Welcome to MeYouMusic’s Jazz Comping lesson in D Major!
If you haven’t read my previous comping lessons, then I recommend starting on my Jazz Comping in C Major lesson which you can get to by Clicking Here!
Now before we start, let’s take a look at the root notes we will use, as well as the diatonic extended chords for this key 🙂
Okay so just to clarify, i substituted what would usually be an A7 with an A6 and substituted the B minor 7 with a B minor ♭13. This was just to make the ascending progression sound smoother, but assuming you have read meyou’s previous comping lessons, then you should already have a good idea on diatonic extended chord progression formulas and how to (some extent) substitute these chords.
Now, Let’s get comping! 😀
This example is the easiest way (in my opinion) to play a jazz 2-5-1-6 progression in this key; just keep an eye on your right hand and make sure you are plucking the correct strings!
This one is also relatively simple using common shapes. I decided to play the A Major with open strings instead of extending it to give it a different colour 🙂
Starting off on a new chord – E minor 7#5 – which resonates a wonderfully perfect sound that will reverberate around the room when you shift to the A 7 if you have the right tone. I recommend a little less bass on this one.
Example 4 :
All essential Jazz standard shapes here so give it a play through and make sure your fluent with each!
Hopefully you are already familiar with all the chord shapes in this example and should have no problems with the chord shapes themselves. This one however does have a unique interval pattern which I recommend taking note of.
Starting off on our 2-5-1 again, we are going to be substituting our minor E variant with a 6/9 chord to add some flavor in this one.
Now we are getting into slightly harder territory… You are likely to struggle on the switch from the B minor 7 to the C# Augmented 7 but be persistent!
I also decided to change the chord shape of the G Major 7th in the 11th bar so you can all practice using both ways but if it becomes to much trouble for you at the moment, just substitute it with a different G Major 7 (preferably E string root) shape.
I also don’t use the typical 2-5-1 jazz turn around in this one so take note of the Intervals (above each stave) and how each chord shift sounds.
Here is a real dramatic sound I came across when coming up with this lesson which contains some really cool chords and intervals. Other then the C# Diminished 7th – A string Root, you should be fine with the chord shapes and shifts.
I’ll be honest with you, this one is going to hurt. A technique I am extremely fond of is Barring my index finger across multiple frets. This is not so much a problem when only covering 2 different frets, but in this example you will need to stretch 3 frets for the C minor 7 and the B Dominant 7 shapes. Whether you are capable of pulling it of or not is dependent on your dedication but this is my own personal technique and by no means a Jazz standard that is required of you. Unfortunately this progression will not sound right unless you can hit the correct notes on the high e string. If you can pull it of, it’s very impressive; but if not, skip to the next example.
This exercise also breaks away from our diatonic chord sequence using a flat 7th interval.
And For our last Example I decided to use the beginning to the first song from my personal Jazz Album 🙂 It’s a beautiful chord progression and since it’s in D Major, I decided to treat my readers with a sound that is very special to me.
I didn’t tab the second half as I modulate into a different key and that would take away the purpose of this lesson, but feel free to extend it in your own way!
I hope you enjoyed my Jazz Comping in D Major Lesson! best of luck learning 😀
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