(jazz music)
- Hi everybody, my name is Jens Larsen.
Rhythm is much more important than the notes.
This is true for jazz in general
but it's certainly true for comping.
And the easiest way to learn some new comping rhythms
is probably just to make some small patterns
that you can repeat and then work on taking
those rhythmical patterns or riffs
through some chord progression.
In this video, I'm going to show you five really great
comping rhythms and how they sound and I'm going
to take each one of them through a blues in F.
If you want to practice the five examples with me
then you can follow the links in the description
of this video and then play along with me
and that way, really get them into your system.
Because with a rhythm, you don't really want
to think about the notes you're playing.
You just want to hear the entire phrase
and get used to how that sounds and that way
get it into your ears and into your veins.
If you want to learn more about jazz guitar,
prove the way that you solo,
check out some interesting rhythms,
or chord voicings, then subscribe to my channel.
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The first rhythm is really a basic rhythm
that you definitely want to have in your playing.
It is always good to also just have that
as a reference if you want to learn into a groove.
And that's the Charlestone rhythm.
The Charlestone rhythm is a simple rhythm.
There are two notes.
There's, the first one is on the one
and then if I play just with F7 here,
then first we have one on the one
and then we have one on the two ends.
That means the rhythm sounds like this.
One, two, three, four.
One, two, three, four.
One, two, three, four.
One, two, three, four.
So you want to practice so that's easy to play.
Maybe put on the metronome, on two and four.
One, two, and one, two, three, four.
(clicking and guitar)
And remember that the goal is that you can do this
so that it comes easy.
Of course, if you find two and four difficult
put it on all four, or put the metric on one, three.
Doesn't matter too much in the beginning.
Just get the rhythm into your ear so you can hear
where it is.
And if you start with just one chord,
You're only focusing on the rhythm and how it sounds,
see if you can imagine how the rest
of the rhythm section sound.
When you have an idea about that,
then you can really play in the groove
and it's much easier to sound good when you're playing
with a background track.
Of course, you can play this with me,
if you want to focus just on the rhythm
in this first example.
Or actually it could be in any of the other
examples as well.
You can also just choose to only play the rhythm
and not worry about the way that I'm playing the chords.
And I would suggest you do that, just using the,
so the basic shell of each of the chord.
I'll write them out and I'll put them on my
website also so you can check them out there.
So essentially that's just for F7,
just play these third, seven, the same of B flat.
Then we have, so F7, B flat.
F7, B flat 7, B diminished, same thing.
F7, A half diminished, D7, F minor, oh sorry,
B minor, C7.
So really simple to play.
Just focus on that and just play with rhythm.
And that way you can also quickly play along
with a backing track.
And then when you get...
(guitar music)
And so on and so forth.
Try to work on it like that.
I like the Charlestone Rhythm is really good.
To return also still practice that through changes
once I awhile just to work on really locking
with the rhythm and it's something
that you definitely really want to have in your system.
(jazz music)
This second rhythm I've added because
I think it's a nice way to have a rhythm
that sort of really pushing the harmony forward
and really adding some energy in that way.
So it's fairly simple on the one.
And on the one end I'm just stating the chords.
So, that's and then to pull things ahead
I have on the three end, I have a long chord
that's really moving things along.
So we get one, two, three, four.
One, two, three, four.
One, two, three, four.
So that last part of the rhythm is really just pulling
to the next bar and to the next chord.
That means that when the chords are changing
then we have this F7 that's really pulling us
into the B flat.
And that works really well.
That's something that's nice to be able to do as well.
And you don't really have that with the Charlestone Rhythm
because that just sort of sits there and is a groove.
And that's a little different.
As you probably noticed,
I'm not only playing one chord when I'm using
a different chord in the example.
And what I'm doing here is I'm playing a basic
two bars for the F7 and then I have extra melody note
that I can use as well.
So essentially that's just using this F7
and then this 13 on top of it.
I'm not writing out that this is an F9,
rather this is an F13, because when you're comping
and when you're making up these grooves
then you just have to think F7
and then all of these different sounds
are things that you can just choose to use
whether you want to or not
and it really depends on what you're playing
and of course if you're playing behind somebody
also what they're playing.
So these two for the F7, for the B flat seven,
just really basic B flat seven and then the nine on top.
For the B diminished, I very often use
inversions of the diminished because they're kind of easy
to move around.
That's just an easy way to do that.
So everything is kept as practical as possible.
Let's see, so for the A half diminished,
well I'm actually using the same as what I'm using
for the F7.
Just either this A half diminished or the A half diminished
with an 11.
Different versions of diminished chord,
especially for the D7.
And then for the G minor, mostly these two.
For C7, C7 altered.
And then the turnaround is usually just this.
A7, this D7, this G minor7, C7 altered coming back.
I think again, you don't really need to worry too much
about the voicings.
If you can read them, you're probably familiar
with some of them anyway.
They're all drop two voicings and you can check out
other videos that I have on drop two voicings.
