Comping is one of the most fun parts of playing Jazz, but comping with both a piano and a guitar is incredibly difficult and the source of many frustrations!
In this video, I visit Aimee Nolte and we have a long and difficult conversion about comping, and we also play some music but most of that is on Aimee’s channel.
You can also download the PDF of my examples here:
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When it comes to comping then you have lots of books and online lessons on learning chord voicings, and voice-leading, but when it comes to turning that into something that really works then there is really not a lot of advice available.
But there is actually a place to get some inspiration and strategies for developing your comping, which is what I want to show you here.
Probably a lot of you are now thinking that this is about rhythms, and that is sort of true but it is actually more than that, and I am 99% sure that your solos will also benefit from looking at things from this perspective, because there are things in this that can really open up your playing in other ways as well.
A Blues with some Basic Ingredients
For this lesson, I am going to use a simple C blues as an example, and since this is not about using incredibly fancy chord voicings, the most chromatic voice-leading tricks or the hippest extensions then I am going to just use two different melody notes for each chord. Extensions and voicings are nice too, but that is not the focus right now and they will just become distractions that take away from what you should focus on, and I think you will see why.
The chords are kept pretty minimal but it is still more than enough to make some good music.
I will show you 3 types of exercises so that you can actually get your chords to sound like comping, and maybe open up how you think about phrasing and rhythm in general.
#1 Longer Phrases
When you focus on voicings and voice-leading then it is about either what notes you put together or how you get to the next chord in the song.
Of course, both of these things are important, but you can also see that when you focus on that then you are zoomed in and at most looking one bar ahead, and you are almost never playing a song with two bars, there is a whole form.
I don’t know about you, but the people in the rhythm section that I usually admire the most are actually the drummers. That is where the groove and the interaction are both clearly present and where the dynamics of the song are being created. A part of that is probably also that the musician that I really have to connect with when I am comping is the drummer, and for a drummer it is not about voice-leading or extensions, so how do they practice?
Rhythm is melody!
Where most guitar examples are one or two bar rhythms then drummers tend to do exercises that are over longer parts of the song, and working on something that is a combination of different patterns. An exercise might look like this:
Very often then the entire groove is not written out so it is assumed that the ride cymbal is being played, here the highhat is included, but what you want to focus on here is the snare drum rhythm, the rest is not important, you essentially want to read it as if it looks like this:
And this rhythm you can use as a comping pattern on guitar.
If you apply it to the first 4 bars of the Blues then you get:
The big advantage here is that you are starting to hear the rhythm as a melody, and phrases that are not just on a single chord but are a part of a longer sentence with a repeated part and a conclusion.
So phrases that contain smaller parts which fit together. That sounds like something that could be useful for other things than comping?
Thinking in 4 and 8-bar phrases
A side-note to this is that it makes a lot of sense to work on thinking of bar 4 as a conclusion, as the end of the sentence. That is also how our sense of form works, we feel things in groups of 4 or 8 bars and the more you play like that the better you feel that which will later eventually make you a lot stronger and more free.
There is an interview with Herbie Hancock and Wayne Shorter where they talk about how they feel the 12-bar blues as groups of bars together so that a Blues chorus is essentially a 3/4 bar. If you start feeling the form like that then you get a lot of freedom to do stuff in between which of course also describes how they often played.
Of course you want to take a 4-bar pattern like this and go through the whole blues form as well, but let’s move on to how you level this up to get some great comping rhythms going!
The method and exercises that I am showing you here was not how I learned to comp, but I sort of wish it was, because it would have made it a lot easier, and I have seen this work really well for my students. The way I learned was by being around great drummers and having the good fortune to be told about how comping worked as an interaction between drums and guitar, or drums and piano. What I am showing you here will help you listen to yourself to play something that makes sense and tells a story but it will also help you play natural phrases that a drummer can work with so that if you listen to each other then you can also connect and make music together.
#2 Making Your Own Phrases
You can of course start checking out Jazz Drumming lessons on comping to find more patterns like this, that is a great thing to do, and please leave a comment if you have some good resources like books or online lessons, but you can also start creating your own by taking the rhythms you already know, or listening to drummers that are great at this like Philly Joe Jones or Jimmy Cobb and take phrases from them and combine that with what you already know.
