Blues Comping #6: Chromatic passing tones

In this example we will explore the possibility of adding chromatic passing tones in between the chords of a jazz blues comping style. For a refresher, the jazz blues utilizes the following chords:

I7	IV7 IVdim	I7	Vm7 I7
IV7	IVdim	I7	III7 VI7
IIm7	V7	III7 VI7	II7 V7

Our notated example is in the key of F. Please note that it is very important to be comfortable with the blues and jazz blues in all keys.

As for the given example we have a typical rhythmic pattern of dotted quarter, eighth, and half note rest. This regularity provides an important foundation for the soloist to play over. But it is wise to practice and play with other rhythmic patterns as well.

The fun begins when we start using chromatic passing tones to get from the lowest note of one chord to the next. You will see these 4 eighth notes in measures 4, 6, 8, 11 and 12. The extra notes are a welcomed tension in these already harmonically active measures and the chromaticism provides some excitement as well. To benefit from the full effect be sure to hold the chord notes so they ring while the passing tones sound.

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