattern. Strive to hear the form and where the change of chord comes. It may help to pat your feet on 1 and 3 of every measure to keep track of where you are. Below is an illustration of one of these comping rhythms: The RH plays beat 3, 5, and 7 of the 7-note group over a LH blues boogie woogie pattern. Again, just as in the 5-note groups, this pattern does not work out evenly at the end of the form. You have to readjust when you repeat back to the top. Practice with the “comp-along” with you).

Track 18 (the drummer plays the rhythm

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FIG. 8

Comping Exercise #59: Comping in 7/8 while Playing 4/4. Use any displaced 7/8 comping rhythm and apply it to rootless voicings for playing through the blues. When you reach the top of the chorus, resolve the pattern by playing the “and” of 4 in measure twelve as you lead into the next chorus. Make sure to leave a little space before making the hit. This may mean altering the pattern a bit. This cross rhythm is meaningless unless you can successfully come out of it in a musical way. Practice blues in F with Track 2.

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Notice that if you start the pattern on beat one, after four bars you it will resolve on beat one of measure five (of course you are stopping in the middle of the 7-note group, but it still has a feeling of resolution). The following is a possible comping pattern for the first four bars of C blues using some chromatic parallel motion centered around C13 eventually resolving to F13 in measure five. FIG. 9

Displacements on the Triplet Level Finally, to close, let’s examine some displaced comping rhythms on the triplet level. This time instead of subdividing in eighths we’ll think triplets. In Chapter 1A (The Essentials), we touched on this way of displacing the rhythms when we studied the quarter note triplet. In those exercises we played every other triplet starting on the first triplet, then starting on the second. We were in fact grouping the triplets into twos. In the following exercises we will continue with this concept, but this time grouping the triplets in fours (to create half note triplets), in fives, and in sevens. The basic idea is simple: play each part of the group alone to create a comping rhythm that goes over the bar line (or at least over the halfway point of the measure). To execute these rhythms over the boogie woogie bass pattern is not as easy.

Let’s start with displacing the half note triplet. For this exercise we will group triplets in fours. Create a basic half note triplet rhythm in the following way: play the first triplet of beat one, the second triplet of beat two, the third triplet of beat 3, and the first triplet of beat one of the next measure. Notice how each rhythmic occurrence is separated by four triplets. This rhythm is illustrated below over a one-chord boogie woogie pattern in triplet notation. An Approach to Comping: Advanced Concepts and Techniques

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FIG. 10

Next we can start to displace this rhythm. Instead of starting on the first triplet of beat one, let’s start the pattern on the second triplet of beat one, and then play the third triplet of beat two, the first triplet of beat four, the second triplet of beat one of the following measure, and so on. We can do the same thing starting on the third triplet of beat one and the first triplet of beat two. These four displacements of the half note triplet pattern constitute the entire gambit of possible permutations of the half note triplet comping rhythm. Again, this rhythm is illustrated over a one-chord boogie woogie pattern. FIG. 11

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In the example below, the half note triplet pattern starting on the 3rd triplet of beat one is illustrated using RH trombone voicings. In addition to practicing this example, start the pattern on the 1st triplet of beat one, the 2nd triplet of beat one, and the 1st triplet of beat two. Pay attention to the anticipated chords in the RH (anticipate the next harmony if the hit is on the second or third triplet of beat four). Feel free to use RH trombone voicings of your choice. Practice the example below with with you).

Track 19 (the drummer plays the rhythm

FIG. 12

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Comping Exercise #60: Displacing the Half Note Triplet. Use any of the displaced half note triplet rhythms above and apply them to the blues. First play with TVs in the RH over a boogie woogie pattern, then use rootless voicings. Practice with the “compalong” Track 24.

Finally, let’s work on displacing 5/8 and 7/8 comping rhythms in the context of triplets. Instead of using our composite, slightly lopsided rhythms from before (“1, 2”, “1, 2” and “1, 2, 3”, “1, 2, 3”), we will just play each part of the five or seven group alone. The former rhythms in the triplet context are too close together, and therefore sound too busy and frantic. The latter rhythms contain much more space between rhythmic occurrences, making the overall sound less aggressive. Begin with looping the LH boogie woogie pattern in “C.” Pat your foot on one and three, really feeling beat one when it comes around. Count out loud in triplets grouped in 5’s, “1, 2, 3, 4 5, 1, 2, 3, 4, 5, etc.” With your voice, say “1” much louder than the rest of the numbers. Try it again, this time saying “2” much louder than the rest of the numbers. Continue until you feel comfortable accenting each number of the 5-note triplet group. Next, add a RH chord. First play only on the 1’s, then 2’s, 3’s, 4’s, and 5’s.

