Concepts for Comping: Lesson 21
- Jay EuDaly
- 13 hours ago
- 4 min read
October 2025 Newsletter
Concepts for Comping: 4-Voiced Chords in the Blues
Back to the 12-Bar Blues in Bb: because we've added a 4th voice to each chord (see last month's lesson) the close-voiced chords (5th-string root) are now 9th chords:
The Bb7 is open-voiced because the root is on the 6th string. The Eb9 and the F9 are close-voiced because the roots are on the 5th string.
When playing a Blues from a 5th-string key, the IV and V chord are an octave down. So let's drill a 12-Bar Blues in D. The D9 is close-voiced because the root is on the 5th string, and the G7 and A7 are open because the roots are on the 6th string:
To see the demonstration video, click the button below:
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VIDEO LESSON:
THE AEOLIAN/DORIAN DISTINCTION
Chances are, you're somewhat confused by the whole modal-theory thing; I see expressions of frustration and confusion on the subject all the time on my FaceBook feed coming from the plethora of guitar groups I follow.
Furthermore, a huge percentage of the "answers" in the comments sections are flat-out wrong, or dismissive of the subject, or not very helpful even if correct.
So I start from something simple and easy to understand, the Minor Pentatonic Scale.
This lesson is from a 7-lesson series called “Modal Distinctives.” The basic concept of this "Modal Distinctives" series is that you can get to the distinctive sound of a mode without learning the whole mode, or getting all confused by modal theory, but by adding, or altering, a single note of the most commonly-known scale among guitarists; the Minor Pentatonic. Check out the Table of Contents:
If you're interested, you can get the download here:
BLOGS PUBLISHED SINCE LAST NEWSLETTER
Where's the Feedback Loop? Many people think that looking at a video or downloading a PDF is a real guitar lesson. It isn't. There is no feedback loop…
Mama Ray: What can I say about Mama Ray? I can only speak from my own experience and so I will start at the beginning; my beginning with Diane Ray. I could hear everything from Ella Fitzgerald and Billie Holliday to Janis Joplin in her singing.
Comping Concepts: Lesson 20: September Newsletter: Concepts for Comping (7ths & 9ths), Video Lesson on target notes, blog links & more…
TUNE OF THE MONTH
Be Alright
Sometime during the Summer of 1993 I got a call from one of my guitar player buddies. He told me that he was doing some studio work for a black gospel group and needed a sub on one of the sessions. Would I be interested? All I would have to do is one or two tracks on a single song that was basically done; the producer just wanted a couple more guitar parts.
"Sure!" I said. Sounded like easy money.
The instant I heard the tune I knew this was not going to be easy money.
The full story is at: Easy Money. NOT!
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