Scot Ranney's LearnJazzPiano.com archive: Comping

LearnJazzPiano.com archives: Comping
aliciamarrana -- 10/24/2005, 22:01:38 -- #20287

Hi i'm just start learning about piano jazz but i got a lot of questions. The main would be: what shall i do do with my (both) hands while comping. i mean what's the difference between the hands while comping. i hope you understand whata i'm saying. should i do the same chords in both hands? or what? i never get to see a live jazz pianist.
gumbi -- 10/29/2005, 14:25:18 -- #20412

To begin comping it is best to learn two invertions of each chord Notes to be played are: 1 3 5 7 9 Ivertion one;(LH Plays 1 7 )(RH plays 3 5 9) Next invertion;(LH Plays 1 3) (RH plays 7 9 5) I hope this is enough to be going on with. Gumbi
sdm -- 10/30/2005, 14:30:54 -- #20427

A was to learn two-handed voicings that has been effective for me is to learn them chromatically. Get so that you can run up and down two octaves in the same position and you may find these voicings becoming available to you in your comping duties.
Maybeck Recital Hall Series: Hal Galper
gawizzle -- 11/01/2005, 14:59:34 -- #20486
i need help
i am new to jazz playing. i need to know some common progressions and variations to theese progressions with the use of voicings and substitute chords.
rassi -- 11/03/2005, 14:13:21 -- #20576

You can do 3 thing: http://aebersold.com/Merchant2/merchant.mvc?Screen=CTGY&Store_Code=JAZZ&Category_Code=_HANDBOOK or go to libery after John Mehegans Book http://www.freddiegreen.org/transcr.html those voicer vork vell i the left hand preben
Tan H.Tee -- 11/04/2005, 04:17:36 -- #20591
Need some help
i'm new in jazz playing. sometime i notice that those jazz band (consist of trumpet, trombone,tuba player etc) can easily play different notes together and could come out with harmonic but very strong sound. Can this be done in piano? How?
Phinneas Newborn Jr: A World of Piano- just get it.
andresbv -- 11/08/2005, 19:48:55 -- #20703
im looking for a peculiar feelin to my performance
Hi, Im a colombiam piano player, i would like to get the piano sheet of paper of salsa latin montuno. also i need help to do this. i might help you if you help me.
Scot -- 11/18/2005, 22:07:26 -- #21215
A couple message from the "other" comping room
7 p -- 11/15/2005, 12:00:27 -- #21039 Check out these links: http://www.Jeff-Brent.com/Lessons/comping.html http://www.melbay.com/creativekeyboard/apr04/comping.html otempora11 -- 11/14/2005, 20:14:40 -- #21030 ok so ive been playing the piano forever...but all classical music and the teacher at my school recruited me for a jazz band.... can anyone tell me about comping? Kai -- 11/01/2005, 12:37:51 -- #20478 Pad Comping I'm not sure where this post should be placed. However, since we have acquired a Comping room, it is going here. I'm referring to a comping style known as Pad Comping described tantalisingly in Per Danielson's http://www.melbay.com/creativekeyboard/apr04/comping.html Does anyone know anything further/have any thoughts about this style? History - any connection with keyboard pad? How/why it works so beautifully with ballads? Or is it just that the voicings are so well worked out? The dynamics seem to be particularly important, as woule be the setting in which it is used - by this I am thinking of no noisy guitars drowning these voicings out and/or the levels/mix of any drums/electronic instruments.
7 -- 11/18/2005, 23:19:18 -- #21217

I finally got a chance to read the Mel Bay article, and it's nicely done with specific suggestions. Re: the pad comping thing, I've always pretty much felt that when you talk about pads you're talking organ, synth strings and those kinds of "sustainable" patches. I never thought about it so much as the idea of just holding a long left hand chord on the piano (because of the piano's relatively rapid decay). Anyway it's a cool article. Thanks!
Maybeck Recital Hall Series: Andy Laverne
Kai -- 11/19/2005, 13:23:03 -- #21221

7, Thanks for your comments. I find it interesting to hear others' opinions, especially experienced musicians and teachers. Referring to the article, and the decay, I suppose one could sustain/pedal point where the chord occupied the whole bar, especially in comping where you might be concentrating on a support role for a single line instrument or voice. I'm happy to be corrected by the way. I hope I haven't opened a can of worms here because I'm just 'fishing'. Kai
lizarraga -- 11/20/2005, 02:47:50 -- #21234
Guitar & Piano
Can anyone help to enlighten me as to comping while playing guitar and piano, these are the main instruments in the quartet I'm playing with currently. My take on it is the guitar uses different chord inversions of the higher register than the piano player since the piano is mostly playing full chords, however they can reverse roles as well. Anything to add or correct me on would be appreciated. thank you in advance, any an all feedback is welcome.
7 -- 11/20/2005, 13:22:55 -- #21241

Even if the guitar and piano were playing exactly the same voicing in exactly the same register, they would still complement each other due to timbral differences. You pretty much don't have to worry about it, let the guitar play do their thing and you do your pianistic thing. As long as the groove you're both laying down fits, everything will work out just fine. As regards fills, you will soon develop a feel for the types of phrasing that that guitarist uses. At first you may feel that the guitarist hogs every single fill (some do - and the time may come to discuss this), but most guitarists leave a little place at the end of their fill for you to get a word in edgewise. Within a short time (and by keeping your ears open) you'll find the way to make fills conversational.
Chick Corea: Friends One of my favorites!
frappuccino -- 11/26/2005, 22:18:46 -- #21523
voicings
I'm working on "Ladybird" right now, and I'm having a really hard time playing things that don't sound really cheesy when it comes to major chords. I haven't listened to enough recordings, but I'm having a hard time getting a hold of more than one and I have an extremely slow internet connection, which poses a problem. Any suggestions on voicings?
jgates -- 01/19/2006, 11:13:08 -- #23241

Add in some available tensions - Maj 6, Maj 9 to make the major texture more interesting.. Don't think that because the symbol says "Major" you can't enrich the harmonies.
Kai -- 01/23/2006, 13:29:47 -- #23384

Hehehe I did introduce some appropriate available tensions into one of our practice sessions just to see what would happen. The guitarist asked me afterwards if I was playing in the same key - so disappointing an experiment. I have said on many occasions, we are learners. :-)
Maybeck Recital Hall Series: Andy Laverne
Ben Blau -- 02/02/2006, 11:16:45 -- #23741

As far as voicings are concerned, I've always been a proponent of the left hand "A&B Form" system that has sparked so much controversy here in the past. If you search the old forums, you can find a lengthy post I wrote to explain that system. When I need a bigger, two-handed sound, I often add upper structure chords with the right hand, on top of the left hand A-form or B-form voicing. Some basic examples: Dm7 = left hand A-form ii, with an upper structure Am7 chord, in any inversion, in the right hand Am7 = left hand B-form ii, with an upper structure Dm7 chord, in any inversion, in the right hand G7 = left hand A-form V7, with an upper structure Dm7 chord, in any inversion, in the right handD7 = left hand B-form V7, with an upper structure Bm7 chord, in any inversion, in the right hand Cmaj7 = left hand A-form I, with an upper structure Em7 or Am7 chord, in any inversion, in the right hand Gmaj7 = left hand B-form I, with an upper structure Bm7 or Em7 chord, in any inversion, in the right hand All these upper structures work well as long as the underlying chords are not chromatically altered. Anyone else want to post their tricks for two-handed comping? Ben Blau
Ben Blau -- 02/02/2006, 11:19:45 -- #23742
Oops
There's a mistake in my post above. Over the Am7 B-form ii voicing, play an Em7 chord, not Dm7. Sorry, Ben Blau
loluoresegun -- 02/02/2006, 12:49:25 -- #23746

