Comping
|
|
- For the advertising usage, see Comprehensive layout.
Comping (an abbreviation of "accompany") is the art of harmonically, rhythmically, and melodically supporting a jazz soloist with improvised chords. In a standard jazz combo, the pianist typically comps during the horn and bass solos by improvising chords and notes. During the piano solo, the pianist often plays melodic lines with his right hand while comping with his left hand, treating his right hand as the "soloist."
There are many other forms of comping. In combos with a guitar player, the guitar player usually comps for soloists. If there is both a pianist and a guitarist, they may either switch off comping or comp at the same time. However, the latter is quite difficult to do well.
In combos with less common instrumentation, any horn player can comp using just melody lines. For instance, in a bass-saxophone duo, the saxophonist sometimes comps during the bass solo. During a drum solo the pianist sometimes comps, often using a predictable pattern of "hits."
Since a jazz solo has such wide ranging harmonic, melodic, and rhythmic possibilities, pianists must have a similarly wide range of tools at their disposal to support the soloist properly. First of all, he must know many different types of chord voicings so that he can match the mood the soloist is trying to create. Second, he must have an understanding of rhythm that allows him to respond to the rhythms the soloist plays. Finally, he must have the melodic sense to be able to derive appropriate countermelodies to supplement the soloist's melodies and fill empty space in the solo.
But all these things are not enough to be a good comper. The most important feature of a good comper is his taste. He must play neither too little nor too much, neither too fancy nor too spare. His dynamic range must be appropriate at any given time, as must his harmonic choices. All of these factors are dictated by what the soloist is doing, and to a lesser extent, what the rest of the band is doing.
Comping has been compared to holding a baby: you must hold it firmly enough so that you do not drop it, but not so firmly that you hurt it. In other words, you must do everything you can to support the soloist while at the same time not getting in his way.
By comping, pianists provide the "glue" that holds the rhythm section together: they take the soloist's melodies and add harmonies (as a bass player does) and rhythms (as a drummer does). By doing this, the pianist helps ensure that the band is always at the same energy level as the soloist.
Wynton Kelly and Herbie Hancock are examples of pianists who are exceptionally sensitive and responsive when comping. Oscar Peterson usually comps busily, while Count Basie comps sparsely. There is no one appropriate way to comp for a soloist.
The best way for a pianist to learn how to comp is to first learn how to create good melodies himself. Second, he must learn an array of chord voicings. Third, he must listen to pianists comp on jazz records to get a feel for the different possibilities for responding to a soloist. Finally, he must practice comping himself, alone at the piano, along with records, and most importantly, along with real soloists.