3 Truefire 2014 Jazz Guitar Comping Ma Seguin PDF [PDF]

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Jazz Guitar: Comping by Melody A Study on the Bb Blues JazzGuitarLessons.net Improve Your Jazz Guitar Playing with a REAL Teacher So, what is the blues? Here's the basic chord structure:

B¨7

b &b

E¨7

™™44 V V V V

B¨7

V V V V

E¨7

V V V V B¨7

b &b V V V V

V V V V

C‹7

F7

b &b V V V V

V V V V

V V V V G7

V V V V B¨7

G7

V V V V C‹7

V V V V

F7

V V V V

Step 1: Build a simply melody line on top strings

B¨7

E¨7

B¨7

w ° bb w &

w w

6 6

6 6

¢⁄ E¨7

w

° bb w & 6

B¨7

G7

w

w

11

3 6

¢⁄ C‹7

F7

w

w

G7 B¨7

C‹7

F7

w

° bb &

∑ 11

8

6

¢⁄ Copyright © JazzGuitarLessons.net - Improve Your Jazz Guitar Playing with a REAL Teacher

™™

2

Step 2: Harmonize with basic (boring) chords

B¨7

° bb w w & bw w w

¢⁄

6 7 6 8 6

E¨7

w bw w w w

B¨7

w bnw w w w

6 8 6 8 6

w w bw w w w

6 7 6 8 6

6 6 7 6 8 6

B¨7

G7

E¨7

w ° bb bw w & w w

¢⁄

6 8 6 8 6

C‹7

w ° bb bw w & w w w

¢⁄

11 8 8 8 10 8

w w bw w w w

w n bw w w w

11 11 12 11 13 11

F7

6 7 6 8 6

w nw w w w w 3 3 4 3 5 3

B¨7

w bw w w w

w w bw w w w

8 10 8 10 8

6 6 7 6 8 6

∑

3

Step 3: Harmonize with extended chords

B¨13 B¨9

° bb w w & bw w

¢⁄

6 5 6 5

E¨9

w bw w w

B¨9

w w b nw w

6 6 6 5

° bb bw w & w w 6 6 6 5

6 8 7 6

6 5 6 5

E¨9

B¨9

w bww w

w w b nw w

11 8 10 11

6 5 6 5

¢⁄

w w bw w

G9

nw w nw w 3 2 3 2

B¨13 C‹7

w b w ° bb w & w 11 11 12 10

F13

w bw w w

w w bw w

10 8 8 7

6 8 7 6

¢⁄ Note the the melody has been slightly modified here ...

∑

4 Step 4: Activate the rhythms with 8th-notes

B¨9

° bb Œ &

Œ

Œ

œ œœ bœœ

œ œ E¨9 ˙™ bœœœ ˙˙˙ ™™™

˙˙ ™™ ˙˙ ™™

8 8

B¨13

° bb ˙˙˙ ™™™ & ˙ ™

6 6 6 5

6 5 6 5

¢⁄

œ œœ E¨9 ˙™ bœœ ˙˙˙ ™™™

œ œ bœœœ

8

13

6 6 6 5

B¨9

˙™ ˙˙˙ ™™™

° bb w & w w w

C‹9 F13

C‹9

˙˙ ˙˙

œœ ™™ œœ ™™

10 8 8 7

10 8 8 8

œ. œœ Œ œ

œ œœœ bœ

8

8

6 5 6 5

E¨9

œ œœ ˙˙ ™™ bœœ ˙˙ ™™

11 8 10 11

8

F9

œ nœœ n œœ

6 5 6 5

4

B¨13

œœ œœ Œ ‰ bœœœœ J J

˙˙ ˙˙

Ó

∑

. 11 8 8 8

8 8 8 7

6 8 7 6

B¨9

¢⁄ G9

œ œœ ˙˙ ™™ bœœ ˙˙ ™™

6 8 7 6

¢⁄ The melody has been modified again, to activate the rhythms. Nevertheless, the top note line is still based loosely on "step one" above ...

3 2 3 2

5 Step 5: Activate the harmony with chromatic chords

B13

° bb Œ ‰##œœ & #œœJ

B9

œœ œœ

B¨13

7 6 7 6

#œœœ bnœœœ bœ œ 8 7 7 6

8 7 7 6

E¨9

E¨9

œ #œœ bnœœœ bœ œ

6 5 6 5

B¨9(#5)

° bb ˙˙˙ ™™™ & ˙ ™

B¨9(#5)

˙˙ ™™ ˙˙ ™™

#œœ n nœœ œœ bnœœ

9 6 7 6

¢⁄

B¨9

6 6 6 5

13 13 12 11

F9(#5)

B¨9

#œœœ #œ

˙˙ ™™ ˙˙ ™™

6 6 6 5

nE¨13 œœ œ bœœ œœœ

˙˙ ™™™ ˙˙ ™

˙˙ ™™™ ˙™ ˙

8 6 7 6

E¨9

° bb Œ ‰n#œœœ Ó & œJ

C©‹9 F©9

C‹9

# ˙˙ #˙˙

œœ ™™ œœ ™™

. # œ # œ Œ nnœœ

8 6 7 6

8 6 7 6

A¨9 G9

˙˙ ™™ ˙˙ ™™

œ bœœœ nœœœ nœ

6 5 6 5

4 3 4 3

F9

œœ œœ Ó J

B¨13

œ™ œœ œœ b œ œ b œ œ ‰ n œœ ‰ J b ‰ J

. 3 4 4 3

11 9 9 9

9 9 9 8

10 8 8 8

8 8 8 7

¢⁄ This comping chorus on the Bb blues has been borrowed from the late jazz guitar legend Barry Galbraith.

6 5

6 4

4 6

6 8 7 6

B¨9

#œœœbnœœœ #œ nœ

11 8 10 11

œœ œ #œœ bœœ #œ

6 5 6 5

F9(#5)

˙™ ˙˙˙ ™™™

¢⁄ G7(#5)

œ bnnœœœ

F9(#5)

6

6 8 7 6

∑

3 2 3 2