Hi Ben i've always had problems with right hand [RH] tension voicings to couple with the LH A/B types as the ones i'm able to figure out don't sound tense enough,they don't even sound jazzy at all, especially for dom7 variants need help real much.
Chick Corea: Friends One of my favorites!
Ben Blau -- 02/03/2006, 10:59:08 -- #23782

Here's a great way to approach altered dominant voicings: First, identify the related diminished 7th chord, which corresponds to the original dominant. All dominant 7th chords contain a diminished triad, between the 3rd, 5th, and 7th. (For instance, in a G7 chord, the internal diminished triad is Bdim.) Add one more minor 3rd on top of that (Ab), and complete the diminished 7th chord. When you have that, the first thing to know is that it can be used as a substitute for the original dominant chord. When coupled with the original root, you get the flat nine alteration automatically. Of course, the diminished 7th chord can be played in any inversion; use whatever works best for voice-leading purposes. This, however, is just the beginning. There is a two-handed voicing that involves using this diminished 7th substitute in the left hand, but something different in the right hand. The right hand's tones form what is sometimes referred to as a "C-form" dominant voicing (of which there are two types). Type one uses the 7th, #9th, 3rd, and #5th of the original dominant chord, in that order. Type two uses the same tones in a different distribution: 3rd, #5th, 7th, #9th. Examples: For G7alt, do this - In your left hand, play Fdim7 (an inversion of Bdim7), and in your right hand, play the type 1 "C-form" voicing, which consists of the pitches F, A#, B, D#. This is all over a bass note of G, provided by the bass player. Now this - In your left hand, play Bdim7, and in your right hand, play the type 2 "C-form" voicing, which consists of the pitches B, D#, F, and A#. Again, this is over a bass note of G. When you can play these voicings, a common mannerism is to move from the #9 to the b9 in the voicings before resolving to I. You can optionally include that in the right hand's voices if you choose. It's a common technique.These voicings work extremely well for regular dominants, as well as for secondary dominants, regular ii-V7-I progressions, minor ii-V7-i progressions, turnarounds, etc. They don't work well in traditional blues, though, and they're not intended for that. I hope you try them out, and find them useful! Ben Blau
Ben Blau -- 02/03/2006, 11:07:59 -- #23785
What I find difficult
What I find the most difficult is comping ballads for vocalists. It's very challenging to keep it interesting, while staying out of the way. I've always been impressed with Herbie's apparently telepathic skills in this area. He's so sensitive to the vocalist, it's a thing to behold. Anyone want to share some tips on this subject? Ben Blau
sdm -- 02/03/2006, 11:47:44 -- #23788

This is really good stuff Ben. I worked with the extensions you gave yesterday a bit. Would you clarify one thing for some of us literal-minded types: when using a 7th chord above a rootless voicing is it only the 1, 3, 5, 7 (any inversion as you said)? I tend to want to play these in rootless too which of course adds the 9. Thanks
Maybeck Recital Hall Series: Andy Laverne
Ben Blau -- 02/03/2006, 12:49:23 -- #23792

The voicings I gave for altered dominants are rootless. For example, if your left hand plays the pitches of Fdim7 (F-Ab-Cb-D) and your right hand plays the C-form voicing (F-A#-B-D#), this will only add up to G7alt if the bass player plays a G. In other words, even thought your left hand is playing the equivalent of an Fdim7 chord, you should understand that those tones equal 7-b9-3-5 of the dominant voicing you're forming. G is the actual root, though you're not playing it. Ben Blau
7 -- 02/03/2006, 13:03:26 -- #23793

It should also be noted that the "type C" voicings above are exactly the same as the "A" and "B" rootless voicings for the dominant chord's tritone substitute: Ex: G7's tritone substitute is Db7 Db7's rootless voicing: F Bb(A#) Cb(B) Eb(D#) 3 6 b7 9 voiced over G7 yields: F A#(Bb) B(Cb) D#(Eb) b7 #9 3 #5 Db7's rootless voicing: Cb(B) Eb(D#) F Bb(A#) b7 9 3 6 voiced over G7 yields: B(Cb) D#(Eb) F A#(Bb) 3 #5 b7 #9 This is a quite common practice, and I find that recognizing these rootless voicings as tritone substitute chords also makes them easier to remember.
sdm -- 02/03/2006, 13:20:29 -- #23797

Good as always, 7. Ben, I was asking about your previous post: Dm7 = left hand A-form ii, with an upper structure Am7 chord, in any inversion, in the right hand. Would that Am7 be A-C-E-G (again, any inversion) or would a G-B-C-E (B for of rootless) work as well? Thanks - Scott
Chick Corea: Friends One of my favorites!
Ben Blau -- 02/03/2006, 19:49:37 -- #23827

Scott - The Am7 upper structure should be interpreted literally. If you were to play the G-B-C-E rootless B-form structure over it, it would prematurely introduce the tritone that should belong to the next chord in the sequence (the V chord). So, just play the notes of a regular Am7 chord as an upper structure add-on to the A-form voicing for the Dm7 chord. 3rd inversion works well (G-A-C-E). -Ben Blau
Ben Blau -- 02/03/2006, 19:51:58 -- #23828

7: Yes, you're right. I cite this relationship in the original post I wrote on the subject a few years back. Maybe I'll find it, and paste the text from it into a new post here. It's probably archived in the old forums. Ben Blau
sdm -- 02/03/2006, 20:02:18 -- #23829

Thanks guys. I was pretty sure that was right but your explanation tells me exactly why. Love this place!
Maybeck Recital Hall Series: Andy Laverne
7 -- 02/04/2006, 01:17:59 -- #23835

Ben, Stuff gets lost in threads and posts. Please write up a formal article and upload it as a PDF file to the appropriate room. That way it won't get buried in the shuffle.
Ben Blau -- 02/04/2006, 12:17:50 -- #23845

I just tried to access the old forums to retrieve my old write-up. Unfortunately, it looks like the old forums are no longer up for public access. Scot once included it in the FAQ section of the old site. Maybe he could find it, and post it here somewhere. If I have time, I'll write up another one. Ben Blau
7 -- 02/04/2006, 13:07:38 -- #23848

Alert Scot to that fact in the room called "Scot's Studio". He doesn't always read every single post.
Chick Corea: Friends One of my favorites!
Barry -- 02/04/2006, 14:32:52 -- #23856

I agree with 7 Ben, it would be great to have this kind of stuff in an article so it doesn't get lost.
sdm -- 02/04/2006, 15:07:14 -- #23861

