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MATT WARNOCK GUITAR

Jazz Rhythms for Guitar [Comping and Soloing Studies]
Itdontmeanathingifitaintgotthatswing.
Notruerstatementhasbeenmadeaboutwhatitmeanstoplayjazzandjazzguitar.
Learninghowtoplayscales,chords,andarpeggioswillteachyouwhattoplayovertunes,butits
howyouplaythesedevicesthatmakesyourplayingsoundlikejazz.
Studyingjazzrhythmsfrombothacompingandsoloingstandpointwillgiveyouthefeelandswing
youneedtosoundjazzyinanymusicalsituation.
Andhavingthatjazzsoundinyourplayingisoftenthedifferencebetweenbeingsatisfiedand
unsatisfiedinthepracticeroomandonthebandstand.
Inthislesson,youllstudyessentialjazzrhythmsthatyoucanusetoelevatetheswingfeelinyour
compingandsoloingphrases.
Theserhythmswilltakesometimetomaster,but,whenappliedwithconfidencetoyourplaying,
theyllgetyouswingingwithconfidenceoveranyjazzstandard.

FreeJazzGuitareBook:DownloadafreejazzguitarPDFthatllteachyouhowtoplayjazzchord
progressions,solooverjazzchords,andwalkbasslines.

Jazz Rhythms Contents (Click to Skip Down)

CompingRhythmsvs.SoloingRhythms
WhatisSyncopation?
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JazzRhythmsforComping
FreddieGreenRhythm
CharlestonRhythm
Upbeatson1and3
Upbeatson2and4
DottedQuarterNotes
JazzRhythmsforSoloing
SingleRhythmExercises
RhythmicMotives
ReverseRhythmicMotives
RhythmicPairing
ReverseRhythmicPairing
RhythmicTransposition

Comping Rhythms vs. Soloing Rhythms

Thematerialinthislessonisbrokendownintotwomainsections,compingrhythmsandsoloing
rhythms.
Whilerhythmsarerhythms,suchas8thnotesorquarternotes,youllfindthatcertainrhythmswork
betterwhencompingandotherswhensoloing.
Thisisoftenduetothespeedandcomplexityusedinrhythmicsoloingcomparedtocompingonthe
guitar.
Asyouworkthroughthislesson,feelfreetoapplycompingrhythmstoyoursoloingandviceversa.
Youcanalsotakethesoloingexercisesandapplythemtoyourcompingpracticingifthatfitsyour
routine.
But,ifyoufindthatyouprefertostudyeachrhythmandexerciseandapplyittoonlycompingoronly
soloing,thatscoolaswell.
Also,rhythmsareoftenwrittendifferentlyinjazzforchordsvs.singlenotes.
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Heresanexampleofachordchartprogressionusingrhythmsinthestafftoindicatehowyoushould
playthesechords.
Thisissimilartohowyoudseerhythmswritteninabigbandchart,orsomeRealBookleadsheets,
whencompingoverjazztunes.
Intheexamplesinthislesson,youllbeusingTABaswellasnotation,sowontseemanyslashes
suchasthese.
But,theyreincludedhereasyouwillseetheminothermusicalsituationsasyouexpandyourjazz
guitarperformanceandrehearsalopportunities.

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Inthenextexample,youllseerhythmswritteninthestaffofajazzguitarlickinCmajor.
NoticethattherearenorhythmsintheTAB,tomakethingslessclutteredandeasiertoreadonthe
page.
Becauseofthis,youlloftenneedtoreadthenotationofanysinglenotephraseyourelearning,even
iftheresTAB,togettherhythmsforthosenotes.

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Nowthatyouknowthedifferencebetweenreadingsinglenoteandchordrhythms,andthatthese
rhythmsareoftendifferentinyourplaying,itstimetomoveontolearningaboutsyncopationinyour
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jazzguitarstudies.

What is Syncopation?

Beforeyoudiveintolearningthesejazzrhythmsontheguitar,letstakeaminutetodefineoneofthe
mostimportantaspectsofjazzrhythms,syncopation.
Tokeepthingssimple,heresashortdefinitionofsyncopationtouseasaguidelineinthislessonand
inyourplaying.

