MORE JAZZ GUİTAR CHORDS AND ACCOMPANİMENT

A COMPLETE AND COMPREHENSİVE GUİDE TO

ADVANCİNG YOUR JAZZ GUİTAR-PLAYİNG SKİLLS!
BY YOİCHİ ARAKAWA

ISBN:978-1-891370-32-8

Copyright © 2002, 2015 by Yoichi Arakawa

International Copyright Secured. All Rights Reserved

The music, text, design, and graphics in this publication are protected by copyright law. Any
duplication or transmission, by any means, electronic, mechanical, photocopying, or otherwise, is an
infringement of copyright.
 REVİEWS
“Thorough and excellent analysis of the broad-ranging characteristics of comping in different
contexts. Great comping examples.”—Larry Koonse, “The L.A. Jazz Quartet,” Professor of Jazz
Guitar at the California Institute of the Art

“Yoichi Arakawa has written probably the best chord book I’ve seen!”—Alan deMause, jazz
guitarist, educator, and author of “Beginning Jazz Guitar”

“A very practical and straightforward manual for serious guitarist. First rate guide for improving
one’s guitar musical skills.”—The Bookwatch, Midwest Book Review

“More Jazz Guitar Chords and Accompaniment presents advanced guitar chords, accompaniment
patterns and other skills used in jazz music along with comping patterns and techniques to help you
accompany effectively.”—Teacher’s Market, Teaching Music
 TABLE OF CONTENTS
INTRODUCTİON
HOW TO READ A CHORD DİAGRAM
SCALE DEGREES

CHAPTER 1 DROP 2 VOİCİNG AND COMPİNG

1-1 Major 6
1-2 Minor 6
1-3 Major 7
1-4 Minor 7
1-5 Dominant 7
1-6 Dominant 7sus4
1-7 Diminished 7
1-8 Major 7b5
1-9 Minor 7b5
1-10 Dominant 7b5
1-11 Minor(major 7)
1-12 Major 7#5
1-13 Minor 7#5
1-14 Dominant 7#5
1-15 Dominant 7#9
Chapter 1 Review

CHAPTER 2 DROP 3 VOİCİNG AND COMPİNG

2-1 Major 6
2-2 Minor 6
2-3 Major 7
2-4 Minor 7
2-5 Dominant 7
2-6 Dominant 7sus4
2-7 Diminished 7
2-8 Major 7b5
2-9 Minor 7b5
2-10 Dominant 7b5
2-11 Minor(major 7)
2-12 Major 7#5
2-13 Minor 7#5
2-14 Dominant 7#5
2-15 Dominant 7#9
Chapter 2 Review
CHAPTER 3 CHORD SYNONYMS AND SUBSTİTUTİONS
3-1 Diatonic Substitutions
3-2 Tritone Substitution
3-3 Diminished Substitution
3-4 Chord Synonyms
3-5 II-V-I Examples
Chapter 3 Review

CHAPTER 4 M ORE ON COMPİNG

4-1 Choice of Voicing
4-2 Voice-leading
4-3 Comping Techniques
4-4 Comping Summary
Chapter 4 Review

CHAPTER 5 M ORE CHORD VOİCİNGS

5-1 Three-note Open Chords
5-2 Guide Tones
5-3 Guide Tones Plus One
5-4 Fourth Voicings
Chapter 5 Review

CLOSİNG
GUİTAR CHORDS AND ACCOMPANİMENT SERİES
 INTRODUCTİON
W elcome to More Jazz Guitar Chords and Accompaniment ! As a continuation of my introductory
book, Jazz Guitar Chords and Accompaniment, this book presents additional common jazz guitar
chords and voicings while mainly focusing on comping—the most important element in jazz
accompaniment. Although this book is a sequel and studying Jazz Guitar Chords and Accompaniment
first is highly recommended, it is suitable for anyone who has a basic knowledge of guitar chords, a
basic understanding of music theory, and a minimal ability to read music.

Chapter 1 first briefly reviews inversions, voicings, and how to transpose chords on the fingerboard.
Then, it introduces one of the most popular and accessible guitar voicings, called drop 2. The chord
diagrams of the drop 2 voicing and inversions for fifteen types of chords, along with common 2-bar
comping rhythmic patterns, are presented.

Chapter 2 introduces another popular chord voicing, drop 3. Again, the chord diagrams of all the
inversions for fifteen chord types are shown, in addition to various 2-bar comping patterns.

In Chapter 3, you will learn about chord substitution and synonyms—chords that have the same or
similar structure, but are called by different names. The chapter first discusses three common types of
chord substitutions: diatonic, tritone, and diminished. An extensive chart then lists chord synonyms
that can be used for substitution.

Chapter 4 discusses several approaches and techniques commonly used in comping. Topics discussed
include how a voicing is selected, what voice-leading is, and what rhythms are used to get various
effects in comping. The discussion is focused on giving you ideas and directions that will help you
integrate the information you’ve learned up to this point.

Chapter 5 introduces you some other popular guitar chord voicings. They include three-note open
chords, guide tones, guide tones plus one, and fourth voicings.

Many of the topics or sections include musical examples and exercises so that you can practice each
element discussed. For best results, you are highly encouraged to make up your own examples or
exercises suited to your own taste or preference. With the vast amount of voicings and information
presented, you may feel overwhelmed from time to time. Try to learn and digest one element at a time,
gradually adding others as you feel comfortable. You may also skip sections and go directly to those
topics that interest you most or that are relevant to your present purpose.

Good luck! I sincerely hope you will have a lot of fun and further advance your jazz guitar-playing
skills by working with this book!
How to Read A Chord Diagram
A chord diagram, or chord frame, shows a portion of the guitar fingerboard. The six vertical lines
represent the strings: from left to right, 6th, 5th, 4th, 3rd, 2nd, and 1st. The horizontal lines represent
frets. The black dots on the vertical lines represent the locations at which the left-hand fingers should
be placed. The numbers you see at the top of the frame indicate the scale degree of each black dot,
while the numbers below the strings show suggested fingerings.

Scale Degrees
Scale degrees describe notes in terms of their positions in a scale or key. Each note of a scale is
assigned both a number and a name that remain the same regardless of the octaves. In the key of C, for
instance, C is the first note of the scale and it is called the 1st degree or the tonic. The fifth note of the
scale, G, is the 5th degree or the dominant.
 CHAPTER 1 DROP 2 VOİCİNG AND COMPİNG
C hord voicing—or simply voicing—refers to the way notes are arranged to make up a chord. In
Jazz Guitar Chords and Accompaniment, you’ve seen how a chord can be created either by stacking
a note over another or by combining different intervals. As you may have noticed, the arrangement of
notes in a guitar chord diagram wasn’t always in the same order as the basic structure presented at the
beginning of each chapter. A note may be an octave higher, or there may be duplicated notes within a
chord.

Rearranging or reordering notes is very common, especially in jazz, as it allows you to create various
alternative ways to play the same chord. Among numerous chord voicings, drop 2 and drop 3 are two
of the most popular and physically accessible voicings for guitar. Many of them were already
presented in the previous volume, but you’ll look at each type of voicing more closely in the next two
chapters. As for accompaniment, numerous 2-bar patterns commonly used in comping will be
presented. As mentioned in the previous book, you can’t plan ahead of the actual performance how
you will accompany in such improvised music as jazz, but practicing certain common accompaniment
rhythms will help you to build a library of patterns from which you can spontaneously draw. Before
moving on, however, let’s first take some time to learn about inversions, closed voicings, drop 2
voicings, and transposing chords.
Inversions
One of the common ways to rearrange notes within a chord is inversion. As you recall, all the chords
introduced in the previous volume had the root at the bottom, or the bass of the chords. These chords
are all said to be in the root position or root inversion. The same chord can, however, have a slightly
different order of notes and have tones other than the root at the bottom. For example, when the root of
the chord is placed an octave higher and the 3rd degree of the chord becomes the lowest note of the
chord, the chord is said to be inverted and is called the 1st inversion. Similarly, the 2nd inversion
has the 5th degree at the bottom of the chord, and the 3rd inversion has the 7th degree at the bottom.
Refer to the example below, which shows each inversion of Cmaj7. The numbers to the right of the
notes indicate the scale degrees.