Ben, I was able to find your old post. Not sure why you had trouble but I had a heck of a time searching for it. I'll see if I can find it again and post a link.
sdm -- 02/04/2006, 15:18:51 -- #23864

This is? http://www.learnjazzpiano.com/forum.mv?screen=msg&mid=1743&query=A+AND+B+FORMS&srchopt=all&srchfld=message
Maybeck Recital Hall Series: Andy Laverne
Ben Blau -- 02/04/2006, 16:04:57 -- #23869
That's it!
Thanks, SDM! Here it is, reprinted: From 9/15/2002, by Ben Blau The A and B forms are specific voicings for ii-V7-I progressions, which are a cornerstone to most jazz compositions. They are rootless voicings that are particularly well adapted to the piano left hand, though they can be played by other instruments or even used in jazz orchestration. The A form and B form contain the same chord tones for each chord, but are inversions of each other (so that they remain in the proper register in all keys). Thus, "A" form voicings are generally used for keys C through F, and "B" form voicings are generally used in keys F#/Gb through B. Exceptions sometimes arise out of necessity, when voice-leading through a set of chords, but these exceptions make themselves evident without having to classify them. Here are examples of each form. Key of C major, A-form ii-V7-I: (D bass) F A C E (3,5,7,9) (G bass) F A B E (7,9,3,6) (C bass) E G A D (3,5,6,9) Key of G major, B-form ii-V7-I (A bass) G B C E (7,9,3,5) (D bass) F# B C E (3,6,7,9) (G bass) E A B D (6,9,3,5) Notice that in both forms, each chord voicing utilizes the exact same tones, with respect to the underlying roots. For example, the "ii" chord always uses the 3rd, 5th, 7th and 9th, even though they appear in a different order in the B form compared to the A form. Also notice that the voice movements themselves are the same in voice-leading through both forms. When moving from "ii" to "V7," the 7th of the ii chord always moves down a half step to the 3rd of the V7 chord. This is the only pitch that changes (except for the roots, of course, which you'll not be playing in this case). When moving from V7 to I, each tone moves DOWN one diatonic scale degree. These are some memory keys that might help you get through learning them. C form voicings are used for altered dominant chords. It's best to first learn about tritone substitutions to fully grasp their use, applications, and implications, but I'll do my best to describe them to you. Suppose you want to play a C-form altered dominant in a ii-V-I progression. Instead of playing the A or B form voicing for the V chord, play the voicing for whatever dominant chord is exactly a tritone away. If in C major, for example, you'd play the voicing for Db7 in place of the voicing for G7 with your left hand. Notice that Db7 is in a B-form key, and that the G7 is natively A-form. This will always happen when playing C form dominants -- they'll always be the "opposite" form from the key you begin in. Now, the reason these are not ordinary tritone substitutions has to do with the root employed under the voicing. If the bassist were to play a Db root, it would be considered "subV7," or a tritone substitute of the original V7 chord. In the C-form, however, the root of the ORIGINAL dominant chord is preserved. The pitches contained in the B-form voicing for Db7 over a G root yield an altered voicing for G7 -- specifically, G7#5(#9). Example: Db7 B-form = (Db bass) F Bb Cb Eb (3,6,7,9) G7 C-form = (G root) F A# B D# (7,#9,3,#5) Notice how the tones of the C-form voicing for G7 are enharmonic to the tones of the Db7 voicing. I hope this gives you some insight into how the system works. If you learn these voicings, you'll find them a highly organized way to get your left hand prepared for a high percentage of the requirements of most jazz songs. That's not to say that there is no need for other methods or voicings, but this system provides an excellent backbone. More information can be found in the book, "Contemporary Jazz Styles," by John Mehegan, as well as in the works of other authors, such as Mark Levine. Good luck in your endeavors, Ben Blau
Ben Blau -- 02/25/2006, 14:52:02 -- #24578

Hi Min: I think it would be hard to mentor someone in jazz piano via email. Maybe it can be done, but I have no experience in teaching that way. I think you'd be better off with one-on-one instruction. Here's the best advice I can give: There's only one good reason to study jazz piano, and that is for the love of jazz. A lot of musicians get into jazz for the wrong reasons (like the prestige of being considered a "jazz cat," etc). I'm not suggesting this is you, but just making a point. So, you have to love jazz, first. Second, you need to listen to jazz as much as possible. Understanding theory is not the secret of playing jazz (though it can be a big help in learning it). More than any other factor, you need to let jazz seep into your soul, and get into your blood, so to speak. Next, learn all your intervals and major and minor scales cold. This will give you the basis to keep up when studying jazz theory. The biggest reason students give up, in my experience, is due to inadequate preparation in these areas. If you don't know intervals and major and minor scales, jazz techniques will seem more difficult than they really are. You'll end up thinking the TECHNIQUES are difficult, when in reality, it's just your knowledge of intervals and scales that are making them seem hard. Some jazz techniques are easier than they seem, but your fundamentals need to be solid to comprehend them. Avoid myths and oversimplifications. An example is this false statement: "Knowing your modes and mode/chord relationships is the secret of improvisation." This, my friend, is just not true at all. What is improvisation? I'd define it as spontaneous composition. It's been said before, that if you can't compose a jazz line, you have no hope of improvising one. Therefore, analyze not only the solos, but also the melodies of as much jazz music as you can. You need to understand the structure, phrasing, language, grammar, and POETRY of it all. Theory is important, but it is not a substitute for allowing the jazz language to become a part of who you are. Next, understand the meaning of practice. What should a practice session be like? I think that practice should consistently include a challenge. All to often, we are guilty of sitting down to practice, and playing things we already know how to play. How often do we sit down, knowing first exactly what we need to work on BEFORE we ever touch the keys? And then stick to only that? I'm guilty of this as well, but if it's progress you're after, you need to force yourself to work on your weaknesses, rather than constantly re-treading your strengths. Another important element is playing with others. Find a group of like-minded musicians with whom you can jam. A lot will change in your playing by virtue of this alone. I'm probably leaving tons of thngs out that I'll think of later, but these are some things I'd suggest keeping in mind as you pursue your goals. If you want to know anything specific, just post your questions here, and I'll do my best to answer them. Enjoy the journey, Ben Blau
7 -- 02/25/2006, 15:53:33 -- #24579

