#1
More on my self taught Jazz studies. All audio is in my profile.

After messing around with ii-V-I progressions, I practiced some 12 bar blues in jazz.

The progression recorded basically goes like this, just to keep it really simple.

C7 C7 C7 C7
F7 F7 C7 C7
G7 F7 C7 C7

So to practice comping, I started just doing the 3rd and the 7th of each chord.

That left me doing this:

 

E-----------------------   E----------------------
B-----------------------   B----------------------
G------9---9---9---9--     G-----8---8---9---9----
D------8---8---8---8-      D-----7---7---8---8----
A-----------------------   A----------------------
E-----------------------   E----------------------
       C7                       F7      C7


E------------------------
B------------------------
G----10---8----9---9-----
D----9----7----8---8-----
A------------------------
E------------------------ 
    G7    F7   C7 


In the recording, I'm doing exactly that for the first 12 bars.

So to spice it up, I added a third note. I wanted to do something like 9ths or 11ths on the C7, but since I was using the M3 on the G string, it made it akward trying to fit a 9th without skipping a string or muddying it up on the A string. So I settled for a 5th (G) for the C7.

For the F7, it sounded really good keeping that G in there, so I did that and made what I believe to be a F9. That would mean I had the M3, m7, and M9. I believe that is a F9, please correct me if I'm wrong. Anyway, I thought it sounded real nice like that.

For the last chord, I kept the G again, keeping it a G7. I'll demonstrate:

Jazz Study1



E-----------------------   E----------------------
B------8---8---8---8----   B-----8---8---8---8----
G------9---9---9---9----   G-----8---8---9---9----
D------8---8---8---8----   D-----7---7---8---8----
A-----------------------   A----------------------
E-----------------------   E----------------------
       C7                       F7      C7


E------------------------
B----8----8----8---8-----
G----10---8----9---9-----
D----9----7----8---8-----
A------------------------
E------------------------
    G7    F7   C7      


So that's pretty plain and simple. I have a jazz comping book, and it talks about stepwise motion, which is something I tried to accomplish. I'm not sure how good it sounded, but I'll demonstrate that.

What I mean by that is:

Jazz Study 2



E-----------------------   E----------------------
B------8---8---8---8----   B-----7---7---8---8----
G------9---9---9---9----   G-----8---8---9---9----
D------8---8---8---8----   D-----7---7---8---8----
A-----------------------   A----------------------
E-----------------------   E----------------------
       C7                       F7      C7


E------------------------
B----9----8----8---8-----
G----10---8----9---9-----
D----9----7----8---8-----
A------------------------
E------------------------
    G7    F7   C7      


So for this one, the 3rd note stayed the same for the C7, but when I moved to the F7, I went a half step down on the 3rd note, making it a Fb9. I thought that was interesting.

Back a half step up on that 3rd note for C7 again. For the turnaround, I went a half step up on the G7. That made it a Gb9, just like the Fb9. Then instead of going back to a Fb9, I only went one half step down to make it a F9 because I thought it resolved nicer into the C7 again.


So I've been studying things like that. It's difficult because I'm sort of just guessing what to study. This is the most progress I've made so far, and I think it's been helping to just look at this stuff.

If any of that is wrong, please correct it and if you have any advice for ii-V-I or 12 bar blues pattern comping, I'd appreciate any help.

Or if you just want to give some jazz tips, that'd be great too.
#3
im confused. wheres I? (1)
u said II-V-I
Gear:
Schecter C1 Classic
Fender Strat
Mesa Boogie Dual Rectifier
2x12 cab
crybaby 535q
Yamaha acoustic
zoom fire 36
boss mega distortion
#4
Quote by ouchies
Learn tri-tone substitutions, google it


Thanks man, will do.

Edit^ I meant after messing around with ii-V-I patterns, I moved on to a different pattern, which is 12 bar blues. This wasn't a ii-V-I pattern. More like a I7-IV7-V7 i guess you could say
#5
If you're going to do studies in jazz blues, you might want to actually use standard
jazz blues progression. What you have is the basic major blues progression which
standard jazz has already reharmonized. It goes something like this:

In the Key of F

| F - | Bb7 - | F - | Cm7 - F7 |
| Bb7 - | G#dim7/B - | F - | D7 - |
| Gm7 - | C7 - | F D7 | Gm7 C7 |
#6
Quote by edg
If you're going to do studies in jazz blues, you might want to actually use standard
jazz blues progression. What you have is the basic major blues progression which
standard jazz has already reharmonized. It goes something like this:

In the Key of F

| F - | Bb7 - | F - | Cm7 - F7 |
| Bb7 - | G#dim7/B - | F - | D7 - |
| Gm7 - | C7 - | F D7 | Gm7 C7 |



I'll definitely take that into consideration. Thats a really cool progression. It seems to swing much more than a standard 12 bar blues.
#8
Quote by lemonsquares42
I'll definitely take that into consideration. Thats a really cool progression. It seems to swing much more than a standard 12 bar blues.


If a jazz player were to try playing it with a traditional blues player, the traditional
guy might say it's "too pretty". But, you can even use the reharmonizations in
a solo over a standard 12 bar progression.

Mostly it's just ii-V-I kind of changes and key modulations.

The G#dim7/B is interesting. It's a kind of chromatic root movement Bb - B - C, so you
might want to treat the following F as F/C.

There's many variations on this progression, but I think this one is pretty basic.
#9
I've having a real hard time finding a comfortable way of playing that G#dim7/B. I can't seem to find a good way of fitting that b5 in there.

Any suggestions?
#10
The way I play the middle 4 there is normally

| Bb7 | Bdim7 | Cm7 F7 | Am7 D7 |

voiced maybe like this if I'm playing alone as rhythm

-
---6-------8-------6--------8--------8----------6---------5---------3
---7-------7-------7--------7--------8----------8---------5---------5
---6-------6-------6--------6--------8----------7---------5---------4
-----8---5------------8---5-------------7----8---------------4----5
-6-----------8---7------------7----8---------------6----5--------------4---3 ....
#11
Quote by lemonsquares42
I've having a real hard time finding a comfortable way of playing that G#dim7/B. I can't seem to find a good way of fitting that b5 in there.

Any suggestions?



Maybe this helps:

G#dim7 = Bdim7 = Ddim7 = Fdim7

They're all basically the same because of how dimished 7th chords are built.
#12
Check out Joe Passes Hotlicks: The Blue Side of Jazz. It's helping me in my comping skills immensely.