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| The Art of Comping “Comp” is short for accompaniment. When you comp, you should not simply block the chords out in time with the music. Although this can be a useful tool as part of your arsenal, most young players rely too much on this and really, can’t think of another way. This way of approaching the chords of a tune is really counter-productive to making things “cook”. There is another way, and that is to be aware of that blocked chord, and honor it’s harmonic structure, while simultaneously playing little melodies which embellish the vocal or soloist. This can be tricky. If you blow too much, you will step on the featured performer. On the other hand, too little feels empty. When the chart shows four slashes with a chord symbol written above them, the arranger intends for the player to use their own discretion in creating a part that works. A common mistake is to sort of noodle around in a random fashion. If time permits, the thoughtful player will actually come up with a little “orchestration” that they are trying to execute. A seasoned jazz player can ad- lib their comps. If you aren’t on that level, you need to plan out how you are going to approach the comping sections of the songs you are performing. Take a moment to go through your charts, and try to spot the places where you are faking it. Replace as many of those as possible with a planned orchestration that fits the chord structure, does not get in the way of the featured performers, and enhances the groove. Since the arranger is giving you discretion, this is one of the places where your personal touch can be asserted. This is an opportunity to contribute in a very real way to the creative part of the band. It’s one of the ways a band sounds “tight”. To fake your way through the charts may be the only way you can get started, but once you’ve got the tune up and running, put the time into this last step. It will always give you a polished edge. |
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