I'm thinking that YES it would be possible to give music classes by email via exchange of explanations and midi files. But it would be far better to teach via phone. Turn up the volume on the keyboard amp and interact one-on-one in real-time as if with the blind. Why not? A thorough approach to long-distance learning would, of course, also include text explanations and midi but those would be supplementary to the real-time human-to-human teacher/student telephone interaction. With continental USA flat-rate unlimited long distance prices so low nowadays, a half-hour lesson would not add significantly to my tuition charges making it (in theory) profitable for all parties and well within the threshold of pain. Would you like to try it with me? Go to 7's Heaven and write me a private message with your email. Let's give it a shot! * * * * * * *
Chick Corea: Friends One of my favorites!
SultanLastDay -- 02/25/2006, 17:05:56 -- #24581
tritone substitutes
please explaine what this means and some of its uses.
Ben Blau -- 02/25/2006, 23:01:36 -- #24588
tritone substitutes
Okay, here goes: All dominant seventh chords contain a tritone between the 3rd and 7th, which is largely responsible for their "anticipatory" sound. This anticipation is typically resolved by moving to the major tonic chord in a V-I progression (authentic cadence). An interesting property of tritones is that they are symmetrical. Since they consist of six half-steps, they are exactly half an octave. This means that if inverted, it will remain a tritone, enharmonically (e.g. an augmented fourth inverts to a diminished fifth, and vice-versa). This carries the implication that for any original dominant seventh chord, there must be another one, in some other key, which shares the same tritone, only inverted. For example, the tritone in G7 lies between the pitches B (the 3rd) and F (the 7th). If those pitches are inverted, we'd be looking for another dominant 7th chord wherein F is the 3rd, and B (enharmonically C-flat in this case) is the 7th. This points to Db7 (V7 of Gb Major). Db7 is therefore the tritone substitute of the original G7 chord, and the two can function interchangably in jazz progressions (particularly ii-V7-I sequences). Happily, the Db7 chord is exactly a tritone away from the original G7 chord, which is always the case with tritone substitutions, making them relatively easy to find. Dominant 7th chords usually resolve down a perfect fifth to their respective tonic chords, although a tritone substitute's resolution tendency is usually down a half-step, to the tonic of the original key. Example: Dm7 - Db7 - Cmaj7. Tritone substitutes can also be used as a device for modulation, as in Dm7 - Db7 - Gbmaj7 (although this is less common). Tritone substitutes are also often used in place of secondary dominants, or in the context of C-form voicings (described in an earlier post). Hope that does the trick! Ben Blau
sdm -- 02/26/2006, 14:01:52 -- #24600

Nicely done!
Buba -- 02/27/2006, 16:23:16 -- #24620
Check this out
I found interesting informations on http://support007.com/find.php?value=Jazz+Lessons-+Comping+.Please write me if this was helpfull to all of you.
mynstrol -- 03/09/2006, 16:05:20 -- #25070
what chords can i use?
hi...i'm in a funk band and i wanted to jazz it up a bit. i usually play some sevenths or sixths with my left hand...i've found that ninths, thirteenths and elevenths can be executed by playing simple triads or sevenths in my righthand for example an e minor 11th could be played as 1 and 7 in the left hand and simply a b minor 7th in the right hand. if i were jamming out in E minor for example, what other chords could i use in the left hand and how can i transpose but keep it within the key i'm in? any help would be appreciated. Thanks!!!
Ben Blau -- 03/09/2006, 16:31:11 -- #25072
what chords can i use?
Mynstrol: If you are in a funk band, minor "jams" are usually either based on minor pentatonics, or modal grooves/vamps. If it's just a funk E minor groove, you can always stab harmonic combinations of tones from the E minor pentatonic scale, but there are other options: 1. In a funky "E dorian" groove, one common mannerism is to play an Em7 chord, followed by F#m7/E, and back again. You'll recognize this sound if you try it. 2. You've already noticed that you can incorporate upper structure triads. The good news is that if it's a dorian jam, you can freely move around all the diatonic triads of the key, without much risk of "wrong" notes, since the ii position has no avoid tones. Keep an E pedal tone (or E minor pentatonic ostinato in the bass), and climb up and down the triads of D major in your right hand. 3. In any minor groove (whether it's dorian, phrygian, or aeolian), you can use the quartal technique I posted in the "Quartals" room. See that posting for more. 4. Related to #3 above, you can use inversions of the left-hand quartal structures in the right hand instead. This works out to be sus2 chords which are cycled according to the parallel minor pentatonic of the mode you're in. In E dorian, for example, your right hand can play Esus2, Gsus2, Asus2, Bsus2, and Dsus2. 5. Related to #4 above, you can also use right hand sus2 chords, voicing down from the pentatonic melodic tones. In this case, you'd use the A minor pentatonic scale to cycle the sus2 chords, as in Asus2, Csus2, Dsus2, Esus2, and Gsus2. Notice that the uppermost tones in this arrangement form an E minor pentatonic scale. 6. Altered dominants: Work them into the groove you're playing. In particular, B7alt or B7(b9) would make for a splendid way to reset the progression to loop back onto itself for each vamp. During those chords, the melody would need to adjust accordingly. In funk, altered dominants usually receive the "Phrygian Major" scale, which is the 5th mode of harmonic minor. In the case of your E minor jam, it would be B Phrygian Major (which is B-C[natural]-D#-E-F#-G-A) over a B7alt or B7(b9) chord. Try these out, and see what you think. -Ben Blau
Chick Corea: Friends One of my favorites!
mynstrol -- 03/10/2006, 14:56:13 -- #25100
RE: Ben Blau
Thanks for your reply Ben! I've done the Em7 chord followed by F#m7 back and forth, but I'm looking for something more dissonant. So a few questions related and not related to your last reply... 1. Can you point me in the direction of what altered dominants are? What is a B7alt? 2. What do you mean by modal grooves? Are you talking about different modes? 3. I listen to a lot of jazz, and even when someone's soloing in a particular key, I hear them change modes or play some strange chord in their left hand (which I;ve tried to listen to and emulate but just drives me crazy!) What chords could they be playing?! It sounds like they transpose for a few licks and then they go back to soloing in the original key. Or are they using another mode? I'm confused. But this is what I'd like to explore. Kind of like how you suggested to play an "E pedal tone (or E minor pentatonic ostinato in the bass), and climb up and down the triads of D major in your right hand." I've also been told that playing a flat 9 is a nono while jamming out, but when I go over jazz chord changes, I see flat 9s being used all the time...When is it a nono? 4. What other modes can I use to make more jazzy or dissonant sounding melodic combos? I really appreciate all your help. You guys are great! I'm a classically trained pianist who is trying to grasp the madness of jazz. Thanks! Jason
Ben Blau -- 03/10/2006, 15:16:38 -- #25101

Mynstrol: Have you studied much in the way of standard jazz harmony? By this, I mean ii-V7-I sequences, tritone substitutions, turnarounds, secondary dominants, major and minor blues, etc. It sounds to me like you're interested in playing changes, rather than simple modal grooves or vamps. The above techniques form the backbone of most jazz progressions. To answer a specific question you asked, B7alt is basically a B7 chord, with a sharp 5th and a sharp and/or flat ninth. For example, play a B bass tone, and a chord voicing that includes A(7th), C## (yes, that's double-sharp, enharmonically D, which in this case is the #9th), D# (3rd), and F## (the #5th). The C## can then move to Cnat (the b9th) before resolving to Em. To play the B7(b9) chord I referenced, play a B bass note, and a Cdim7 chord (or any inversion) with your right hand. (The Cdim7 constitutes the b9th, 3rd, 5th, and 7th over the B root.) Here's another "fusion-ey" technique you might like, which can work well in funk-jazz: Cycled parallel slash chords! It sounds like a mouthful, but is really easy. A common slash chord used in fusion is a major triad with its major second in the bass, such as C/D (left hand plays a D bass note, and the right hand plays a C major triad). Now cycle this same voicing according to some familiar pattern, such as the minor pentatonic scale. This yields a sequence of parallel chords, as follows: C/D, Eb/F, F/G, G/A, Bb/C, etc. You can construct other cycles as well, such as using a constant interval (like minor thirds) or some other alternating pattern. Try it, and see what you think! Ben Blau
rassi -- 03/30/2006, 16:49:15 -- #25856