Although all the inversions have exactly the same notes, each inversion has a slightly different sound
and characteristic from another because of the different order of notes. The root position and the 2nd
inversion (5th degree in the bass) have the strongest voicings and are used most often. A chord that
has the 3rd degree in the bass (1st inversion), on the other hand, has a weaker chordal sound, and is
mostly used when moving to a different inversion of the same chord, or as a passing chord. The 3rd
inversion (7th degree in the bass) has the weakest and most unstable sound and should be played with
caution. Similar to the 1st inversion, the 3rd inversion can be used for moving to a different inversion
or as a passing chord; however, if played inappropriately, it may sound wrong or out of place. Each
chord in this book will be presented along with its inversions whenever possible. You will find that
learning inversions of each chord will not only dramatically expand your chord vocabulary, but also
help you to better understand the guitar fingerboard and use it more economically.
Closed Voicing
In closed voicings, notes are stacked up closely, usually in intervals of seconds or thirds. Closed
voicings are the basis of chord voicings that can be easily played on piano. Some of them are
playable on guitar and were introduced in the introductory book; however, they are used much less
than the drop 2 and drop 3 voicings. Below are some examples of closed-voicing chords.

Drop 2 Voicing
In drop 2 voicing, the second note from the top of the closed voicing is dropped down an octave. (See
examples below.) This allows you to open up a voicing and thus make it easier to play on guitar. As
mentioned above, some of the closed voicings are playable on guitar, but many of them are not
suitable or appropriate for guitar—they are either physically difficult or impossible to play. On the
other hand, because the notes are arranged farther apart in the drop 2 voicings, the same chords
become easier to play on guitar.

It is worth mentioning that the note arrangement of each inversion of the drop 2 voicing remains the
same regardless of the chord types, as you will see more clearly later. For instance, the root inversion
of the Cmaj7 in drop 2 voicing has the root (C), 5th (G), 7th (B), and 3rd (E) aligned from bottom to
top. Similarly, the root inversion of C7 voiced in drop 2 has the root (C), 5th (G), b7th (Bb), and 3rd
(E) arranged from bottom to top. Thus, the order of notes in each inversion remains the same
regardless of the chord types and keys. When you study each drop 2 voicing, be aware of the location
of the scale degrees for each voicing and memorize the order for each inversion. Now, as shown in
C6, write out each inversion of the drop 2 voicings for each chord below.
Transposing Chords and Notes on Strings
In Jazz Guitar Chords and Accompaniment, all the chords had their root in the bass and you could
easily move them along the fingerboard once you memorized the notes of the 6th, 5th, and 4th strings.
The inversions and many chords introduced in this book, however, do not necessarily have their root
in the bass and some voicings do not even contain the root. So, how do you transpose such a chord to
a different key? There are a few methods you can use:
1. Study and memorize what notes are on all the strings. Then, if there is a root in the voicing,
you can use it as your reference point no matter where it is located—on the 4th, 2nd, or 1st
string. In the example below, the root of E7 is on the 5th fret of the 2nd string. To play F7,
shift the same chord form up a half step so that the new root will be on the 6th fret of the 2nd
string, or the F note.

2. If there is no root in the chord voicing, locate the root or roots close to the chord and use it
as your guide when transposing the chord to other keys. Since the root is not present in the
voicing, we call it an assumed root. In the example below, you can see that the root of C9 is
on the 8th fret of the 6th string. Although you are not pressing the note, by assuming it as the
root of the chord and using it as a reference point, you can play D9 simply by moving the
same form up a whole step.

3. Recognize what chord or tension note is on the bass of the voicing and use it as your
reference when transposing to other keys. In the example below, the bass of the C6 voicing,
the E note, is the 3rd degree. To transpose this chord to the key of Eb, shift it to the 8th
position where the 3rd of Eb6, the G note, can be played as the bass.

Learn each method and select the one appropriate to the type of chord voicing, or the one you feel
most comfortable with. There is no hard rule. Develop your own system that works best for you.
 1-1 Major 6

Iinversions.
n Sections 1-1 through 1-15, you will study the drop 2 voicings of fifteen chord types and their
To make it simple, all chords are presented in the key of C. The drop 2 voicings can be
played in three different string sets: 6th-5th-4th-3rd (bass on 6th string), 5th-4th-3rd-2nd (bass on
5th string), and 4th-3rd-2nd-1st (bass on 4th string). Since the chords on the 6th-5th-4th-3rd string
set are less practical and less frequently used, only the chord forms of the two remaining string sets
will be introduced in this book. This section presents the major 6 chord drop 2 voicings (above) and
three 2-bar comping patterns (below). Carefully study and memorize each chord form and
accompaniment pattern. When you are ready, move on to the exercises on the next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-2 Minor 6

H ere are the drop 2 voicings of minor 6 chords and three comping patterns. These voicings can also
be derived simply by lowering the 3rd degrees of the major 6 chord voicings in the previous section.
If you recall, a staccato marking as found in the first measure of the third comping pattern below,
means to play the note or slash short. In addition, a slash that precedes a rest, as in the second
measure of the third pattern, should be played staccato as well. Study each chord form carefully and
practice moving it to other keys with the exercises on the next page. Remember that you can play a
comping pattern throughout a progression or combine patterns.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-3 Major 7

T his section presents the drop 2 voicings of major 7 chords. Since the 1st inversion voicings are
spread apart, especially in the middle four strings, they may require a little stretching. If you have
difficulty pressing the chords, don’t try too hard or your hand might ache. Stretch and warm up your
hand and practice at the higher frets first. The 3rd inversion includes an interval of minor or flatted
ninth (b9) between the root (C) and 7th (B). A b9 interval generally produces a harsh sound that is not
compatible with most music styles. For this reason, a voicing that includes this interval is normally
avoided or 7th is substituted by another note such as 6th. For now, however, memorize and practice
the shape as it is, while keeping in mind that the dissonance you may hear stems from the b9 interval.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-4 Minor 7

H ere are the drop 2 voicings of the minor 7 chord and three 2-bar comping patterns. As you may
have already noticed, these chord forms are exactly the same as those of major 6. You’ll learn about
this in detail in Chapter 3, which explains chord synonyms and substitutions. For now, just keep in
mind that some chords consist of the same or almost the same notes as others. In this case, a minor 7
chord consists of exactly the same notes as a major 6 chord up a minor third or down a major sixth.
For instance, Am7 contains the same notes as C6, Dm7 has the same notes as F6, etc. The chord
names and the inversions are different because each chord and its inversions are based on different
basses. So, although you already know the shape of each chord form, carefully study and practice the
inversions of minor 7.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-5 Dominant 7

T his section presents the drop 2 voicings for dominant 7 chords. As before, carefully go through
each voicing and memorize both the chord form and the location of each scale degree. When you are
comfortable playing both the chords and the comping patterns, move on to the exercises on the next
page. Notice that Exercise 3 lists selected II-V-I progressions. Be sure to practice in all keys. Also,
tape-record the roots of the progressions and play against the recording so that you can hear how the
drop 2 voicings work in the context.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-6 Dominant 7sus4

Icreates
f you recall, suspending the 3rd degree of a dominant 7 chord and replacing it with the 4th degree
a dominant 7sus4. Compare the drop 2 voicings of dominant 7sus4 above and dominant 7 in
the previous section. As an exercise, for each drop 2 chord form, alternate between dominant 7 and
dominant 7sus4 chords while replacing the 3rd with the 4th degree without referring to the diagram.
Also, remember that you are free at all times—and highly encouraged—to invent your own exercises
in a similar manner or to modify those shown in this book.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-7 Diminished 7

