Comping

🚨 Playing in 3/4 – Pt. 10: Tune Study – “Little B’s Poem” (Advanced Comping)

Part 10 builds on the previous comping chorus by introducing more syncopated rhythms, tighter voice-leading, and additional chord-tone alterations throughout the form. This chorus is designed to feel more conversational and interactive, giving you tools to comp with texture, color, and forward motion while staying grounded in the 3/4 feel of “Little B’s Poem.”

🚨 Playing in 3/4 – Pt. 9: Tune Study – “Little B’s Poem” (Comping Chorus)

Part 9 shifts from melodic ideas to full-chorus comping, applying everything from earlier lessons to the harmonic and rhythmic language of “Little B’s Poem.” This etude explores how to support the tune’s flowing 3/4 feel using clear voicings, smooth voice-leading, and rhythmic patterns that create a relaxed yet forward-moving pulse.

Here is the answer: Find the shape you like and come up with different sticking, then go through different scale!!! 

If you don't know what is the rootless voicing, no worries! we'll talk more later!!

come up with your own sticking ideas and some interesting shapes!! BTW, check out Tony's video:https://www.vibesworkshop.com/video-embed/chords/tonymiceli/070225 

🚨 Playing in 3/4 – Pt. 2: Syncopated Comping and Forward Motion

Part 2 builds on the foundation from Part 1 by introducing syncopated rhythms and offbeat chord placements. These variations are designed to create a natural sense of forward motion while keeping the 3/4 pulse grounded. The goal is to develop balance—maintaining a steady groove while adding rhythmic interest and contrast.

In this lesson you’ll:

I talked how 1 diminished chord relative to 4 dominant chords (4 major chords) in this videos, and also showed the foundation of voice leading.

I shared the pdf of how one diminished chord(dominant b9 chord) resolve to the I major. please check it and let me know how do you think about practicing voice leading over diminished to I major chord! 

I'll share more my ideas over this soon! stay tuned! 

DM for the private lessons: rupertlo777@gmail.com

🚨 Feeling in 3 – Pt. 1: Comping in 3/4 🚨

We’re kicking off this new series by exploring comping rhythms in 3/4, one of the most versatile and expressive time feels in jazz. This lesson focuses on short ii–V progressions that develop your sense of pulse, articulation, and balance between hands.

In 3/4, it’s easy to think in strict “1–2–3,” but the best players treat each measure as a flowing three-beat phrase. By practicing these patterns slowly and evenly, you’ll build a natural, swinging pulse that feels relaxed and centered.

🚨 Tune Deep Dive: “Wave” – Pt. 4: Chord Voicing Variations 🚨

In Part 4, we explore different ways to add motion and color to your chord voicings throughout Wave. Small shifts—like alternating between a major 7th and a 6th, or sliding inner voices by a half step—can create beautiful forward momentum while keeping the harmony clear.

This lesson focuses on several spots in the tune where these ideas really shine:

🚨 Tune Deep Dive: “Wave” – Pt. 3: Comping Rhythm Variations in the Intro 🚨

In Part 3, we continue working with the intro vamp (Dm7–G7) of Wave, this time focusing on comping rhythm variations. Instead of just outlining the harmony, we’ll explore how subtle rhythmic shifts can transform the groove and add variety without losing the bossa feel.

In this lesson we’ll:

🚨 Tune Deep Dive: “Wave” – Pt. 2: Guide Tone Movement in the Intro 🚨

In Part 2, we dig into the intro vamp of Wave (Dm7–G7) and explore guide tone movement. This exercise builds from a single voice to two, three, and finally four voices, showing how harmonic richness can grow naturally out of simple lines. By working through these patterns, you’ll train your ear and hands to connect chords smoothly while keeping the groove intact.

In this lesson we’ll:

🚨 New Tune Deep Dive Series! 🚨
Pt. 1: “Wave” – Establishing Form & Groove

We’re kicking off a brand-new Tune Deep Dive with Antônio Carlos Jobim’s Wave—a bossa nova classic that’s as groovy as it is deceptively tricky. This tune has a 44-bar form (A – A – B – A, with 12-bar A sections and an 8-bar bridge), so memorizing the structure is step one.