Tag Archives: jazz guitar comping exercises

Comping Rhythms – 10 Examples You Need To Know

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.

Take the Comping Rhythms Further

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Jazz Comping – How To Keep It Interesting

Jazz Comping and especially good jazz comping is not about knowing a million voicings. It is more about how you play the chords you know. The different ways you add embellishments or connect the voicings that make the difference.

In this video, I am going to go over a few different approaches and techniques that you want to add to your comping. This will help you have a wide vocabulary of techniques and options available when you a playing chords behind something else.

Content:

0:00 Intro

0:25 Focus on How you play not What You Play

0:47 Basic progression and why you should leave out the bass note

1:33 Top Note Melodies – How To Get Started

1:58 Turn you comp into a musical statement

2:47 Tying together a lot of voicings.

4:20 Arpeggiate The Chords

5:26 Chromatic Passing Chords

7:21 How To Add Fills

9:34 Inner-voice movement

11:03 Like the video? Check out My Patreon Page

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Jazz Comping – Intervals is the (Beautiful) Simple solution

A great approach to Jazz Comping is to not only rely on chords but also use intervals as a way of conveying the harmony. Using intervals is an easier way to leave more space for the rest of the band, so it also works well if you play with a piano player.

In this video, I am going to go over some of the ways you can work with intervals and demonstrate how this works on the Jazz Standard All The Things You Are.

Finding intervals for Jazz Comping

If we first take a look at the first chord of All The Things: Fm7.

The note that we want to have in there is the 3rd and then add another note and check out the intervals we get, as shown here below:

Notice that I am not trying to find all options, just exploring and experimenting with what I think might work.

Voice-leading intervals

As an example, we can now look at how to voice-lead the different intervals on Fm7 to the next chord Bbm7. This could be done as shown in example 2.

In some of the examples I am adding extra movement between the two intervals. This is not too difficult when working with intervals so it is a good idea to already experiment with that option.

Counter melodies and polyphony

The final bars contain a few examples of several voices moving. In the last bar the voices are also moving in the opposite direction.

Playing the song with the intervals

When I comp like this I am not always staying completely clear with all chords, but I am trying to get an over all flow that makes sense on the song.

In this example I am keeping it simple by not having to many moving melodies and playing one or two intervals per chord.

Making an improvised Counterpoint as an exercise

You can turn the voice-leading part of this into a small counterpoint exercise that sounds like the one in the example below.

You can hear in the video how this example has a lot of moving voices, keeping one voice static while the other is moving around more.

Adding some rhythm and a little more Jazz Feel

Besides working on this with playing long notes and sustained sounds, you also need to work on using the intervals while adding some jazz rhythms.

An example of this is shown here below where there is also a focus on rhythm, not only moving voices, notes and extensions.

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How to Practice Comping and Not Just Chords

Most of the time advice on Jazz Guitar Comping is about what chords to play and not how to play them. This one is about how to actually Practice Comping.

Comping is important, but since it is about playing behind somebody else it can be difficult to practice on your own. So how do you work on it? In this video I am going to show you a few ways to work on your comping and a list of things to think about when it comes to listening to your own comp.

Ways to Practice Jazz Guitar Comping

The old method: Metronome 2&4 play some comp think about how you want it to sound and imagine the band playing with you. 

This is the most important thing to practice and you want to be able to do this well, but there are other ways where you can try to work on it.

One of the ways that take advantage of some of the things we have available in this more modern tools like recording yourself and using backing tracks. I also discuss some of the things that you can learn and think about when doing this.

Content:

0:00 Intro – Getting the Wrong Answer

0:57 Different ways to practice comping and a check-list

1:13 Traditional VS Modern Methods of working.

1:41 #1 The Ancient Method of practicing

2:52 #2 Record yourself with a backing-track

3:09 Good resources and Good Drummers

3:30 Comping with drums – Learn to Listen

4:31 #3 Be Your Own Soloist

5:50 The Essential Checklist for Comping –

6:08 Over comping?

6:44 Conveying Groove and Harmony?

7:06 Is it in Style and fits the context?

8:23 Interacting with the Band

8:43 Interacting with the Soloist

9:14 Develop You Taste with Comping – Get Inspired!

10:00 My Favourites when it comes to comping

11:01 Like the video? Check out My Patreon Page!

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Jazz Guitar Comping 3 Things You Want To Think About

In short you want to work on your Jazz Guitar Comping. It is probably what you spend the most time doing when you are playing in a band. It is also one of the best ways to develop your ability to interact with the people you play with which can makes your solos much much more interesting to listen to and add a complete other dimension to it.

