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- Hi everybody, my name is Jens Larsen.
In this video I'm going to go over a chorus of comping
on a 12 bar blues in the key of F.
In this chorus I'm using only drop 2 voicings
on the middle string set.
So, using drop 2 voicings like this,
with a slightly darker sound is a great way to get a groovy,
really swinging hardp bop or bebop sound off your comping.
What I'm going to do is, I'm going to show you
the different voicings that I'm using in the chorus,
and I'm also gonna take one of the dominant chords
and then talk about how I'm adding extensions
to the drop 2 voicings.
The sound that I associate with this type of comping
is probably mostly Wes Montgomery,
but you will also find this being used by other people like
Kenny Burrell or Joe Pass.
In general the drop 2 voicings are really a huge part
of the core vocabulary of any bop oriented player.
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about improvising over chord changes,
or checking out some interesting arpeggios,
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Let's just quickly go over what a drop 2 voicing really is.
If we take an F7 chord, so if I play it as a stagger thirds,
then that would be this, so F, A, C, and E flat.
As you can tell, this is possible to play on guitar
but it's kinda uncomfortable.
It's not the most practical way to play a chord.
If I start to make inversion of it,
then it gets completely impossible,
because then I'm going to do this I think.
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So, that's not really something we can use while comping.
One way you can make it a little bit easier to work with,
is to turn it into a drop 2 voicing.
So, if I take my original
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F7 here, if I the second highest note,
so that's the two.
So, the second highest note in this is the C.
And I take that down an octave,
to this note.
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Then I have this, which of course doesn't immediately
appear to be any easier to play.
But in fact, I can put this here,
and then I have this voicing.
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And that's a little bit easier to play.
The next thing you wanna work with,
once you have your F7 drop 2 voicing,
is how to add some extensions to it.
So, if we just look at the basic inversions of the F7,
that would be this.
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Now there are two things that you can work with,
that are common rules when you're adding
extensions to a chord.
One is that if you wanna add a nine to a chord,
then you're gonna have the nine instead of root.
So, that means that for this voicing,
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I'm gonna find the F,
and then I'm going to take the G instead,
which is the nine,
and then I'm gonna have that voicing.
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The same goes for this one.
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And then for this one.
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And then for this one.
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So, now I have an F7 with a nine.
Another thing I can do is that I can take,
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this F7 and then instead of the fifth.
So, I'm gonna find the fifth,
and that is in this case the C,
and I'm gonna replace that with a 13,
which is a D.
And then I get these voicings.
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Now I have a voicing that's just the basic F7,
and then I have an F7 with a nine,
and an F7 with a 13.
And I can actually also combine them,
so that I have an F7 with a nine and a 13,
that would be these voicings.
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For the first F7 bar, I'm using this F7 with a 13,
and then halfway through the bar,
I change that into the one where I have the nine added.
So we get.
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And then I move into a B flat seven,
that's close by and that would be this one,
which is a B flat seven with a nine.
Same rhythm and then same melody.
So the melody in the first one of course.
And that's also the melody
I'm gonna use on the B flat seven.
And that means that I have this B flat seven
with a nine on a 13.
Back to the F7 with a 13.
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Nine.
And then to transition to the B flat seven bar five,
I have a two five.
So, first I play a C minor seven drop 2 voicing.
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And then an altered dominant.
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So, this is an F7 with a flat 13 and a sharp nine.
One way of looking at this,
it is actually similar to this voicing,
except it's a tri-tone away.
So you can also think of this as being
a B7 with a 13 and a nine.
Using the tri-tone substitution like this,
to figure out how to play some altered dominant voicings,
is a really easy way to just,
reuse stuff that you already know
when you wanna find drop 2 voicings for altered dominants.
On the fourth degree, we're up around the octave here.
The first voicing is a B flat seven with a 13 and a nine.
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And then the melody becomes just the root.
So that means that we have a B flat seven with a 13.
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Then the next bar is above B diminished.
And that's first just this inversion.
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And I'm just moving that down, minor third.
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And back to F7 with a nine and a 13.
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And then a F7 just with a 13.
Then we get the short, minor cadence to the two port.
So, that's first A half diminished.
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A half diminished in this case is actually
the same as a F7 with a nine.
And the way I'm using this is just,
playing that and then using the same voicing,
but moved up a minor third for the D seven.
(guitar music)
And on the D seven, this means that we have a D seven
with a flat nine and a flat 13.
Then that results to G minor.
Just a basic G minor voicing.
And then a G minor with a nine.
Again, here's the G so that's the root,
replacing that with a nine.
So, for the minor seven chords,
I'm doing exactly the same thing as I was doing
with the dominants, with the F seven chords at beginning.
Then, C seven altered.
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Which you can also think of as being an F sharp,
or a G flat seven with a nine and a 13.
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Just repeating that vamping and that rhythm.
And then to the fine turnaround.
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F7 with a nine and a 13.
This diminished chord that I'm using for a D seven
flat nine, you can also just look at it being
the straight D seven like this.
And then you have, here's the root.
And we're replacing that with a flat nine.
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Then the G minor voicing that I already had once,
and the C seven altered.
Of course you can start checking out
the example that I played,
and try to learn that and play along with what I'm playing.
But, I think it's equally important,
that once you start working with these voicings,
then try and see if you can also make your own way
through a chorus, and maybe just start really simple
and just play like one chord per bar,
and find different ways of moving from chord to chord
and work with that.
And then gradually start to introduce different,
sort of more riff like rhythms,
maybe take some of the rhythms that I'm using,
and just use all the voicings,
and really try and improvise with it.
Because in the end, that's what you need to be able to do,
and as soon as you can start working on that,
the more you'll have out of checking out these voicings.
I think that's a really important thing to remember
to do as well.
As jazz guitar players, we probably spend most of our time
focused on soloing.
And that also goes for when we're talking about
great guitar players.
But actually, one thing that I'm curious about is,
who's your favorite when it comes to comping?
Who's the guitar player that you think has the best comping?
Who's good at laying down a groove,
or who has the best ability to interact with
the rest of the rhythm section or the soloist?
So, leave a comment on that, I'm really curious about that.
Maybe there are some people that I don't know of
that's, of course, also interesting.
And also, be sure to mention why you think
that he or she is a great comper,
because I think that's also interesting,
and it's something that we should check out more
and talk about more than what we're doing right now.
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That's about it for this week.
Thank you for watching and until next week.
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