D iminished 7 chords consist of root, b3, b5, and bb7 (or 6), with each note separated by exactly a
minor third. Because of this unique quality, each inversion has exactly the same form as the others, as
you can see above. Since the chord form is the same, you can alternatively consider, for instance, the
1st inversion of C°7 as the root inversion of E°7, and Gb°7 as the 2nd inversion of C°7, etc. As you
play the inversions in all 12 keys, you’ll realize that there are only three different sets of diminished
chords: C°7 has exactly the same chord structure and notes as Eb°7, Gb°7, and A°7; C#°7 has the
same notes as E°7, G°7, and Bb°7; and D°7 has the same notes as F°7, Ab°7, and B°7. Diminished 7
chords will be discussed in more detail in Section 3-3.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-8 Major 7b5

H ere are the drop 2 voicings of major 7b5. Each chord form is the same as major 7, except that the
5th degree is lowered a half step. This slight modification may make some of the major 7b5 voicings
physically more difficult to hold, especially the 1st inversion. If this is the case for you, just select
those forms you can comfortably play for now, and practice the more challenging ones later.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-9 Minor 7b5

T he drop 2 voicings of minor 7b5 chords and three comping patterns are presented in this section.
This is another example of chord synonyms, where a chord consists of the same notes as another
chord of a different name. In this case, a minor 7b5 is the same chord as a minor 6 up a minor third.
For instance, Cm7b5 (C-Eb-Gb-Bb) has the same notes as Ebm6 (Eb-Gb-Bb-C), Fm7b5 (F-Ab-Cb-
Eb) has the same notes as Abm6 (Ab-Cb-Eb-F), and so on. Again, chord synonyms will be discussed
in detail in Chapter 3. Even though you are already familiar with all of the chord forms, go through
each inversion carefully, study the location of the scale degrees, and practice it in all 12 keys.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-10 Dominant 7b5

H ere are the drop 2 voicings of dominant 7b5 chords and three comping patterns. Notice that there
are two flatted fifth (b5) intervals within Cmaj7b5: between C and Gb and between E and Bb. This
unique feature of the major 7b5 chord results in two sets of an identical chord form for different
inversions (root and 2nd; 1st and 3rd). Which leads us to another example of chord synonyms. In this
case, a dominant 7b5 is the same chord as another dominant 7b5 up or down a flatted fifth or tritone
—another term to indicate a b5 interval. For example, C7b5 (C-E-Gb-Bb) consists of the same notes
as Gb7b5 (Gb-Bb-Db-Fbb), and D7b5 (D-F#-Ab-C) has the same notes as Ab7b5 (Ab-C-Ebb-Gb),
etc. It may be confusing to think about the chord synonyms while newly learning a chord form. For
now, just take one key at a time and practice each inversion without thinking too much about the
chords a flatted fifth apart.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-11 Minor(major 7)

T his section presents the drop 2 voicings of minor(major 7). As you can see above, some voicings
require finger stretching. As before, don’t try too hard or your hand might feel sore. If you have
difficulty pressing each note of the stretched-out chord form, you can either skip it for now or practice
it at the higher frets where the distance between one fret and another is shorter.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-12 Major 7#5

H ere are the drop 2 voicings of major 7#5 and three comping patterns in a new time signature, 3/4.
Instead of referring to the diagrams above, you an also derive a major 7#5 drop 2 voicing simply by
taking a major 7 form and raising its 5th degree by a half step. The comping patterns may look simpler
than before, but count carefully and practice each one at various tempi.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-13 Minor 7#5

T his section presents the drop 2 voicings of minor 7#5 and three comping patterns. Study each
inversion carefully and practice in all 12 keys with the exercises on the next page. Remember that the
same drop 2 forms can be derived by raising the 5th degree of the minor 7 drop 2 voicings introduced
in Section 1-4.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-14 Dominant 7#5

H ere are the drop 2 voicings of dominant 7#5. Comping patterns are again presented in 3/4. Notice
how the second comping pattern includes many rests, producing a sparse and punctual comping effect.
Speaking of rests, remember that you do not have to accompany continuously in the band or behind the
soloist, especially when there are sufficient other activities going on. In fact, many good accompanists
effectively use rests of silence in their comping.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 1-15 Dominant 7#9

T his last section introduces the drop 2 voicings of dominant 7#9 and three comping patterns. As
you’ll see in Section 3-4, when a tension note 9 is added to a drop 2 or 3 voicing, it normally
replaces the root of the chord. Notice that the roots of the dominant 7#9 chords are replaced by the
tension note, #9. This helps not only to avoid awkward fingering, but also to maintain a clear chordal
sound. As you notice, however, the root inversions—which have #9 in the bass—include a b9
interval (between the D# and E notes). It creates an unstable and weak chordal sound, and for this
reason, this inversion is seldom used and should be avoided. It’s listed here mainly for your study
purposes.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 Chapter 1 Review

B elow are several chord progression exercises. By combining various inversions on both sets of
strings, you can come up with many ways to play each exercise. While exploring all the possibilities,
think how you can move to the next chord as smoothly and effortlessly as possible. For instance, find
the closest inversion of the next chord. Or economize the chord transition by moving to the inversion
that has the same or similar fingering. Review all the comping patterns, and pick one or combine
several patterns of your choice. Be sure to practice each exercise in both 4/4 and 3/4 time and in
various tempi. “Drop 2 Blues” is a 12-bar blues in the key of F that features some of the chords
you’ve learned in this chapter. Be sure to experiment with different voicings and comping patterns
and create your own version. For the best result, it’s highly recommended to tape-record the roots of
the blues and play against the recording.
Drop 2 Blues
 CHAPTER 2 DROP 3 VOİCİNG AND COMPİNG
T his chapter presents the drop 3 voicings for the same fifteen chord types covered in Chapter 1. As
with drop 2, the drop 3 voicings are very commonly played on guitar, since most of the chord forms
are easy to finger. In fact, if you studied Jazz Guitar Chords and Accompaniment, you are already
familiar with many of the voicings in the root positions. Studying their inversions will give you more
insight on these chords and help you to further expand your chord vocabulary. As far as the
accompaniment is concerned, you will continue practicing 2-bar comping patterns, which will consist
of more rests and a bit more complex rhythms than those presented in the previous chapter. Before
moving on to the first section, however, let’s see how a drop 3 voicing can be produced.
Drop 3 Voicing
A drop 3 voicing can be easily created by dropping the third note from the top of the closed voicing
down an octave. As you can see in the examples below, this will open up a voicing even wider than a
drop 2 voicing. In most cases, this leads to a guitar voicing that extends over five strings, while
skipping a string inside. So, pressing some of the drop 3 inversions and making chord transitions may
be a bit more challenging than with drop 2.

Just like drop 2, the note arrangement of each inversion of the drop 3 voicing remains the same
regardless of the chord types. For example, the root inversion of the Cmaj7 drop 3 voicing consists of
C (root), B (7th), E (3rd), and G (5th), arranged from bottom to top. Similarly, the note arrangement
of the root inversion of C7 voiced in drop 3 is C (root), Bb (b7th), E (3rd), and G (5th), bottom to up.
You will find it useful and worth your time to memorize this arrangement of scale degrees for each
inversion. It’ll help you when you comp or arrange a song. Now, as shown in C6 as an example, write
out each inversion of the drop 3 voicings for the remaining fourteen chords on the next two pages.
Then, Sections 2-1 through 2-15 will present the chord diagram of each inversion.
 2-1 Major 6

T he first drop 3 voicing you’ll learn is for major 6 chords. To make it simple, each section will
again present each chord diagram in the key of C. The drop 3 voicings can be played in two different
string sets: 6th-4th-3rd-2nd (bass on 6th string) and 5th-3rd-2nd-1st (bass on 5th string). As you
notice, both string combinations skip one string inside the voicing. Be sure to mute that string. Now,
carefully study and memorize each inversion (above) and comping pattern (below). When you are
ready, move on to the exercises on the next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-2 Minor 6

H ere are the drop 3 voicings for minor 6 chords and three comping patterns. As in the previous
section, each comping pattern starts with a quarter rest, which may throw you off tempo a bit.
Actually, all the comping patterns introduced in this chapter will begin with rests. If you have trouble
at first, just bring down the tempo, count carefully, and strive to play each pattern accurately in time.
When you are ready, move on to the exercises on the next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-3 Major 7