Experiment comping all of the 1’s, 2’s, 3’s, 4’s or 5’s in your RH as you play through the boogie woogie blues progression in your LH. The following is an example of a 5/8 comping rhythm in triplets starting on the 1st triplet of beat two. Practice with Track 20 (the drummer plays the rhythm with you) and resolve the pattern by playing the hit on the 3rd triplet of beat for in measure 12, and thus marking the top of the form.

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FIG. 13

Comping Exercise #61: Displacing 5-note Triplet Groups over Blues. Use any of the displaced 5-note triplet rhythms above and apply them to rootless voicings for playing through the blues. Practice with Track 24 or apply to F blues by using Track 2.

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On closer inspection of FIG. 13, a pattern emerges making it unnecessary to count to 5 over and over. If you start the 5-note triplet pattern on the first triplet of the beat the next hit will always be on the third triplet of the next beat. If you start on the second triplet of the beat, the next hit will be just under 2 beats later on the downbeat. And, if you start on the third triplet of the beat, the next hit will be just under 2 beats later on the second triplet.

Follow the same steps to practice 7-note triplet rhythms. Start by comping over a one chord boogie woogie bass pattern. Count out loud accenting each number of the 7-note triplet group. Play only on the 1’s, then 2’s, 3’s, 4’s, 5’s, 6’s, and 7’s. Experiment comping all of the 1’s, 2’s, 3’s, 4’s, 5’s, 6’s, and 7’s in your RH as you play through the boogie woogie blues progression in your LH.

Below is an example of a 7/8 comping rhythm using rootless voicings in triplets starting on the third triplet of beat one. Notice in measure twelve the pattern is altered a bit as we add an additional triplet eighth rest in between the penultimate and last hit. This is done so that the hit can be placed on the “and” of 4 of measure twelve and in a sense resolve the pattern going into the next chorus. If we had started the pattern on beat two of measure one, this alteration would not be necessary. Again, being able to come out of these odd metered comping patterns is crucial. Always know where beat one is. Practice with Track 21 (the drummer plays the rhythm with you).

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FIG. 14

Comping Exercise #62: Displacing 7-note Triplet Groups over Blues. Use any of the displaced 7-note triplet rhythms above and apply them to rootless voicings for playing through the blues. Practice with Track 24 or apply to F blues using Track 2.

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Again, a pattern emerges making it unnecessary to count to 7 over and over. If you start the 7-note triple pattern on the first triplet of the beat, the next hit will always be just over 2 beats later, on the second triplet. If you start on the second triplet of the beat, the next hit will be just over 2 beats later on the third triplet. And, if you start on the third triplet of the beat, the next hit will be just over 2 beats later on the downbeat. Comping Exercise #63: Studying Herbie Hancock’s Comping Style on the changes to “One Finger Snap.” When Herbie Hancock comps, the listener is swept away to a far away fantastical harmonic landscape. His complete melodic, harmonic, and rhythmic freedom is immediately evident. His playing always has a probing and searching quality as he bends the boundaries all while maintaining a deep feeling of earthy swing. In the middle of the transcription, he orchestrates a dotted quarter note cross rhythm in a creative way, creating a great amount of tension and anticipation that resolves four bars later. To begin with, in measure 81 below, Herbie starts the cross rhythm on beat 3 (instead of beat 1) and groups the rhythm occurrences in twos. Then, using contrasting ranges for each rhythmic event, Herbie creates the effect of stride piano in a slightly slower tempo superimposed over the regular time feel.

In addition to his creative over-the-bar line comping, Herbie employs sleek and modern voicings such as the stacked triads voicing that we studied at the end of Chapter 5A. See if you can find examples where the stacked triads voicing is used as you study this final transcription.

The following is an illustration of comping in the style of Herbie Hancock on the changes to One Finger Snap. It contains many elements of the original transcription, but again, is far from the original. As you delve into Herbie Hancock’s world of comping, make sure you are listening constantly to the . Then, play along with Track 23 (without piano) using the FIG. 15.

