Workshop 15 — “Satin Doll”: Turnarounds, ii–V Chains, Dominant Movement, and Comping Like You Mean It
This workshop moves us toward a more conversational jazz style.
The main challenge is not lush ballad voicing or static color. It is learning to hear and play short functional units that keep handing off to one another.
The main lessons are:
- ii–V chains
- dominant-to-dominant motion
- compact shell voicings
- comping rhythm
- leaving space
- anticipating the next harmonic packet
- using short motifs over changing harmony
- making the piano sound like part of an ensemble rather than a continuous chord machine
The central lesson is:
Good jazz comping is not “playing the chords.” It is choosing when and how to reinforce the harmony.
15.1Start with the sound of ii–VIn C:15.2A ii–V is incomplete by itselfIf you hear:15.3Practice unresolved ii–V motionPlay:15.4Now connect themTry:15.5The practical skillWhen you see four or six chords, ask:15.6Shell voicing reviewFor any m7 chord:15.7Compact ii–V movementDm7:15.8This is why shell voicings are so powerfulA good ii–V may require almost no RH movement.15.9Level 1 — roots onlyPlay the tune’s harmonic skeleton as roots.15.10Level 2 — shells onlyLH roots.15.11Level 3 — say the packet aloudWhile playing:15.12Level 4 — add one extensionFor m7 chords:15.13Shared color toneNotice E:15.14Another ii–VGm9:15.15The goal is not to learn 12 random voicingsThe goal is to recognize a reusable pattern:15.16Level 5 — comping rhythmNow we change focus.15.17Basic comping exerciseCount:15.18Another patternHit:15.19Comping is conversationImagine a saxophone soloist.15.20Level 6 — play fewer chords than the chart showsSuppose the chart says:15.21But know the omitted chordYou can only omit confidently if you know what is being omitted.15.22Level 7 — anticipate the dominantIf:15.23Harmony can move before bassThis creates a layered feel.15.24Level 8 — delayed chord responseLet bass/root change first.15.25Independence is stylistic sophisticationBeginner:15.26Level 9 — dominant chainPractice:15.27But the roots move by fifthsA → D → G → C.15.28Level 10 — turn dominant chain into ii–VsInstead of:15.29Hear larger phraseDo not hear:15.30Level 11 — improvisation with one target per packetFor:15.31Example lineOver Em7-A7:15.32Level 12 — one motif across two ii–VsChoose a rhythm.15.33Comping should also use motifsDo not randomize every chord stab.15.34Example comping motifHit:15.35Level 13 — guide-tone melodyTake the top notes of your voicings and make them form a line.15.36Avoid random top notesIf your highest chord note jumps:15.37Level 14 — rootless voicingsIf bass is established, RH can use:15.38Level 15 — two-handed rootless approachIf playing with a bassist, LH can also avoid roots.15.39Solo-piano versus ensemble compingSolo piano:15.40Level 16 — chromatic dominant approachSuppose:15.41But in a fast sequence, do not overdecorateIf harmony already moves twice per bar, a tritone substitution may be enough.15.42Level 17 — altered dominantOn a strong V chord:15.43Improvise the alteration, not necessarily the whole voicingIf the accompanist already defines G7,15.44Level 18 — strong-beat chord tonesFor one chorus:15.45Level 19 — avoid beat 1Once secure:15.46Level 20 — phrase into the next chordStart a line late in the current chord.15.47ExampleOver Dm7, begin on 4&:15.48Level 21 — delayed targetDo not always land on the new chord exactly on beat 1.15.49But only if the line remains intentionalIf you miss the chord tone accidentally and stumble into it later, that is not delayed resolution.15.50Level 22 — chromatic enclosureTarget B over G7.15.51Level 23 — repeated-note phrasingTake D.15.52Level 24 — common-tone strategyWhen harmony changes quickly, look for notes shared by consecutive chords.15.53ExampleDm9 → G13:15.54Level 25 — comping dynamicsNot every chord stab should have same volume.15.55Level 26 — articulationTry:15.56PedalUse much less pedal than in ballad or bossa.15.57Level 27 — melody statementFirst chorus:15.58Level 28 — melody paraphraseSecond chorus:15.59Level 29 — solo chorusPlan:15.60Level 30 — comp behind your own RH soloFor solo piano, this becomes tricky.15.61Self-comping strategyPhrase.15.62Level 31 — stride-lite optionFor a more traditional swing feel:15.63Level 32 — walking bass optionFor medium swing:15.64Walking bass formulaFor each bar:15.65AnotherG7 → C:15.66Walking bass must know the destination earlyBeat 4 is often already about the next chord.15.67Level 33 — comp with walking bassFirst:15.68Level 34 — solo with walking bassStart with RH quarter-note melody.15.69Level 35 — tritone sub in comping onlyInteresting exercise:15.70Level 36 — leave entire ii chord emptySuppose:15.71Level 37 — leave the V emptyNow:15.72The chart is not a command to strike every symbolA chord symbol says:15.73Level 38 — introA classic intro strategy:15.74Level 39 — endingA simple ending:15.75Level 40 — shout-style final chorusFor a stronger final statement:15.76Practice loop 1 — ii–V in all keysDo 4 keys per day.15.77Practice loop 2 — ii–V with extensionsSame keys.15.78Practice loop 3 — comping rhythmOn one ii–V, play 8 choruses.15.79Practice loop 4 — packet targetingFor each ii–V:15.80Improvisation challenge 1 — one note per chordOne chorus.15.81Challenge 2 — one motif per 4 barsKeep motif rhythm constant.15.82Challenge 3 — phrase across every dominantNo phrase may stop at the V chord.15.83Challenge 4 — rest on one chord per packetLeave either ii or V silent.15.84Challenge 5 — only 3rds and 7thsOne slow chorus.15.85Ear drill — identify ii–V by guide tonesPlay:15.86Ear drill — dominant thirdsSing:15.87Ear drill — predict the destinationPlay:15.88Ear drill — omissionPlay bass roots and melody, but omit one ii or V.15.89Arrangement planshort turnaround.15.90The deepest lessonAt this stage, the goal is no longer:•Workshop 15 mini-test1. What is the best way to mentally process several fast jazz chords?