T his section presents major 7 chord drop 3 voicings along with three comping patterns. Watch out
for the 2nd inversion forms, which require you to stretch your left hand. As before, be sure to do some
stretching exercises first, then practice them at the high position. The 3rd inversion includes a b9
interval between the root (C) and the 7th (B). As mentioned in Section 1-3, a voicing that includes a
b9 interval creates a bit harsh sound and is generally to be avoided. One way to avoid a stretched-out
chord form or the b9 interval is to substitute the 7th (B) with the 6th (A). Practice both ways on the
2nd and 3rd inversions, and when you are ready, move on to the exercises on the next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-4 Minor 7

A s you saw in Section 1-4, the drop 2 voicings of minor 7 chords were exactly the same as those of
major 6. This is because a minor 7 chord consists of exactly the same notes as a major 6 chord up a
minor third or down a major sixth. The same fact applies to the drop 3 voicing. The same inversion
may have a different shape of chord, but the chord forms should all be familiar to you.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-5 Dominant 7

H ere are the drop 3 voicings of the dominant 7 chord. In the comping patterns below, you may
notice that there are more rests and that most attacks occur on “and ” of the beat instead of on the beat.
Be sure to keep your metronome on and count carefully to play each pattern without rushing. Exercise
3 on the next page lists some II-V-I progressions. Practice as many ways as possible in all keys and
write down some of your favorites.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-6 Dominant 7sus4

S uspending the 3rd degree of a dominant 7 chord and replacing it with the 4th degree produces a
dominant 7sus4 chord. Again, you can derive the drop 3 voicings of dominant 7sus4 above from the
dominant 7 drop 3 voicings by raising the 3rd degree by a half step. Notice that the last comping
pattern below includes a quarter-note triplet. Count carefully, and play it slowly at first in order to
avoid any rushing or dragging.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-7 Diminished 7

A s you saw in Section 1-7, because of the unique structure of the diminished 7 chord, each
inversion shares exactly the same chord form. After memorizing the chord form, move it along the
fingerboard and mentally review which diminished chord is the same as which. Remember, C°7 = Eb
°7 = Gb°7 = A°7; C#°7 = E°7 = G°7 = Bb°7; and D°7 = F°7 = Ab°7 = B°7 (“=” means is equal to or
is the same as). Practice these chords and the accompaniment patterns below, then move on to the
exercises on the next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-8 Major 7b5

T he drop 3 voicings of major 7b5 chords are presented in this section. Like the drop 2 voicings,
some of the inversions of the drop 3 may be difficult to press for some students, especially the 2nd
and 3rd inversions. For now, just select the ones you can play with ease, and come back to the harder
forms later.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-9 Minor 7b5

A s you saw in Section 1-9, the minor 7b5 chord shares the same notes and chord forms with the
minor 6 chord up a minor third. So, you are already familiar with all of the chord forms. However,
since the location of scale degrees and the order of inversion differ from the minor 6 chord, study and
practice each drop 3 voicing in each key carefully with the exercises on the next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-10 Dominant 7b5

Iannidentical
Section 1-10, you’ve seen how the unique feature of the dominant 7b5 chord results in two sets of
chord form for different inversions of the drop 2 voicings. Likewise in drop 3, the chord
form of the root inversion is the same as the 2nd inversion, and the 1st inversion is the same as the
3rd inversion, as you can see above. Carefully practice each inversion in each key while being aware
of this property. Notice that all three comping patterns below start at the 4th beat of the first measure.
Keep the metronome on and be sure to be silent on all the rests.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-11 Minor(major 7)

H ere are the drop 3 voicings of minor(major 7) chords and three comping patterns. Watch out for
some inversions that you may have to stretch your fingers a bit to play. In the comping patterns below,
the first attack occurs at “and” of the 4th beat. If the second measure has a different chord than the first
measure, the chord of the second measure is played on this beat, as you can see in the examples on the
next page.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-12 Major 7#5

T he comping patterns will be in a new time signature, 3/4, from this section till the end. As you see
below, each 3/4 pattern starts with an eighth rest. Be sure to start at a slow tempo until you’re fully
comfortable with each pattern. The 1st and 2nd inversions of the major7#5 drop 3 voicings are
somewhat spread out, so they may require some stretching to play.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-13 Minor 7#5

H ere are the drop 3 voicings of minor 7#5 chords and three comping patterns in 3/4. Except for the
2nd inversion, it should be less trouble to press each chord form. After you study each inversion and
comping pattern, practice the exercises on the next page with a metronome.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-14 DOMINANT 7#5

T he 1st inversion form whose bass is on the 5th string is fairly spread out, and it may require some
stretching to press. You may find other inversions more physically accessible and therefore more
practical. Notice that in each comping pattern below, a half-note slash comes in on beat 2. Count
carefully with a metronome and practice each pattern with various inversions.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 2-15 Dominant 7#9

T his section presents the drop 3 voicings for the last chord, dominant 7#9, and three comping
patterns. As done in the drop 2, a tension note 9 (whether natural, raised, or lowered) replaces the
root of the chord when it’s added to the drop 3 voicing. The root inversions which have a #9 in the
bass, again include a b9 interval between the low D# and high E notes, creating a weak and dissonant
chordal sound. Many guitar players would avoid this voicing, but look over each inversion for study
purposes.
Exercise 1: Practice each inversion in all 12 keys on both sets of strings. Combine several comping
patterns, or play one pattern throughout the exercise as shown in #1.
Exercise 2: Practice the inversions in sequence in each key on both sets of strings. Combine several
comping patterns, or play one pattern throughout the exercise as shown in #4.
Exercise 3: Start with an inversion, then move to the closest inversion of the next chord as shown in
#6. Practice in various positions and with as many combinations as possible.
 Chapter 2 Review

B elow are various chord progression exercises. As you’ve done in the previous chapter, create
many ways to play each exercise by combining various inversions on both sets of strings. Strive to
move to the next chord as smoothly and effortlessly as possible. Economize the chord transition by
finding the closest inversion of the next chord, or by moving to the inversion that has the same or
similar fingering. Be sure to review all the comping patterns, and select one or combine several
patterns of your choice to play an exercise in both 4/4 and 3/4 time and in various tempi. “Drop 3
Blues” is a 12-bar blues in the key of Bb with an example of accompaniment. As before, be sure to
experiment with different voicings and comping patterns and create your own accompaniment. For the
best result, tape-record the roots of the blues first and play against the recording.
Drop 3 Blues
 CHAPTER 3 CHORD SYNONYMS AND SUBSTİTUTİONS
A s you’ve seen from time to time in the first two chapters, some chords have exactly the same notes
and guitar chord forms as another chord of a different name. For example, in Sections 1-4 and 2-4,
you saw that C6 (C-E-G-A) consists of the same notes and shares the same chord forms as Am7 (A-
C-E-G). Also, Sections 1-7 and 2-7 revealed that a diminished chord shares the same notes with, and
is equivalent to, three other diminished chords of different roots that are a minor third apart.

Chords that have the same or similar structure but are called by different names are said to be
synonyms. In such a case, the chords can be used interchangeably, or substituted for one another.
Replacing one chord with another, or chord substitution, is very commonly done in jazz and other
styles of music when composing or arranging a song. During the performance, a player may also
spontaneously substitute chords on the spot. There are many benefits and advantages of learning the
chord synonyms and substitutions. Some of them are:
1. Adding extensions or alterations to a chord can often be easily done by substituting it with a
chord you already know.
2. Instead of learning a new chord shape, you can simply adapt the chord form you know.
3. The fingerings can sometimes be simplified.
4. Chord transitions can become smoother and easier.
5. You’ll have more tools for arranging and adding interest to a song.

In Sections 3-1 to 3-3, you’ll first look at the three common types of chord substitutions: diatonic,
tritone, and diminished. A chart of chord synonyms will be presented in Section 3-4, and Section 3-5
will list some examples of chord substitutions in the context of the II-V-I progression.

