Self-comping: additional topics

(6 posts)
  1. momix

    my name is Massimo (from Rome, Italy) and only today I had the opportunity to read the "self-comping" topic appeared in the forum about six months ago.
    Very interesting the Sandemose's response, providing gold ideas for a step-by-step approach to interesting comping (i.e. double-stops, triads, extenstions, etc.)
    Currently I'm trying to evolve in this direction. For example I'm trying to start to cope with 3rd and 7th of the chords only (guide tones). The idea is to master this technique, and then start to include some extensions to add (if and when possible) some colours.
    Up the moment I get a good sound using fingerstyle technique (or hybrid) to play the "two-note" chords. But in some situations, a strumming technique would provide a most effective sound, also in terms of rhythm. This requires a more advanced technique for muting the four strings not used for the two-note chords. A similar problem is encoutered playing the "octaves", ala Wes Montgomery, but I found a lot of video materials (first of all Lee Ritenour) which helped me to understand how to get the muting (my understanding, in this case, is the muting is got only by the left hand, freeing the right hand to strum the octaves, which provides a sound completely different from the octaves played with fingerstyle technique).
    Do you have some suggestions about strumming "two-note" chords.

  2. jazznan

    You just have to keep doing it until your fingers figure out how to do it. The easiest way is to use the very standard three note chords, i.e.

    low to high: 6th string, 3rd fret, first finger, G, then, 4th string, 3rd fret, F, then 3rd string, 4th fret, B

    this gives you a G7 three noted chord, Freddie Green style. Just strum it until you only hear the F and B notes on 4th and 3rd string

  3. Sandemose

    momix: thanks for commenting my old post. Dont remember what I wrote though. I think that being systematic is key to success, at least to a certain degree. Since I dont remember what I wrote, I might repeat myself. For me I would start with one particular structure and work that out through a whole tune.

    x-x-3-2-1-x, if we take this structure, the typical major chord. If we would play a II-V-I progression in G major, one could use this structure for different substitution possibilites. For the D7, these structures work, x-x-12-11-10-x (1, 3rd, 5th) of course, but also x-x-9-8-7-x (13th, b9th, 3rd), x-x-6-5-4-x (b5, 7th, b9th), or x-x-3-2-1-x (#9, 5th, 7th). I dont have a guitar at hand, but perhaps x-x-5-4-3-x (A11), x-x-6-5-4-x (D7b9), x-x-5-4-3-x (G major). I like to practice in a way that I only play one line per bar, and if I play a line over the Aminor chord, I must play the chords D7, and G. If I play the Aminor chord, I can play a line over D7 etc. That way I force myself alter between playing lines and chords in a quite systematic manor.

    Best, Sandemose

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  4. Quintricacy

    John Stowell is a pretty interesting guitar player who delves into some of this kind of thing. Check out his comping on Solar.

    [+] Embed the video | Video DownloadGet the Flash Videos

  5. colinmanko

    I use hybrid picking and can play fast rhythms that way. So unless you prefer the strumming, just practice the hybrid stuff a bunch. Sometimes I pick the top notes of lines and can get back to the chords under my lines with the pick on the bottom string with no problem. So just do what you like the sound of better. For me, the sound of the hybrid stuff sounds more together, like a piano, which I like. It also allows me to play each note individually in time when comping.

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  6. A compiler is a computer program (or set of programs) that transforms source code written in a programming language (the source language) into another computer language (the target language, often having a binary form known as object code).



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