Make Your Comping Melodic! (7 Ways)

✅ Enjoying the videos? Feeling generous? Buy me a coffee! ☕️ bmc.link/siskindpiano
✅ Buy Jeremy's book at www.jeremysiskind.com/shop/
✅ Schedule a lesson with Jeremy. Save $5 with coupon code KZbin: app.squarespacescheduling.com/...
✅ Sign up for Jeremy's mailing list at eepurl.com/geqUkz
Pianists are always being told that the top note of our comping should be "melodic." But how do we do that? Jazz pianist and author Jeremy Siskind shares 7 ways!
Chapters:
00:00 Introduction
00:42 Demonstration
01:48 Sidestep and Tonicization
6:04 Inversions & Changing Voicing Type
07:24 Take Off the Top Note
08:58 Changing Alterations or Color Notes
11:40 Pentatonic Voicings
14:15 Modal Voicings
15:19 Shearing/Drop 2 Voicings
18:05 Conclusion

[@bertramblik8826]

This is such an important topic and you're the only reliable pianist covering this topic in a lesson! Such a great and detailed one! Thank you!

[@davidgerber9317]

I think I have written this comment before, but I'll say oit again....for the aspiring jazz pianist, any time spent with Jeremy is time well spent. Thank you soooo much!

[@michaelbates625]

Amazing Jeremy, just what I needed some help with to move my F Blues on to the next stage. You must’ve known! Thanks

[@JeremySiskind]

Hey, thank you, Michael!!!

[@francescomanfredi]

Thanks 🙏 Jeremy for revealing the entire page at the end of the tutorial! This is extremely useful especially when you add notes to the page during the video. You really listen to us and you are doing an incredible work for the KZbin community. I hope your improvisation manual with all this material will be ready one day. Of course I will be the first to buy it and promote it as I am doing already with your excellent solo piano book.

[@JeremySiskind]

My pleasure, Francesco! I appreciate you!

[@jahoopyjaheepu497]

This is how classes at music schools should be taught: practical techniques presented clearly.

[@JeremySiskind]

Awesome! Im glad you liked it. :)

[@keysteve1004]

This is gold!!!!!Thanks so much...

[@JeremySiskind]

Nice! I’m glad it’s helpful for you!

[@alanleeimaging]

Thanks so much for another amazing lesson, Jeremy!

[@alp9020]

Thanks ! Great as always ! 👍

[@catinadeluna632]

Thanks Jeremy for this video! Great stuff!!!

[@JeremySiskind]

Thanks, Catina! You get an "A" for the day! 😂

[@joycehancock280]

Wow. Lots of helpful info there. Hope to apply it gradually. Sounds so nice. Thanks!

[@JeremySiskind]

Yes, there's a lot to do. 😉 Thanks, Joyce!

[@ethanthomas9268]

Yo this is nice

[@JeremySiskind]

Thanks much, Ethan!!!

[@pedrosantiago1034]

Excelente!!!

[@JeremySiskind]

Muchas gracias, Pedro por haber visto mi video! (Estoy estudiando español - lo siento si no es correcta.)

[@pedrosantiago1034]

@@JeremySiskind Soy brasileño, pero entiendo español. entendí perfectamente. Gracias. Yo también quiero comprar sus libros. ¡Abrazo!

[@gustav1296]

I find it overwhelming to practice (any jazz topic ik particular) but especially quartal voicings when comping modal. If you do 5-note voicings starting on every note of the mode that gives you 7 different quartal chords, but then practicing all the inversions also and then in all the Keys. And then mixing modes. For instance in f aeolian. Stacking diatonic fourths on top of each other creates a Bb pentatonic quarrel voicing also. There is just so much material and it’s so overwhelming. I have tendency to feel this way about all jazz topics I wanna explore, and I find it hard setting limits as i Want to encompass everything. What do I do?

[@JeremySiskind]

It’s normal to feel overwhelmed! My recommendation is to just do one thing at a time. You will be surprised how many connections you find. Once you master one voicing type in a key you will find other closely related voicings and keys. It’s like learning a language - you can’t learn it all at once but when you start learning you will find lots of connections.

[@DZP...MusicForANewWorld]

Hi Jeremy! Those penatonic voicings sound great over the bues! You said you added b7th's to those voicings which I understand will give them a more blues less majory charachter.. Did you replace the 6 to b7ths; when you did that in those Penatonic voicings or simply add it in makeing it a 6 not voicing? Also is there anything to consider when doing that to each one of the 5 inversions of those penatonic voicings? For ex. don't add the b7th on some of them but on sspecific others yes perhaps? Thanks so much Jeremy and so appreciate your instruction!

[@JeremySiskind]

Sorry for the late reply. Your detail question intimidated me! Firstly, I think yes, change the 6ths to flat 7ths. It doesn’t have to be for every single pentatonic voicing either, if you are playing multiple in a row. I don’t have a formula in terms of when to include it or leave it out - I think you can follow your instincts. One general rule is to avoid creating the interval of a minor ninth in your voicing, so in the F7 example, careful about the D and E-flat (a major seventh, the inversion, is fine).

[@DZP...MusicForANewWorld]

Thanks so much Jeremy your answer was super helpful!!