A good understanding of chord synonyms—or equivalent chords—will provide you with various
choices and ideas that allow you to substitute chords freely and effectively. You may at first feel
overwhelmed by the numbers of chord synonyms and endless possibilities. The important thing,
however, is to digest one item of information at a time, gradually incorporate it into your own playing,
and then experiment with other substitution ideas over time.
 3-1 Diatonic Substitutions

F irst, take a look at the C harmonized major scale below. As you closely observe each chord, you
realize that two or more common notes are shared among different chords. For instance, both Cmaj7
and Em7 include the E, G, and B notes. There are three common tones between Dm7 and Fmaj7: F, A,
and C. As you sort these diatonic chords by common tones and structures, three major families can be
identified: tonic, subdominant, and dominant. Because of the similar structures, the chords in the same
family have the same harmonic function and can be substituted with one another.

Tonic Substitution: I, III, VI

The tonic family includes I, III, and VI chords. As shown above, Cmaj7 (I) shares three common
notes (E, G, and B) with Em7 (III), and two notes (E and G) with Am7 (VI). Furthermore, when you
look at these chords closer (see below), Cmaj7 is the same as Am9 without the root; Em7 is
equivalent to Cmaj9 without the root or A9sus4 without the root; and Am7 is really just the 3rd
inversion of C6. So, as you can see, these three chords have much in common with other chords,
allowing you to substitute one chord with another depending on how you’d like to embellish the
original chord. For instance, if you see a plain C triad on the lead sheet and you want to add some
color to it, you can embellish it simply by substituting it with Em7 and thus create a major 9 sound, or
you can produce a major 6 sound by playing Am7 in place of the C triad. (See example below.)
Example:

Subdominant Substitution: II and IV

The subdominant family includes II and IV chords. In the key of C, there are three common tones
between Dm7 (II) and Fmaj7 (IV): F, A, and C. Looking at these chords closer further reveals that
Dm7 is equivalent to the 3rd inversion of F6 and Fmaj7 is the same as Dm9 without the root.
Consequently, you can substitute the two chords interchangeably.
Example:

Dominant Substitution: V and VII

The V and VII chords belong to the dominant family. In the key of C, the common tones between G7
(V) and Bm7b5 (VII) are B, D, and F. When you substitute G7 with Bm7b5, you can create a dominant
9 sound because Bm7b5 is the same as G9 without the root. On the other hand, substituting Bm7b5
with G7 doesn’t work too well because G7 lacks an important tone (b7, or the A note) that
characterizes Bm7b5, and because of the presence of the G note. For this reason, the VII chord is
rarely substituted by the V chord; but the VII chord is very commonly played in place of V.

Example:
 3-2 Tritone Substitution

A nother popular substitution is the tritone or flatted fifth substitution; tritone is a term sometimes
used to indicate an interval of b5, or diminished fifth. In the tritone substitution, a dominant 7 chord is
substituted by another dominant 7 chord a flatted fifth away. For instance, you can substitute C7 with
Gb7, or F7 with B7, or D7 with Ab7, etc. As you can see in the examples below, two dominant 7
chords a flatted fifth apart share the two important notes that define the sound of the dominant 7 chord:
3rd and b7th.

When a dominant 7 chord is substituted by another dominant 7 chord a tritone away, how will the
unshared tones sound? Similar to the diatonic substitution, the notes newly imported will act like
tensions. In the case of the tritone substitution, you can consider the substitute chord as another form
of the original dominant 7 chord embellished with a b5 and a b9. For instance, C7 is equivalent to
Gb7b5b9 without the root, and F7 is equivalent to B7b5b9 without the root.

As you can see in the above examples, when you play C7 in place of Gb7, the 3rd (E) of C7 becomes
the 7th of Gb7 and the 7th (Bb7) of C7 becomes the 3rd of Gb7. The two notes, C and G, that were
not in Gb7 but were newly introduced from C7, become the tensions, b5 and b9, of Gb7. Thus, the
tritone substitution allows you to easily add altered tensions to a plain dominant 7 chord simply by
substituting it with another dominant 7 chord a flatted fifth away.

You may be wondering what happens if, instead of a plain dominant 7 chord, you substitute with an
extended or altered dominant 7th chord a tritone away. Will C7b5 work if you play it in place of
Gb7? Or how about substituting B7 with F7b9? In such cases, any tensions of the original dominant 7
chord will appear either as chord tones or different tensions on the substitute chord. These chord
synonyms of the tritone substitution will be covered completely in Section 3-4, but some examples
are listed below. In the first example, C7#5 is the same as Gb9b5 without the root. Notice how the
altered note #5 (Ab) of C7 becomes the 9th of Gb9b5. In the second example, C9 without the root is
equivalent to Gb7#5b9 without the root. The D note, or the 9th of C9, is the #5 of Gb7#5b9.
Examples:

Sometimes, an altered dominant 7 chord mirrors itself in the dominant 7 chord a tritone away. You’ve
seen one such example in Sections 1-10 and 2-10, where the unique chord structure of a dominant 7b5
—two flatted fifth intervals within a chord—resulted in two sets of an identical chord form for
different inversions. Here are a few more examples:
Examples:

The tritone substitution is often used and works well in II-V-I as exemplified below:
 3-3 Diminished Substitution

T he diminished 7 chord is made up of root, b3, b5, and bb7 (or 6) with each note separated from
the next by exactly a minor third. Because of this unique structure, any one diminished chord shares
exactly the same notes and chord structure with three other diminished chords and can be played
interchangeably with them.

Furthermore, each diminished 7 chord is also equivalent to a dominant 7b9 (no root) down a half
step. As you can see below, for instance, C°7 (C-Eb-Gb-Bbb) contains exactly the same notes as
B7b9 without the root (D#-F#-A-C). Likewise, D°7 (D-F-Ab-Cb) is the same as Db7b9 without the
root (F-Ab-Cb-Ebb).

To summarize, there are three different sets of diminished 7 chords. The four chords in each set share
exactly the same notes and structure with each other and with four dominant 7b9 (no root) chords. In
general, the chords with the same structure can be substituted for one another.
How to Use Diminished 7
There are many ways you can use a diminished 7 chord in a chord progression. Here are just a couple
of common uses:
1. Passing Diminished
The most common use of a diminished 7 chord is as a passing or transitional chord between two
chords. The insertion of a diminished 7 chord can create a smooth connection with a chromatic bass
line that ascends or descends by a half step.

2. Auxiliary Diminished
You can also insert a diminished 7 chord of the same root as the tonic or dominant 7 chord that the
previous chord is resolving to. It either delays the resolution to the target chord or creates some
motion and interest in relatively static places.

Here are some examples of the diminished 7 substitution. Take II-V-I progressions in other keys and
create your own versions.
 3-4 Chord Synonyms

T he chord substitutions you’ve studied in the preceding sections are just some examples of chord
synonyms. By comparing and examining chords from different angles, more similarities in structure
can be identified. In the following pages, you will find charts that summarize the chord synonyms in
three chord families: major, minor, and dominant 7.

