# How to "Comp" in various styles?



## benatat (Oct 7, 2012)

So, on wednesday, i have the opportunity to try out for my high school's jazz band. THe song i have to play is Finger Licking Bad, composed by a Jamey Simmons (I couldnt find it anywhere on the interwebs). Anyway, the tempo is 190 bpm, and here's a list of the types of chords:

m7(flat5), 7, -7, 7alt, flatMAJ7(#11), maj7, 7(flat9), +7, diminished7, 7(#11), 7(#9).

Nothing too difficult, except for those maj7(#11), just due to the akward fingering if it's rooted on the 6th string.


However, at certain parts, for around 8 measures, it says "Comp Basie Style", and then later: "Comp in a Bebop Style". Do you guys have any recommendations, or tutorials, or w/e on how to do this? I think comping in a Basie style is just straight quarter notes, but I'm sure there's more.

Thanks in advance!


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## birch (Oct 7, 2012)

Not really an expert on more traditional stuff, but ill try and help out. Im guessing Basie Style would be the same thing as Freddy Green style, which you will probably see a lot on charts. He favored shell voicings ( R-3-7 root on the 5th, and R-7-3 root on the 6th are a good place to start). You could try going through a chart and simplifying everything down to a basic shell voicing as an excercise.
A lot of bebop guitarists use Drop-2 and Drop-3 chords. You could check out some Wes Montgomery or Joe Pass to get a feel for the rhythms you might use. If you know the chords you listed earlier in your post, its likely that you will be using a few drop2 or drop 3 voicings already.


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## benatat (Oct 7, 2012)

birch said:


> Not really an expert on more traditional stuff, but ill try and help out. Im guessing Basie Style would be the same thing as Freddy Green style, which you will probably see a lot on charts. He favored shell voicings ( R-3-7 root on the 5th, and R-7-3 root on the 6th are a good place to start). You could try going through a chart and simplifying everything down to a basic shell voicing as an excercise.
> A lot of bebop guitarists use Drop-2 and Drop-3 chords. You could check out some Wes Montgomery or Joe Pass to get a feel for the rhythms you might use. If you know the chords you listed earlier in your post, its likely that you will be using a few drop2 or drop 3 voicings already.



Ok, thanks for the information. I'll definitely check those out. It's at 190 bpm, so i probably won't have time to add my own chords/transitions and whatnot in between what's given. I'm mostly looking for the rhythm, I heard that bebop is essentially playing off-beat.
Thanks again.


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## Mr. Big Noodles (Oct 7, 2012)

benatat said:


> So, on wednesday, i have the opportunity to try out for my high school's jazz band. THe song i have to play is Finger Licking Bad, composed by a Jamey Simmons (I couldnt find it anywhere on the interwebs). Anyway, the tempo is 190 bpm, and here's a list of the types of chords:
> 
> m7(flat5), 7, -7, 7alt, flatMAJ7(#11), maj7, 7(flat9), +7, diminished7, 7(#11), 7(#9)



By Wednesday? Good luck.



> Nothing too difficult, except for those maj7(#11), just due to the akward fingering if it's rooted on the 6th string.




```
Bb&#8710;(#11):
e-
b-
G-7
D-7
A-7
E-6
```
All you need for an extended chord are the third, seventh, and extension. I like the root, some jazz guys throw a hissy fit over it.

Some better voicings of that:


```
Bb&#8710;(#11)/E
e-
b-10
G-7
D-8
A-7
E-

Bb&#8710;(#11)/D
e-
b-10
G-9
D-8
A-
E-10
```
Or you could do something like this:


```
Am/Bb:
e-
b-----1
G-5---2
D-7---2
A-7---1
E-6
```
That gets you the upper structure of Bb&#8710;(#11), but then you're missing the third. Somebody else will probably hit the third, though, so I wouldn't worry.



> However, at certain parts, for around 8 measures, it says "Comp Basie Style", and then later: "Comp in a Bebop Style". Do you guys have any recommendations, or tutorials, or w/e on how to do this? I think comping in a Basie style is just straight quarter notes, but I'm sure there's more.
> 
> Thanks in advance!






