- Comping over straight-ahead, bebop, modal, funk/fusion, ballads, contemporary jazz, Brazilian and Afro- Cuban styles
- – creative chord voicings — looking at the fingerboard and voicing chords in a more “pianistic” way; quartal harmony (clusters voiced in 4ths) in modal comping; the possibilities of dissonant intervals such as the minor 2nd; slash chords; tritone substitution; and upper register chord voicings
- – rhythmic anticipation and syncopation: the “right” places to put chords in treating rhythmic “forward motion;” comping in 3/4, 6/8 and odd meters.
Prerequisites: knowledge of chord/ scale theory; ability to play major, dominant and minor seventh chords and the ii–V–I progression in all keys.
Thursdays 8:15 – 9:45 pm
9/21 – 11/30 (10 weeks) no class 11/23
Steve Erquiaga • $395
COURSE TITLE: Jazz Guitar Comping
This hands-on course provides the intermediate to advanced guitarist with tools, concepts and techniques essential to creative and effective contemporary comping.
- comping over straight-ahead, bebop, modal, funk/fusion, ballads, contemporary jazz, Brazilian and Afro-Cuban styles of music
- creative chord voicings — looking at the fingerboard and voicing chords in a more “pianistic” way; quartal harmony (clusters voiced in 4ths) in modal comping; the possibilities of dissonant intervals such as the minor 2nd; slash chords; tritone substitution; and upper-register chord voicings
- rhythmic anticipation and syncopation: the “right” places to put chords, in order to create “forward motion”; comping in 3/4, 6/8 and odd meters.
knowledge of chord/scale theory; ability to play major, dominant and minor seventh chords and the ii–V–I progression in all keys.
Each week students will comp over tunes/recorded rhythm tracks, employing that which they have learned in previous weeks.
Students are encouraged to bring in tunes that they would like to work on
introduction to and application of upper register chord voicings
looking at the rhythmic placement of chords in terms of supporting a soloist and in providing a sense of forward motion.
applying the above to a jazz blues progression and a jazz standard
further exploration and application of upper register chord voicings and comping rhythms
understanding the tritone substitution and how to use it
modal comping and the use of quartal voicings (voicings built in intervals of 4ths)
applying the above to several modal tunes
continued application of upper register voicings and comping rhythms
drop 2 voicings
further exploration of quartal voicings
employing the minor 2nd interval
comping tunes in 3/4 and 6/8
introduction to Brazilian rhythm guitar
continued exploration of Brazilian rhythm guitar
introduction to walking bass lines
walking bass on Blues for Alice changes
continued development of walking bass lines
continued application of upper register voicings, comping rhythms, slash chords, quartal voicings and minor 2nds to standards and contemporary jazz tunes
the Afro Cuban montuno
combining walking bass with chords
comping rhythm changes
comping up tempos
students will “jam” together: walking bass, comping, soloing
jazz/funk rhythm guitar
comping odd time signatures
address and revisit any of the material covered
discuss who and what to listen to comping wise for further development
jam on tunes and/or styles of students choice
Steve Erquiaga (guitar)
National and international recording and performing artist; performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, David Byrne, Turtle Island String Quartet, Paulo Bellinati, Andy Narell, and Paul McCandless; founder, leader, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.