B7 alt = B7 (V) and F7 (V+bV=b5 b9) either or G maj (V+bVI=#9 #5) either or Emaj (V+IV=11 13). Play an inversion whit and alt sound top and finis whit a natural chord voice.
mynstrol -- 04/04/2006, 00:49:57 -- #25989
flat 9s
hi all... i've noticed that there is some unpleasant dissonance while soloing with flat 9's...when can i use flat 9's and when can't i...for example in the key of e minor?! thanks!
7 -- 04/04/2006, 02:10:22 -- #25990

A7b9 is a great chord to precede the Em.
7 -- 04/04/2006, 02:11:36 -- #25991

Whoops, I meant B7b9 duh ...
Chick Corea: Friends One of my favorites!
pianoplyr77 -- 04/13/2006, 18:21:24 -- #26442

By the A form of the Dm7 do you mean F-A-C-E? Is that tipically refered to as the A form?
lewbuc -- 04/16/2006, 11:15:25 -- #26485
Resteraunt
Hey I'm new to improvising but iv been playing for eight years. Iv just got a job playing in a resteraunt and I want to know how to improvise to play. All iv got so far is stuff like Chopin and Satie etc. Much help would be apreciated. Thanks
albetan -- 04/16/2006, 17:59:40 -- #26494

Pianoplyr77: Please go to: Search LJP Write: A & B forms selecting: files: lewbuc: Please go to: Search LJP write: beginning impro selecting: files.
pd223 -- 05/09/2006, 22:00:22 -- #27109
counting measures
I've playing piano for years and by reading lead melody and chords.I feel I've learned enough chords to give me a decent jazz sound.My question is--I can't create and count my measures also.I also play mainly alone or maybe with a bass.I don't play by ear and if I were to play with a group I would be totally lost.
andrewxlr8 -- 06/02/2006, 20:06:11 -- #27816
Don't Fake the Funk
please, whatever you do, don't fake the funk. or your nose will grow.
SolArt -- 06/03/2006, 02:24:24 -- #27818

?
Chick Corea: Friends One of my favorites!
Sammy 2006 -- 06/10/2006, 15:33:35 -- #27972
Confused
What the heck is comping?
flicklers -- 06/10/2006, 15:53:53 -- #27973

Comping is short for accompanying. That is playing with another instrument or singer.
keybanger25 -- 07/07/2006, 15:56:33 -- #28633
Calling for the experts
I am new on this site, and new to playing jazz, but I have a remarkable ear for it. My main problem is rythmically getting in the way, as a result i have a problem on knowing how to fill the space from one moment to the next. What are some techniques that i can use to improve this specifically dealing with comping? Thanks any expert
yoyodee -- 07/13/2006, 05:16:21 -- #28711
Two/five/one voicings
I would like some jazz voicings for Dm7 G7 Gmaj7, thanks
yoyodee -- 07/13/2006, 05:23:08 -- #28712
correctin for previous message
I meant voicings for Dm7 G7 C (not Gmaj7) and how about voicings for blue chord pattern lie C6 F7 G7 C6. thanks
Kai -- 07/15/2006, 11:13:09 -- #28778

Have you looked in the room called 'Basics' or searched for 2 5 1 or voicings? It is all here somewhere. What about searching for or looking in 'Blues'/Basic and Advanced ?
Chick Corea: Friends One of my favorites!
JG123 -- 08/08/2006, 12:29:55 -- #29183
Ensemble comp
I am new to jazz but somehow in a jazz ensemble with about 20-25 kids. I'm trying to pick up this jazz stuff and so far I really like it. My question is when I am comping for another soloist, like the sax or trumpet. I am wondering if simple block chords with some variations would be right for this because adding an improvised melody under another person's solo seems like it wouldnt work. I was thinking about playing the root and the seventh with my left hand and the other notes with my right in simple patterns. Is this a good idea?
qelly -- 08/10/2006, 07:04:33 -- #29235
comping
well in Nigeria, we dont get to hear a lot of this jazz concepts lke comping, ha! who's gonna snd me a book or something. dont mind free stuff!!!!
ibunk -- 11/21/2006, 19:38:56 -- #31354
basics, please
hi everyone, I'm very new to jazz piano in general, and one of the trickiest things about it (for me) is comping. I'm a classically trained pianist, i've been playing classical pieces for a few years (5 or more...don't really remember when i started). I really need the basics, because i badly want to know how to jam with my friends and i just dont know how!! I'd appreciate any help, suggestions or advice greatly Thanks for reading
Scot -- 11/28/2006, 10:30:53 -- #31461
Comping is easy
Comping is about the easiest thing to do. First you need to know what chords you are going to play. That's pure math and practice, just get the chords under your fingers. The chords are like words and grammar. Comping is like a conversation. Do you know how to have a conversation? Good! What is a conversation? Tom says, "How's it going!" And then you say, "Not bad." What happens if Tom says, "How's it going!" and you say, "My Grandpa likes banana peels!" That doesn't make any sense, at least most of the time. What happens if Tom says, "How's it going!" and at the same time you recite the ABC's? It's completely madness is what it is. So, when Tom plays a line on his horn, as a pianist you listen to that line, you try to hear what he's trying to say, what's this jazz conversation that Tom has initiated here? When Tom stops playing a phrase or a line or whenever it seems like you can add to the "conversation", that's when you lay down a chord to help Tom get his point across. If you think about comping and playing with your band like a conversation, then it becomes easy because we all know how to have a conversation with people. Most of us, anyway. Listen to "So What" by Miles Davis. The melody of that tune is the perfect example of the pianist, Bill Evans, having a musical conversation with Paul Chambers, the bassist, who plays the melody of the song.
wen2007 -- 01/13/2007, 03:37:52 -- #32361
need help
am a bigginer and would like to know the correct way of learning jazz. i mean i think that am just jumping from one topic to the other without knowing what i should really learn first. hope you'll undrstand. wen2007
anvil -- 01/23/2007, 22:07:29 -- #32640
thnx
i'm a keyboardist of few bands here in cebu, phillipines..i appreciate y'll 4 these valuable info..it creates needed challenges 2 search 4 more! as a begnr, i was so skeptical about learning the music but now i know where 2 learn even more..THANK YOU, SIRS. begnr, anvil
Chick Corea: Friends One of my favorites!
Scot -- 01/24/2007, 09:55:34 -- #32662
2 b r nt 2 b?
Man, I hate reading messages where people think spelling is an option.
Whacky -- 01/25/2007, 06:13:36 -- #32682