> I'm mostly looking for the rhythm, I heard that bebop is essentially playing off-beat.
> Thanks again.



That's more of the definition of swing, I'd think. Bebop certainly does rely on swing, but the two are not synonymous. Play on upbeats, try to de-emphasize downbeats, and listen to Bird.

Charlie Parker - Ornithology


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## benatat (Oct 7, 2012)

Thanks for the input SchecterWhore. And yes, I will need luck, because I still have school every day, plus on Monday a 3 hour school show choir rehearsel (I already tried out and made it for that, google Music In Motion Show Choir, on November we have a gig with Afro Blue). 


And this is just the tryout, so it'll be me individually. Unless the instructor says something like "PLay the chord at measure 17" or w/e, i think if i miss a third at that speed it won't be noticed. 

And the video is really helpful too.


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## benatat (Oct 7, 2012)

http://www.sevenstring.org/forum/attachment.php?attachmentid=28289&stc=1&d=1349659861

PDF of the song.

I made it in guitar pro 6, so the tabs for the chords arent perfect or the best, but it gets the point accross. The "Comp like basie" starts at measure 7, and the "Comp in a bebop style" starts at measure 15. I just put in straight quarter notes for now.


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## Mr. Big Noodles (Oct 7, 2012)

Alright, I have one criticism: your chords have a lot of notes, and they leap around quite a bit. I took a stab at the chords in the "bebop" section (just doing the harmonies, not worrying about the rhythm), and this is what I got:







The second Am7 should have a fifth in the fretboard, but Finale makes creating multiple fretboard notations for a single chord symbol a pain in the ass, so I left it as is. Anyway, notice how close together each chord is, and that they generally have three or four notes. I subbed out one chord: I gave you Bb7(b5) instead of E7, which is a tritone substitution. If you put the same alteration on E7, those chords are harmonically identical.

Bb7(b5) = Bb D Fb Ab = Bb D E G# = E7(b5)

At the end of this phrase, you have Ab7(#11) and G7(#11), then a bar of rest. Are you sure both of those have alterations? The G7(#11) sounds off and is a bit unorthodox for what this harmony implies. Actually, I'd leave the #11 out on both of those.

Now, one more word on this: all of these chords are on the lower side of the fretboard. If I were to do this again, I'd probably move them up higher. Also, I'd like to put some inversions in there.


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## ihunda (Oct 8, 2012)

Here you go, buy this, best 20$ ever spent if you're serious about comping:
Jazz comping survival guide


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## Grimbold (Oct 8, 2012)

wow
this thread was mostly review for me but good stuff

but damn boy
good luck!


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## SirMyghin (Oct 8, 2012)

SchecterWhore said:


> Alright, I have one criticism: your chords have a lot of notes, and they leap around quite a bit. I took a stab at the chords in the "bebop" section (just doing the harmonies, not worrying about the rhythm), and this is what I got:



Not going to go as far as SW and make you an alternate line but I agree completely when he says too many notes and jumpy. Your chords are also pretty boring voicings (too dependent on the standard barre chords). You can make this a whole lot easier on yourself, start be eliminating all the notes you don't need (start with the 5th, then move to the root if the chords are getting all super pissy).


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## Trespass (Oct 8, 2012)

I would use a Drop 3 grip for a rooted maj7#11.

e-----
b---5-
G---7-
D---7-
A-----
E---6-

Puts the #11 right on top, and structurally is more open than the voicing Schectorewhore provided.

Don't have to time to look through your voicings. Learn one standard rootless Drop 2 voicing for each chord, pick ones that voice lead nicely. That'll be the most impressive way to get through the audition.

The Fareed course above is really good, it will educate you on the mechanics of good comping (3-7 voice leading, what rhythms to use, embellishments like slides, tritone subs etc.). I haven't actually worked through it, but I've watched it once on Truefire and the info was solid.

Edit: Looked at your voicings.