The first column lists the original chord with its basic structure or scale degrees in parentheses. The
second column lists chords that are equivalent or synonyms to the first chords. Both the original and
the synonym chords are written in Roman numerals (I - VII) to show the relationship between the two
chords. For example, when you see in the first row that I triad is the same as VIm7, you can see that a
major triad is equivalent to a minor 7 chord up a major sixth. This will allow you to easily apply it in
any other key. The numbers in parentheses below each synonym illustrate how the notes of the
original chord become the new scale degrees in the substitute chord. For instance, in the first chord,
the 1st degree of the I triad becomes the b3rd of the synonym chord VIm7, the 3rd degree becomes the
5th, and the 5th degree becomes the b7. The last column lists an example for each synonym in the key
of C. Before moving on, here are a few things to note:
Enharmonic Notation
Enharmonically speaking, b5 is the same as #11, and #5 is the same as b13. Although the altered 5th
degree is notated as either b5 or #5 in the following charts, when an unaltered 5th is also present in
the voicing, the altered notes are considered and notated as #11 or b13.
Omitting Notes
As you’ll notice, many of the chords omit certain tones such as the root or 5th degree. Omitting notes
is commonly done to simplify the voicing—or in the case of guitar, to make it more physically
accessible. The charts, however, do not list chords that exclude the essential tones—such as 3rd and
7th—which determine the basic chord quality. These incomplete chords are used in some situations
and you are encouraged to explore them on your own.
Tension Substitutions
When adding a tension note to a chord, one note of the chord is sometimes omitted or replaced by the
new note. This note substitution is usually done to make room for the new note, or to make the chord
easier to play on guitar, or to avoid the conflicting interval or sound within the voicing. You’ve seen
one example in Sections 1-15 and 2-15, where the root of the dominant 7#9 chord was replaced by
#9. Also, some extended or altered chords you saw in the introductory book, such as dominant 9 or 13
and minor 11, omit the 5th. When you substitute Imaj7 with IIIm7, in essence you are playing Imaj9
while replacing the root with the 9th. In general, the least needed tone in a chord is replaced by the
tension note. Although in practice it sometimes depends on the type of chord and whether a voicing is
practical, the basic rule is:
1. 9th degree replaces the root or 3rd
2. 11th degree replaces the 3rd or 5th
3. 13th degree replaces the 5th
While studying the charts, pay a careful attention not only to the relationship between the original
chord and its chord synonyms, but also to what notes are omitted or replaced, if any.
Major Chord Synonyms
Minor Chord Synonyms
Dominant 7 Chord Synonyms
 3-5 II-V-I Examples

A s discussed in Jazz Guitar Chords and Accompaniment, chord embellishment—or extending and
altering chords—is what helps to make music sound like jazz. In fact, it is one of the essential and
important elements to consider when accompanying. Although studying the charts of chord synonyms
in the previous section may be overwhelming, the better you know the chord synonyms and basic
substitution rules, the easier it will become to embellish chords. Just keep in mind that you don’t need
to memorize all the synonyms at once. Start from the basic chord substitution rules—diatonic, tritone,
and diminished—then gradually add and apply a few substitution ideas over time and see how you
can enhance your accompaniment in various ways.

One of the best ways to understand chord substitution is to practice it in a musical context or in such
common chord progressions as II-V-I and I-VI-II-V. The II-V-I examples listed on the next pages show
how you can apply some of the substitution and synonym ideas. To make it simple, all of the music is
written in the key of C, using only the drop 2 voicings of selected inversions in limited positions.
When a chord is substituted by another chord, the substitute chord is listed above the chord diagram
in italics in parentheses. For instance, the first example on the next page shows you that the original
G7 chord is substituted by Bm7b5, thus creating a G9 sound. Here are some suggestions:
1. To hear how the substitutions work in the context, tape-record the roots of the basic II-V-I
progression and play each example against the recording.
2. Play each example with some of the comping patterns from Chapters 1 and 2.
3. The examples show only a handful of the ways you can substitute chords. Refer to the charts
in the previous section and create more examples on your own. Look for ways to simplify
your fingering to create a smooth chord transition.
4. Practice each example in other positions and string combinations. Start a progression from a
different inversion of the II chord and move to the closest inversion of the next chord, for
instance. Try each example using the drop 3 voicings or other chords you learned from the
previous book, or mix various voicings.
4.
 Chapter 3 Review

L et’s practice chord substitutions and synonyms with the following exercises. The first part lists
progressions with basic chords in all 12 keys. First, practice one chord substitution rule at a time for
each exercise: diatonic, subdominant, dominant, tritone, and diminished substitutions. Then, you can
mix different substitutions, embellishing chords and creating different-sounding progressions in
various ways. The second part includes some extended and altered chords that you can play by
substituting chords. In all exercises, play both drop 2 and drop 3 voicings in different inversions and
string combinations. Feel free also to play other types of chords you know or have learned from the
previous book. If you wish or need to, go back and review each chord substitution section at any time
and write out the substitute chords above the listed chords. Lastly, be sure to write out a few comping
patterns and practice each exercise with a metronome. The more you practice, the easier it’ll become
to substitute chords and you will discover more possibilities and interesting ways to play the same
progressions! The sample song, “Substitute Blues,” uses some substitution ideas, embellishing chords
here and there. As before, for the best result, play along with a tape-recording of the roots of the song.
Substitute Blues
 CHAPTER 4 MORE ON COMPİNG
T he main focus of this book is to provide information and ideas to help you advance your chord
vocabulary and improve your accompaniment skills, especially in the area of comping. As briefly
discussed in Jazz Guitar Chords and Accompaniment, the role of guitar in a small jazz band has
become somewhat different in recent years. Instead of playing every beat of the measure and keeping
time, the modern guitarist accompanies more sparsely and interactively with what the soloist and rest
of the band are playing at the moment. In other words, the accompaniment has generally become a
more supportive and complementary role, or what is knows as “comping.”

So far, you’ve learned many guitar chords and rhythmic patterns and practiced creating some of your
own comping examples. In this chapter, let’s take it a step further and explore various elements and
techniques involved in comping. The premise stated earlier—that pre-planning your accompaniment
cannot be done in such improvised music as jazz—remains unchanged. However, studying the basic
principles and approaches will help you to integrate the information you’ve learned thus far and
develop better comping skills along the way.

First, in Section 4-1, we’ll consider what factors influence us to select a particular chord voicing
when comping. Then, Section 4-2 will introduce one of the most important concepts and
considerations of comping: voice-leading. Finally, in Section 4-3, we’ll look at the various comping
techniques and approaches commonly used by many players.
 4-1 Choice of Voicing

W hat chords or voicings you choose to play can often have a significant influence on the overall
sound and color in your comping. Some factors to consider when selecting voicings are: sound,
physical considerations, low interval limits, and instrumentation.
Sound
Quality of sound is a primary consideration to many players when choosing a voicing. In general, you
tend to play the chords that sound pleasing to your ears in greater frequency, and they eventually
become your favorites.
Physical Considerations
The physical ease or difficulty of playing a chord and connecting one chord to another is another
important element that determines your choice of voicings. Obviously, if the fingering is difficult, it
can lead to poor execution of the chord or an awkward chord connection. For this reason, you may
want to avoid using some of the stretched-out, physically demanding inversions of the drop 2 or 3 and
other voicings, in spite of the “hip” sound they may provide. As you saw in the previous chapter,
substituting chords can often allow for simpler fingerings and smoother chord transitions without
compromising the sound.
Low Interval Limits (LIL)
An interval begins to sound unclear or indistinct when it occurs below certain limits on the scale. The
term low interval limits (LIL) refers to the lowest possible place or the bottom interval—the distance
between the lowest and the second-lowest notes—at which a voicing can be played. You have seen a
few chords with an interval beyond LIL, and depending on the type of guitar or strings you play, you
can still play below the limit. However, in general, the chord that violates the low interval limits
tends to sound blurred or muddy. One of the reasons that drop 2 voicings with bass on the 6th string
are not included in this book is that many of the inversions would violate LIL and sound blurred. So,
low interval limits can be one of the primary considerations, especially when constructing a voicing
or arranging a song. The following summarizes LIL, or the lowest place each interval can be played
on guitar. Notice that LIL can also occur when the lowest note is played by the bass guitar and you
happen to play the second note from the bottom.
Instrumentation
The term instrumentation refers not only to what instruments are included in a band, but also to how
many people are playing in the band and how actively the band is playing at the moment. Generally
speaking, the more players there are in the band and the busier it is playing, the less active your
comping should be. In particular, when all functions—rhythmic, melodic, and harmonic—are
adequately covered by the other instruments, the trick is to play a more minor and supportive role
without getting in anyone’s way. Besides rhythms, what voicings to play can be influenced by
instrumentation. What follows are general guidelines to consider. Keep in mind that comping is
dynamic, and different circumstances may call for different decisions and considerations.
Playing with Piano
In general, when working with piano in a band, the role of the guitarist is to complement or match the
voicing the pianist uses. Normally, the pianist accompanies with the left hand, and it is important to
listen carefully to how active the left hand is. For instance, when the piano accompaniment is very
active, it’s better to stop comping and just let the pianist do the accompanying. On the other hand, if
the pianist’s left hand rests, your guitar accompaniment should be helpful to the piano and the band.
When the piano accompaniment is sparse, chord voicings in a different range will complement those
played by the pianist and help to broaden and enhance the overall sound.
Playing with Bass
In the presence of bass, many guitar players avoid voicings that might interfere with the bass line.
Instead, they prefer voicings that do not have roots in the bass, or simpler voicings such as guide
tones or guide tones plus another note, which you’ll study in Chapter 5. These voicings not only allow
the bass lines to achieve maximum clarity, but also avoid a muddy or heavy sound by not duplicating
the roots and not violating the low interval limits.
Playing with Drums
How the drummer plays does not affect your choice of chord voicings, but it’s worth mentioning
briefly here as it does have a great influence on your comping rhythm. In general, making your rhythm
complement and synchronize with the drummer’s groove will result in good comping and sound.
Listening to the hi-hat and ride cymbal of the drums helps you to grasp the groove or rhythmic flow
the drummer is creating and allows you to complement it rhythmically.
Playing Duo
When you are the sole accompanist in a duo band playing with a vocalist or another guitar, you may
need to outline the bass line of the song while also playing the chords. In general, the large chord
voicings or the root inversion would more likely be your choice of voicing most of the time, rather
than playing small two- or three-note voicings.
Playing in Big Band
When playing in a very large ensemble such as a big band, a good portion of the performance is often
prearranged, so it is first important to study the arrangement and check out the stylistic considerations
of each song. In many of the traditional big-band arrangements, for instance, the main role of guitar is
to provide the rhythmic groove rather than adding embellishments to the harmony. Thus, simple three-
note (which you’ll see in Section 5-1 in detail) or four-note chord voicings would be more commonly
played than extended or altered voicings. Rhythmically, the chords are strummed more simply in the
four-to-the-bar style to support the band with a good, solid pulse and to swing hard. On the other
hand, in many modern arrangements, guitar accompaniment is written to be played in a specific style
or even sparsely, as in a small combo.
 4-2 Voice-leading

