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EasyMajoriiVIComping

EasyandEssentialiiVIChordsforGuitarWrittenBy:MatthewWarnockPublishedBy:GuitarforLifeLLCCopyright2018GuitarforLifeLLC


TableofContentsHowtoUseThiseBookTheiiVIProgressionandVariationsEssentialJazzCompingRhythmsPickingHandVariationsChordOrnamentationsShellChordsShellChordswithBasslinesGuideTonesFour-NoteChords–CommonShapesFour-NoteChords–ExtensionsVoiceLeading–RootlessTriadsVoiceLeading–RootlessChordsJazzStandardCompingStudiesAbouttheAuthor


HowtoUseThiseBookThematerialinthiseBookisbuilttogiveyoueverythingyouneedtogofromday1toaconfidentlevelofcompinginajazzstyle.Whilethematerialislaidoutinaneasytounderstandfashion,youwanttomakesureyoupracticethematerialwithspecificvariations.ThisintrochaptershowsyouhowtogetthemostoutofeachandeveryexerciseinthiseBook.

iiVIProgressionandVariationsThoughtheiiVIisthemostcommonprogressioninjazz,therearevariationsthatyouneedtoworkoninyourstudiesaswell.ThisbookcoversthosevariationsbyprovidingexercisesoverbothiiVIIVandiiVIVIprogressions.IfyouwanttousethesechordsoveraiiVIonly,justleaveoutthelastchordofanyexercise.Thisisdonetopreventrepeatingtoomanyexercisesforallthedifferentvariations.So,ifyoufindaiiVIIVprogressionyouenjoy,justleaveofftheIVchordtomakeitaiiVIprogression.Thisallowsyoutolearnfewerexamplesbutcovermoregroundinyourcompingstudiesandperforming.


ShortandLongProgressionBackingTracksToavoidredundancy,theexamplesinthiseBookarewrittenoutovereithertheshortorlongversionsofaprogression.Inordertogetthemostoutofanyexercise,practicethosechordsoverboththelongandshortbackingtracksinyourstudies.Thispreparesyoutousethesechordsinyourcompingoveranyjazzstandard,nomatterhowlongtheprogressions.

Rhythms,Ornaments,andPickingAfteryoulearnanychordprogression,youneedtotakeitbeyondthebasicrhythmslaidoutineachexample.UsingtheexamplesatthestartofthiseBook,youapplyvariousrhythms,pickingalterations,andornamentstoanyexerciseyoulearn.Thisaddsamusicalelement,aswellasanimprovisationalelement,toyourcompingworkout.Italsoemulatesalivesituation,whereyouhavetoreactinthemomenttothesoloistandadjustyourcompingaccordingly.

JazzStandardStudiesEachchapterfinisheswithachordstudyoverafamousjazzstandard.Startbylearningeachstandardaswritten,usingtheaudioexampleforhelpwithrhythmandtiming.Afteryoucanplayachordstudyaswritten,putonthebackingtrackandusethechordsfromthatchaptertocompoverthetune.


Thismeansusingchordsyouknowtocompoverjazzstandardsinrealtime.Compinginrealtimeisn’teasy,butgiveitashotwitheachchapter.Themoreyoudoit,theeasieritgets.Thechordstudiesgiveyouakickstartwiththisconcept,somakesuretotakeitastepfurthertoelevateyourcompingwitheachchapter.

MixingandMatchingThefirstgoalforanyexerciseistomemorizethechords,thenrunthemindifferentkeysandwithdifferentpickingetc.variations.Fromthere,oncethechordsaresolid,youwanttomixthemtogether,sotakechordsfrom2progressionsandblendtheminyourplaying.Theultimategoalistobeabletousechordsyoulearninthemomenttocreatenewchordcombinationsovertunes.Startbyworkingtheexercisesaswritten,thencombinethemasyoutakethemtothedifferentbackingtracksandtunesinthiseBook.