The important thing is that you take a step back and worry less about what extensions moving from the 9th to the b13, and instead try to play some strong melodic rhythms, some phrases that last 4 or 8 bars and make sense like that. Often listening to big band can be very useful for this, because you have the right types of simple melodies and strong rhythms in there.
If you start with the previous example but then change it up then you can get something like this for the next 4 bars of the blues, with the same format of a repeating figure and a phrase to end it all:
But you can also introduce more variation, for example going back to the original motif like now also changing or developing one of the repeats:
And really what you are doing making these is developing your ability to hear rhythms that make sense, and also listen to whether the rhythms you put together make sense as a melody for you.
How Wes Uses This In Solos
Another thing is that this can really open up is your soloing: Maybe take a listen to your solos and ask yourself how often they have phrases that last 4 bars with a beginning, a middle and an end? Maybe taking some time to think like this and incorporating that into your solos could be useful as well, there could be a video in that, et me know! The king of this is Wes! If you listen to how Wes improvises then you can certainly hear repeating patterns and motivic development.
Green = Call – Red = Response
You Can’t Practice Comping
Very often when I do a video on comping then I get a comment that tells me that comping is about interaction and therefore you can’t practice it. In my experience, that is not true, and the next exercise is actually about interacting but you are playing alone. Besides that, then there are so many skills involved with comping that you have plenty to work on even without interacting with a soloist and a rhythm section. Simply because you need to Play the chords, keep time, make sure that what you end up with makes sense and has the right colors, and the easier that is and the more freedom you have and it will be the easier to listen to what is going on around you. You also don’t only practice soling with a band, but there you have to interact as well, I hope you do at least…
#3 Call-response
Until now it has been about written exercises and composing, but you can also start to incorporate improvisation so that you can work on hearing the rhythms in real time and get it to fit together while creating phrases, and this exercise can also be incredibly powerful for solos, but I will show you that in a bit.
An easy way to do that is to start with the layout from the written exercise, and in fact this is also about interacting because you play the written part and then treat that as a call which you then respond to with the next phrase which is your response. A chart using the first one-bar rhythm would look like this:
and with that you can pick a comfortable tempo and then start to fill in the empty bars and see what you come up with. You listen and then you play what fits with that.
If you get stuck then you can also stop and try to explore it out of time
As I said then this is also a very useful exercise if you are working on getting your solo phrases to go from licks next to each other and become more of a coherent story.
A simple version of that could be something like this where I repeat a first phrase and then develop material that is a response:
And your solos can also really improve from working on this:
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The most fun thing about Jazz chords and comping is that you can improvise with the chords and create your own sound in the song. But when you work on this then you need to get everything to work together:
Chords, Rhythm, and Melody!
That is what I want to show you in this video.
#1 Easy Jazz Chords To Great Jazz Chords
Let’s start with a basic set of chords that you can make a bit more interesting and then add some rhythm to. You probably know these already:
I already added some color to these chords, so the Dm7 has a 9th, and the G7 has a 13th, For now, the Cmaj7 is just a basic Cmaj7 chord
These already sound great and you can use them to play lots of songs, but we need them to be a bit more flexible, so let’s throw away the bass notes:
#2 Rhythm Is As Important
Now you have some more flexible chords to work with so the rhythm is the next thing to level up.
Here’s a solid riff you can use:
This demonstrates two important things about comping rhythms:
First: Repeating rhythms is a very strong concept, it connects to the groove and is really comfortable for a soloist to play over, and actually it is a little bit overlooked for people wanting to play Jazz. It sounds amazing to just sit in the groove with the rest of the rhythm section
Second: When you think about rhythm then you want to think in longer periods, not just a single bar or even less. Here it is a 4-bar statement that is laying down the groove and then making a variation before the next 4-bar period starts. Comping is really about thinking like a drummer and playing the form, and in fact also locking in with the drummer when you play.
