I am still working on this lesson in conjunction with the secret jazz chord lesson. Currently I’m working out iii VI ii V I IV sequences in all positions and locating secondary dominants. Does anyone else have any ideas about how to organize this material and incorporate it into performance. Thanks in advance. RR
Apply it to tunes! Don’t spend too much time on the mechanical aspect of it, open the fake book and apply it to every chord you see.
Ok. Thanks.
One thing I found when doing all this, is that the SJC can be a little trickier when altered resolving to major chords. Remember, it’s altered, so you’ll have to move outside your position. You can either go down, or up. Right Barry? Minor has more notes in common, so it will be easier to get it in position.
I am finding it hard to apply these two lessons to tunes. I will pull out some charts as Barry suggested and go back to work on them, with close attention to resolving dominants.. Thanks
Why? Anytime you see a dominant chord use one of the voicings, same with -7b5’s. That will get you along way.
The Facebook Five Position Study cleared up a lot for me so thanks for that Barry. I was wondering.... in the video lesson of this piece you referred to the F7 as a ll dom. I have always called them ll dom’s also but could they also be analyzed as V of V (F7 to Bb7). Is one way of looking at more common than the other? Thanks, Scott
The most common are V7/II and the II7 chord. Hope that helps!
Barry
V7/V. My apologies.
Hey Barry, I loved the live session. I have one question that me and my friend have discussed after the session. How much do you care about voice leading when comping? I mean you move a lot when you comp, cause your main focus is melody(which I love), but doesn't that in many situation make the voice leading "bad"? Is that okay? Are there in fact two "schools" to comping, where one is melody, and the other voice leading, or is it a hybrid? If so, I guess you prioritise melody, but make the voice leading as smooth as possible?
Not important. Voice leading is an orchestration tool, great for chord melodies and arranging. Not at all necessary when comping. That’s not to say it’s not an effective tool, but it’s just another device!
When you comp over standard tunes, you use 4 notes voicings in your examples. Do you ever use 3 note voicings (for example, a drop 3 rootles voicing) or 2 note voicings using the 3rd and the 7th of the chord? How do you determine the "density" of the chord when comping a soloist?
Thanks a lot.
Density is just another way of looking at another color. Just do what is right under the circumstances, that’s what making art is. There is no formula for any of this. You have the tools at your disposal now you have to become an artist and use them in a musical way. Trust your instincts, trust your ears and get out there and play as much as possible