kds 2 day...
Jared Lee Naidoo -- 02/13/2007, 06:09:33 -- #33016
Help
I would appreciate some jazz chord progressions. I am desperate.HELP!!!!!!!!
Peerachuch -- 03/02/2007, 08:39:40 -- #33447
practicing compin from a-z
hello, I would like to know how to practice comping from the basics (A-Z). I have been practicing but my problem is my voicings dont sound good and I couldn't remember chord tones! please help me. and the technic on octave voicing as well, I really like it!
Clarence Jey -- 03/02/2007, 22:32:52 -- #33471
Question relating to Chords: Michael Jackson's Rock With You
Hi Fellow Musicians I am seeking help from you in regards to understanding a song. Can you please tell me what the actual 'Key' the song 'Rock With You' by Michael Jackson is in? It starts of with an E-flat minor 9 etc. However I believe the key of the song would be different. Could you please tell me what key a musician would look at it as? and the reason/s why you say that is? You help would be much appreciated Regards Clarence cjeyaret@bigpond.net.au
robertmazzo -- 04/11/2007, 09:32:48 -- #34466
comping
In terms of learning jazz piano, including comping, I feel that "The Jazz Piano Book" is a real essential tool. Peace, Bob NJ
Chick Corea: Friends One of my favorites!
robertmazzo -- 04/11/2007, 09:49:36 -- #34467
Suggestion for Jared
Hi Jared, Regarding your post above where you requested jazz progressions, I find this site to be very help in breaking down a standard: http://www.bushgrafts.com/jazz/home.htm It may not be good for a total jazz beginner, however. Have a great day, Bob NJ
matthew1! -- 04/14/2007, 08:31:27 -- #34521
The basics of Melodies and Bass in Jazz Piano
i need to know some popular tunes in the Treble and Bass Clef
oto -- 04/19/2007, 03:24:30 -- #34613
jazz up my life
please anyone with info on how to effectively become a pro on jazz should send to eizaotonat@yahoo.co.uk
Scot -- 04/19/2007, 09:57:32 -- #34621

Sorry, that's not how it works around here. Participate in the forums and ask questions, that's where you'll get some great ideas for "effectively becoming a pro on jazz".
avishnevski -- 04/28/2007, 01:06:24 -- #34778
puzzle
I'm trying to shift from playing classic piano to jazz. Got some elementary knowledge of jazz harmony. Are there any transcriptions of jazz pieces, accompanied by sound (midi) illustrations to begin with? Ivanov
glynn -- 05/07/2007, 20:54:54 -- #34931
Comp chords
Hi guys from south africa!! I'm wondering if anyone can help, I have been fiddling around with comp chords around tricky RH improvisations and none of them sound any good at all. I have tried 3rd & 7ths, 3,7,9ths etc, and have tried using the root but it does not seem to fit in and I'm all out of ideas? I'd appreciate any other ideas to try. Cheers.
Erroll Garner, Concert by the Sea, a true classic.
Scot -- 05/08/2007, 10:05:40 -- #34938

Don't comp, just use the right hand. That's what Miles said to Herbie one time. Your lines are more important than your chords. There's nothing wrong with 3rd and 7ths, but maybe there's a problem with how you're playing them. Think of it like this. Your right hand is talking to your left hand. Your right hand says something for 15 seconds and takes a breath, your left hand says (with a comp), "Hmm, interseting." Then your left hand does nothing while your right hand gets back into the conversation. No reason to comp and play the line at the same time. A good line holds it's own. Look at all the horn players out there. They can't comp, but they play single note lines like there was no tomorrow. Don't worry so much about comping when you're soloing. If you really really need to do it, then you need to transcribe. Bill Evans was a master of voicing and his comping is relatively easy to transcribe from recordings.
glynn -- 05/10/2007, 06:57:33 -- #34961
thanks for that!
Thanks loads for that Scot, great site by the way. I think it was how I was playing the comp chords. I read your msg and tried 3rd&7ths, playing them more softly, like a voice on the other end of a telephone, and the conversation thing sounds really good. I have one more question though, I am self taught up until now and I want to look at jazz books, but what is this business with fake books and real books? thanks again. Cheers.
Scot -- 05/11/2007, 08:56:29 -- #34985

There's nothing special about fake/real books- just books full of melodies and harmonies. If you can learn tunes off records, you don't need fake books.
nahumtf -- 05/12/2007, 08:24:51 -- #34997
I need to how to play jazz piano
I dont know nothing about jazz music but I realy liked to learn jazz piano, thoes somone know where I can download some jazz manuales
Rahmadi -- 05/18/2007, 01:42:10 -- #35125
looking for jazz licks midi files
hi, can i have some jazz licks for practice? thank's
jazztrbn84 -- 05/21/2007, 15:30:25 -- #35182
two hand rootless comping voicings
i have all of my lh voicings down pretty well, but when a horn player is soloing, what kinds of voicings are good for comping. i figure they should involve both hands. help me.
Erroll Garner, Concert by the Sea, a true classic.
Scot -- 05/22/2007, 14:40:15 -- #35190

If you're using four note left handed voicings, try take two of the notes out and playing them with your right hand. Or try doubling up right hand and left. Sometimes all I do is play the root in the right hand, octave style. Listen, it's all about making the music sound better, right? So use your LH voicings for now, and start tossing in a few notes in the right hand now and again. Try the 3rd and 7th, just like old times with the left hand.
glynn -- 05/23/2007, 08:17:13 -- #35200
More about voicings
hi guys I understand that the root should not be played as the bass note as it can provide limitations on melody, but what note/s are best for the bass note? would a third be used often, or is a fifth better, that sort of thing. Cheers
Scot -- 05/23/2007, 09:21:07 -- #35203

I'd say as a matter of choice, the 3rd or the 7th. Whichever fits into an area of the piano that sounds good. Remember- the question "what is best" isn't a good jazz question because what is best is what sounds best. The way to find out if you're playing hip stuff for comping is to record yourself comping. Maybe comp along with a recording or something. Then listen to your playing and see if it sounds the way you feel like good comping should sound. If you know jazz, you'll know if you like what you played or not. If not, then listen to it carefully to figure out what is different between your comping and comping you like, then change what you're doing. Jazz is rather easy to learn if you record what you practice/play and actively listen to it.
Zen Jacket -- 06/11/2007, 07:54:21 -- #35409
Comping Rhythms
Is there a resource that discusses and gives examples of comping rhythms? I'm adding to my voicings and progressions fairly well but my weakest skill at this point is giving my comping some life. Feeling when and where to place my chords is escaping me at this time. I've ordered Jack Reilly's book "The Harmony of Bill Evans" hoping the subject of rhythm will be touched on.
Scot -- 06/11/2007, 09:15:35 -- #35411
comping rhythms
Apart from listening to recordings and trying to emulate what you hear by recording your own playing and listening back with a critical ear, one of the best ways to analyze what makes good comping is to analyze big band arrangements. The way Ellington, Basie, Mintzer, Mancini, Ferguson, arrange and compose the accompaniment parts is often very tasty. Some of the best compers in the business play with singers, so listen to some Shirley Horn and other singers who have/had their own trios. A useful tidbit in comping is to think about it like a conversation. When someone starts talking to you about their day in voice conversation, usually you let them have their say while interjecting comments to let them know you're interesting in what they are saying. Music comping is the same. You let the horn player do his thing and comp when necessary. Remember, the idea, the entire underlying idea behind comping, is to make the melody player sound better. Look at the classic Miles recording, "So What". The bass player does a line, and the rest of the band responds. That's comping in a nutshell. Hope you find something useful in all of that!
Zen Jacket -- 06/11/2007, 13:07:43 -- #35416
Comping Rhythms
Thanks for you advice Scot. I particularly like the idea of checking out big band arrangements. I'm sure I can find sources for band arrangements on-line but I was wondering if you had a particular source that you preferred.
Erroll Garner, Concert by the Sea, a true classic.
Scot -- 06/13/2007, 01:55:32 -- #35436