With some chords and more ideas about rhythm then you can add some melody to the progression, and you can do that in a few different ways.
#3 Melody and Fills (and more rhythm)
First. you want to just use melody in the chords and then later add fills in between the chords, and check out how this next example also uses another concept for the rhythm.
Let’s first look at the melodies. Here I am using the melodies that are the easiest to add to the chord, simply what I can reach on the top string which here is the B string:
So for Dm7 and for The G7 I have the same melody notes: – and for the Cmaj7 there are two:
The point here is that it should be easy to play, and you don’t need a ton of notes, in fact being too busy will probably just mean getting in the way.
The structure of the rhythm in this example is a mix of call-response and motivic development, so you have a call, then a response. Then I repeat the call and add a different response. When you listen to the rhythm, then try to really think of them as melodies because that is how you can make that a strong part of your playing, especially comping.
Before I start adding extra chords then let’s try adding some fills, so short melodies that are not played with the chords.
There are two ways you can use these:
#1 As melodies leading into or ending on a chord (slow b-roll)
#2 Or short melodies that just add something else in between chords (slow B-roll)
They sound like this:
The fills here have different functions in the music: The first one is a scale run, and really moving to the G7, where I am now using a 2-note version of that chord. The other is more used as a color or variation and is much more arpeggio based since it then sort of takes the place of playing a chord.
While fills often sound great they very easily get in the way of the soloist so you probably want to be a little careful with using them.
Why Don’t You Write G7(13)
I often get this question:
As you can see with fills and the melodies then the sound of the chord changes, sometimes there is a 9th sometimes there isn’t so it doesn’t really make too much sense to write extensions in sheet music unless you want to force the one playing the chords to use a specific sound. That is also why you mostly stick with symbols that demonstrate the basic version of the chord and then the rest is up to the taste and skills of the one playing chords.
Let’s look at a few ways you can change chords and add some extra chords to create a bit more movement.
#4 More Chords!
A great way to keep the chord progressions moving is to add some chords that have more tension and really pull towards a resolution.
This next example uses two ways of doing that.
You can add a chromatic passing chord. There are somewhat complicated theoretical explanations for this, but really it is just about looking at where you want to go and then take a chord that you can slide into that chord.
So if you want to go to this G7 then you can come from above like this: or you can slide up to the Cmaj7 like this.
Notice that I don’t put a name on the chords, and that is because that is not that important, they are just chords that you use to get to the main chord.
The other way that you can create tension is by altering dominants which makes them have more drive towards the resolution, like this:
And an example with chromatic passing chords and altered dominants sounds like this:
Two Ways To Think About Alterations
In this example, you see a G7(b13) on beat 4 of the 2nd bar, and here I am using the alteration as a way to play a chromatic leading note before resolving to the Cmaj7. When you do this then it doesn’t really influence the soloist to use a specific scale and force a different sound on the entire dominant, it’s really just a chromatic passing note. That’s one way to think of alterations on a dominant.
The other way you can use an altered dominant is to play it for an entire bar and really use that sound which also means that the soloist should also play a scale that fits with that. This is a different sound:
#5 Secret Melodies
Until now it has been about chords and the top-note melody, but there is another secret weapon, a beautiful way to add movement in your Jazz chords: Inner-voice movement.
Instead of having the top-note melody it can be nice to have simple melodies move inside the chord like this way of going from Dm7 to G7 with a chromatic enclosure inside the Dm7 chord:
And this also works incredibly well for a static Cmaj7 chord that otherwise can be a bit boring:
In context, that sounds like this:
Get the PDF and GuitarPro on Patreon:
You can get the PDF and GuitarPro files on Patreon here:
Get the PDF!
You can also download the PDF of my examples here:
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If you have any questions, comments, or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
Rhythm is everything in Jazz and especially comping. Building a solid vocabulary of great Jazz Comping Rhythms is difficult. In this video, I am going to go over 10 examples of comping rhythms to check out.
I play each example 3 times, so you can either use it as inspiration for your own practice or even use the video as a play along and comp together with me.
For each of the rhythms, I have an illustration of how the basic pattern is and a version that is written out with chord voicings to play on guitar.
