Chords for Learning Mccoy Tyner Comping Technique

_ Hello, Weekly Piano here.
I was just practicing this technique for comping that McCoy Tyner
used a lot and I wanted to show it to you.
So, _ _ it's for comping in a modal tune in minor
scale, so you'll be using the C minor scale to start out, [C] and C _
[G] _ [Cm] _ _ _ _ [G] Dorian scale, and it sounds
like this in the end. _ _ _ _ _ _
_ _ _ [Db] _ _ _ _ [N]
So I'm going to show you how to do that and then I'll show you
a little bit more with it.
So, _ [C] you start out with a C, you're going to use both hands for
this comping.
So the first chord is C, F, [Eb] E flat, E flat, and G.
So get that chord [Cm] on
your fingers. _ _
_ I'm going to use, [N] I have a boss metronome here, I'm going to use it just giving
me triplets, or not triplets, but a swing very slowly. _
So that's the second of the triplets
that you hear.
_ _ And so, [C] that's going to be your first chord.
[Dm] That's going to be your second [Ab] chord.
So you just take that first chord and you move it up, every finger [Eb] up a whole step.
So then the
second chord is this D, [F] G, D, F, and A.
_ [G] _ _ [Cm] _
_ [Dm] _ _ _ _ _ [G] _ _
[C] _ _ [Dm] Do this until you have it down.
It's just a [G] fifth in the
bass.
[Cm] _ _ [D] _ _ _ _ _
[G] _ _ [Cm] _ _ [D] _ _ [Eb] Focus very specifically on getting [B] the timing perfectly with the swing feel.
[A] And then,
so there's another chord that you're going to add on after that.
But now, mind you, this is all in
C Dorian.
So any note that [D] you hit should be part of this C Dorian scale.
So then the next [Cm] chord up,
you have that [D] first chord, second [Cm] chord, and the third chord is this.
[A] _ _ _ _ _ So again, that's all C Dorian.
It's just [Eb] E flat, [D] A, D, [A] G, and C.
[G] So then you can use these three chords now.
_ _ [Cm] _ _
[Dm] _ _ _ [A] _ _ [G] _ _ [Cm] _
_ [Dm] _ _ _ _ _ [G] _ _
[Cm] _ _ _ [Dm] _ _ _ _ _
Okay, got that?
[N] You
might want to pause the video and get that down.
We're going to add another chord onto it [Cm] now that
goes after that.
So you have this, so you have this, [Dm]
this, [A] this.
[Eb] That's one, two, and three.
Now four is
this next chord, [G] which is all fourths, starting on G.
So G, C, F, E [Cm] flat, and E flat.
For those of you
who know about McCoy Tyner, he used a lot of fourths in his playing.
That was kind of his token.
So, _
_ that's the next chord.
So you have this, this, [Cm] this, this, and then the very last one that you need is just
this chord a whole step [Dm] up.
So it's again [B] fourths just starting [D] on D.
[A] _ _ [Dm] _ _ _ [Eb] So your whole [C] chord sequence is.
_ _ [D] _ _ _
Okay, so then you can improvise, well, you can [G] come with that. _
_ _ _ [Dm] _ _ _ _ _
_ [C] _ _ _ _ [G] _ _ _
_ [C] _ _ _ [A] _ _ _ [Gm]
And then just move it [E] up a half step.
_ _ _ [Ebm] _ _ _
_ _ [G] So
what I just did there is the next thing that you want to do.
So after you have this down, _ [Dm] then you
[Cm] can bring it up the next octave.
_ [Dm] _ _ [Fm] And it can go all the way up and down [N] the whole keyboard.
The next
thing you want to do after you have that down is _ do that in every key.
So now get it a half step up.
[Cm] So if this is the first one in C Dorian, you want to start [A] in D flat Dorian.
[Dbm] _ _ _ _ _
That's the scale.
And so
that's the first chord.
[Ebm] _
Second chord.
[Bb] _ _ _ _ [Ab] _ _
_ [Ebm] So _ _ _ _ _
[N] get this in, be able to do that in every [E] key.
And you know B you want to do it also.
_ _ _ _ [Ab] _ _ _
[B] And so then when you do it [N] now, when you have it on all the keys, you can do what's called planing,
which is something that McCoy did a lot.
Which is when you take one of the chords, [Cm] say just the first
one, and you move it up, say a half [Dbm] step and [Ebm] a whole step.
_ And then maybe down [Eb] right below [Cm] your
first [E] chord you played.
_ [Cm] And then back to the [N] first chord.
So it creates like a little sequence,
a little harmonic sequence within the modal framework.
So if I was improvising with that
context, [G] I'd be going like this. _
_ _ [Cm] _ _ _ _ _ _
[G] _ _ _ _ _ [Eb] _ _ [Db] _
_ [G] _ _ _ [C] _ _ [D] _ _
_ [Dbm] _ _ [Ebm] _ _ _ _ [E] _
_ [Bbm] _ _ [G] _ _ _ [C] _ _
[D] _ _ _ _ _ [G] _ _ [Cm] _
_ [Db] _ _ _ _ _ [G] _ _
_ So I'm improvising a little bit within that framework also.
So and
then when you get faster, _ you can start really kind of doing cool things with it.
So after you
get that down, speed it up a little bit. _ _ _ _
_ _ _ [Db] _ _ _ _ _
_ [D] _ _ _ [Gm] _ _ _ [B] _
_ [Eb] _ [G] _ _ _ [Ebm] _ _ _
_ [Bb] _ You know, [N] I'm messing around now.
But then that's some other
stuff that I'll show you in another video.
But if I were to just use that, the comping that I was
showing you earlier in a faster context, [G] it would sound cool.
[E] _ _ _
_ [F] _ [G] _ _ _ _ _ _
_ _ _ _ [Db] _ _ _ [Bbm] _
_ [G] _ _ _ _ _ _ _
_ _ [Db] _ _ _ [Gb] _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ You know, [N] it's really energetic.
If
you're playing, especially with a tenor, tenors are going to catch on to that.
If you're comping
behind a tenor, and it's a fast swing with a modal feel, pull that out and they'll latch right
on to it.
They'll start, it's called planing, it's called chromatic planing, and they'll start doing
it right along with you.
[Cm] So when you go up [E] to C sharp, for example, during a solo [N] that's in C,
he'll hear that and he'll go out too and start, you can start weaving around.
It's a really cool
technique to use. _ _
So just wanted to show that to you.
I hope you enjoy and I'll do my best to make
more videos in the future.
I know I haven't been making quite as many as I had promised, but