Melodic ideas and Comping patterns for Guitar in 5 (2+3) & (3+2) with Quarter notes and Eight notes

Melodic Ideas and Comping Patterns for Guitar in 5 (2+3) & (3+2) with Quarter notes and Eight notes

This part of the “Method for Improvisation in Odd Time Signatures” focuses on the two groupings of Odd Time Signatures in “5” organized as 2+3 and 3+2. Whether the meter in 5 is written as 5/2, 5/4, 5/8 or 5/16, actually it depends on the tempo e.g. 5/2 and 5/4 are generally used for notation in slower tempos and 5/8 and 5/16 in quicker tempos. In this section we will explore various Melodic ideas using the 2+3 and 3+2 groups, utilizing notes up to 8th note values. Further studies will focus on various patterns with 16th notes.

For the Comping Patterns section of the book, the basic idea is borrowed from the 4/4 back beat/swing pattern, where the accompanying instruments usually play on the 2nd and 4th beats. In this meter (5/8) for the groupings (2+3), the equivalent of the upbeat is the 3rd note of 5 (1st in the group of 3) and for the groupings (3+2) the equivalent of the upbeat is the 4th note of 5 (1st in the group of 2). The bass usually performs on the down beat. If a bass player is present, doubling the bass note is not necessary.

Each section has a short-written instruction how should be practiced so that the student will benefit the most from it. Students are also highly encouraged to examine other parts (Piano Accompaniment, Bass lines and Drum grooves) than the ones applicable to their own instrument to understand how it all fits in the “big” picture as an ensemble.

Through these very carefully selected examples, exercises and etudes, the “complexity” and the “awkwardness” of these meters, will soon be replaced with a new and fresh outlook about these “strange”/”odd” rhythms.

The student will also have access to Play-a-long tracks which will accompany the exercises and make practicing much more fun.

For more info please e-mail: errolrackipovjazz@gmail.com