This is Missing In Your Comping and Nobody Is Teaching It!

[@JensLarsen]

What is the most important part of comping: Interaction, Rhythm, Harmony, Melody? 😎 An Amazing Exercise for Jazz Chords: kzbin.info/www/bejne/a3XPdIdre56JiMU

[@KennyKoller]

There's a video of Gary Burton at Loyola teaching some music students that compliments this video. He mentioned two things that stuck with me. One is that it's not important to play complex chords when comping because a good soloist will be outlining the harmony. The second is that, if you are really paying attention to what the soloist is doing, what you play will almost take care of itself. He kept reinforcing the idea of listening to what others are playing and that inexperienced players are often focusing too much on themselves.

[@JensLarsen]

That is indeed solid advice! Thanks Kenny!

[@scottbaekeland9750]

One big thing that can be used for soloing or comping is the A B A C phrasing concept. Phrase A is complemented by Phrase B (in a call and response type approach) . Then Phrase A is played again (giving the soloist or rhythm player a little creative rest) then wrapping it all up with phrase C. Many great soloists and rhythm players use this approach. Very powerful.

[@ptose]

0:34 "does this sound familiar?" Holdsworth is unmistakable

[@GigaBrowser]

You mean you haven't seen Whiplash? Get a hold of yourself Jens

[@satchrules101]

Holly shit this lesson is pure Gold! I always had a problem with structure.. this fixes this problem. Thanks Jens L.

[@JensLarsen]

That is really great to hear 😎

[@jimmrvos2930]

I really like this lesson. Keeping things simple and listening to your bandmates (especially the drummer) - two great pieces of advice. It was also helpful to see the drum groove written out. I put this into Guitar Pro and it will be a good starting point for when I am making my own backing tracks.

[@JensLarsen]

Glad it was useful on several levels Jim :)

[@xyz8538]

Any comment on Niels-Henning Örsted Petersen & Rune Gustafsson album : Just the way you are ?

[@JensLarsen]

never heard it, but probably not the comment you are looking for

[@Blackgrass1]

Not only are you a great guitarist AND teacher, your acting abilities are going places too, man.

[@JensLarsen]

Thank you 😁 It is fun to do!

[@joelzdepski9884]

I have heard some similar advice in the context of what to do as the "second guitar" in a band - not Jazz, but any type of rock, blues or pop. That is, if not playing lines but when playing chords, latch onto what the drummer is doing with one of his/her elements (high hat, snare or some combination) and play your chords or arpeggios in time with them.

[@JensLarsen]

Indeed! Music is music 🙂

[@joelzdepski9884]

@@JensLarsen If you were to ask me what is the single biggest blindspot in music instruction for us "bangers" who play campfire songs with friends it is "What should you do as the second or third guitar at a jam." I have put that in the comments of several youtube instructors, but nothing yet. @ToniLindgren responded and is thinking of tutorials on breaking down her 2 guitar arrangements with @ReinaDelCid, but I know it is a lot of work. Probably increases by the square or cube of the number of parts being taught.

[@JensLarsen]

@@joelzdepski9884 Ok. Having 2 guitars in a Jazz band is actually not that common, so it is not something that is super relevant for me to do videos on. But in any style of music it is always about finding the space where you fit and don't get in the way.

[@TheArtofBlues]

Dude the production is killer! What happened?! Very nice!

[@JensLarsen]

Thank you 🙂

[@dennisgodshalk]

Awesome info here, thanks.... But maybe you shouldn't watch that Whiplash movie....

[@JensLarsen]

Thank you! Why not? 🙂

[@dennisgodshalk]

@@JensLarsen I was sort of kidding but I felt it was a bit over the top of what a teacher would do and what a student would tolerate....

[@dcjway]

I was a drummer in the 80s and early 90s. That experience has helped immensely with my guitar playing. I also played trumpet, French horn, tuba and bass guitar by the time I got out of high school. I still get behind my kit 3-4 times a week just to keep my chops up. Love you channel, I’m always looking for new and different ideas to try, thanks and keep it coming.

[@hikefishmakemusic]

Insanely good info in this video.

[@JensLarsen]

Glad you think so!

[@rickjensen2717]

I spent some time playing percussion in a samba band many years ago - that will teach you a lot that you need to know about rhythm.

[@cbolt4492]

Just wat watched this again, i get something new each tine

[@JensLarsen]

Great to hear Christian 🙂

[@ben_ostrich]

Hal Crook - How to comp

[@johnmarlin7269]

Jens, thank you. This is one of the most useful videos you have posted for a student like me, at my point of development on the instrument. Good insights and I'll be practicing some of these etudes with an eye to applying them to real music soon. Gratias tibi.

[@JensLarsen]

Really glad to hear that John! :)

[@innocentoctave]

Jens, are there any comments you could make about using voicings with different numbers of notes? In the examples, two- and three-note voicings seem to be the main choices, but there is no obvious consistency from bar to bar: the texture keeps changing from two voices to three voices and back. Is there an underlying principle, beyond using the simplest voicing you can get away with?

