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The original real book... wasn't even called the real book, was and still is just a tool to help remember tunes. They are just a starting references. So players who don't know tunes have a starting point.
They serve their purpose... Most jazz players make quick head arrangements just before they play a tune. A quick verbal arrangement as a starting reference for playing the tune. A simple example... Well You Needn't.... which bridge, Monk or Miles. (obviously... you'd hear).
Eventually playing chords or comping ... becomes much more that just choosing "one" chord. You play chord patterns... series of chords that imply what or where the harmony is going. Part of comping is knowing how to set up harmonic Targets. And part of that is melodic organization....
Obviously this doesn't have much to do with OP. But I've always believed is better to have an understanding of where you might want to get as a player before you work on getting there.
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01-03-2024 11:31 AM
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Originally Posted by Reg
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Originally Posted by James W
I mean the sort of thing where you are playing a dotted quarter pattern or a tritone sub or something and the rhythm section joins in. Destroys the effect. Which was the context of rp’s comment on comping.
Maybe should have said ‘interaction isn’t necessarily about joining’ - my bad. The point is big ears are about hearing the whole picture. Easier said than done.
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Originally Posted by AllanAllen
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I had an opportunity to play with Amilton Godoy (I was a student) and we jammed. At one point I ended a song by playing a note that was pretty much a clam. Embarrasing. Amilton then played a chord so perfect that it made my clam sound like a work of art.
So, to my short list of comping dicta I could add "make my clams sound great".Last edited by rpjazzguitar; 01-03-2024 at 06:56 PM.
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Originally Posted by rpjazzguitar
Chief Xian aTunde Adjuah (Christian Scott)
Today, 12:32 AM in The Players