Accompaniment Master Thread

[medblues]

Created and steered by Joel Fass

[AllanAllen]

What are we supposed to do here? Anyone want to put up a clip of Freddy Green style comping through rhythm changes?

[medblues]

[medblues]

[medblues]

[Tal_175]

So is this a master thread about a wide range of accompaniment contexts such as:

- Rhythm guitar (swing, bebop era less interactive accompaniment with a continuous rhythmic drive).
- Comping (post-bop interactive, more pianistic accompaniment).
- Trio comping.
- Comping with a piano.
- Small combo without a piano.
- Accompanying a singer.
- Big band rhythm guitar.
etc?

[medblues]

[medblues]

So is this a master thread about a wide range of accompaniment contexts such as:

- Rhythm guitar (swing, bebop era less interactive accompaniment with a continuous rhythmic drive).
- Comping (post-bop interactive, more pianistic accompaniment).
- Trio comping.
- Comping with a piano.
- Small combo without a piano.
- Accompanying a singer.
- Big band rhythm guitar.
etc?

These are a great start, no ?

Joel Fass wanted to start a thread like this and I just facilitated his wish.

I would probably add self-comping if one likes singing jazz songs and playing chords, arpeggios and fills. Maybe even venture into the Flamenco tradition where there is stronger rhythmic comping then other styles.

[medblues]

[Tal_175]

These are a great start, no ?

Joel Fass wanted to start a thread like this and I just facilitated his wish.

I would probably add self-comping if one likes singing jazz songs and playing chords, arpeggios and fills. Maybe even venture into the Flamenco tradition where there is stronger rhythmic comping then other styles.

It is an ambitious thread, no doubt.
Self comping is another good suggestion but in the jazz context I think of self comping as solo guitar (accompanying your lines). It would be hard to distinguish accompanying own singing and accompanying another singer in terms of what counts as good comping.

[medblues]

[joelf]

These are a great start, no ?

Joel Fass wanted to start a thread like this and I just facilitated his wish.

I would probably add self-comping if one likes singing jazz songs and playing chords, arpeggios and fills. Maybe even venture into the Flamenco tradition where there is stronger rhythmic comping then other styles.

Thank you---and so quickly!

Yes to all of the above. As for me, I'm an aspirant. I just want to get better at it---to listen to and underline every breath of that singer, horn player---whomever. I was lucky to work with some great ones, but wish my accompaniment was on the level of their singing. It is better now, though. I accompanied the music therapist at my hospital gig today on Xmas songs and did a credible job. She sounded good, so it was easier. I liked that she paused at critical points, especially on ballads. I play ballads that way too, so I heard her.

I think you almost have to be a specialist, and definitely check your ego at the door. Just listen loud, then louder. There are great guitarists and pianists who wouldn't cut it as exclusive accompanists, and probably don't want to. I really believe you almost have to specialize.

John Collins only had one leader date in his life, believe it or not. But he played as close to perfectly as a human could for Nat Cole and countless singers (including Nancy Wilson). He's just one example. I know there are scores of others---including those who accompany instrumentalists primarily.

So chord progressions or bass lines are good to know and use, but only part of a larger picture. We have to be good listeners and underliners to succeed at this...

[joelf]

Created and steered by Joel Fass

Naw. Suggested by. And I do not want the steering wheel.

Thanks for the offer, though!

[pawlowski6132]

I think it begins and ends with Joe Pass and Ella.

[Rodion]

Sorry for impudence, but being able to accompany a singer alone or with a bass or a second guitar is exactly what I want to learn, without serious experience in jazz guitar (some base on classic, a lot of rock/blues, basic understanding of jazz harmony). Is there a shortcut to get a grip on comping? Specific books, courses, set of videos? The way I imagine it myself - take a generic jazz guitar book and try to adopt things I heard from Joe Pass and other giants - might take years just get moving.

Thank you very much!

[alltunes]

Sorry for impudence, but being able to accompany a singer alone or with a bass or a second guitar is exactly what I want to learn, without serious experience in jazz guitar (some base on classic, a lot of rock/blues, basic understanding of jazz harmony). Is there a shortcut to get a grip on comping? Specific books, courses, set of videos? The way I imagine it myself - take a generic jazz guitar book and try to adopt things I heard from Joe Pass and other giants - might take years just get moving.

Thank you very much!