V oice-leading means moving one chord to another in a smooth and deliberate manner. When
accompanying, jumping from one place to another on the fingerboard without a sure and certain
direction not only is inefficient, but also sounds disoriented and disorganized. In voice-led
accompaniment, on the other hand, the top notes of different chords normally move in a definite
direction, which creates continuity in a progression; a good accompanist can even create little
melodies when comping. For this reason, it is probably the single most important factor in
constructing your comping. In voice-leading, chords are usually played by a set of bars, such as 2-, 4-
, or 8-bar phrases; each phrase may be continuous or sometimes separated by a rest. There are
several ways the top notes of chords can move: by common tones, half steps, whole steps, thirds,
and leaping. While combining one or more approaches, you may find other ways to voice-lead and
connect chords smoothly. As long as it’s appropriately done without getting in anyone’s way—
especially the soloist’s—any approach can work.
Common Tones
Although it may not always be possible to do, depending on the chord progression, you can move
chords while keeping the same or common note on top of each chord.

Half Steps
The top notes of the chords can also be voice-led up or down by a half step. It creates a smooth top
line, and is one of the most-used approaches.

Whole Steps
You can voice-lead the top notes of chords by a whole step in either an up or down direction.
Thirds
You can also voice-lead chords by major or minor thirds. In the example below, the top note of
Cmaj9, or D, is voice-led by a note up a major third (the F# note). Likewise, the top note of Dm7, or
F, is followed by a note down a major third, or Db of G7b5.

Leaping
Within the duration of the same chord, it is possible—and sometimes desirable—to leap the top notes
from one place to another. As shown below, the leaping is done not only to add spice to an otherwise
stagnant harmony, but also to help create a smooth voice-leading to the next chord. Leaping can also
be seen when the voice-leading is suspended at the end of 2-, 4-, or 8-bar phrases and the new line
starts at a different pitch.
 4-3 Comping Techniques

A nother important factor to consider when comping is rhythm. As mentioned previously, you can’t
plan how you’ll comp rhythmically ahead of time. However, isolating and practicing certain rhythmic
patterns commonly used in comping provides valuable study, as you have seen in Chapters 1 and 2. In
this section, let’s take it a step further and study some of the common rhythmic approaches or
techniques that players use to create various effects. Only a handful of examples are presented below,
but you are encouraged to create more examples on your own using the patterns introduced in this
book or those from other sources.
Sustained Comps
Sustaining each chord and clearly laying out the harmony behind the soloist is often very helpful for
him/her and is usually effective when the solo is busy with many notes.
1) Sustaining a Chord

2) Dividing A Chord
By simply playing different combinations of strings and dividing a chord, you can create an
interesting accompaniment.
3) Soprano Pedal
You can keep the top note throughout while playing various chords. This is called soprano pedal
because the same high note is played repeatedly like a pedal.

Punctual Comps
In contrast to sustained comps, you can add some kick and interest by punctuating your
accompaniment with rhythms of short notes and rests. Some also call it rhythmic comping.
1) Sparse
Playing sparsely with rests and space creates room to breath.

2) Punctual
Playing a rhythm of short notes—such as eighth notes—with an accent followed by a rest is often
effective.

3) Combining Sustained and Punctual Comps

A rhythm of long and short notes with rests creates contrast and punctuation in your comping.

Other Techniques
Here are two other techniques and approaches commonly used when comping.
1) Passing Approach
As you previously learned in Jazz Guitar Chords and Accompaniment, you can insert a passing
chord between chords to facilitate a smoother transition. You can approach the next chord from a half
step below or above.
2) Fill-ins
When the soloist pauses during the solo, you can fill in the space with a single-note line or some
rhythmic accompaniment as if you are conversing. This technique, sometimes called counter-line or
call and response, originated from blues and early jazz. It is particularly useful when accompanying
behind the melody or a singer.
Fill-in with single notes

Fill-in with chords

 4-4 Comping Summary

H ere are some general pointers and suggestions for comping. There are really no hard rules for all
circumstances, and some may not apply to a particular musical situation. But I hope this summary will
give you something to think about and help you to create an effective comping style of your own.

1. In general, accompaniment at slower tempos should be played in a more sustained manner,

and at medium to fast tempos, with a balance of long and short chords.
2. Simple, sparse accents are often effective and work well, especially to avoid accidental
clashes with the pianist’s chords or the drummer’s rhythms.
3. The more the soloist plays, the less the accompanist should play. Sustained comps with some
short syncopated chords work well behind a busy solo.
4. Comping is done to support, not overpower, the soloist. Be sensitive to the soloist without
overshadowing him/her. For instance, if you can’t hear what the soloist is playing, maybe the
whole rhythm section is playing too loudly. Sometimes, silence—not playing at all—creates
valuable space for the soloist.
5. Rhythm often takes precedence over harmony in comping.
6. Voice-leading instead of jumping aimlessly is very important in chord connection. Try to
resolve to the closest voicing of the next chord in a smooth and controlled manner.
7. Avoid duplicates both in harmony and rhythms. In the presence of bass, you can play chords
without emphasizing the bass or select voicings without the root in the bass. If the rhythm or
groove played by the drummer is sufficient, you can play more sparsely.
8. Listen carefully to both the soloist and the whole band. Find spaces where you can
contribute by filling in the gaps or complementing without getting in anyone’s way.
9. Each band is different from another. Each musician you’ll play with has his or her own
individual style and habits. No matter what the situation or what band you’ll be playing with,
you need to learn how to adapt and blend in effectively.
 9.
Chapter 4 Review

H ere are four songs to practice comping. First go back and review all the sections and comping
techniques. Then, while applying one or several approaches, create various accompaniments. Feel
free to embellish or substitute chords. As for chord voicings, first limit them to the drop 2 or 3 only.
Then, combine different voicings and see what happens. A sample song, “Just for You,” is given at the
end as an example, using some of the comping approaches introduced in this chapter. As before, be
sure to experiment and make up your own version.
Moon

Alicia
Princess
Let’s Fly Again
Just for You
 CHAPTER 5 MORE CHORD VOİCİNGS
Y ou can do a lot of accompaniment just by using the chord voicings and substitutions you’ve
learned up to this point. In fact, the use of drop 2 voicings alone can present endless possibilities and
combinations. You will be pleased to know, however, that there are a few other chord voicings that
are used from time to time depending on the musical style and situation. Four new chord voicings that
will be presented in this chapter include: three-note open chords, guide tones, guide tones plus one,
and fourth voicings.