Comping Exercise #64: Reconstructing Herbie’s Original Comping. Apply voicing styles learned so far to the following comping guide to reconstruct Herbie Hancock’s original comping on One Finger Snap. Also, listen and transcribe from the . You may have to write the comping transcription down on staff paper. Then play along with the at a slower speed or use Track 23. Consult Track 22 for a demonstration.

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As we come to the conclusion of these two volumes, it is my hope that you have gained a rhythmic assuredness and creativity in addition to a working knowledge of several voicing techniques. In this final comping exercise draw upon your wide repertoire of comping rhythms and voicing techniques that you have acquired from these two volumes. Comping Exercise #65: Give and Take Part 2. For this exercise you will need a fellow instrumentalist or vocalist. Playing with a bass player and drummer, comp over a blues in the following ways:

1. Have your musical partner solo for 2 bars. Answer his/her solo with comping using voicings and CRs of your choice for the following 2 bars. Continue this back and forth for an entire blues chorus. After doing this for a couple of choruses, trade 4’s (4 bar phrases) and 3’s (3 bar phrases). 2. Have your musical partner solo freely with one stipulation: have him/her leave plenty of space between each phrase. Then, answer the phrases with your own comping. Continue this question/answer routine for an entire chorus. It’s your job as a comper to sense where the soloist will end their phrase so that you can comp in the spaces. 3. Change musical roles with your partner. This time initiate the conversation by comping for as long as you want. Leave space for your partner to answer your comp with his/her solo. Continue this give and take for an entire chorus.

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Interviews Sometimes stepping back from the actual notes and rhythms can widen your scope of the musical situation. This section is all about opening your ears, and heightening your awareness of what surrounds you. Thinking about comping abstractly can be very helpful. We have to be careful about getting lost in all of the notes, especially when studying transcriptions. These interviews are about the big picture. Below is a summary of my interviews with two more of my favorite compers. I simply asked these master musicians a few questions addressing their approach to comping. This time I chose to ask non-pianists about comping for a fresh perspective.

I. Peter Bernstein As piano players, we need to be keenly aware of what is going on around us. It is something that was emphasized again and again during the interview section of The Essentials. By understanding how other chordal instruments think about comping we can get a “bird’s eye” view of the musical situation and get to a deeper level in regards to comping. This is why I decided to ask one of my favorite compers on the scene today: guitarist, Peter Bernstein. Born in New York City, Bernstein began playing with a host of jazz luminaries from a young age. Recording with Jim Hall, Lou Donaldson, Michael Hashim, Larry Goldings, Mel Rhyne, Jesse Davis, and Geoff Keezer, Bernstein was off and running right after finishing at the New School. Shortly after, he recorded his first album as a leader, “Somethin’s Burnin”, for Criss Cross in 1992, which included such notables as Brad Mehldau (piano), John Webber (bass), and Jimmy Cobb (drums). Bernstein has recorded seven albums as a leader since then, and has played on countless albums as a sideman making him one of the most in demand and important voices on jazz guitar. Some of the top jazz luminaries that Peter has performed and/or recorded with include Jimmy Cobb’s Mob, Harry Allen, Nicholas Payton, Etta Jones, Lee Konitz, David “Fathead” Newman, Joshua Redman, Christian McBride, Grant Stewart, Mike LeDonne, Eric Alexander, Dr. Lonnie Smith, Wycliffe Gordon, Alvin Queen, Doug Weiss, Joe Magnarelli, David Bubba Brooks, Ralph Bowen, Jim Rotundi, Larry Grenadier, Bill Stewart, and Gregory Hutchinson to name a few. Here is a summary of my exchange with Peter.

JP: If you were with a young guitarist or pianist, what would be some general tips you would give about comping?

PB: For me, the two main things are the actual content of what you are comping. You know….voicings, rhythms, and the phrasing of what you are doing; and then the second An Approach to Comping: Advanced Concepts and Techniques

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thing is just the desire to try to make somebody sound good. The attitude behind it…you take pride in making someone else sound good, and really supporting and being there for them. It’s not about, “how hip is my comping…check it out.” It’s all about serving the music. It’s a huge part of it. It’s not about getting some hip sh-t to comp, but really empathy. JP: This question was inspired from a saxophone player, Paul Jeffrey, with whom I used to play. Sometimes he would tell me to “lay out.” Comping was something that was hard for me to get. One time he told me, “just play, ‘who parked the car’, that’s all I want to hear behind me.” He wouldn’t give me the specifics, but it was effective nonetheless. Do you have any memory of an elder saying something to you regarding what not to play, or what to play behind their solo? PB: I’ve certainly given some thought to what certain guys need. Not to comp the same for everybody is a big part of it, and a big part of being a listener. I would say, as a guitar player, seeing Jim Hall comp and playing with him made me aware of how someone could really help someone else sound good.

