Well, the chat bot can hold its own in a conversation about the finer points of jazz piano style….but then so could the guy in college that read the album cover instead of actually listening to the music. (That guy, usually an English major, became a jazz critic or the director of a jazz festival btw.)

Chris F: Can you give me 4 paragraphs contrasting the right hand comping style of jazz pianist Bud Powell with that of Wynton Kelly?

Chatbot: Bud Powell’s right hand comping style is characterized by his use of rapid-fire single-note lines, often incorporating bebop and blues phrases. He frequently played in the upper registers of the piano, creating a light and percussive texture that allowed for the bass and drums to drive the rhythm section. Powell’s comping was heavily influenced by his solos, often echoing or elaborating on his own improvisations. In contrast, Wynton Kelly’s right hand comping style was more chordal and harmonically complex, with a greater emphasis on voicings and the use of rootless chords.

One of the key differences between Powell and Kelly’s right hand comping styles is their approach to rhythm. Powell’s comping tends to be more staccato and rhythmically active, with a lot of syncopation and off-beat accents. His right hand lines often interact with the drummer’s ride cymbal, creating a highly rhythmic and propulsive feel. In contrast, Kelly’s comping style is more laid-back and relaxed, with a smoother and more flowing rhythm. He often uses sustained chords and arpeggios to fill out the harmony, allowing the bass and drums to establish the groove.

Another difference between Powell and Kelly’s right hand comping is their use of dynamics. Powell’s comping tends to be more aggressive and dynamic, with a lot of sudden accents and crescendos. He frequently uses the piano’s percussive capabilities to create a highly rhythmic and energetic sound. Kelly’s comping, on the other hand, is more subtle and nuanced, with a greater focus on creating a rich and varied harmonic palette. He often uses soft and delicate touches to create a sense of intimacy and sensitivity in his playing.

Not so good on actual piano technique though……

Chris F: Can you give me five ways to voice a G dominant seventh chord with an augmented eleventh for piano?

Chatbot: Sure, here are five ways to voice a G dominant seventh chord with an augmented eleventh for piano: Root position: Play the notes G, B, D, F, and A# in the right hand, with the G in the bass in the left hand. This creates a full, rich sound with the augmented eleventh at the top of the chord…..(continues)

Chris F: In the previous chat, the augmented eleventh would be C#

Chatbot: I apologize for the mistake in my previous response. You are correct that the augmented eleventh in a G dominant seventh chord would be C# instead of A#. Here are five ways to voice a G dominant seventh chord with an augmented eleventh for piano, with the corrected note:

1. Root position: Play the notes G, B, D, F, and C# in the right hand, with the G in the bass in the left hand. This creates a full, rich sound with the augmented eleventh at the top of the chord.
2. Closed position: Play the notes G, B, D, F, and C# in the right hand, with the G in the bass in the left hand. This creates a more compact sound, with all of the notes within an octave.
3. Spread voicing: Play the notes G, B, D, F, and C# in the right hand, with the G and C# in the bass in the left hand. This creates a wider spacing between the notes, which can give the chord a more open and airy quality
4. Drop-2 voicing: Play the notes F, B, D, G, and C# in the right hand, with the G in the bass in the left hand. This voicing drops the second note of the chord (the seventh) down an octave, which can create a smoother, more connected sound.
5. Quartal voicing: Play the notes C#, F, B, and E in the right hand, with the G in the bass in the left hand. This voicing uses stacked fourths instead of traditional tertian harmony, which can create a more modern and harmonically ambiguous sound.