If you want, you can learn more about that.
If you want to work just on the rhythm,
then go back to just playing the shells.
And then just work with that.
That's already going to give you a lot
and then you can always add your own melodies,
which you have to do anyway because once you start comping,
you're going to be mixing up these different patterns
and just using different rhythms and improvising.
Right now you're just working on building
your vocabulary so you have some things to choose from.
(jazz music)
The third rhythm here is really a rhythm that's
not so much used for accents and solos.
This is something that you can, even though it's quite basic
you can actually get away with playing quite often
behind a soloist, because most of the time
you just play mostly down beats and it's kind of
easy to play on for a soloist.
It doesn't get in the way as much.
What I'm tying the different bars together with here
is really just the melody that I'm using.
And it is a very simple melody.
I'm still just using those two notes.
So I'm first just playing on the one.
And then I'm really just going back and forth between
this melody note and this one.
So we have one, two, three, four.
One, two, three, four.
And then I'm just moving that through the beration.
So on the B flat, one, two, three, four, one.
So that's the basic idea that's happening here.
I'm changing it a little bit along the way
because it's easy to get it to fit in other ways.
When I get to the A half diminished
and also in the turn around of course,
I have more quarter bars so I need
to make some changes there.
But in general I'm using...
The melody also and that's also because it's easy
to remember these rhythms if you have a melody.
So a little bit abstract and melodies make a lot more sense
I'm used to thinking in melodies.
And I'm using that to just internalize these rhythms.
(jazz music)
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(jazz music)
The first three examples that I used here
are all just really securely laying down the one
that makes it a little bit easier to play them
and also to hear them in the meter and in the bar.
But you also want to have some rhythms that are
really going to open up so that you don't always
have to play on the one.
It's nice that you play on the one
and you definitely want to be able to
lay down a one and lay down a clear chord
whenever that's called for because that's an important part
of comping is that you also just support
while the entire band but especially the soloist
and we really make things clear when that's needed.
But at the same time you also want to feel comfortable
just playing on the offbeat and also really knowing
how to get that to sit in the groove.
And this rhythm is really an example of that
because here I don't have a one.
I'm playing on the one end and then
I'm playing on the three.
The rhythm is like this, one, two, three, four.
So I'm playing on the one then on the three
and on the three end.
One, two, three, four.
One, two, three, four.
And this is really just a good use to
using rhythms that are not on the one.
And you want to work on, well eventually you want to work
on all of them, but this is a good one to start with
because it's easy.
The other one that you also want to check out
is to play on the four end where you're anticipating.
But if you listen to somebody like Rick Garland
he's gonna be playing on the two end and the four end
really a lot and he's always anticipating the harmony.
So he's already on the four end playing the harmony,
so the chords of the bar that comes after it.
And that really pushes things forwards.
And that can be a useful effect.
I'm not really working with that right now.
I'm jut working with playing the one end,
'cause that's a little bit easier to start with.
(jazz music)
When you're comping in an actual playing situation
then a big part of your job is also to respond
to whatever's happening, both in the drums
and certainly also with what the soloist is playing.
And it's nice to have some rhythms that really
lend themself to be natural responses
to what is happening.
And I think this is a rhythm that's a good example of that
even though here I'm kind of using it of course
because I'm moving it through the blues.
I'm using it as a groove and it works for that as well
but it will also work really well if you want to,
so the player's short response to the soloist playing
a phrase that's ending on the four end
or on the one which is something that's quite common.
So in this case I'm playing on the two,
and then on the three and the three end.
So that means the phrase sounds like this.
One, two, three, four.
One, two, three, four.
One, two, three, four.
One, two, three, four.
And of course, still the same applies.
Maybe first practice it just with the shell.
Practice it with a metronome and just stay in one chord
and then try moving it through the blues
using either my examples or whatever your own voicings,
that'll work.
Just work on using that rhythm and get that
into your playing.
You can kind of imagine just the soloist coming out
on the one and then you just kind of
close that with a response from...
And that's a nice thing to work with.
It's also as a riff, because we're using it
as sort of a groove that's just going through
the entire blues.
It's also something that doesn't ask too much attention.
Sometimes when you have rhythms, if you play
too complicated things, then you're taking away attention
from the soloist and that's not really your job
when your comping at that point.
And especially if you're the sight man of the soloist
and he asked you for the gig.
That's also an easy way to get fired.
So you might want to be a little bit careful with that.
(jazz music)
The chord voicings that I'm using in this video
are all drop two voicings as I already mentioned
and if you want to check out another video
where I'm talking about how to use drop two voicings
on a blues, and really create some interesting melodies
in your comping, then check out this video
where I'm applying drop two voicings
to a blues B flat.
If you want to learn more about jazz guitar
and this is the first time you've seen one of my videos
then subscribe to my channel.
If you want to help me keep making videos,
then check out my Patreon page.
That's about it for this time.
Thank you for watching and until next time.
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