And I heard Kenny Barron do that too. He would sit in with our ensemble at Rutgers. When he sat down to play a tune all of a sudden the drummer was swinging more, the bass player too. Everyone sounded better. He made everything become more cohesive. That’s not a question you can just answer, like “how do you do that?” It’s a whole state of mind. Everything goes into that: voicings, rhythms, how you phrase your figures… JP: That’s the ultimate test.

PB: Yeah. It really was. And Jim Hall did the same thing. I saw him do it, I saw him make a bunch of guitar players sound [better] when he comped for them. And then we would try to comp for him, and we couldn’t do that. He still sounded ok when we comped, but we weren’t giving him the same support that he was giving us. When we played for each other that lift wasn’t there. That always made an impression on me. “How do you do that?” I want to get to that place of being able to support… and challenge. They would also instigate things if you could hear it…if you could pick up on whatever. It was a supportive thing; it was the thing of trying to get inside of the music. A lot of people don’t have the temperament for it. They want to be out front, they want to be where the spotlight is. JP: It makes me think of how much emphasis is placed on learning solos, instead of learning how to play behind people. It’s actually the whole point of the workbook: to pay tribute to all of the great players who supported the soloist. Can you think of a memorable musical moment in which you were supporting the soloist?

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much fun comping and being a part of someone else’s solo and being part of the conversation. Not just with the soloist, but with the drummer and the bass player. And when the spotlight is not on me I really can enjoy it more. People are not going to stand up and applaud that, but they might stand up and applaud your solo. So to me, I like the fact that I can be part of the thing and it’s not for glory. It’s for making the music feel good and getting in there, getting in there behind somebody. I’ve been lucky to be able to comp for a lot of great soloists. I realize that they didn’t need me there. They didn’t need me there to make it swing, because they were already swinging. They didn’t need me to play the harmonies, because they were playing the harmonies. So, you have to add something and become part of a conversation. You need to listen and react, but also feed some things so that hopefully you become part of the conversation. Like I say, the great compers have a certain temperament, it’s a certain personality that they have away from even the comping situation. They are empathetic; they want to make people feel comfortable.

JP: Not to get too technical, but can you talk a little bit about what you might tell a young piano player when you and that piano player have to share the roll of comping behind a soloist? PB: I never like to take the piano player out of his element. I like to become a part of the rhythm section. Hopefully, they make a little room for you as you try to play together. I don’t like trading solos necessarily, or trading choruses, or “You comp here and then I’ll comp there…” I just try to make a sound together. Obviously, with no piano I have a bigger space to fill. I think with piano players, since they can play so many notes at once, that a lot of times they do–where it’s not necessary. A guitarist taught me that you can reduce the harmony, or even just think about orchestration. Guys don’t use the whole orchestra all the time. They bring out this line with some low brass, etc. If everyone were playing all the time you wouldn’t hear all of the subtleties.

JP: It’s amazing how it makes everything so much easier to listen to when you cut down on some of the notes.

PB: I really like hearing the recipe of the voicing. What makes it ring? It’s not just about what notes are in it, but the space between the notes. Like Monk would play wide intervals. All of the notes he left out is what makes you hear the sonority of the voicing. If you have a seventh, and then the flat nine above that, and a tenth above that, it is a much different sound than if you have a voicing with more notes and without all of that space. You can open up the sound. A lot of times piano players put their hands down, and depending on how big their hands are, that’s how far apart the notes are. But guitar players are worse because they learn shapes and grips. For a six-note chord, they will play six notes. There is nothing wrong with learning these grips, but if they lock you in to a certain voicing, then you’re not orchestrating. An Approach to Comping: Advanced Concepts and Techniques

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Interviews JP: What about playing with organ?

PB: Well organ is great because you have the space between their hands. It’s one mind; they can follow their bass with their right hand and vice versa. You have to get in between. Rather than there being two different people, there’s just one mind powering both things [(bass and soloist)]. You have to get in there and be the third hand. JP: Finally, I would like to ask as a guitar player, how would you use these workbooks about piano comping?