Syncopationisplayingrhythmsonmoreupbeatsthandownbeats,the&softhebar,inyour
compingandsoloingphrases.

Heresanexamplethatillustratesnonsyncopatednotes,thefirsttwobars,andsyncopatednotes,
thesecondtwobars.
Noticethatthefirsttwobarscontainrhythmsonthedownbeats,1234,whilethesecondtwobars
containrhythmsonlyontheupbeats,the&sofeachbeat.

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Heresanexamplethatillustratesnonsyncopated,firsttwobars,andsyncopated,secondtwobars,
rhythmsinacompingsituation.
Noticethatthesyncopatedrhythmsdonthavetoalwaysbeontheupbeats,theyjusthavetomostly
beontheupbeatstocreateasenseofsyncopationintheline.

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Inthislastexample,youllusenonsyncopatednotesinthefirsttwobarsandsyncopatednotesinthe
secondtwobarsofasinglenoteline.
Syncopationisanimportantpartofbothyourcompingandsoloingphrases,sopracticingitinboth
situationsisessentialwhenlearningjazzguitar.

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Nowthatyouknowwhatsyncopationis,playingmostlyonupbeats,yourereadytostudythe
followingjazzrhythms,whichcontainmanysyncopatedrhythms.
Whenstudyingsyncopation,countalonganduseametronomeuntilyourefullycomfortablewith
theserhythms.
Syncopationsoundshipinajazzsetting,butitcancauseyoutorushyourtimefeelwhenappliedto
tunesifyourenotcomfortablewithsyncopationquiteyet.
Topreventthisfromhappening,goslow,useametronome,andcountalongwitheachexercisein
thislesson.

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Tobeginyourstudiesofjazzrhythmsonguitar,youlllearnandapplyessentialjazzrhythmsto
compingsituations.
Asguitaristsspendthevastmajorityoftheirtimecompinginjazzcombos,behindthemelodyand
othersoloists,havingastrongrhythmicapproachisessential.
Inthissectionofthelesson,youlllearnhowtoplayessentialrhythms,aswellasapplythemto
popularjazzprogressionsandjazzstandards.
Goslowwiththeserhythms,theresnorushtolearnthemall.
Startwithone,masterit,andthenmoveontothenext.
Overtimeyoullbuildupyourrhythmiccompingvocabularyinthesamewayyoubuildyoursoloing
vocabulary.
Atthesametime,youllincreaseyourabilitytofunctioninajazzcombosituation,andhavemorefun
playingjazzguitarchordsatthesametime.

Freddie Green Rhythm

ThefirstrhythminthislessonisinspiredbythecompingofthegreatjazzguitaristFreddieGreen,and
consistsofsteadyquarternotepulses.
Freddiewasknownforhisrocksteadysenseoftime,andhisuseofquarternotestopropelthe
rhythmforwardintheCountBasieBand.
Thoughitsasimplerhythmonpaper,usingonlyonerhythmicduration,maintainingasteadyquarter
notepulsecanbetricky.
Thereisatendencytorushonfastertunes,andthendragonslowertunes,sousingametronomeis
keywhenstudyingthisrhythmontheguitar.
Tohelpyougetstarted,heresanexampleoftheFreddieGreenrhythmappliedtoaiiVIVI
progressionusingshellvoicings.
Afteryoucanplaythisrhythmicexamplefrommemory,putonthebackingtrackandcompoverthose
changeswiththeFreddieGreenrhythm.

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Tohelpyoutakethisrhythmfurtherinyourplaying,heresachordstudyoveranFjazzblues
progressionthatusestheFreddieGreenrhythmthroughout.
Goslowatfirst,useametronome,andwhenreadyplayalongtotherecording.
Afteryoucanplaywiththerecording,putontheFbluesbackingtrackandworkoncompingwiththe
FreddieGreenrhythmoverthosechanges.
TheFreddieGreenrhythmisanessentialtoolforanyjazzguitaristtoposses,andthereforeitsan
essentialpartofanyrhythmicpracticeroutine.

