Comping Masterclass
Comping Concepts Part 3: Rootless Voicings & Chord Substitutions
“Once again, the ugliness of Work prevented me from attending live, but I just finished watching this class; I don't know how he comes up with these original and thought-provoking i…”
About this masterclass
Often guitarists will reach for chord ‘grips’ that have roots in the bass, sometimes out of habit. This can be effective when playing without a bass player, playing Freddie Green style rhythm guitar or Latin-style comping. On the other hand, it can be limiting in other contexts when a freer more harmonically rich approach is desired. Rootless chord voicings, voice leading, and chord substitutions over standard tunes and modern jazz compositions will be the focus of this masterclass. Master compers like Jim Hall and Ed Bickert love to play clusters to get a more pianist sound adding interest to their voicings. We’ll examine many multi-use voicings that can get a lot of mileage in comping. Concepts outlined will include adding open strings to voicings, quartal voicings, and a variety of interesting comping rhythms. In order to freely use the upper structures of chords and substitutions, the chord theory has to be solid. We’ll get deep into the theory and discuss the reasoning behind substitutions that work. Also we’ll take a look at bossa comping, polychord reharmonization, and chord expansion techniques. Written examples will include tunes or selected measures from: Come Rain or Come Shine, Windows, Desafinado, What Is This Thing Called Love and Gone With The Wind. TAB is included along with standard notation. Learn to comp creatively and confidently while expanding your chordal vocabulary.
Lessons in this masterclass
Lessons
- 1Comping Concepts Part 3: Rootless Voicings & Chord Substitutions1h 31m
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james seaberry
Verified Purchase
3/11/2009
Once again, the ugliness of Work prevented me from attending live, but I just finished watching this class; I don't know how he comes up with these original and thought-provoking ideas. There are others here that deal with this subject as well, by Lorne Lofsky and Sid Jacobs especially, but this one is still different than those: not better or worse, just a different take. The notation is especially handy for slow learners like me. I hope to have some surprises in store tomorrow at my regular Wednesday gig. Thanks again, Mr. H.
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About the instructor
Steve Herberman →
Steve Herberman is an exceptional guitarist…known for his deft counterpoint" –Downbeat Magazine. "The clarity and balance Steve gets with his right hand is amazing". – Jim Hall. "Steve’s improvising is uniquely fresh with melodic ideas that twist and turn and perk your interest with occasional elements of humor as well. There is a constant groove in his solo lines. He shows prowess harmonically and linearly with an abundance of chops and with an exceptional clarity to it all." – Gene Bertoncini Steve Herberman taught jazz guitar on the faculty of Towson University near Baltimore MD for 14 years and is presently teaching guitar at Sidwell Friends School, Washington Conservatory and is an ensemble coach for the Jazz Band Masterclass. He has presented guitar masterclasses in Italy and the U.K. and at many universities across the U.S. Steve has written instructional material for Downbeat magazine, Mel Bay’s Guitar Sessions, Just Jazz Guitar, Fingerstyle Guitar Journal and Fingerstyle 360 webzines. Steve Herberman is a graduate of Berklee College Of Music and has performed with renowned musicians such as Keter Betts, Buster Williams, Gary Bartz, Drew Gress, Chuck Berghofer, Harvie S, Mark Ferber, Jim Snidero, Ali Ryerson, Steve Williams, Steve LaSpina, Jeff Hirshfield, John Pisano and many more. Steve Herberman has recorded three CDs as a leader; Thoughtlines (2001) Action:Reaction (2006) and Ideals (2008.) In 2014 Steve recorded a live duo album with fellow guitarist Steve Abshire titled "Between Friends.” In 2017 Steve recorded a duo CD with award-winning vocalist Lena Seikaly, set for a Feb. 2018 release.