PB: I would sit at a piano and figure them out. Guitar players have to learn piano. Horn players do too, to a certain degree. [There’s a difference between a] horn player who plays nice voicings on the piano and one that plays 1, 3, 5, 7 an octave below middle C. It’s about ears. It’s about really trying to get into the subtlety of what makes a voicing. JP: If you were interested in checking out Wynton Kelly voicings on guitar how would you proceed? I suppose the left hand would be a good place to start since it often contains [guide tones]. But, as you were saying before, it seems that you would also be interested in learning the right hand voicings.

PB: I would figure it out on piano to know what you are hearing. And then figure out how you would play it on guitar. You might not be able to play the whole voicing. But with Wynton Kelly and all of these guys so much of their comping is their attitude and their phrasing. It’s about how they phrase their chords. Checking out Red Garland, [you can hear] how it’s light, on the upbeats, and a lot of short chords, but then when he leans on a chord it’s really [emphasized] and the voicing has some stuff in it. It’s subtle, but if you really listen to what he’s doing, he’s always pushing the music forward. JP: What is your approach to comping?

PB: Well if I’m playing a standard song, like a ballad, I pretend that whoever is playing the melody is the singer; I pretend they’re Frank [Sinatra]. And then I think, if they’re Frank Sinatra, I’m Nelson Riddle or Billy May. I have to make an arrangement that’s going to be supporting the melody. So, you don’t want to piss Frank off. Think of it like that…it’s just about supporting. Remember to hear yourself as part of the greater whole.

II. Albert “Tootie” Heath: Drummers are always comping when they play and can be great resources when it comes to rhythm, keeping time, groove, and how to comp. “Tootie” Heath has always been an inspiration to me on and off the bandstand, so I decided to sit down with him and ask him about his approach to comping. 248

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Interviews The younger brother of Percy and Jimmy Heath, Albert “Tootie” Heath has long been a top hard bop-based drummer with an open mind toward more commercial styles of jazz. Tootie has played with countless jazz greats and famous jazz groups including: John Coltrane, McCoy Tyner, the Jazztet, Cedar Walton, Bobby Timmons, Lester Young, Thelonious Monk, Ben Webster, Dexter Gordon, Kenny Drew, Eddie Harris, J.J Johnson, Yusef Lateef, Wes Montgomery, Ray Bryant, Herbie Hancock, the M.J.Q., and the Heath Brothers.

Originally from Philadelphia, Tootie spent his early years performing with almost all of the jazz greats in Philly and New York. He then moved to Europe in the mid sixties, and became the house drummer at the Montmartre Jazz Club in Copenhagen from 1965-68. There he played with many visiting American jazz musicians. He returned to New York in the late 60’s to play Herbie Hancock. It was in this period that Tootie recorded the seminal album, “The Prisoner” with Hancock’s group. In the early 70’s he worked with Yusef Lateef. After spending one more year in Europe, he returned to the U.S. to form the first incarnation of the Heath Brothers feat. Stanley Cowell from 1975-78. Shortly after, he moved to Los Angeles, and much more recently to Santa Fe, where he resides today. In recent years, he performs regularly with the Heath Brothers. Here is the summary of my interview with Tootie.

JP: In general terms, how do you approach comping?

TH: It’s based on what I hear around me. I am influenced by each instrument; the bass and especially the piano [in a trio setting]. I’m supplying a cushion for the improviser consisting of a consistent cymbal pattern in my right hand and comping between my left hand and my foot. My comping can be constant chatter or it can be something very rhythmic. My approach to comping is basically listening to what is happening around me and trying not to be in the way or distracting.

It’s very easy for drummers to lose it, going off into doing things that don’t really compliment any of the things that are happening around you. As a drummer, you have the power to disrupt; you have the power to accompany; and you have the power to inspire the [improvising] instrumentalist or the comping part of the ensemble (which includes the bass and piano). In fact, you are supposed to inspire the improviser to reach a climax. JP: What other advice do you have for a young drummer or pianist when it comes to comping?

TH: Comping also means understanding the harmony. My advice would be to know the melody and the harmonic structure of the song. Everyone needs to know the changes or harmonic sequences in the structure of a tune. Drummers need to know where the harmony changes, just as pianists should know where the rhythmic feel changes. An Approach to Comping: Advanced Concepts and Techniques

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Interviews JP: What about differences when comping behind a horn solo vs. a vocalist vs. a bass solo? TH: Well those are three different volumes [(dynamic levels)], number one.