As you will see, many of these voicings are based on or can be easily derived from those you’ve
already studied. So, the more you know and remember the drop 2 and 3 voicings, for example, the
easier it will be for you to understand and apply the new voicings. To make it simple, the music
examples you’ll see do not include accompaniment rhythms, but you are encouraged to apply any of
the comping patterns. In addition, playing each example against a tape-recording of the roots of the
chords is highly recommended as you can hear more clearly how the voicings work in context. As
previously done, be sure to create your own version or examples as you go along. Lastly, although it
is beyond the scope of this book to cover each voicing entirely, I hope what’s provided in this chapter
will give you enough information and incentives to do further investigation on your own.
 5-1 Three-note Open Chords

T hree-note open chords were popularized by Freddie Green, the great rhythm guitarist of the Count
Basie Orchestra, and such other notable guitarists as Bucky Pizzarelli and Herb Ellis. Although these
chords can be used in any musical situation—combo or behind the singer—they are most often and
heard in big band, typically in the four-to-the-bar style. The majority of three-note open chords can
easily be formed out of the chord voicings you’ve learned—drop 2 and drop 3. There are two types
of three-note open chords: those with the bass on the 6th string and those with the bass on the 5th
string. Except for a few cases, the chords with the bass on the 6th string use the 6th, 4th, and 3rd
strings, and those with the bass on the 5th string use the 5th, 3rd, and 2nd strings. The chords with the
bass on the 6th string are much more common and popular, as they are easier to play. In both cases,
the unused strings should always be properly muted.

In this style, maintaining the momentum of the rhythmic groove is more important than adding color to
the harmony. So, all the embellished chords you may see on the lead sheet are simplified to their
basic form. For instance, when you see Cm9 or Cm11, you’d just be playing Cm7 or Cm. Likewise,
all extended or altered dominant 7 chords, such as dom 9, dom 7b5, or dom 7#5b9, will be played as
either a plain dominant 7 or a major triad.

The charts on the following pages list commonly used three-note open chords. As before, all chords
are presented in the key of C to make it simple. The fingerings are only suggested, and you are free to
change them according to your preference. Go through each chord carefully and play it in different
keys. Lastly, be sure to mute all the X-marked strings completely.
Major Three-note Open Chords

The following are alternative forms of some of the major chords. The 3rd inversion of major 7 is
often substituted by major 6 to avoid b9 interval.
Minor Three-note Open Chords

The following are alternative forms of some of the minor chords.

Dominant 7 Three-note Open Chords

Notes: The scale degree “6” written in all diminished chords is enharmonically the same as bb7.
“6” is used here to save space.

The following are alternative forms of some of the dominant 7 chords.

Examples
Some examples that exclusively use the three-note open chords are presented next. As typically done,
play each example in four-to-the-bar style. Be sure to create other examples on your own.
 5-2 Guide Tones

T he guide tones consist of two notes, 3rd and 7th—the two most important tones that determine the
chord quality. Technically speaking, two notes are an interval, not a chord. However, reducing a
chord to these two essential notes not only simplifies the voicing, but also allows you to outline the
harmony clearly. Also, as you’ll see shortly, you can easily create a smooth and nice voice-leading.
Because of their simple sound, the guide tones are effective when the band is active or when there are
other accompanying instruments such as piano, organ, or second guitar. The guide tones can easily be
identified on any chords you’ve learned—drop 2, drop 3, or others. Here are some examples of how
you can locate them in familiar voicings.

The following charts list some of the common ways to play guide tones. To make it simple, all guide
tones are in the key of C, but be sure to practice them in all keys. The fingerings are only suggested,
so feel free to change them to your preference. The same guide tones can be played in various other
places on the fingerboard using different string combinations and octaves, and you are encouraged to
further explore them on your own. Some music examples including a blues in the key of G are
presented at the end.
Examples
 5-3 Guide Tones Plus One

A s you saw in the last section, the guide tones are simple, but they can outline the basic harmony
clearly and effectively. They are also flexible and you can add a note or two to easily create a chord
on the spot. For instance, you can add a bass note and make it a three-note open chord. Or, you can
add a chordal or tension note and create various voicings. Below are some examples of three-note
voicings that result from adding a note to the guide tones in the key of C. As you may notice, many of
the chords are the same as the drop 2 or 3 voicings without the bass notes. These voicings are very
useful when the bass line is being adequately played by the bass or another accompanying instrument.
These are only a handful of the voicings that can be created. Experiment further on your own by using
different string combinations or by adding different tension or chordal tones, and you may come up
something new and unexpected!
Cmaj7
Cm7
C7

Examples
Below are some examples exclusively using the guide-tones-plus-one voicings. Compare them with
those in Section 5-2. Be sure to make up your own version, combining and mixing various voicings.
 5-4 Fourth Voicings

U p to now, most chords were constructed by stacking notes vertically in major or minor thirds. For
instance, placing a note a major third up from the root and another note a minor third up from the
second note produces a major triad. There are, however, other intervals you can use to voice a chord.
One that has been particularly favored in recent years is the fourth. The fourth chord or voicing can
be created by stacking notes predominantly in intervals of perfect or augmented fourths.

Because of the large interval between notes, the fourth voicing has an open and floating feeling, which
creates a contemporary sound accessible to many harmonic textures. Some of the four-note fourth
voicings are shown below in the key of C. In each example, three string combinations are shown,
from left to right: 6th-5th-4th-3rd, 5th-4th-3rd-2nd, and 4th-3rd-2nd-1st. Although a few of the
voicings do include a third interval, the majority are constructed exclusively of fourth intervals. Keep
in mind that there are many other ways to construct the fourth voicing. For instance, instead of four
notes, you can use three or five notes. Also, by substituting chords or applying chord synonyms, the
same voicing can be played in numerous situations.
Examples
 Chapter 5 Review

H ere are the last five songs to practice the new voicings and comping. First, select one voicing to
play an entire song. Then, mix two or more voicings and create different versions. As before, feel
free to embellish the chords and apply various comping patterns and approaches. “Alt” next to a
dominant 7 chord means that the chord is to be played with alteration of your choice (e.g. #5, b9,
#5#9, etc.) For the best result and to hear how the voicings work in the context, tape-record the roots
of the song first with a metronome and play your comping against it.
In Shape

Peace
Have We Met?
Day Dreamer
You Are Everything
 CLOSİNG
M any guitar chord voicings, synonyms and substitution ideas, and comping rhythms have been
presented in this book. The availability of many tools and the endless possibilities can sometimes be
overwhelming to many of us. As mentioned throughout, first start with something comfortable, simple,
and good-sounding to you. Then gradually build and add something new and interesting to your
repertoire over a period of time. Experience and taste no doubt play a major role in shaping one’s
styles of comping. As you practice more and play in many bands, you’ll become aware of what’s most
appropriate to play at the moment and a certain style or preference of yours may also gradually start
to emerge.

In addition, I can’t overstate the importance of spending a lot of time listening to jazz music—live or
on CD—and closely studying how musicians interact with one another. It is also well worth your time
and extremely helpful to study and analyze the accompaniment of other rhythm instruments such as
piano, organ, vibraphone, and so on. Remember to be patient, persistent, and keep practicing.

I sincerely hope that this book has been of some help by offering you some ideas and directions and
that you will accomplish whatever musical goals you have along the way. Good luck!
Guitar Chords and Accompaniment Series