All the examples are using a turnaround in C major.
Rhythm #1 – Charleston
This first example is the “Charleston rhythm” and is very useful also as a repeating riff.
It has the clarity of the changes with the chord on beat 1 and the syncopation with the chord on the 2&
Rhythm #2 – Shifted Charleston
A variation of the Charleston is this 1 bar pattern where the whole rhythm is shifted an 8th note.
Rhythm #3 – Forward motion with Syncopation
This rhythm uses the tension of the sustained note on the 3& to move the progression forward towards the next chord stated on beat one.
Rhythm #4 – Red Garland
Red Garland is often associated with this way of mostly comping on the anticipated heavy beats: 2& and 4&.
Rhythm #5 – Basic Syncopation
This rhythm is a great way of turning the basic syncopation rhythm into a riff that sits well on top of a swing groove.
Rhythm #6 – Quarter Note Rhythms
Often the focus in comping is too much on all the 8th note upbeats and we forget that you can do a lot with quarter notes as well.
Rhythm #7 – Dotted Quarter notes
Using the dotted quarter note rhythms in jazz comping is very common and very worth incorporating into your vocabulary.
Rhythm #8 – Shifting motif
Another great way to work with rhythm is to shift a motif around. This example is a very basic version of this.
Rhythm #9 – Call-Response phrases
Besides motifs you can also use call-response as a way of generating phrases in your comping.
Rhythm #10 – Anticipated Beat 4
This rhythm is often left out but is very common in a lot of themes (and pretty much all of Salsa), so it is very worthwhile to know and feel comfortable with.
You can also download the PDF of my examples here:
If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
Rhythm is much more important than notes. This is very true for jazz and certainly for comping. The easiest way to learn some new rhythms for your comping is to come up with some small riffs and practice playing those through a chord progression. In this jazz rhythm guitar lesson, I am going to show you 5 great variations on some great Comping rhythms and how they sound through a Blues In F.
If you want to practice them with me then you can go to the second examples via the link in the description of this video. I’ll talk a little about that later. This way of really thinking in rhythms as phrases are really important because you can’t think about the notes, you have to hear them.
If you want to check out more material that you can use for both soloing and comping on an F blues then have a look at this Study Guide: F Blues Study Guide
The Shell-Voicings
Instead of using the voicings that I use in the example you can also simplify that part by using shell voicings. In the end this is much more about rhythm than it is about the chord voicings so that will still teach you the most important part of the material in this lesson.
Practice with the video!
In this video I have added the count-off to the perfromances so if you want to play the rhythms together with me then you can do that. If you are a Patron of the channel then you can also download the mp3 backing track via my Patreon Page
The Shell-voicings are shown here below.
You can go through these voicings and use them while practicing the rhythms in the 5 exercises.
#1 Charleston Rhythm
The Charleston rhythm is a great place to start! It is in many ways the most simple rhythm that has it all. It clearly shows the chords by stating that on the 1 and the groove and swing feel is clear from the 2& that follows it.
If you are playing with people you don’t know: When in doubt, Charleston!
#2 Pulling Forward
This rhythm is a little more busy. Here the goal is to state the groove with the first two 8th notes and then use the 3& to really pull the song forward. The 3& sound adds tension or energy and the following chord on the 1 resolves that tension.
#3 Clear Groove
This example is a little busy if you play it too much, especially if the tempo is higher than a slow medium.
It is however a complete groove and a way of laying down the harmony and the groove in a very clear way. This can work as a a great solid background for a soloist, but for some it may also get in the way.
#4 Up-Beat Energy
This rhythm is a little lighter and a great way to break things up a little. It is important to be able to play comping rhythms that are not on the 1st beat all the time.
#5 Leave it to Bass and Drums
Another exercise is to play rhythms starting on beat 2. This exercise helps you feel(or think) the first beat and then play on the 2nd. Internalizing the rhythm and the meter like this is really useful for your overall timing and time-feel.
Get more ideas for comping
If you want to expand your comping and check out some more ideas then check out this lesson in my WebStore:
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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
