TWO NOTE COMPING
by Paul Musso
from Mel Bay's Sessions Internet magazine
June 2000
Three simple intervals, played on two strings can cover the essential elements of 90% of all the chords you will play in an evening of guitar comping with a jazz trio.
A perfect fifth, perfect fourth and a tritone, played on the third and fourth strings are all you need to comp over most jazz tunes. Although this seems hard to believe, it is true. This system is the easiest way to learn effective chord comping. Look at this ii - V- I progression and notice the third and fourth string intervals.
Figure 1:
If you take away the root, which on a jazz trio gig will be supplied by the bass player, you have a perfect fourth interval for the Gmin7, a tritone (flat 5) interval for the C7 and a perfect fourth interval for the Fmaj7 all played on the third and fourth strings.
Figure 2:
Why do these two notes sound so perfect when comping? Because they are the "Guide Tones" or the 3rd and 7th of each chord. These are the most important notes of any chord because they define the chord as major or minor and they define all possible sevenths.
Figure 3:
Now, lets take a look at all possible chord sonorities to see if this theory holds true. I will start with the root six chords. Remember, the root is not played, it is "virtual," so we will indicate it with a parenthesis.
Figure 4:
Why do the Gmin7 and Gmin7b5 look the same? Simple. We avoided playing the fifth so the interval (perfect 4th) works for both chord types. Is this cheating? Not a bit, the third and seventh define the chord so strongly that the flat fifth is not that important. The only chord sonority this does not work on is a minor/major seventh chord; a chord with a minor 3rd and a major 7th. In that case, the interval is a major third. But, I said this will cover 90% of all chords you will use in a evening.
Figure 4a:
You cannot play a gig with all root six chords so lets look at all the root five chord sonorities. Remember, the root is not played, it is "virtual," so we will indicate it with a parenthesis.
Figure 5
Why do the Cmin7 and Cmin7b5 look the same? Again, we avoided the fifth. Of course the minor/major seventh chord for this set would not be covered by our three intervals ( perfect 4th, perfect 5th and flat 5th). That chord type would require a minor 6th.
Figure 5a
So, you are not convinced, you may think this is too easy of an approach to comping. What about altered dominant seventh chords like G7#5b9? You don't need the #5 or b9 if you have the essential elements of the chord, the 3rd and 7th.
What about Gmin9? This chord is simply a Gmin7, the 3rd and 7th of both Gmin7 and Gmin9 are the same two notes, Bb and F.
Yes, it would be a little sparse if you comped using only the two middle strings all night, but is a great way to "cut to the chase" and play what sounds right. This method should be considered another option when comping. After you have used all your drop two chords, try two note comping for a few choruses. Don't forget rhythmic variety; there are endless possibilities with what the right hand could do with rhythmic variations.
When is absolute best time to use this method? When you are playing with a ten fingered doubled fisted pianist. Pianists love to play all of the upper extensions and alterations in their chord voicings, so instead of stepping on each other, play the essential elements of each chord and let the pianist play the extensions.
Guitarists are continually in the process of learning new exotic, creative chord voicings so that they can use the chords on the next solo or group jazz gig. It seems the essential elements of the chord are sometimes just as effective as a six note chord with all kinds of extensions and colorations. Don't forget the "meat" of every chord lies in the "guide tones" or the 3rd and 7th of the chord. Sometimes less is more.
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