THE ART OF COMPING
Guitarist, arranger and composer Carl Mörner Ringström was nominated for a BMW World Jazz Award in 2015; he has performed on Royal Caribbean and regularly collaborates and tours with a slew of international artists.
• One 30-min private mentoring session a week
• One 60-min group masterclass a week
• Maximun 8 participants
Pianists and guitarists always get in the way of each other, so here’s some ways of thinking to avoid that.
-How to be an extension of the bass while getting out of the way of the piano
-Simplifying voicings to contain just two or three notes
-Working on guide tone-lines
It can be scary to be the primary provider of harmonic backbone, but here’s how to feel confident that you’re providing the best backdrop you can with six strings.
-Focusing on harmonically-dense chords and the importance of voice-leading
-Chord voicings containing four, five and six notes
-The application of suspended chord voicings for universal usage
Ballads are a good example of where piano and guitar really can work together to achieve full-spectrum harmonic beauty.
-How to fill out the frequency range of a combo
-Voicing with unconventional intervals like fourths and fifths
-Getting good tone out of high pitched voicings with subtle violin-like vibrato
Open strings are very often used in pop and rock guitar playing, but here we’ll look at how to use them in a jazzier context, bigger chords.
-Making your voicings fill up space and create atmosphere
-Using specific shapes and voicings to sound huge
-Employing voicings with either one or two open strings
Most of us have our go-to rhythmic patterns to make our comping fit with a specific style. Here we depart from those tendencies and work to make odd rhythms feel as comfortable as anything else.
-Applying various syncopations and rhythmic patterns
-Analyzing odd rhythmic patterns such as groupings of three, five and seven
-Alternating between straight and swing rhythms