Those aren't happening man. Comp like Basie is Freddie Green style, as noted above. That means rooted shell voicings (R-3-7), not barre chords. The whole point is three notes MAX*, sometimes dyads, sometimes single notes. Smooth voice leading. You're an extension of the quarter note bassline both harmonically and rhythmically (most of the time, the notes don't matter as much as the drum-like consistency of you pounding out the pulse)
***Note: High school instructors don't know shit, and may not realize this***

I went to an arts high school that competed in and won Heritage and other jazz festivals. The teachers could not help me with any of this. 
Take lessons from a real jazz guitar player (not a guitar player that "plays jazz").


*In the case of a 7#11, or any other specific extensions, I would not play the #11. I'd let the pianist get that, or most likely the horns or melody plays it.
-> Or I might add the extension just for kicks. As a Fredd


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## Trespass (Oct 8, 2012)

Reply part 2:

Basie comping should be shell voiced, rooted with quarter notes.

For the bebop section, just use the Charleston rhythm. That's the basis of bebop and post-bop comping. It's the Charleston rhythm metrically modulated, shifted, anticipated etc.

The reason behind this is that the Charleston rhythm has a lot of forward motion behind it. Jazz is very rhythmic. The whole concept behind the rhythm is to pull you forward as a listener. To give an example, the complete opposite would be rubato fingerpicked chords starting on downbeats. 

Here's a great video.


Jazz rhythm number two is what you want for Freddie Green. He's embellishing the quarter notes, as you'll hear, with little passing movements.

He does a few Charleston variations there. Look up a video for the original rhythm.


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## Trespass (Oct 8, 2012)

>




This video is already outdated, and his perspective hasn't left the 70s.

Modern jazz comping, especially guitar comping, has already gone in a different direction since the 90s, the current era of jazz we are in.


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## Mr. Big Noodles (Oct 9, 2012)

^ Excellent inputs.


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## Hollowway (Oct 9, 2012)

Good stuff. I haven't played anything to do with jazz in years so it's nice to hear that stuff again. I doubt I'll ever get to the knowledge of you guys, but I appreciate the learning!


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## Trespass (Oct 9, 2012)

SchecterWhore said:


> ^ Excellent inputs.




I raise you Hayley Smith:


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## ihunda (Oct 9, 2012)

Trespass said:


> The Fareed course above is really good, it will educate you on the mechanics of good comping (3-7 voice leading, what rhythms to use, embellishments like slides, tritone subs etc.). I haven't actually worked through it, but I've watched it once on Truefire and the info was solid.



I bought and went through all of the Fareed course above, it's an excellent keep it simple kind of approach and it really helped focus on rhythm and being in the "pocket".

I don't have to think about chords shapes and notes anymore, his system quickly becomes second nature.


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## Trespass (Oct 9, 2012)

Yeah, the course teaches a 60s-70s organ trio style approach (if I were to call it anything). Real popular in places like Chicago. If you're playing jazz-blues, if you're playing relatively trad with a pianist, do stuff like in that course.

Useful in pretty much everything, very versatile, rhythmic. A great foundation.
You can expand it with licks and fills. See: Russel Malone, Benson, any "Chicago jazz" based jazz guitarist. (Kevin Mahogany's guitarist etc.)


Modern guys do a mix of Rosenwinkel "four-part fourths" (goofy name, but you replace the thirds in your voicings with the fourths. Just another way to get impressionistic), Frisell type voicings (using open strings, delay, moving the neck around - See: Any Bill Frisell record).

Jazz cats are also getting into polyphony and using stuff like the EHX Freeze to hold notes (Rosenwinkel and gHex are into this).


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## benatat (Oct 9, 2012)

Thanks for all the responses! I will look at those videos, and work on changing my voicings. My try out is tommorow, wish me luck!


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## benatat (Oct 10, 2012)

Well today was the tryout. I think i did well, i comped in a "charleston style" for the bebop, and did standard freddie green stuff for the basie part.

Thanks for the input guys, it was really helpful!


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