ChordOrnamentationsThelastwaytojazzupanychordprogressioninthiseBookistoaddornaments.Ornamentsusechordsoutsideofthewrittenchangestocreateinterestinyourplaying.Thismeansaddingchromaticchordstoyourcomping,whichgivesyouaJoePassvibe,butit’salsotoughtodoatfirst.Afteryouarecomfortablewiththerhythmsandpickingpatternsabove,addinoneoftheseornamentstoyourpracticeroutine.Ornamentsbringaseriouslyjazzysoundtoyourcomping,sothey’reworththetimespentlearningtheminthewoodshed.

ApproachChordsApproachchordsarewhereyouplayachordonefretbeloworabovethechordyou’reon,thenresolvingintothetargetchordfromthere.ThismeansplayingC#m7-Dm7orEbm7-Dm7totargetaDm7chord.Intheexamplebelowyoustartonthediatonicchord,butyoudon’thavetodothatwithapproachchords.Youcanstartontheapproachchordandresolveitfromthere.Workthisexampleuntilit’scomfortable,thenaddapproachchordstoyourcompingoveranyprogressioninthiseBook.


AudioExample24

DoubleApproachChordsWithdoubleapproachchords,youusetwochromaticchordsfromaboveorbelowtotargettheunderlyingchord.IfyouhaveDm7asyourtargetchord,youcanplayEm7-Ebm7-Dm7orCm7-C#m7-Dm7.Here’sanexampleofdoubleapproachchordstocheckoutbeforeaddingthisornamenttoanyprogressioninthiseBook.AudioExample25


EnclosuresChordsYoucanalsoaddenclosurechordstoyourcompingwithanyprogressioninthiseBook.Enclosurechordsarewhenyouplayashapeonfrethigher,thenonefretlower,thenthechordyou’reon.Forexample,youplayEbm7-C#m7-Dm7whenDm7isthetargetchordoftheenclosure.Here’sanexampleoveraiiVIVIprogressiontotryout.Onceyouhavethisconceptdown,useittoexpandanyprogressionyoulearninthefollowingchapters.AudioExample26


Four-NoteChords–CommonShapesYou’renowreadytoaddfour-notechordstoyourcompingworkout.Thesechordsusethe1-3-5-7intervals,exceptthe6chords(1-3-5-6)andthe7b9chords,(b9-3-5-b7).Thoughtheydon’thaveanycolorsbeyondthebasicchordtones,theseareessentialshapesthatsetyouupforrootlesschordslateron.Thegoalistomemorizetheprogressions,thenmixthemtogetherinyourplayingtocreateyourowncombinationsofchords.Aswell,thisisn’tanexhaustivelistofeverypossiblefour-notechordshape,butit’sasolidprimertoaddthesechordstoyourcomping.PlayerssuchasJoePassandBarneyKessellovedtousethesechords,andthey’rethefoundationforeverythinggoingforward.Havefunworkingontheseshapesasyoureachthenextlevelinyourjazzcompingjourney.

6thStringBassTobegin,youlearnprogressionswheretheiim7chordhasitsrootnoteonthe6thstring.Afteryoucanplaythisfirstexampleasis,takeittootherkeys,aswellasworkitoverboththeshortandlongbackingtracksinyourpracticing.


AudioExample59

YounowswitchouttheVI7b9chordforaIVmaj7chordinbarfour.Workthisprogressionasis.Then,whenready,addinnewrhythms,ornaments,andpickingpatternstotaketheseshapesfurtherinyourplaying.AudioExample60

Here,youworkintheVI7b9chordinbarfour,anduseadifferentE7chordinbar2.Onceyouhavetheseshapesdown,mixthemupwithchordsfromthepreviousexamplestoexpandtheminyourworkout.


