Guitarist, arranger and composer Carl Mörner Ringström was nominated for a BMW World Jazz Award in 2015; he has performed on Royal Caribbean and regularly collaborates and tours with a slew of international artists.
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SIGNUP DATES
• One 30-min private mentoring session a week
• One 60-min group masterclass a week
• Maximun 8 participants
I. Big-Band and Old-School Jazz Comping
Pianists and guitarists always get in the way of each other, so here’s some ways of thinking to avoid that.
-How to be an extension of the bass while getting out of the way of the piano
-Simplifying voicings to contain just two or three notes
-Working on guide tone-lines
II. Jazz Comping in a Piano-less Setting
It can be scary to be the primary provider of harmonic backbone, but here’s how to feel confident that you’re providing the best backdrop you can with six strings.
-Focusing on harmonically-dense chords and the importance of voice-leading
-Chord voicings containing four, five and six notes
-The application of suspended chord voicings for universal usage
III. Ballad Comping in a Piano Setting
Ballads are a good example of where piano and guitar really can work together to achieve full-spectrum harmonic beauty.
-How to fill out the frequency range of a combo
-Voicing with unconventional intervals like fourths and fifths
-Getting good tone out of high pitched voicings with subtle violin-like vibrato
IV. Open-Strings Voicings
Open strings are very often used in pop and rock guitar playing, but here we’ll look at how to use them in a jazzier context, bigger chords.
-Making your voicings fill up space and create atmosphere
-Using specific shapes and voicings to sound huge
-Employing voicings with either one or two open strings
V. Rhythmic Comping
Most of us have our go-to rhythmic patterns to make our comping fit with a specific style. Here we depart from those tendencies and work to make odd rhythms feel as comfortable as anything else.
-Applying various syncopations and rhythmic patterns
-Analyzing odd rhythmic patterns such as groupings of three, five and seven
-Alternating between straight and swing rhythms
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