In fact I do. I go to http://www.sibeliusmusic.com and check out Sammy Nestico and others who have big band charts available there. I've downloaded a few here and there as well. Honestly, if you are serious about this, it comes down to transcribing the big band chart. Yes, all the parts, etc. I've done half a dozen big band transcriptions in my life. Nearly impossible at times, but great for the ear in the end. As you're doing it (recommend early Count Basie to start with) analyze the comping patterns. Tell you what, afer one transcription, your jazz mind will have gone to the next level, no kidding.
peter afonso -- 07/02/2007, 23:16:41 -- #35664

what are block chords and how they are plyed especially when you r playing a song like autumn leaves
antbojo -- 09/16/2007, 02:07:21 -- #37111
Intervals question
Hi guys, like other guys here, I've been playing piano for quite some time, but am kinda new to jazz piano. I've been able to improvise pretty well for stuff like pop power ballads, but my jazz stuff sounds really square, and I'm guessing that it's a problem with my chord voicing and intervals. I noticed that in jazz chords there are a lot of 13ths and 11ths. My question is, what's the difference between writing 13ths, 11ths, and 9ths instead of writing 6ths, 4ths, or 2nds in the chord names? Is it supposed to tell you what kind of inversion to use, or something? If there is a big difference, this will probably cure a great deal of my squareness.
sid -- 09/18/2007, 05:09:29 -- #37133

It's just a convention to notate chords like that, largely arising out of the way harmony is built from notes a third apart (hence the abundance of structures made up from 1 3 5 7 9 11 13...). Jazz harmony places a lot of emphasis on "upper structures" in which the 5, 7, 9, 11 and 13 elements get sharpened and flatted in various ways. Actually in the post-bop era when things went modal, harmony advanced into the world of quartal structures (i.e. built on 4ths) and it's true that conventional chord notation, focused on thirds, doesn't represent such voices very conveniently. In practice it's probably best to reduce progressions to their simplest ("vanilla") form and use experience and experimentation to fill them out into richer voicings using upper structures and quartals. The LJP site has masses of material that should help. sid
antbojo -- 09/23/2007, 02:14:57 -- #37231
Thanks Sid
Thanks a lot man. The LJP site helped me a lot with this gig I just got through tonight, and not only with my piano playing, but even with my bass guitar playing. I'm not sure if you meant it for this to happen, but when you pointed out that all these intervals were based on thirds, a lot of things just clicked in my head, and it's easier to understand these chords now. I'll do your suggestion of the "vanilla" chords. Someone told me experimentation is really the only way you can learn to improvise, anyway. One last thing. One of my friends was telling me how fraction chords can be used to decipher what to play, when looking at chords that include those upper structures. But on the site, I think it mentioned something about how fraction chords are kind of "iffy." Should I avoid this thinking and not use the fraction chords to help me out?
sid -- 09/24/2007, 02:20:27 -- #37244

I'm not sure what you mean by "fraction chords". Do you mean slash chords, such as Cmin/Bb? Here the note to the right of the slash is the bass or bottom note. This convention is often used to represent chord inversions, which otherwise are not very handily represented in third-based jazz chord notation. So that's another thing to look for when starting with a vanilla chord progression - can I find notes inside the root-position chords that could be extracted and used for smooth movement between one chord and the next in the bass. This way comping or left hand accompaniment to a right hand solo line can be made more chromatic or step-like rather than jumping around in fourths and fifths. Don't know if it will be helpful but I've put a lot of stuff about this on my website, which you are welcome to visit: http://www.sidthomas.net/Spoonbill_Music/Harmony/index.htm sid
Erroll Garner, Concert by the Sea, a true classic.
antbojo -- 09/30/2007, 01:54:14 -- #37322
Thanks again Sid
Yeah, that's what I meant by "fraction chords." I didn't even learn that term until I looked on this site, so I don't know if it was that common. I checked out your site, and it's helping me with a lot of stuff since I'm still a newbie, especially with answering my questions about notation. I just need to practice and get familiar with all the tertials and quartals and shells in the same way that I drilled myself to learn the major/minor scales/chords. Once again, thanks a lot.
fiebru1119@yahoo -- 10/02/2007, 16:00:03 -- #37371
Caribbean Jazz Project - Andalucia - Dario Eskenazi
Hi everyone. This is my first post here after being a member and reading for weeks upon weeks! I had a question for anyone into the CJP or could help me out. I love the way Dario Eskenazi on all the CJP albums, especially the live double CD. He plays in a very rythmic way with very dense sounding chords. I know this is a shot in the dark, but if anyone out there is a fan of these guys and can point me in the right direction as to what type of chords he likes to play (Ex: Song- Andalucia, Album - Island Stories, 1:50-2:50). I know what they sound like I just cant figure out what they are exactly as I've never been able to reproduce them... they sound like some sort of block chords.. drop 2? shearing style? 4th chords? I wish I could host a recording because I'm sure it would be easy for alot of you guys to pick up on what hes doing some of the time... Thanks for everyones time and the help in advance!
grill -- 12/11/2007, 16:35:09 -- #38890
What do we do about comping
HELP!!!!!!!!
jazzymac -- 12/22/2007, 01:34:46 -- #39164
Khop Kun Krup (in Thai Thank You)
Very goo and I really appreceate your knowlage. I will ask you some skil next time. Merry Chrismas. jazzyshine, Chiang mai,Thailand
jazzymac -- 12/22/2007, 01:37:13 -- #39165
Khop Kun Krup (in Thai Thank You)
Very good and I really appreceate your knowlage. I will ask you some skil next time. Merry Chrismas. jazzyshine, Chiang mai,Thailand
jazzymac -- 12/22/2007, 01:37:44 -- #39166
Khop Kun Krup (in Thai Thank You)
Very good and I really appreceate your knowlage. I will ask you some skil next time. Merry Christmas to you all. jazzyshine, Chiang mai,Thailand
Erroll Garner, Concert by the Sea, a true classic.
jazzymac -- 12/22/2007, 01:41:51 -- #39167
Khop Kun Krup (in Thai Thank You)
Very good and kindness, I really appreceated your knowledge. I will ask you some skill next time. Merry Christmas to you all. jazzyshine, Chiang mai,Thailand
Whacky -- 12/22/2007, 11:22:46 -- #39170

yin di ti dai rue jak :)
labisi -- 01/23/2008, 07:21:45 -- #39913
what is comping?
I'm new here and I don't know what "compng" means. Could someone help me please?
Whacky -- 01/23/2008, 11:09:40 -- #39922

