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Comping
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Rabe
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PostPosted: Fri Mar 12, 2004 8:29 am    Post subject: Comping Reply with quote

I'm sorry for my english, isn't my native language.
Hello to all people who likes the music, the jazz and trying to practise the guitar to meet themself. One of the subjects which hold me more is the comping (guit, bass, drum), (guit, bass, drum, piano), the duet (song, guitar), wind instrument & guitar. I think the art of comping and the improvisation is the same thing and both nessesary. Then, if somebody can tell us something about this or advise a book of it, CD to listen to... The the books on the comping is rare and I has it of it there is a little too bigener, to see confu or too advanced. To my knowledge there is only Barry Galbraith which tried to cover the subject. Thank you with All (I am small French living a small city named Saint-Etienne) Musicalement yours. Faly
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Jacek
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PostPosted: Wed Mar 17, 2004 6:30 pm    Post subject: Comping Reply with quote

For me, the piano is the best instrument for comping in Jazz.
I try to learn as much as possible from it by imitating rhythms of the piano on the guitar. The chord voicings are another thing. Many of the chords possible on the piano are impossible on the guitar so make your own chords and imitate the piano rhythms.

Cheers from Toronto
Jacek
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PostPosted: Thu Mar 18, 2004 12:29 pm    Post subject: Re: Comping Reply with quote

Thank for your point of wiew, i'm agree with you,listen piano player is a way by imiting, and internalize the ryhtm concept it is a great key. However we must give a direction to your comping. I mean we are always a student (harmony, impro, listening tools).
Merci (thank) Jacek
See you soon Rabe from France

Jacek wrote:
For me, the piano is the best instrument for comping in Jazz.
I try to learn as much as possible from it by imitating rhythms of the piano on the guitar. The chord voicings are another thing. Many of the chords possible on the piano are impossible on the guitar so make your own chords and imitate the piano rhythms.

Cheers from Toronto
Jacek
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PostPosted: Thu Apr 01, 2004 9:14 pm    Post subject: Comping Reply with quote

Hi!

Comping with full chords can often be to bassy if you play together with a basist. When i play i often only play for example if it is a Bb 13 instead of playin 1 3 5 6 7 i often leave out 1 and only play the 3 5 6 7 in this case i would be D F G Ab. I will make a clearer an more modern and progressive sound.

This is just one of the concepts i use when i am playin. There are a lot more to it. Many ways, many styles. I believe that best way to find a way of compin - a sound is to listen. Find a player you like and them imitate his playin, compin.

If you dig the old sound check out Jim Hall, George Bensons early stuff and Wes Montgomery they all have rich and beatyful voicings.

For a more modern sound is Kurt Rosenwinkel, Pat Metheny, Bill Frisell and John Scofield great players. All with a sound of there own.

My own favourite players is Kurt Rosenwinkel, Pat Metheny, Jim Hall and George benson (His early playin the new stuff sucks hard).

//John Hall
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Rabe
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PostPosted: Fri Apr 02, 2004 7:18 am    Post subject: Comping Reply with quote

Hi John,

Thank for your help, if i understand you one of they is to avoid the Root, in fact it is the job of a Bassist. Another key listen. I'm also a big fun of Wes, Jim, Benson, Raney and Tal Farlow.

Thank
Rabe
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gigginpig



Joined: 08 Mar 2004
Posts: 4
Location: Detroit area

PostPosted: Tue Apr 13, 2004 1:26 pm    Post subject: Comping Reply with quote

When I comp, I try to emulate what the "big band" era horn sections used to do behind a soloist. If you listen to music from that era, there's always a little something going on in the background. I let the drums, bass and piano lay the changes, then I add little melodic harmonized lines into the mix.

The key is to keep it simple, melodic and unobtrusive so that you don't get in the way of the soloist.
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PostPosted: Fri Apr 16, 2004 12:38 am    Post subject: Reply with quote

Hi!

I think that main thing to remember when you are going to play comp is to listen! And when you are comping remember that you are there to back up to soloist to show the world all your hip voicings and movements.

