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| PREVIEW — Jazz Guitar Comping • Passing Chords | ||
| In order to create motion and stronger resolution patterns in a comp, chords from outside the basic progression of a tune are used to form connections between the written chords. These passing chords are, by definition, not held or extended, as in using alternate chord changes—they are used in “passing.” When listening to an experienced comper, you will hear passing chords being used frequently. | ||
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| In the above example, Gb7 (the tritone substitution for C7) is a passing chord between C-7 and F7. The momentary tension created by the passing chord against the underlying chord, and the movement of each note by a half step, results in a strong resolution to F7. | ||
| This use of substitute Dominants is one of the most common passing chord devices. This can be done more than once in a progression: | ||
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| Parallel chromatic chords are often used in passing, in this case, Minor7s: | ||
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In the previous example, the C#-7 passing chord creates movement in what would otherwise be a static point in the progression. This also works ascending: |
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| Next: Rhythm • Comping Patterns | ||
| CONTENTS INTRODUCTION 6 How to Use this Book 7 Suggestions for Practice 8 Chord Symbols 9 Basic Voicings 10 VOICE LEADING 12 Moving Notes 13 Two-Note Voicings 15 Three-Note Voicings 16 The Upper Voice 17 Non-Functional Chord Progressions 22 MULTI-USE VOICINGS 24 13th Chord 25 Major Triad 30 Major 7th 36 Fourths 40 Diminished Scale Voicing 44 VOICING VARIATIONS 50 PASSING CHORDS 62 Blues Etude 65 HARMONIZED SCALES 66 Ballad Etude 71 INTERVALLIC COMPING 72 RHYTHM 76 Anticipation/Delay 78 Long/Short 84 Connecting Chords 88 Arpeggiation 90 Space 92 Rhythm Etudes 94 STUDIES AND ANALYSIS 100 Solos and comping transcribed and analyzed 100 CD CONTENTS 136 |
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| © 2005 Microphonic Press | ||
| Jazz
Guitar Comping Andrew Green Paperback: 136 pages with CD Publisher: Microphonic Press ISBN: 0-9700576-4-4 |
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