[@JensLarsen]

Yes, there is an underlying principle, I actually mention it in this video as well: Melody! The two-note voicings are when the 3rd or the 7th are in the melody. If you doubled those it would sound horrible (and ruin the voice-leading). Melody is stronger than harmony (actually harmony is more melodies at the same time). I guess this video explains that approach: kzbin.info/www/bejne/pnaqZHp8ZtKgqNU Does that help?

[@innocentoctave]

@@JensLarsen Yes it does - thanks!

[@cebenezer]

Steve Khan's first book 'Creative Chord Khancepts' has a lot of similar material in it - using shell voicings and then rhythmic embellishments to learn to comp, and then using those shells as upper-structure diads/triads for substitution.

[@JensLarsen]

Ok! I imagine it is a great book, but I have never read it :)

[@cebenezer]

@@JensLarsen Really great lesson btw, just thought I'd point to some resource in case people wanted to explore some more.

[@salvadorgarcia8661]

Como siempre, excelente. Muchas gracias maestro.

[@JensLarsen]

Glad you like it 🙂

[@TheCSteve]

I'm not a Jazz player. But I understand you, so it's useful to me. I just use my ears and figure it out before i record it. I don't think about style either, but I only think about rhythm for the first guitar line. I practice now on a 2 chord progression, because you said somewhere in another video, it was already enough to make something interesting and that's the truth. Thanks Jens ..

[@mbmillermo]

Hi @JensLarsen -- About the Wes solo at 6:55 - I think that's in "Four on Six" from the great "Smokin' at the Half Note" album. Here's a question that could lead to an interesting video: Did Wes *ever* use his left-hand pinky (finger 4) in single-note lines? I've watched some KZbin videos and I can't find any examples. He used the pinky all the time for chords and octaves, but possibly never for single-note lines. So I tried to play that solo using only fingers 1-3, and it works out a lot more smoothly than using the pinky. Specifically, the minor thirds are played with fingers 3 and 1 on strings 2 and 1, then the descending major triads (root position) are played with fingers 1-3 on strings 2-4 (all four of them with the last being D♭ major). What do you think? Watching some great players, I see very little use of the pinky. Blues players need to use strong fingers most of the time, and I see very little use of the pinky by the likes of Clapton and SRV. Of course, Django's was disabled, so he only used the pinky for chording. I think most great jazz guitarists used the pinky a lot in single-note lines. I've been trying to change my style lately to use less pinky because I think the other three fingers aren't just stronger, they are also better musically. Thanks for another great video!

[@danqodusk8140]

Many good concepts, Jens. I'm always disappointed when musicians don't respond to their calls. To me, music is primary about tonal speech with statements and responses. Speaking and responding seem to be one of mans' natural tendencies. Short story: about 30 years ago I saw Michael Brecker, with Peter Erskine on drums. I was in awe of peter's rhythm skills. I never saw or heard a drummer who played such amazing, complex rhythms. Each of his appendages was doing something different simultaneously. Guess who's appreciation for drums and drummers rose very high, it was like other instruments we're yet invented.

[@stephenmcconnell7868]

I am (after 55 years of guitar playing) just starting with jazz. But I have ALWAYS listened to the drummer and bass player when working on my arrangements. At first this was unconscious…but as I learned more, it listened for phrasing. You ALWAYS have great tips and invites into playing guitar. Thank you for your KZbin lessons.

[@cbolt4492]

Comping is the best 😎

[@JensLarsen]

Glad you like it!

[@chillipepperoni]

Oh yes of course

[@ynotw57]

I read comping. I see drum. I hear guitar. I process confused. I leave video.

[@adriandelacruz9680]

The Jerry Bergonzi "inside improvisation series vol 4" is an amazing book for rhythms!

[@Alan-zi2rs]

Like the idea of thinking in four bars .. it creates space .. I'm guessing Wes Montgomery could think the whole 34 bars.. the guy is a genius with is flowing lines. Good content Jens 👉🎸🎶🎶👍🇬🇧😎

[@timwalsh9299]

❤

[@louishugues4106]

in the rythm section bass players deserve also some consideration.... ;) ( i am a bass player btw) without a good lock between drums & bass there is not much music.

[@omrielle]

Appreciate this! Thx 🎶🎶🎶🎶

[@JensLarsen]

My pleasure!

[@tunaficiency]

Mad just started learning drums with the art of bebop and been playing guitar for 30 years and I came to exactly the same conclusion in fact my drum teacher showed me the exact same footage to show me how to hold the stick high to play the snare drum softly and he looked at me uncomprehending when I said guitarists usually do 4 to the bar or the Charleston 😅

[@artompkins7958]

Another brilliant lesson at Jen’s Music and Guitar University. Thank you, Jens!

[@JensLarsen]

Glad you enjoyed it!

[@hycus4292]

Jens, you are speaking to fast, one can not follow, and the noise in the background is not really helpul

[@janwilkendorf]

This is such a high value lesson! Thanks for your great work!

[@JensLarsen]

Glad it was helpful!

[@RC32Smiths01]

Always appreciate learning the more underrated lessons from you! Nothing is unviable in learning and making Jazz music.

[@JensLarsen]

Thank you, Ron! :)

[@RC32Smiths01]

@@JensLarsen Cheers!

