Here, start two-handed voicings with the third inversion of the chord in order to do some basic comping. George demonstrates how to play these over the F7 blues chord changes. In addition to the voicings, he also demonstrates how to play them rhythmically so that you can begin to play through the chords in a way that sounds like jazz.
- I'm going to put up the F blues track at 110 BPM…and I'm just going to play these, when you're finding them,…maybe you start out playing whole notes, I'll do that,…and as you get them under your fingers,…start playing around a little bit with different rhythms,…keep it consistent, remember that this stuff needs…to swing just as hard as any lines you play.…And try to keep a rolling, easy triplet feel going,…and a little bit behind the beat.…
When you play in a band,…everybody has a specific role to play.…The bass player can't be laying back,…he needs to be the pusher a little bit…'cause everybody really actually lays back against him.…Different drummers do it different ways.…Elvin Jones had a really great way of playing…a little bit back behind the bass player…so if the bass player also is sitting back,…the whole thing eventually would…slow down and grind to a halt.…
The piano player though, we generally are…behind the beat people, as are the soloists.…Different drummers play with different kinds of energy…and some play really right on the beat.…
Note: This course was recorded and produced by ArtistWorks. We're pleased to host this training in our library.
- Playing with both hands
- Basic jazz vocabulary
- Practicing pentatonics using approach patterns
- Combining bop scales, pentatonics, and approach patterns
- Adding guide tones
- Building a motif around a combination of notes