In a jazz context? Shell voicings, play less, keep it simple, singer is everything. For a deep dive:

[AllanAllen]

Sorry for impudence, but being able to accompany a singer alone or with a bass or a second guitar is exactly what I want to learn, without serious experience in jazz guitar (some base on classic, a lot of rock/blues, basic understanding of jazz harmony). Is there a shortcut to get a grip on comping? Specific books, courses, set of videos? The way I imagine it myself - take a generic jazz guitar book and try to adopt things I heard from Joe Pass and other giants - might take years just get moving.

Thank you very much!

A Month of Rhythm Guitar

[mr. beaumont]

A Month of Rhythm Guitar

That's a pretty specific style in that thread, but still not a bad place to start.

[rpjazzguitar]

Sorry for impudence, but being able to accompany a singer alone or with a bass or a second guitar is exactly what I want to learn, without serious experience in jazz guitar (some base on classic, a lot of rock/blues, basic understanding of jazz harmony). Is there a shortcut to get a grip on comping? Specific books, courses, set of videos? The way I imagine it myself - take a generic jazz guitar book and try to adopt things I heard from Joe Pass and other giants - might take years just get moving.

Thank you very much!

There may be some shortcuts, but they may not be very short.

It would be easier to help if you can be even more specific about what you're trying to do. I understand that you may not be able to predict who is on a gig in the future, but one guitar, two guitars, guitar and bass are all somewhat different, albeit overlapping, skill sets with different shortcuts.

For example, if it's guitar and voice on jazz tunes, you probably want to play some bass notes -- a full bass line if you've got the chops for it. But, if there's a bassist, you may not want to do that. If there's a second guitar, probably at least one of you wants to play some bass notes. If the other guy is doing straight comping in the middle register, you might need to know how to do ornamentation in the upper register. The skills sets for these three situations overlap, but they aren't the same.

If I wanted to be as quick and dirty as possible in a situation like I'm imagining yours to be, I'd do this.

I'd assume a configuration, say guitar, bass and vocalist. Then I'd make out a set list for a two hour gig. 14 maybe 16 tunes. I'd pick the easiest one and watch some videos of comping on that tune. If you're not sure of the chord voicings, find one that has a closeup of the left hand and slow it down. Spend the time and learn one song. A good one to begin with might be All of Me.

Then, do the same thing with a blues in F, a blues in Bb and Rhythm Changes in Bb. Then, add something with a few more changes. Maybe My Romance. Or A Foggy Day. Autumn Leaves. Blue Bossa.

When you encounter a new chord, write it on a chord grid and circle the root. Then learn it in 12 keys plus common enharmonic equivalents. You may need to understand the theory of chord construction and naming to do this and you will need to learn the entire fingerboard.

For books, Warren Nunes wrote some that cover comping common progressions that make them easy. Too bad, he didn't write more, or thicker books.

Yes, this is a shortcut. The "proper" course of study is far more elaborate. The first 6 months are on how to properly unzip the case.

[joelf]

Sorry for impudence, but being able to accompany a singer alone or with a bass or a second guitar is exactly what I want to learn, without serious experience in jazz guitar (some base on classic, a lot of rock/blues, basic understanding of jazz harmony). Is there a shortcut to get a grip on comping? Specific books, courses, set of videos? The way I imagine it myself - take a generic jazz guitar book and try to adopt things I heard from Joe Pass and other giants - might take years just get moving.

Thank you very much!

Suggestion:

Sing and accompany yourself! Most musicians could sing if they chose to. Pick an easy song at first, one you may already know instrumentally. Learn the lyrics and go for it.

You can accompany yourself with simple 4/4 chords or just a bass line.

The advantage: you can hear every one of your own breaths, every sound---and up close---so you can react and 'underline' them with chords, accents, etc. Just keep it simple, b/c it's not like playing for another singer, where you can dress it up more in response. In this situation you have to play and hear yourself at the same time, so simple is the way to go. (If you can stay out of your own way comping you can do the same with a singer who wants that---and most do).

After you do this a while you're ready for the next step: accompanying an actual singer. You will have gained some experience and, hopefully, confidence from the shedding.

Trust me, it's gonna work. Good luck!

[AllanAllen]

Another great thing about accompanying yourself. You won't be able to sing every song in the RB key so you'll have to learn to transpose. Better to learn that at home instead of on the gig, or relying on iReal.