JP: Some drummers are great with singers. What makes a vocalist say, “I like that drummer?”

TH: I think it has a lot to do with knowing the material, paying attention to what’s being sung or the story that’s being told, and trying to add some compliments. You can add rhythm or dynamics to the story being told. [In many cases], vocalists are telling a story more so than a horn player, who is often more concerned with changes and sequences. Horn players may be more inclined to focus on excitement, [and may ask you to play in a way that allows them to reach that level of excitement more easily]. Because they are telling a story with actual words, vocalists may prefer a drummer who comps using dynamics. Their story may require a different kind of climax, one that doesn’t necessarily involve playing as loud as you can. JP: And comping behind bass players…?

TH: A bass solo is different because you’ve lost the roots to whatever the chord changes are. The bass 4/4 quarter note pattern is also lost, as the bass player does not have to be so worried about playing all the roots of all the chords. The bass is now playing off of whatever the keyboard player is providing. Therefore, we’ve lost one of the main rhythmic components of the jazz composition. The drummer has to replace that rhythmic void by either playing a constant rhythm or by laying out, one or the other. The interplay between you [the drummer] and the keyboard[ist] provides a cushion on top of which the bass can play a solo. JP: Sometimes the pianist can take on the role of the bass player and provide bass notes allowing the bass player to freely improvise, and be completely relieved of his/her responsibility of having to always play the roots. TH: Absolutely, when a bass player is soloing they don’t have to provide the harmonic foundation. JP: What do you notice when you play with a piano player or guitarist who is a good comper? Does it make your experience different?

TH: Absolutely, it’s inspiring. I’ll tell you one thing that I did experience playing with John Lewis and the Modern Jazz Quartet. He would always play little ditties and things that were really humorous. In the most serious piece of music that you could hear he would play “Mary Had A Little Lamb” or something like that. But he would sneak it in, in such a way that it was very humorous. For him to be able to conceive of that in the moment and make that a part of whatever we were playing was incredible. These are things 250

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Interviews that not only we were familiar with, but the audience could grasp. While Milt [Jackson] was playing a complex improvisational solo, John [Lewis] would be doing some real silly stuff over there [at the piano], which was rhythmic and also within the structure of the piece. He always supplied all of the parts of the chord that you needed as support. So I found out, after listening to John for a long time (even before I had a chance to play with him), that that was happening over there. I find that a good accompaniment is always something that can be utilized as a springboard for the soloist. Sometimes, it could even inspire the soloist to play that silly thing that we were playing. Sometimes the little musical idea would go around the whole band: the bass player would play it, and eventually everybody would play it. John Lewis was a master of accompanying. Between Percy [Heath], John, and Connie Kay…that was quite a team. After they played together for forty years they really knew how to do it.

JP: Do you have any special memories about playing with J.J Johnson and Tommy Flanagan regarding comping?

TH: Tommy was the same [as John Lewis. In other words, Tommy Flanagan was a master of accompanying]. That’s what I remember about him. I think Cedar was there for a while too. Cedar was an excellent comper. And, I tell you another one that just comes to mind, is Harold Mabern. Harold Mabern is a serious rhythm guy. When he sits down at the piano he makes sure people feel excited about what he’s doing. I don’t care what’s happening in his life, he doesn’t let that get in the way. Other people bring their life issues to the bandstand: maybe they don’t feel like playing or maybe they had too much to drink. With Mabern it’s never that way. He’s always consistent. And he’s a very happy accompanist. He enjoys playing in the rhythm and accompanying other people.

Another guy was Dollar Brand (Abdullah Ibrahim). I got a chance to play with him and Don Cherry some years ago in Denmark. We struck up a very nice little marriage because of Don’s free playing and Ibrahim’s rhythmic approach to playing the piano. It was like he was playing the drums, but he was on the piano. He was dealing with the harmony and all, but it was always very rhythmic. For instance, it was like Horace Silver. Horace was always very rhythmic behind soloists or while accompanying. And he played little nursery rhymes and things. It was the same concept that John Lewis had. Horace had a little more guts to what he did compared to John. His stuff was a little more bluesy maybe. But [Horace] played those nursery rhymes a lot. That was part of his identity. JP: How was it playing with Herbie?