Just a thought!
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bluenote908
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PostPosted: Tue May 04, 2004 4:55 am    Post subject: comping Reply with quote

How about Freddie Green? He was arguably the greatest rhythm guitarist of all time. It never hurts to emulate his 1-2-3-4 style.
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Rabe
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PostPosted: Wed May 19, 2004 12:13 pm    Post subject: Comping Reply with quote

Laughing Hi Everybody,

Just to tell us, i have found a good litterature who treat about "COMPING".

I find this book very helpful. If anybody is interest i give the title :

"Creative COMPING CONCEPT FOR JAZZ GUITAR" taught by Mark BOLING in Mey Bay's Private Lessons series.

Best
Rabe from France Laughing
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Rabe
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PostPosted: Wed May 19, 2004 12:17 pm    Post subject: Comping Reply with quote

I have made a mistake,

"Creative COMPING CONCEPT FOR JAZZ GUITAR" taught by Mark BOLING in Mey Bay's Private Lessons series.

Not Mey's Bay but Mel's Bay Rolling Eyes

Rabe Laughing
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jazzman9952
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PostPosted: Tue Jun 01, 2004 10:34 pm    Post subject: comping Reply with quote

Listen to Joe Pass on his virtuoso albums, for mastery of the guitar. Also listen to his albums with Ella Fitzgerald. He sounds very much like a piano, playing chords, melody and bass parts.
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benj blackmore
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PostPosted: Sat Jun 05, 2004 12:42 pm    Post subject: Reply with quote

Check this out:

http://archive.guitarplayer.com/archive/lessons/hall_lsn.shtml

also Jim Hall's book "exploring jazz guitar" is a great read on a number of levels.
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John Hall



Joined: 26 Jan 2004
Posts: 25

PostPosted: Sat Jun 05, 2004 8:02 pm    Post subject: Reply with quote

Hi!

I believe that compin' like Joe Pass works fine if you are playing sologuitar or just with a singer. But if you are playing in a quartet or trio with bass and drums playing basslines or voicing constructed from the root sounds very "much" and often gets hard to listen to because bass and guitar is playing the bass wich of course is the job of the bassist.

John Hall
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jazz
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PostPosted: Sat Jun 12, 2004 2:38 am    Post subject: Comping Reply with quote

Hi everybody there!
Some ideas about comping:
* to listen to pianists and guitarists is great, some of my favorite ones: Bill Evans, Keith Jarret, Jim Hall, John Pisano (in every Joe Pass recordings with comping guitar"
* Always listen to your band mates, it is different to comp in a big band setting........... or in duet situations............. comping for a singer, or a sax, or comping in a jazz quartet (with drums, bass and any melodic instrument)
* Style is another very important point, Freddie Green "four to the bar" kind of comping if you´re playing Swing................. but maybe is not the best choice comping for a modern player..............(John Stowell for instance)
* In modern jazz, the rol of the accompaniment instruments is more interactive. Listen to Bill Evans trios.
* A very good book in the subject, a lot of nice information, is "How to Comp", by Hal Crook.
* Do not step on the "other players shoes"...........(if you´re playing with a bass player, don´t play your walking bass lines with chords...........)
* Try to get away of the register of the soloist. For instance........if you´re playing with a piano, voicings in the middle and upper register of the guitar could be the best choice.
* Try to connect the chords nicely, maybe keeping a melodic line in your comping. Try to keep common tones. Use guide tones, etc,
* Vary the harmonic density of your chords (3 strings, 2 strings, etc.)
* use rhythm patterns which belongs to the style of music. Again listen to piano players.

Well, these are just some ideas I wanted to share. Thanks, and until next time.
Greetings from Argentina,
D.
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Rabe
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PostPosted: Thu Jun 17, 2004 8:25 am    Post subject: Comping Reply with quote

Hi D. Very Happy Argentina,

Thank for your help. The role of guitarist, pianist...to day in the rhythm section is very sophisticated and exciting! Because comping involves an intimate relationship between rhythm section players and the soloist therefore LISTENING becomes a crucial part of playing and the degree to which you LISTEN often determines the eventual outcome of a soloist.

Rabe From France Laughing
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