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Charleston Rhythm

Nowthatyoucanplayasteadyquarternoterhythm,youregoingtoaddabitofsyncopationtoyour
linesinthefollowingchordexercises.
Thisrhythm,oftencalledtheCharlestonrhythm,isbuiltbyplayingachordonbeat1andthe&of2in
eachbar.
Whenplayingthisrhythm,youareusingsyncopationwhenyouplaythe&of2ineachbar.
Syncopationisatermusedtodescribeplayingontheupbeatsofanygivenbar,the&sratherthan
the1st,2nd,3rd,or4thbeats.
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HeresanexampleoftheCharlestonrhythmoveraiiVIVIprogression,usingdrop2chordsto
outlinethechanges.
Workonmemorizingthisexample,thencompingoverthebackingtrackwiththeCharlestonrhythm
afterthesamplechordsarecomfortable.

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TohelpyoutaketheCharlestonrhythmfurtherinyourplaying,heresanAminorbluesprogression
usingthatsinglerhythmtooutlineeachchord.
Afteryoucanplaythestudyfrommemory,putontheminorbluesbackingtrackandcompoverthose
changesusingonlytheCharlestonrhythm.
Ifyoufeeluptoit,youcanthenmixtheFreddieGreenrhythmandtheCharlestonrhythmoverthe
backingtracktoexpandontheserhythmsinyourstudies.

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Upbeats on 1 and 3

Movingon,youllnowupthesyncopationinyourcompingasyouplaceachordonthe&of1and3in
eachbar.
Thissyncopationisessentialtoaddingajazzysoundtoyourcomping,butitcanbehardtokeep
steadyinyourplaying.
Whenusingsyncopatedchordslikethis,withnodownbeats,itcanbeeasytorushtherhythm,orget
lostintheform.
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Becauseofthis,countingalongwithyourpracticingisessentialtomasteringthisrhythminyour
practiceroutine.
Afteryoucanplayandcountconfidently,thenyoullbereadytostartfeelingthisrhythmandnothave
tocountasyouapplyittotunes.
HeresanexampleofthisrhythmoveraiiVIVIprogressioninCmajorusingtriads,ortriadbased
chords,tooutlinethechanges.
Startbyworkingonthegivenexample,thenwhenyoureready,putonthebackingtrackandcomp
usingthe&of1and3inyourplaying.

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Tofinishyourstudyofchordsonthe&of1and3,hereisaSummertimechordetudeusingthree
noteshapesandonlythatrhythm.
Goslow,workingeachphraseoneatatime,beforeyoupiecethemalltogethertoformthestudyasa
whole.
Afteryoucanplaythestudywithconfidence,putontheSummertimebackingtrackandcompover
thetuneusingthissyncopatedrhythmwithyourchords.

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Upbeats on 2 and 4

Oneofthemostcommonjazzguitarrhythms,isplayingchordsonthe&of2and4ineachmeasure.
Thoughitseasytoplayonceyougetthehangofit,thisrhythmrequiresthatyouanticipatethenext
chordbyhalfabeatineverybar.
Forexample,whenyouplayoveraDm7G7progression,asintheexamplebelow,theG7chordfirst
appearsonthe&of4intheDm7bar.
Thistypeofchordalanticipationsoundsveryhipwhenappliedtoyourplaying,butittakes
concentrationsothatyoudontgetlostontheformwhendoingso.
Makesuretocountthroughthefollowingexampletogetyoustartedwithchordsonthe&of2and4.
Then,whenyoufeelready,compoverthebackingtrackusingthesamerhythm,countingatfirstthen
movingtowardsfeelingtherhythmovertime.

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Tohelpyoutakethisrhythmtoamusicalsituation,heresacompingstudyovertheMilesDavistune
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TuneUp.
Workthisstudyphrasebyphraseatfirst,andthenpiecethosephrasestogethertoplaythetuneasa
whole.
Afterthestudyisunderyourfingers,putontheTuneUpbackingtrackandpracticecompingoverthat
progressionwithchordsonthe&of2and4.