TH: To be honest, when Herbie and Buster were playing, I never knew where they were most of the time. It was only because of my shortcomings. Since they both used so many extensions in their chord playing, between the piano solo and bass solo I was kind of lost. It has nothing to do with them. That’s the way they played. I had a hard time coming back in at the top. It was difficult to find where the chorus would end. We played the An Approach to Comping: Advanced Concepts and Techniques

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Interviews music every night for a couple of years. Even so, it was very hard for me to find where the solo ended, or when they reached the climax. I think now that I know more about music, I think I’m better equipped and could probably do a better job.

[It should be stated that despite Tootie’s ultra humble account of playing with Herbie Hancock, Tootie’s contribution to the “Prisoner” is undeniably great and represents everything great about music making. It is interesting that no matter what the setting was, Tootie strived to understand the harmony and be intimately involved with the climax, whatever that might entail, and tried to compliment the best way he could. Tootie is truly one of the master compers.] Conclusion It is my hope that these interviews may inspire you to become passionate about comping and to go out and seek music making opportunities with other musicians. Playing music is about sharing, listening, and expressing yourself. Whether you are soloing or musically supporting your fellow musician, always keep this in mind.

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Appendix How to use these workbooks if you are a… Jazz Pianist:

All parts of An Approach to Comping: The Essentials and An Approach to Comping: Advanced Concepts and Techniques should be useful. Used as a two-volume set, the workbooks take you through voicing techniques from basic to more advanced. Although it is recommended that you go through The Essentials before tackling Advanced Concepts and Techniques, it is possible to start anywhere in either of the two workbooks and begin working through any of the transcriptions/rhythms/progressions/exercises assuming that as a jazz pianist, you have the necessary harmonic and technical background. The two workbooks therefore can work independently. Moderate to advanced technique will be necessary to play some of the comping transcriptions. Some reading skills will be necessary before starting either of the two workbooks. See “Non-pianist.” Classical Pianist: Focus on Chapter 1 from The Essentials when first getting started to develop your jazz feel and rhythmic independence. Then go through the first workbook making sure to spend plenty of time practicing with the original recordings and the CD included. (See introduction for CD instructions). Non-Pianist: A large part of The Essentials is used in my Jazz Piano Workshop course I teach at Queens College, designed especially for college-level jazz musicians whose first instrument is not piano. Even though some reading skills will be necessary, it is unnecessary to have piano technique. For you, go through Chapter 1A from The Essentials, but skip Chapter 1B. Concentrate on shell practice in Chapter 2. Skip the transcriptions except for Sippin’ at Bells, Celia, Comping in the style of Sonny Clark, (from Chapter 2D), and Bud Powell’s Dance of the Infidels from Chapter 3C. Concentrate on TV practice in Chapter 3 so that you can comfortably comp through blues and rhythm changes using TVs. Then proceed to Chapter 5 to learn about spread voicings so that you can play through standards at the piano. Check out Red Garland’s comping on Diane. By the end you should be able to comp through blues, rhythm changes, and some standards using spread voicings, TVR’s, and a limited number of rootless voicings. A large portion of Chapter 3 from Advanced Concepts and Techniques is very accessible if you are interested in expanding your knowledge of rootless voicings. The Ahmad Jamal LH transcription in Chapter 3C is particularly enlightening and at the same time, within reach technically. An Approach to Comping: Advanced Concepts and Techniques

