Here I am comping over Green Dolphin Street. Nothing else just me comping. For me it's important to have to have a melody in the top voice and then fit everything in from the top down. Maybe it seems like the way to do that is from the bottom up? I disagree. This is not a piano, we can't make our voicings clear with a solid bass line. We need the upper partials to make it all happen. Does that make sense? If not discuss this with me.

Editorial Note: You could also use this to Play Along with!(TJ)

This podcast is about making lines over Green Dolphin Street.

Here's a podcast on ways of working on the tune Green Dolphin Street. It talks about comping and working on lines for soloing.

Here's a podcast discussing comping over the 'A' section to Green Dolphin Street. If focuses on which notes are least important and expendable as well as using the C pedal in your comping.

Here are various studies on the tune green dolphin street.

In this etude the dampening is pretty much left up to you. You decide what rings and what doesn't. Go for clean lines. Everything can be dampened.

This is the first etude of the Friedman book. Make sure you dampen the previous note exactly when you play the next note. Pedal should be kept down during the whole etude. Try to get a nice legato sounding melody.

The 4th etude has a different technique of dampening. It´s in the beginning line of the etude. Can you figure out how to play this first line?

Here´s the 3rd etude in the friedman book. This is a real focus on playing dynamically.

In this section you will learn all about music theory.