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Dotted Quarter Notes

Thefinaljazzcompingrhythmyoullstudyinthislessonisthedottedquarternote.
Dottedquarternotesarebuiltexactlyliketheirnameimplies,youchaintogetheraseriesofdotted
quarternotesinyourcomping.
Whendoingso,ittakesthreebarstocomebacktothefirstbeatofthebarwithyourchords,causing
ahighlevelofsyncopationalongtheway.
Becauseofthissyncopation,youllneedtocountwhenworkingondottedquarternotesforthefirst
time.
Fromthere,youlllearnhowtofeeleachdottedquarterandcancountlesswhenapplyingthemto
yourplaying.
Tobegin,heresanexampleofaiiVIVIinCusingdrop2&4chordstooutlineeachchangewith
dottedquarternotes.
Afteryoucanplaythisexample,practicecompingoverthebackingtrackusingdottedquartersto
outlinetheprogression.

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Movingon,heresachordstudyovertheHerbieHancocktuneCantaloupeIslandthatyoucanlearn
andapplytoyourjazzpracticeroutine.
Afteryouvememorizedthisstudy,putontheCantaloupeIslandbackingtrackandpracticecomping
overthistuneusingdottedquarternotesforeachchord.
Ifyoudliketohearthistypeofcompinginaction,checkoutJimHallsrecordings,asdottedquarter
notesareafavoriterhythminJimschordwork.

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Jazz Rhythms for Soloing

Apartfromworkingonjazzrhythmsinyourcompingroutine,youcanapplyrhythmicexercisestoyour
soloingworkout.
Bydoingso,youllbringasecuresenseofrhythmiccontroltoyoursolos,aswellasbuildyour
confidencewithspecificjazzrhythmsinyourlines.
Theexercisesinthissectionaredesignedtoexpandyourknowledgeofjazzrhythms,butalsotohelp
youdeveloptheserhythmsinyourplaying.
Byworkingrhythmsasyouwouldmelodies,youllbeabletodigdeeponasinglerhythminyour
playing,ratherthanconstantlymovingfromonetothenext.
Thisllcreatearhythmicthreadinyourlinesthatbothlistenersandyourbandmatescanfollow,which
createsadeeperconnectiontoyouraudienceonstage.
Theseexercisesareeasytounderstand,butcantaketimetomasterontheguitar.
So,takeyourtime,workoneexerciseforalongperiodoftime,andwhenyourereadymoveontothe
nextexerciseinyourroutine.
And,mostimportantly,havefun!

Single Rhythm Exercises

Oneofthebiggesthurdlesjazzguitaristsfaceintheirsoloing,isthatyoucanplayfast,youcanplay
slow,butyoudontknowtheexactrhythmsyoureplaying.
Thiscancauseyourlinestobesloppyandnotrhythmicallyclear,orforyourlinestonotlockinwith
therhythmsection.
Tohelpyouavoid,orcorrect,thisissue,youcanpracticesinglerhythmexercisesinthewoodshed.
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Byworkingonerhythmatatime,youllalwaysknowexactlywhatrhythmyoureusinginyoursolos,
andrecognizespecificrhythmsinyourbandmatessolos.
Bothwillincreaseyourabilitytoimproviseontheguitarinajazzcontext.
Herearethestepstoapplyingthisexercisetoyourjazzguitarpracticeroutine.

Pickarhythmtostudy,suchasquarternotes.
Solooveratuneorprogressionusingonlythatrhythm.
Youcanuserests,buttheymustequaltherhythmyouchose.
Repeatwithothersinglerhythmsinyourstudies.

Whenworkingthisexerciseinyourpracticeroutine,youcanstartwiththefollowingessentialjazz
rhythms.
Fromthere,youcanbranchoffintomoreadvancedrhythmssuchasgroupsof5and7notesover
onebeat.
But,evenwithoutthoseadvancedgroupings,theserhythmswillhelpyoubuildyourknowledgeand
confidencewithjazzrhythms.

WholeNotes
HalfNotes
QuarterNotes
8thNotes
Triplets
16thNotes
16thNoteTriplets

Afteryouveworkedafewoftheserhythmsontheirowninyourstudies,feelfreetomixafew
together.
But,makesurethatyouredoingthisinanorganizedfashion.
Avoidjustplayingrandomrhythmsinsteadfocusonmixingtwoexactrhythmsinyourplaying.
Thisllhelpyoubecomemorerhythmicallyversatile,andknowexactlywhatrhythmsyoureplayingin
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yoursolosatalltimes.

