Welcome To MeYouMusic’s Jazz Comping in E Major Lesson!
Just like our other comping lessons, we are going to start with an ascending diatonic chord sequence for E Major so we can get some self clarification over what chord types (Major/minor/Diminished etc) are used for each note of the scale.
Just like MeYou’s previous jazz comping lessons, our first example is a quick demonstration of how to play a ii-V-I-(Vi) progression using 7th chords in our key.
With this one, the root note of our first chord is actually non diatonic, and so, the chord was voiced as a half diminished (min7♭5) so we could instantly modulate into the key of E Major.
The chord shapes themselves are common to jazz and must be practiced to fluidity. The progression however is somewhat more original and sporadic.
Okay so funnily enough, I believe this example to be an actual Jazz standard that I accidentally figured out and tabbed for the purpose of this lesson. I’m not sure what song its from, but i’m pretty sure it’s been used before.
Either way, I think it’s great for the intervals used; just take a look at the first four chords used. The intervals follow a I-Vi-ii-V pattern, which is in a sense, our ii-V-I-Vi in a different order. Give it a practice and hopefully it will help give you insight into different ways you could use the same chords/intervals.
This progression gives of a low-fi, chilled vibe to me but perhaps lacking in depth a little. However what I want us to look at for this one isn’t the chord voicings persay, but the progression itself. The first 4 bars are pretty standard, apart from utilizing a third interval, leading to a perfect fourth in bar 5, which then turns into a cool little descending progression back to our root.
Where as the last one is lacking in depth, this one is certainly not! essentially I repeatedly add some tension using certain chord voicing’s and then resolve on the E Major 7.
I play this to a fast count and so decided to tab it in crotchets, but if you do not feel capable, then add extra sustain to each chord until you have each shape nailed!
At the start of this one I stuck to C minor variations for the first 3 bars for a little bit of shell voicing practice. Each root is diatonically correct, however, some chord substitutions (such as 6sus2 chords) have been used to give the piece a bit more character.
Okay so this progression is possibly the smoothest we offer out of our current comping lessons due the chord intervals used (mostly I and IV chords), the simple chord shapes used (mostly Major 7ths) and the ending 2-5-1.
This one produces a nice chill vibe that is pleasant to listen to, all the while helping you achieve swifter chord changes for essential extended chord shapes!
I find this one rings beautifully in my ears thanks to just a handful of creative chord shapes. Getting the smooth, warm, delicate sound out of this one may require a bit of patience, but hopefully you to will Enjoy this little progression and even play around with tempo/ timings.
Our final example for this lesson uses some really unique chords that aren’t seen much in other music styles, but when you make them work so well it makes you think, why the hell not!
Take note of the B Major Add 11 as the shape is actually very simple with a really bright sound to it.
We hope you enjoyed our comping exercises in E Major! 😀
If you wish to check out our other free Jazz comping lessons currently available, just Click here! to be directed to our depository.