Often in these threads when someone mentions "comping", they are talking about adding harmonies in support of their own soloing, while playing the bass part as well. But piano-style comping is also obviously possible on the instrument, that is, smooth improvisation of harmonies in support of (and challenging) a soloist while leaving the low notes to a bassist, sounding 2-3 notes in each hand.

I've been looking over jazz piano texts and there is no reason why Stick players shouldn't be able to use them. The Jazz Piano by Mark Levine seems particularly good, as well as Modern Jazz Piano by Brian Waite. A good tuning for the material in these books would be the SG12 "piano" tuning with the bass side raised a fourth.

There might be a good career waiting for whoever can master this skill on a FTI. I'm not that interested in playing jazz myself, just in learning the harmonies...anyone else interested in this specific approach...?


Mad Monk.

I agree that this is one of the "final frontiers" for stick players. There is so much room for development and artistry along these lines.


Brett

I used to be a serious pro at comping on a guitar. I am starting to learn how to do this on my Stick, which just happens to be an SG12 in the piano 4ths tuning that is tuned down a half step. I like this definition of comping, "...smooth improvisation of harmonies in support of (and challenging) a soloist...". That's exactly how my guitar teacher taught the concept. On guitar that meant knowing all the chords in all inversions over the entire fretboard. It took a lot of years to get there, but I got pretty good at it. I lost it all during my hiatus from music.

You are right that the Stick can, and probably should, approach comping from a piano player's perspective. Things like stacked triads and very tight voicings were not feasible on guitar. I'm starting to explore the possibilities and I'm really liking what can be done. I have no idea when this will result in something I can share, but I'm having fun.

-Eric

I'm very interested in this as well. I was talking with Brett and Steve about this in a couple of other threads but those examples all used roots. Rootless voicings would be what Mad Monk is talking about, which I have yet to explore. Agreed that a piano conception is the best point of departure and I've been using the Levine text as well as Phil DeGreg's book and my own teacher Dan Haerle's keyboard book.

PS- Hey Monk, I wonder if you have any thoughts on the last post I made in your "Jailbreaking" thread?

Comping instruments in "jazz" include piano (keys), guitar, and vibraphone. In their own ways they all accomplish the same thing, laying out a chordal/rhythmic/melodic background for the soloist. They each do it in their own unique way since their techniques of presentation are all their own. The Stick can grab elements of each and add its own comping style. There are many ways to comp. Monk, Bud, Herbie, Wes, Bags, they all have their own accompaniment voice as they all had their own solo voice. Approaching this concept on The Stick is wide open, using these historical influences plus applying a revolutionary way of playing the ax. And of course your surrounding players and repertoire will determine much.
It's a wonderful world full of possibilities.
Steve A