Learning a standard: comping?

[Atogrosch]

Hi there,
this question is probably not specific enough, but I'll ask nevertheless:

When I learn a jazz standard, what do I need to know to comp well? I mean, I know the basic maj7, m7, 7, m7b5, and diminished chords, and I can play different rhythms, but still every standard would basically sound the same if I always play the same chords. I know thet you can figure out different chords but I can't help myself - isn't that approach too... well this is not very musical imo if there's so much thinking involved. So what is the key to being creative when you comp? Should I transcribe and imitate piano players? Should I play some Joe Pass tunes (since guys like Wes Montgomery do not comp that much)?

I'm looking forward to your input - thanks.

Atogrosch

[GodinFan]

Start learning all of the inversions of the chord you already know. Learn to voice them on string sets 6-5-4-3-, 6-4-3-2, 5-4-3-2, and 4-3-2-1. That should keep you busy for a while.

[gersdal]

Chord voicings are important. You can find good examples of chord voicings here: II-V-I Tutor: Major II-V-I Rootless Drop 2 Voicings On Strings 4 3 2 1 and here WholeNote - The On-Line Guitar Community - with guitar lessons OLGA guitar tab music chords scales and other goodies...

Voice leading is important. You can find more on voice leading here Guitar Chord Lessons : Voice Leading and here iBreatheMusic.com - The Poor Man's Guide to Voice Leading by Chris Juergensen

Connecting the chords is important. That was discussed here http://www.jazzguitar.be/forum/compi...ions-tips.html

Hope that helps

[franamico]

Originally Posted by Atogrosch

Hi there,
this question is probably not specific enough, but I'll ask nevertheless:

When I learn a jazz standard, what do I need to know to comp well? I mean, I know the basic maj7, m7, 7, m7b5, and diminished chords, and I can play different rhythms, but still every standard would basically sound the same if I always play the same chords. I know thet you can figure out different chords but I can't help myself - isn't that approach too... well this is not very musical imo if there's so much thinking involved. So what is the key to being creative when you comp? Should I transcribe and imitate piano players? Should I play some Joe Pass tunes (since guys like Wes Montgomery do not comp that much)?

I'm looking forward to your input - thanks.

Atogrosch

Very briefly...get a book called "Moving Through The Changes" by John Thomas and, most of all, play with other people.

[TommyD]

IMHO, many players are TOO creative when they comp, and are in danger of being in competition with the soloist, instrumental or vocal. Think of Freddie Green when you are asked to play rhythm. IMO, you really don't have to worry too much about being creative. Just play the right chords in an inversion that compliments what's going on - nothing like rehearsal to get this straight. We can't all do it like Giuseppe Passalacqua.

tommy/

[derek]

Originally Posted by TommyD

IMHO, many players are TOO creative when they comp, and are in danger of being in competition with the soloist, instrumental or vocal. Think of Freddie Green when you are asked to play rhythm. IMO, you really don't have to worry too much about being creative. Just play the right chords in an inversion that compliments what's going on - nothing like rehearsal to get this straight. We can't all do it like Giuseppe Passalacqua.

tommy/

Good point. However, I think we need to have that creative comping thing down. The best thing to do, is simply ask the other players what kind of comping they want. I have talked to bassists who love having someone else cover roots low, and making all the changes while they are soloing, and others who just want an occassional chord punch.

Everyone is different, so never hurts to ask.

[Drumbler]

You need to know a variety of voicings and you need to know the tune really well. Really well.

When you know the tune extremely well it's like time will slow down and you will be able to think faster and use more voicings. Hope that makes sense.

[gersdal]

Originally Posted by derek

Good point. However, I think we need to have that creative comping thing down. The best thing to do, is simply ask the other players what kind of comping they want. I have talked to bassists who love having someone else cover roots low, and making all the changes while they are soloing, and others who just want an occassional chord punch.

Everyone is different, so never hurts to ask.

I'm often playing with a pianist or organist, and comp very little. A few punches here and there, a bit of Freddie Green stuff, but mostly nothing at all. Less work for the money, tho

[TommyD]

Originally Posted by derek

Good point. However, I think we need to have that creative comping thing down. The best thing to do, is simply ask the other players what kind of comping they want. I have talked to bassists who love having someone else cover roots low, and making all the changes while they are soloing, and others who just want an occassional chord punch.

Everyone is different, so never hurts to ask.

Thanks, Derek. Good point. That's what I meant when I said a rehearsal will help get things straight.
tommy/