Jazz Guitar Comping
Paperback: 136 pages with CD
Publisher: Microphonic Press
One of the ways to expand your chord voicing and therefore comping pallette is to learn different uses for the same voicing. Take this voicing in fourths for example:
At first glance, this voicing can be used for G7sus. What about C as the root? The presence of F in the voicing means C7sus (possibly C-11, but since Eb is not present it would depend on context). If F is the root, it yields F Maj. This is a more modern concept of what an F Maj chord can be, since there is no third or seventh. When the context is appropriate, and when playing with experienced improvisors, the chord sound doesn’t have to be spelled out as explicitly. This opens up a wide range of possibilities for voicings that you might not consider at first.
This voicing has many possible uses over different bass notes. The first option that comes to mind is over a D root:
This creates a D-7 sus or D-11 and is usable in almost any situation where you see D-7 as the chord symbol.
Another use for this voicing is Eb 6/9:
Over a Db root it becomes DbMaj7+4 (also good for C-phrygian):
If you add C#, use this voicing over A7 alt:
Over Bb it yields Bb6/9:
And last but not least, Ab Maj7 with the 6th also in the voicing:
This kind of approach can be used for any voicing that doesn’t have a root played in a low register, and three-note voicings are easier to apply in different ways than voicings made up of more notes.