It's slang for accompanying - generally used to describe what goes on in support of a solo, be it your own left hand during your own solo or what you as a pianist choose to play in support of another's solo
calebleejl -- 02/06/2008, 09:33:03 -- #40130
comping
any suggestions for tensions for ii-V-I..? besides 7th n 9th for ii..? besides 9th 13th for V...? n besides 7th n 9th for I..?
smg -- 02/11/2008, 17:53:39 -- #40213

Have you checked out the files here at LJP?
Erroll Garner, Concert by the Sea, a true classic.
reinobblues -- 02/13/2008, 11:49:18 -- #40244
I want to learn
I realy want to Learn jazz but I have no idea in playing and Reading from book.that is top say that I do not know how to read from staff. But then if you could put all the lessons I would need as a begginer in simple scale readings.eg (abcdefg) I would appriatiate it very much
tsnmicheal -- 07/08/2008, 07:38:09 -- #41943
what is comping and how can I make use of it
what is comping and how can I make use of it
Kai -- 08/13/2008, 23:52:57 -- #42325

It's all here - search. And LISTEN, listen, listen. Maybeck Recitals Kenny Barron. Recordings of Stan Getz and what comping is going on behind him, etc,
Chacky -- 09/18/2008, 11:41:35 -- #42701

Hi tsnmicheal. Here you have some info about comping. http://en.wikipedia.org/wiki/Comping http://www.malletjazz.com/lessons/comping.html http://www.malletjazz.com/lessons/comping.html
Chacky -- 09/18/2008, 11:41:58 -- #42702

Ups..i repeted one... here is the other link http://forums.allaboutjazz.com/showthread.php?t=21488
vykthur -- 09/29/2008, 09:47:54 -- #42781

please,is anyone willing to show or tell me what comping is ALL about?????
Erroll Garner, Concert by the Sea, a true classic.
Chacky -- 10/01/2008, 17:46:28 -- #42798

vykthur, Did you read the links a copied??
jp_seattle -- 10/25/2008, 16:58:19 -- #42934
Comping
To comp is short for "compliment" (this was Bill Evans definition)- you're complimenting the soloist. Listen to your favorite players and transcribe what they're doing. The fastest way to learn is to record yourself playing behind a soloist and keep working at it. Listen to how well great accompanists listen to what's going on around them. It's tough when you're on the other end of the stage and it's hard to hear. It's an art and takes practice. -jp
Scot -- 10/29/2008, 11:08:02 -- #42968

That about sums it up!
ruby -- 02/13/2009, 14:00:06 -- #43712
playing blues tunes the way "standards" are played
Hi, I was introduced to jazz about 5 years ago only. There is a jazz class in town for adults. I can play standards (just like Til There Was You, All the Things You Are, etc.) and improv, but for some reason, I don't get how to play jazz and improv on "blues" tunes (Blues for Alice, Blue Monk, C-Jam).... I hear people play "blues" piano, but that's an entirely different thing. My other teacher says "the blues" is not "jazz." The teacher in the adult group class hands out blues tunes like the ones I mentioned because just using the blues scale initially is easier to improv on, at least that's what I was told.. that improv - ing on blues tunes is easier in the beginning. However, I'd like to play the blues tunes more like the way I play "Til There Was You" way. I hope that I am making sense. When I play the blues tunes like Blues for Alice, it says to swing, and then I feel like I'm playing ragtime! Sounds strange! I know I'm just missing something. Some people have told me it's basically improvising in the same way, but to me, the standards are slower, and no swing. And the blues are swing and fast, with comping. Any comments I will so gratefully appreciate. I know this message is rather long. Thank you for reading it and any helpful tips. Jean
ruby -- 02/13/2009, 14:07:35 -- #43713
comping purpose
My teacher said to comp to make other people sound good.
ruby -- 02/13/2009, 14:30:27 -- #43714
blues vs. 12 bar
Hi, I don't think my first msg made it. Here is a brief repost of my question: How can you play the 12-bar blues in a regular "standards" way (standards like All the Things You Are, L of Birdland) without sounding like "the blues"? I can improv on standards but on 12 bars I'm all messed up and sound like ragtime. :[ Can you get away with not playing the blues scale on these 12-bar blues? Thank you for any tips. Jean
Erroll Garner, Concert by the Sea, a true classic.
Whacky -- 02/15/2009, 11:40:29 -- #43722

I hate to sound like a broken record (or a dusty CD), but do you listen to the blues? If not, that's where you should start.
Whimp -- 06/20/2009, 21:33:00 -- #44661
i just need help
i dont have a feeel i am off i just need HELP
nguyenthe -- 07/28/2009, 04:37:48 -- #44867
hello everybody.
hello everybody
Scot -- 08/01/2009, 11:18:39 -- #44886

Hi there!
casekon -- 08/30/2009, 11:16:09 -- #45037
your friend
jazz is good. lets learn about what we are playing. everyone loves to play the keys. I am reading to read music. so I can understand what I mean to play. If playing piano makes you happy, play the piano.
casekon -- 08/30/2009, 11:17:57 -- #45038
your friend
learning to read and write my name and stuff. A,B,C's and all. you are all my heroes.
Erroll Garner, Concert by the Sea, a true classic.
theo malahasa ka -- 08/31/2009, 22:46:58 -- #45053
comping
What is comping
Whacky -- 09/01/2009, 07:35:50 -- #45055

The word comes from "accompany". It refers to the chording and such that we play behind melodies.
joregui -- 12/01/2009, 15:04:34 -- #45977
Necesito aprender jazz
hola quiero aprender a tocar jazz, por eso me inscribi aqui espero me puedan ayudar gracias.
Danieljazz -- 12/29/2009, 00:13:32 -- #46324
accompaniment for song
I want to learn how to accompanying for song .
Musak -- 03/04/2010, 14:02:48 -- #46887

what vocing do you use when comping?
dhahranlizzy -- 05/16/2010, 19:24:24 -- #47320

I have trouble being original and coming up with the cliche endings and transitions everyone loves so much. I actually have some videos of me playing with my school combo and jazz band if you wouldn't mind taking a look at some of them and giving me advice. There on youtube under Elizabeth Findley. I also have trouble coming up with unique voicing and tend to use the same ones over and over. Are there any exercises or ideas you could recommend to help me.
Erroll Garner, Concert by the Sea, a true classic.
ggglhf -- 06/08/2010, 00:41:46 -- #47435
what next we can do?
anybody know it? http://www.learntopianoonline.com
emmanuelv -- 11/20/2010, 02:17:31 -- #47949
what is comping
Hi I'm new to jazz and want to know what comping is
wdennissorrell -- 11/24/2010, 14:07:30 -- #47961

Comping is simply accompanying something. Generally it is a minimalistic accompaniment that is composed of chord tones usually not including the root as the bass player usually will cover that. It can be done using the 3rd, 5th, 7th, 9th and so forth of the chord itself. In jazz remember that there are a lot of variations in chord structure. Usually you should keep it simple because you will be accused of walking on the soloist. It is strictly background music and should not interfere with the melody but it may augment it. I hope this answers your question adequately.
psylocke24 -- 01/10/2011, 21:04:54 -- #48046
Help answer
try visiting my website.. http://takelessons.com/
valentino369 -- 01/08/2012, 04:16:17 -- #49369
here's some basic movement
try this out
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