Rhythmic Motives

Anothereffectivewaytodevelopyourrhythmicvocabularyistoworkrhythmicmotivesinyoursolos.
Theseshortphrases,oftenonebarorlessinlength,arerhythmicmelodiesthatyoucamebackto
timeandagaininyoursolos.
Inthesamewaythatyoudcomebacktoamelodyinyoursolostocreateathreadforthelistenerto
follow,youcancreaterhythmicmotivesthatdothesamething.
Theexerciseisfairlystraightforwardonpaper,butwilltakesometimetobecomecomfortableinyour
practicingandperforming.

Pickashortrhythmtoworkon.
Solooveraprogressionusingonlythatrhythm.
Youchangethenotes,buttherhythmstaysthesame.
Repeatwithotherrhythmsandotherprogressions.

HeresanexampleofashortrhythmicmotiveplayedoveraCturnaroundchordprogression.
Tokeepthingssimple,thelineisbuiltwithaquarternoteandtwo8thnotes,withahalfnoterestin
thesecondhalfofeachbar.
Usingrestslikethisnotonlybreaksupyourlines,butmakesiteasiertohearandplanaheadwhen
soloingoverjazzstandards.

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Afteryoucanplaythisexample,putonthebackingtrackandsoloovertheprogressionusingonly
thissamplerhythm.
Fromthere,comeupwithyourownrhythmstoworkoninthisexercise,aswellasfindother
progressionstoapplythemtoinyourpracticing.
Onceyoucandothiscomfortablywithonerhythm,youllbereadytomoveontothenextexercises
whereyoulllearnhowtoexpandrhythmsinyoursolos.

Reverse Rhythmic Motives

Onceyoucansolowithasinglerhythmicmotiveinyourpracticing,yourereadytobeginalteringthat
motivetoexpanditinyoursolos.
Thefirstwaytogoaboutexpandingarhythmicmotiveistoplayitbackwards.
Thismeansthatyoutaketherhythmsyouplayingintheoriginalmotive,andplaythembacktofront
inyourlines.
Forexample,inthepreviousexerciseyouplayedaquarternoteandtwo8thnotes.
So,thereverseofthatmotivewouldbetwo8thnotesandaquarternote.
Herearethestepstotakewhenworkingonthisexerciseinthewoodshed.

Pickarhythmicmotivetopractice.
Solooveraprogressionwiththatmotive.
Reversetherhythmsofthatmotive.
Solowiththereversedmotiveoverthesameprogression.
Repeatwithotherrhythmicmotives.
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Heresanexampleofthereversedmotivefromtheprevioussectionoveraturnaroundprogressionin
C.
Afteryouvelearnedhowtoplaythissamplelick,solooverthebackingtrackusingthisnewrhythmic
motiveinyourlines.
Fromthere,comeupwithyourownoriginalrhythms,thenpracticereversingthemasyouexpand
uponyourideasinthewoodshed.

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Nowthatyouknowhowtoexpandrhythmicmotivesbyreversingtheminyoursolos,yourereadyto
extendyourrhythmstofullmeasuresorlongerinyourplaying.

Rhythmic Pairing

Withyouroriginalandreversedrhythmicmotiveinhand,youcannowpairthosetwoideasupto
producealongerideainyoursolos.
Todothis,youplaythefirstmotiveimmediatelyfollowedbythesecondmotiveinyourlines.
Usingtheexamplesfromtheprevioustwosections,hereshowthatwouldcometogethertoformthe
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longermotive.

QuarterNote
Two8thNotes
Two8thNotes
QuarterNotes

Asyoucansee,thefirsttwobeatsaretheoriginalrhythmicmotive,andthesecondtwobeatsandthe
reversedrhythmicmotive.
Hereshowthatwouldlookonpaper.
Afteryoucanplaythissamplelick,solooverthebackingtrackandmakeupyourownnoteswhile
stickingtothelongergivenrhythmintheexample.

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Nowthatyouveseenasampleofhowtocombineanoriginalandreversedrhythmicmotiveinyour
playing,youcanmakeupyourowntopractice.
Herearethestepstobuildtheselongerrhythmsinyourstudies.

Pickashortrhythmtostudy.
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Solooveraprogressionwiththatmotive.
Workoutthereversedversionofthatrhythm.
Solooveraprogressionwiththatreversedmotive.
Combinebothrhythmstoformalongerphrase.
Solooveraprogressionwiththatcombinedrhythm.

