I had a jazz kat as a pianist behind much of my learning. Then one day this old lady had to fill in the chords without him being there. it was terrible. Playing chords as written, zero rhythm, zero feel, just what was on the page. I was completely an utterly lost as an improviser. As for encouraging you, you're absolutely on the heart of everything, you've got the right idea, The Algo won't pick up on it right away but stick with it. Anything is better than these 'This secret patterns" videos which are so prevalent.
Thanks for a all the great content you produce. I would like to point a out a needed correction, though. Comping in Brazilian and Cuban styles are far from pre-planned or generic... One can develop this perception from the fact that the main function of the guitar in a "traditional" Bossa ensemble, or the piano montunos in Cuban ensambles are responsible to keep the driving harmony/beat to the whole group, just like the double-bass in Jazz. Though, compers in these styles play with, and look forward to, adding a plethora of subtle (or not so subtle) rhythmic variations to their accompaniments, exchanging ideas and interacting with the whole ensemble, and enriching every different rendition of a piece. These variations are inherent to their African roots, they just are not highlighted in the melodic/harmonic foreground as in Jazz, but happen "in the kitchen" as we call the rhythmic section in Brazil... in the end, strictly, all is improvisation, but of different musical art forms. e.g. ruclips.net/video/7Bh8rorSk2M/видео.html&pp=ygUVcmFmYWVsIGJhcmF0YSBiZXJrbGVl
Ah, thanks - really interesting. I definitely need to explore Cuban and Brazilian styles. I do still maintain that in conventional jazz interpretations of those traditions, as opposed to traditional authentic forms, there are pretty much generic ways that people play chords when the tune is "a bossa" or "a samba" or even "Afro Cuban". But your point is excellent. Thanks for making it and I stand corrected.
Comping is improvising the chordal accompaniment or part of the song as you play it. So what you say is an important part of it and you are correct, but that's not all of what comping involves. Its more than just interacting with teh soloist. It's interacting with the whole performance including the solist but also all the other parts. Even if you were playing by yourself, you could still comp.
I had a jazz kat as a pianist behind much of my learning. Then one day this old lady had to fill in the chords without him being there.
it was terrible. Playing chords as written, zero rhythm, zero feel, just what was on the page. I was completely an utterly lost as an improviser.
As for encouraging you, you're absolutely on the heart of everything, you've got the right idea, The Algo won't pick up on it right away but stick with it. Anything is better than these 'This secret patterns" videos which are so prevalent.
gracias ! saludos desde argentina
Thanks for a all the great content you produce. I would like to point a out a needed correction, though. Comping in Brazilian and Cuban styles are far from pre-planned or generic... One can develop this perception from the fact that the main function of the guitar in a "traditional" Bossa ensemble, or the piano montunos in Cuban ensambles are responsible to keep the driving harmony/beat to the whole group, just like the double-bass in Jazz. Though, compers in these styles play with, and look forward to, adding a plethora of subtle (or not so subtle) rhythmic variations to their accompaniments, exchanging ideas and interacting with the whole ensemble, and enriching every different rendition of a piece. These variations are inherent to their African roots, they just are not highlighted in the melodic/harmonic foreground as in Jazz, but happen "in the kitchen" as we call the rhythmic section in Brazil... in the end, strictly, all is improvisation, but of different musical art forms. e.g. ruclips.net/video/7Bh8rorSk2M/видео.html&pp=ygUVcmFmYWVsIGJhcmF0YSBiZXJrbGVl
Ah, thanks - really interesting. I definitely need to explore Cuban and Brazilian styles. I do still maintain that in conventional jazz interpretations of those traditions, as opposed to traditional authentic forms, there are pretty much generic ways that people play chords when the tune is "a bossa" or "a samba" or even "Afro Cuban". But your point is excellent. Thanks for making it and I stand corrected.
Is comping itself basically learning how to feed off the soloist and make *_split second decisions_* on which chords to play to support the soloist?
Comping is improvising the chordal accompaniment or part of the song as you play it. So what you say is an important part of it and you are correct, but that's not all of what comping involves. Its more than just interacting with teh soloist. It's interacting with the whole performance including the solist but also all the other parts. Even if you were playing by yourself, you could still comp.