There are ways of thinking about comping that will improve how you comp and in this video I am going to talk about how you

  • Connect with the band
  • Support the soloist better
  • Help the song become a musical story

Comping is a difficult art to teach in a lesson because it is about interacting with several people at the same time, but it is also a huge part of what you do as a jazz musician, and for me a big chunk of what I do for a living, both as a sideman and in my own band. It is also something that I love doing because the emphasis is on playing together with other people.

Jazz Guitar Comping – The Content

 0:00 Intro – Comping and what you need to learn

0:33 Overview of Focus areas

1:32 Jazz Guitarists Can’t Comp – Who to learn from

2:04 #1 Lock in With The Drummer

2:23 Understanding interaction and groove in a swing groove 

2:57 Don’t Clash with the Drummer

3:42 Is Good Comping Predictable?

3:58 Listen to great examples

4:35 #2 Listen To And Don’t Get In The Way of The Soloist

4:39 What is your goal when you are accompanying?

5:03 Interaction?

5:52 The #1 Rule of when to play!

6:38 Use your “Comping Ears” To Improve your own Soloing

7:31 #3 Give the Music Form, Dynamics and Variation

8:33 The Masters of making variation and development

9:35 Other examples of interaction and variation.

9:55 Take the Responsibility!

10:37 Any Advice? Leave a comment

10:50 Like the video? Check out My Patreon Page

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Jazz Guitar Comping Rhythms – Exercise to make your own

“What are good comping rhythms?” and “can you make a video on standard comping rhythms?” are probably the two most common questions on my channel. This lesson is giving you an exercise to help you improvise or compose endless amounts of great comping rhythms.

Instead of making a set of comping rhythms I decided to make this exercise so you can add some rhythms to your vocabulary. When you are comping it is a big part of the job to listen to the soloist and the rest of the band and fit in what they are doing.

The idea in this lesson is to teach you three rhythms that you can use and combine to make a lot more rhythms. I have used a blues in F as a chord progression to try the rhythms out. This chord progression is well know and has a lot of different chords we can take the rhythms through.

The chord voicings and the first rhythm

Since the point of this lesson is to work on playing stroing rhythms it makes sense to keep the voicings more simple so we can focus on the rhythms.

The voicings I used in the demonstrations are simple rootless shells, consisting of 3rd and 7th for each of the chords. The voicings are shown here below.

The rhythm in example 1 are played in two variations of the first rhythm: Playing the chord on the 1 and on the 3. The 2 variations I have used is to start with just playing on the one, and then moving to playing one and three.

The two rhythms are shown here below:

The second rhythm

To add some more variation the first place we can add another rhythm. This one consists of two 8th notes. Example 3 has two variations on it.

If we use the new rhythm and the previous rhythm as material to comp through a blues chorus we have the example shown here below:

The Final ingredient

The example in the previous part of the lesson is already beginning to sound good. Because we are always starting on the beat we miss a rhythm that does not start on the beat. Adding this and some variations gives us these rhythms:

Now we can improvise a comping chorus  through the F blues like this:

With the combinations of these three rhythms we can comp quite varied and start to develop a big vocabulary of solid comping rhythms.

Putting it to use!

Getting these rhythms into your playing doesn’t have to require a lot of work. If you can comp these at a medium tempo with 2&4. In the beginning it is probably better to stick with simpler progressions like the blues or a turnaround. Start with the first rhythms and add the rest along the way!

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Jazz Comping Rhythms – Just Make Your Own

If you have any questions, comments or suggestions for topics or how I can make the lessons better 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.

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Vlog: Jazz Comping – Jazz Chords and Approaches

Jazz guitar comping is a topic that does not get covered so much. There are a lot of lessons on chord voicings, music theory and extensions, but when it comes to comping it is more difficult to find material. In this video I want to talk about comping by taking the Jazz Standard Just Friends and comp through it in a few different ways and discuss some approaches and philosophies. Since this topic is more about fitting into a situation and reacting to other musicians playing it will be a bit more about approaches and ways of thinking than actual exercises. That said I do go over two ways of coming up with voicings, comping techniques and how to add melodies to your guitar comp.

1:43 Analysis
5:51 Why I don’t use diminished scale
6:58 Scales for a dim chord
9:50 Turnaround to the IV
11:26 Drop2
18:01 Triads
26:42 Comping and Interaction
30:53 Connecting the chords
32:54 Melodies in Comping
35:07 Techniques for melodic comping
39:30 Using Riff comping – focus on groove
45:39 Open Comp: Focus on color and melody
54:56 Conclusion and Outro