lesson summary
Lesson 2 of 9 in our Jazz Series: Voicings & Melodies
Time to take the basic voicings you learned before & add on to them. The ability to modify chords will give you great resources when jamming to some jazz.
Chapter 1: (5:21) The Charleston Rhythm
This lesson continues on with the rhythmic side of jazz guitar playing. You will learn some more challenging chord voicings as well as some basic accompanying rhythms also known as “comping.”
The Charleston is a sparse, syncopated rhythm. Due to its sparse rhythmic nature, it is best used as a comping rhythm when a more active rhythm, such as a walking bassline, is already present.
The two most basic variations of the Charleston are presented in this lesson. However, the comping musician most typically improvises the Charleston at will. Its main purpose is to fill space on an as needed basis.
Let’s imagine that you are playing in a band with a bass player, and the other guitarist is taking a solo. If the soloist is playing a very active line, the comping should be sparser. Otherwise, the overall sound may become too cluttered. On the other hand, if the soloist is playing sparse phrases or is letting a note sustain for a long duration, the comping can be become more active to fill space. Listen to your favorite jazz guitarists or pianists to see how they apply the Charleston to their comping rhythms.
Note: Click the “Supplemental Content” tab for two primary variations of the Charleston rhythm.
Before you begin to improvise your own comping rhythms, master playing the Charleston within the context of a ii V I progression first. As always, practice it in all twelve keys. If your time is limited, stick to the most popular jazz keys: F,Bb, Eb, and C. Be sure to use all of the chord voicings learned up to this point.
Chapter 2: (5:04) Rootless Set I Voicings
If you are playing with a bass player, it isn’t necessary to play the root/bass note of a given chord while comping. It isn’t wrong to do so. The root note will simply be doubled an octave higher. Since the root is already covered by the bass, the guitarist is free to play more colorful voicings. Since you are not using a finger to play the low root, that finger is free to play higher extensions in the chord. Extensions are the notes that “extend” beyond the 7th scale degree of a chord. Typical extensions are the 9,11,and 13.
Rootless Set I voicings are very effective, because they only contain the two most important chord tones. Depending on the chord, the most important chord tones are both the 3rd and 7th or the 3rd and 6th.
Once you have memorized all of these rootless voicings, begin practicing them in the context of a ii V I using the Charleston.
Keep in mind that rootless voicings should only be used when a bassline is present! They should be applied to the Charleston rhythm, not the Freddie Green rhythm.
Chapter 3: (8:45) Set II Chord Voicings
These chords expand upon the Set I voicings learned in Jazz Lesson 1. Adding a note to the 2nd (B) string creates these new voicings. Before you begin practicing these chords, make sure you are comfortable with all of your Set I and rootless Set I voicings.
The same scale degree will not always be added to each new chord. The 5 or 9 is typically added to major and minor chords. The 9 or 13 is added to dominant chords. Examine each chord voicing in detail to determine which chord tones the voicing contains. The way in which these chord tones interact with one another gives the voicing its overall sound or tonal “color.”
Important: When a dominant chord (C7) is written on a lead sheet, it is seldom played as a simple dominant 7 chord. When a dominant 7 chord is indicated, it should be played as a dominant 9 or dominant 13. For example C7, should be played as C9,C13, C7(#11), etc. Some of these voicings will be discussed in later lessons.
Note: Click the “Supplemental Content” tab for diagrams of the most basic Set II voicings.
Memorize these new chord voicings and start incorporating them into your daily practice of ii V I progressions. These are just the most basic Set II voicings. There are more to come in later lessons! Start by practicing these chords with the Freddie Green Rhythm. Then practice Rootless Set II chords using the Charleston.
about Matt Brown
Matt Brown: Guitar Enthusiast, Master Student and Performer
Matt Brown began playing the guitar at the age of 11. “It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily.”
Matt’s musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. “I began learning scales, chords, and basic songs like any other guitarist.” After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. “I wanted to keep going with my lessons, but I obviously couldn’t play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months.” These months proved to have a huge impact on Brown’s approach to the instrument.
Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. “I’ve never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music.”
Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University’s Community Music School. Matt’s recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.
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