Withthislongerrhythmicmotiveunderyourfingers,yourenowreadytoexpanduponthislongeridea
inyourpracticeroutine.

Reverse Rhythmic Pairing

Asyoudidwiththeoriginalrhythm,youcannowreverseyourlonger,pairedrhythminyourstudies.
Todoso,youllusethefollowingstepsbuildthisexercise.

Pickashortrhythmtopractice.
Solowiththatrhythmoverachordprogression.
Reversetheoriginalrhythm.
Solowiththereversedrhythmovertheprogression.
Combinetherhythmsbyplayingthereversedrhythmfirstthenoriginal.
Solowiththiscombinedrhythmoverthechordprogression.

Heresanexampleofhowtoreverseacombinedrhythmusingtheoriginalrhythmicmotivefrom
earlierinthissectionofthelesson.
Afteryouhavethislickunderyourfingers,putonthebackingtrackandsolousingthegivenrhythm,
butyoumakeupthenotesasyougo.

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Nowthatyoucanbuildandexpandanyrhythmicmotive,gobackandrepeattheseexerciseswith
newrhythmsthatyoucomeupwithonyourown.
Youcanalsotakerhythmicmotivesfromtranscriptionsasyoulearnthembyearfromyourfavorite
jazzguitarsolos.
Whenyourecomfortablewiththeseexercises,youllbereadytomoveontothelastsectionofthis
lesson,learninghowtotransposerhythmsinyoursolos.

Rhythmic Transposition

Nowthatyouhaveanoriginalrhythmtoworkwith,youcanmovethisrhythmaroundthebarby
startingitondifferentbeatsofeachmeasure.
Tobegin,heresareminderoftheoriginalrhythmicmotive.

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Now,heresanexampleofhowthisrhythmwouldlookandsoundwhenstartingonthe&of1ineach
bar.
Afteryoucanplaythissamplelick,putonthebackingtrackandsolooverthechangesusingthe
samerhythm,butyouimprovisethenotes.
Fromthere,youcanmovetherhythmtootherpartsofthebarbystartingitonbeat2,the&of2,beat
3,etc.inyoursoloing.

CTurnaroundBackingTrack

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Followingtheexercisesthatyoudidearlierinthislesson,youllnowcombinetheoriginalrhythmand
thetransposedrhythminyoursoloing.
Heresanexampleofhowthatwouldlookwiththeoriginalrhythminbaroneandthetransposed
rhythminbartwo,repeatingfromthereintheline.
Onceyouhavethissamplelinedown,solowiththisrhythmicgroupwhileimprovisingthenotesin
yourline.
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Jazz Rhythms for Guitar [Comping and Soloing Studies] | MATT WARNOCK GUITAR

Then,youcanpracticecombiningothertransposedrhythmsinyoursoloingpracticeroutinefrom
there.

CTurnaroundBackingTrack

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Thefinalexercisefindsyoupairingupyouroriginalandtransposedrhythms,butthistimeyouplay
thetransposedrhythmfirst,followedbytheoriginalrhythm.
HeresanexampleofthisapproachoveraCturnaroundprogression.
Workthislineinyourstudies,thenwhenyoureready,solooverthebackingtrackwiththesame
rhythm,butyouimprovisethenotes.
Fromthere,youcanexpanduponthisrhythmicexercisebyapplyingittootherrhythmsand
transpositionsinyourstudies.

CTurnaroundBackingTrack

Vm P

Clicktohear

Vm P

http://mattwarnockguitar.com/jazz-rhythms

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Jazz Rhythms for Guitar [Comping and Soloing Studies] | MATT WARNOCK GUITAR

Asyoucansee,transposingarhythmaroundthebarwillallowyoutocreatenewrhythmicideasfrom
asinglephrase.
Fromthere,youcancreatedozensofvariationsbycombiningtransposedrhythmsandreversing
thosecombinationsinyourplaying.
Havefunwiththeseexercisesthoughtheymayseemtoughatfirst,overtimetheyllgreatlyexpand
yourrhythmicvocabularyandimprovisationalskillsonguitar.

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