AudioExample61

HereyoureplacetheVI7b9chordwithaIVmaj7chordinbarfouroftheprogression.Workthesechordsoverboththelongandshortbackingtracksinmultiplekeys.Then,takethemtojazztunesasyouexpandupontheseshapesinyourstudies.AudioExample62


5thStringBassHereareexamplesthatallbeginwiththerootnoteoftheiim7chordonthe5thstring.Memorizeeachoneandworkthemindifferentkeys,thenstarttomixthemtogethertocreateyourowncombinationsofchords.ThefirstexampleusestheVI7b9chordinbarfourandtheDmaj7-D6voicingsinthethirdbaroftheprogression.AudioExample63

Asavariation,herearethesamechordswiththeIVchordinbarfour,replacingtheVI7b9chordfromthepreviousexample.Workthisprogressionasis,thenaddindifferentornaments,rhythms,andpickingpatternsasyouexpandtheseshapesinyourplaying.


AudioExample64

Here,youaddinanewA7chord,aswellasusetheVIchordinplaceoftheIVchordinbarfour.Makesuretolearnthisprogressionfirst,thenmixitwithotherchordsandprogressionsfromthischapterinyourstudies.Thisallowsyoutoquicklydrawuponanyofthechordsyoulearnwhencompinginrealtimeoveranyjazzstandard.AudioExample65

YounowmoveontotheiiVIIVprogressionasyoulearnnewchordsandcombinationsofchordsinDmajor.


WhenDmajoriseasy,taketheseshapestootherkeysandtotheshortbackingtrackinyourworkout.AudioExample66

Hereyou,useadifferentA7andtwonewGmaj7shapesoveraiiVIIVprogressioninDmajor.Workthesechordsasisfirst,thenaddindifferentrhythms,ornaments,andpickingpatternstoexpandtheminyourplaying.AudioExample67

ThisprogressionusesadifferentchordshapeovertheA7chord,V7,inaiiVIIVprogression.


Afteryouhavethisnewexampledown,mixitwiththepreviousonetohearhowthosetwodifferentchordscompareonthefretboard.Fromthere,takethemtootherkeys,thentojazzstandards,andyouexpandonthesechordsinyourcompingroutine.AudioExample68

4thStringBassYounowmoveontostartingeachprogressionwiththeiim7chordonthetop-4strings.Thefirstprogressionmixesdrop2anddrop3chordsasyououtlineaiiVIVIprogression.Workthisinafewkeys,thenaddindifferentrhythms,newpickingpatterns,andvariousornamentsinyourstudies.


AudioExample69

Here’sthesameexamplebutwithadrop3chordovertheDb7,insteadofthedrop2inthepreviousexample.Workthisnewprogressioninafewkeys,thenplayitalongwiththepreviousexampletocomparethetwo.Sometimeschangingonechordinarepeatingprogressionisallyouneedtocreateinterestinyourcomping.Thesetwoprogressionsareanexampleofthatconceptinaction.AudioExample70


Hereyouusethetop-4stringstooutlinetheGbmaj7chordinthisiiVIVIprogression.Afteryouhavethisexampleunderyourfingers,playitback-to-backwiththepreviousexampleforcomparison.Then,Mixthosetwoversionstogetherovertheshortandlongbackingtrackstotakethemastepfurtherinyourstudies.AudioExample71

YounowlearnafewvariationsofthepreviouschordsovertheiiVIIVprogression.Makesuretoworkthis,andevery,progressionovertheshortandlongbackingtracksinmultiplekeysinyourpracticeroutine.Thisistoughtodo,andtakessometime,butit’sthebestwaytogettothepointwhereyoucanapplytheseshapesinrealtimeovertunes.


AudioExample72

Here’savariationofthepreviousexampletoaddtoyourpracticeroutineandcompingvocabulary.Again,thegoalforthischapterisnottoonlyusethechordsintheexamplestogether,thegoalistomixthemupovertime.So,afteryouhavethesechordsmemorized,mixthemupwithshapesfromearlierinthischapterinyourcompingstudies.Thishelpsyoudeveloptheskillneededtodrawuponanyofthesechordsinyourcompinginrealtimeoverjazzstandards.AudioExample73


TuneUpTuneStudyTohelpyoutakethesefour-noteshapestoamusicalsituation,here’sachorusofcompingoverthejazzstandardTuneUp.Goslowwiththisstudytogetthemostoutofit,andbuild-uptempoovertimeasyoupiecethisstudytogetherinyourplaying.Herearethestepstoworkingthisstudyinthepracticeroom:

Ø Learnthechordshapeswithoutrhythms.Ø Addtherhythmsinonebaratatime.Ø Writeoutthecountingifneeded.Ø Playeachbarwithametronomeuntiltherhythmissolid.Ø Addthebarstogethertoformfour-barphrases.Ø Addthefour-barphrasestogethertoformthewholestudy.Ø Workthewholestudywithametronomeuntilit’satspeed.Ø Playthestudywithmyaudioexample.Ø Playthestudywiththebackingtrack.

Afteryoucanplaythisstudywithme,andwiththebackingtrack,compoverthistuneandmakeityourown.Youcandothisbyplayingtheshapesbelowbutchangingtherhythms,oryoucankeeptherhythmsandchangethechordshapes.Or,youcanaddindifferentcompingornaments,pickinghandvariations,orothercreativeitemsinyourplaying.Lastly,putonthebackingtrackandcompoverthistuneandmakeupthechords,rhythms,andornaments,allinthemoment.Learningchordsisimportant,justlikelearningrhythmsandornaments,butapplyingthemtotunesiswheretherubberhitsthemusicalroad.Havefunwiththisstudyandwithcompingoverthistuneinyourplaying.


Whenyou’vegotahandleonthisstudy,you’rereadytomoveontothenextchapterinthiseBook.AudioExample74


ChordShapesinThisChapterTohelpyouworkonthesechordsfurther,herearethechordshapesfromthischapterinchordgridstouseasareference.Ifyouforgetachord,orwanttoquicklygrabachordyoulearnedfromthischaptertoapplyelsewhere,heretheyare.Thechordsaredividedintotypes,som7-7-maj7/6-7b9,tomakethemeasiertofind.Aswell,thechordsarepresentedhereasneckdiagramsforthosethatpreferthatmethodoflearningandmemorizingchords.

m7Chords

Hereareallthem7chordsusedinthischaptertouseasareferenceinyourstudies.


7Chords

Hereareallthe7thchordsusedinthischaptertouseasareferenceinyourstudies.


Maj7Chords

Hereareallthemaj7chordsusedinthischaptertouseasareferenceinyourstudies.


6Chords

Hereareallthe6chordsusedinthischaptertouseasareferenceinyourstudies.


7b9Chords

Hereareallthe7b9chordsusedinthischaptertouseasareferenceinyourstudies.


AbouttheAuthorIgrewuplisteningtorock,andIstilllovethatmusic.But,it’ssoloingIreallylove,andthat’swhatdrewmetobluesandjazz.MyloveofbluesandjazzhastakenmefromsmalltownCanadaaroundtheglobe.Istudiedatthreeofthetopjazzprogramsintheworld,startingwithMcGillUniversity,thenWesternMichigan,andfinishingwithaDoctoratefromtheUniversityofIllinois(UIUC).I’vetaughtover6000privatejazzguitarlessons,andmystudentsrangefrombeginners,tomusicProfessorsatNYU,andeverythinginbetween.I’vealsotaughtjazzguitar,popularmusic,andmusicbusinessatuniversitiesinCanada,theUS,theUK,Brazil,andNepal.I’veplayedover2500gigsin8countriesandsharedthestagewithRandyBrecker,StefonHarris,andSlideHampton.Someofmyfavoritegigswereat:

• LincolnCenter• InternationalAssociationforJazzEducationConference• NuJazzFestival(Brazil)• SavassiJazzFestival(Brazil)• InternationalJazzDayFestival(Nepal)

Jazzandblueshavebeeninmylifefor20years,andeverydayI’mgladIfoundthesegreatgenre.Becauseofthis,Iwanttosharethisloveofbluesandguitarwithyou.Youneverknowwhereit’llleadyou.

Easy Major ii V I Comping Preview - jazzguitar.be · mattwarnockguitar.com 4 How to Use This eBook...

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