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Interviews Jazz Guitarist: Begin with The Essentials. The CRs (comping rhythms) from the entire volume should be useful for you. Get to the piano and check out the voicings as written before adapting them to guitar. Spend time with the upper part of the voicings found in the Comping Progressions in order to assimilate and adapt the comping language of the pianists to guitar. Work with guide tones or skeletal structures (from Chapter 2 of The Essentials). Work with the top one, two, or three notes from the TVs and spread voicings outlined in Chapter 3 and 5 (of the Essentials.) Think about comping melodies through blues and rhythm changes from Chapter 3D. Study at least the top three notes of the voicings discussed in “Comping in the Bebop Style” from Chapter 4. Alternatively, use drop-2 voicings. Always play with the original records and the CD included. (See introduction for CD instructions). After working through The Essentials continue with Advanced Concepts and Techniques. Again, it’s important to spend time on the piano with the original voicings as written before adapting them to guitar. Comp using Barry’s and Bud’s LH shapes–omitting the bottom note if necessary from Chapter 1 of Advanced Concepts and Techniques. Check out the fast tempo TV practice in Chapter 2. Investigate rootless voicings and drop 2’s from Chapter 3 and 4. Adapt the basie-like voicings from the same chapter to guitar. Adapt Hank Jones’s comping to guitar. Smaller shapes that fit on the guitar should be used when going through Chapter 5 (the final chapter of Advanced Concepts and Techniques). Adapt the comping styles of Bill Evans, McCoy Tyner, and Herbie Hancock to the guitar. Jazz Vocalist: Follow the guide for non-pianists. Using TVs over roots can be very effective when accompanying yourself. In addition, the voicings from 2C of The Essentials have a very open and airy sound–complimenting the voice nicely. Check out Chapter 3 from Advanced Concepts and Techniques for an accessible survey of rootless voicings. These are also very useful when accompanying yourself, especially with a band. Jazz Drummer: Follow the guide for non-pianists. Pay special attention to all of the comping rhythms included. On from The Essentials and Advanced Concepts and Techniques you will find tracks with no drums. Comp along with the transcriptions. See Play/Comp Along CD information.

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Play/Comp Along CD Information Advanced Concepts and Techniques

Track 1: changes to “Morning Coffee” (F blues) (demo) Track 2: changes to “Morning Coffee” (F blues) (no piano) Track 3: changes to “Luminescence” (demo) Track 4: changes to “Luminescence” (no piano) Track 5: I–VI–ii–V (2 beats per chord) (no piano) Track 6: I–VI–ii–V (1 measure per chord) (no piano)

Track 7: LH comping on the changes to “Fine and Dandy” (demo) Track 8: LH comping on the changes to “Fine and Dandy” (no piano) Track 9: comping with TVs on the changes to “Fine and Dandy” (demo) Track 10: comping with TVs on the changes to “Fine and Dandy” (no piano) Track 11: changes to “Fine and Dandy” FAST version (demo) Track 12: changes to “Fine and Dandy” FAST version (no piano) Track 13: Bb Rhythm Changes FAST version (no piano) Track 14: changes to “On Green Dolphin Street” (one chorus) (no piano) Track 15: changes to “Diane” (no piano) Track 16: changes to “Broadway” (demo) Track 17: changes to “Broadway” (no piano)

Track 18: changes to “Remember” (demo) Track 19: changes to “Remember” (no piano) Track 20: changes to “Stella by Starlight” (demo) Track 21: changes to “Stella by Starlight” (no piano) Track 22: changes to “Falling in Love with Love” (demo) Track 23: changes to “Falling in Love with Love” (no piano) Track 24: changes to “Did You Call Her Today” (melody chorus only) (no piano) Track 25: changes to “Did You Call Her Today” (demo) Track 26: changes to “Did You Call Her Today” (no piano)

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Appendix

Track 1: blues through the keys (no piano) Track 2: minor blues through the keys (no piano)

Track 3: rhythm changes in C, Eb, F, G, Ab, Bb (no piano) Track 4: rhythm changes in Db, D, E, Gb, A, B (no piano) Track 5: modal blues in F, Bb, and C (no piano)

Track 6: changes to “On Green Dolphin Street” (demo) Track 7: changes to “On Green Dolphin Street” (no piano) Track 8: changes to “Blowin’ the Blues Away” (no piano) Track 9: changes to “Passion Dance” (demo) Track 10: changes to “Passion Dance” (no piano)

Track 11: displaced dotted half note cross rhythms (demo) Track 12: changes to “Someday my Prince will Come” (demo) Track 13: changes to “Someday my Prince will Come” (no piano) Track 14: changes to “All Blues” (demo) Track 15: changes to “All Blues” (no piano) Track 16: 5 over 4 cross rhythms Track 17: 5/8 cross rhythm starting on the 2nd eighth note Track 18: 7/8 cross rhythm starting on the 3rd eighth note Track 19: displacing the half-note triplet Track 20: 5/8 triplet cross rhythm Track 21: 7/8 triplet cross rhythm Track 22: changes to “One Finger Snap” (demo) Track 23: changes to “One Finger Snap” (no piano) Track 24: shuffle beat (drums only)

Track 25: changes to “Remember” (no drums) Track 26: changes to “Did You Call her Today” (no drums) Track 27: changes to “Passion Dance” (no drums) Track 28: changes to “One Finger Snap” (no drums)

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