[@Cambodia69]

What I've never been able to figure out, is how to play with a pianist/keyboardist in a complimentary way. With the comparatively limited range of the guitar, there's only so much sonic space we can cover. And because the piano/keyboard his such an extended range, there's little else that the guitar player can do other than solo, or perhaps accompany with some minimalist, repetitive, single-note 'disco' or 'funk' type rhythmic patterns. I like playing chords too much to have to give up playing them. So how can we guitar players play with a pianist/keyboard player and compliment the music, much less avoid stepping on their toes?

[@JensLarsen]

That depends on how the piano player plays. Playing with Monk and Playing with McCoy Tyner is not going to be the same, similar to how the piano player will have to use different approaches for Allan Holdsworth and Barney Kessel. The main thing is how well you can communicate and how well you understand each other both while talking and playing. The idea that a single approach exists is probably not realistic.

[@ИгорьШаманов-ц3к]

Genious! What a great idea about drumming exercises. Thank you, Jens!

[@JensLarsen]

Glad it was useful! 👍🙂

[@picksalot1]

I used to play drums. My favorite drummers have remained Max Roach, and Mitch Mitchell for obvious reasons. 😎

[@ledaswan5990]

Not obvious to me.

[@boomerdell]

I’ve seen ‘Whiplash’ a couple times and really enjoyed it. When I hear or read criticism of the film, it’s always been focused on how it portrays a music teacher at a prestigious music school, but the movie is not a documentary; it’s a work of fiction. The acting and directing are very well done, and it’s an entertaining film.

[@JensLarsen]

I guess I should check it out 😎

[@mbmillermo]

I also hear people complaining that it isn't an accurate depiction of jazz training. Well, duh -- it's about a completely unhinged jazz instructor. The guy is a lunatic. I think the writer/director got some ideas from the Buddy Rich tapes, which have been circulating at least since the mid-'80s, when I first heard one. They can now be found on the web, probably on KZbin. Rich used to scream and yell and swear at his band on the tour bus and sometimes they recorded him.

[@twli]

Great one!

[@JensLarsen]

Thanks :)

[@normalizedaudio2481]

Just point at the piano player and look cool.

[@leomilani_gtr]

Comping is something I really struggle with... Mainly the idea of thinking ahead

[@JensLarsen]

Practice soloing towards target notes, that really helps

[@insidejazzguitar8112]

Really important stuff. Thanks for focusing on this topic.

[@JensLarsen]

Glad you liked it!

[@frankvaleron]

I think Thelonius Monk often used rhythmic big band style fairly simple melodies in his right hand over complex harmony. Great ideas in this video Jens

[@JensLarsen]

Glad you like it Frank!

[@hectorrascon2671]

Thank you teacher Jens amazing lesson thank you so much for sharing it🤝👌

[@JensLarsen]

Glad you liked it!

[@davedorsett4894]

Thanks, Jens! Really liked the Herbie/Wayne 4 bar chunks on a 12 bar blues concept. Any chance you can either provide a link or poiint us at that interview? Interviews with Wayne that I've seen rarely get to any musical/technical nus and bolts (with his being by nature a very abstract thinker - not a diss whatsoever, btw, it's what makes him so imaginative).

[@JensLarsen]

I don't remember exactly where that is from, it was referenced and used in an example in a lecture I was in while I was studying, I even forgot the name of the one giving the lecture. Sorry..

[@davedorsett4894]

@@JensLarsen No problem, maybe do a lesson based on the longer chunk/phrase length idea, if you want. Hal Crook's classic book (used at Berklee, I think) deals with longer and contrasting phrase lengths, kind of sketches it out visually if I recall. A great topic.

[@jamescopeland5358]

Great video Jens

[@sergeybogdanovich7019]

Hello 🎶🎼🎸👌🍀✌️🙏❤️

[@fredericsan007]

Genial, Jens.

[@JensLarsen]

Glad you like it!

[@olisaush6552]

Thanks Jens, Great lesson, enough to work on for the rest of the year!

[@JensLarsen]

You got this!

[@Dang...]

Brilliant lesson, as always. Thank you Jens.

[@JensLarsen]

Thank you, Dan! 😃

[@Isaac-Draper]

For rhythmic stuff at the scary end of the spectrum, I found Ari Hoenig’s stuff on triplets very useful!

[@Jonobueno]

Thanks Jens for another awesome lesson.

[@JensLarsen]

Glad you like it 🙂

[@cbolt4492]

3:08 It's all about bar 4 of the phrase

[@JensLarsen]

EXACTLY!

[@HugoPortilloMusic]

¡Awesome as always... Thanx Jens!

[@JensLarsen]

Glad you enjoyed it!

[@charlexguitar]

Great lesson professor, saludos!

[@JensLarsen]

Glad you like it 🙂

[@paulmahoux]

Fantastic lesson and advice, thank you !

[@JensLarsen]

Glad you liked it, Paul!

[@kobayashimaruaikiken]

This is a GREAT lesson.

[@JensLarsen]

Glad you think so! :)

[@rockstarjazzcat]

Nobody? :-) Seconding Riley books and observation on big band part analysis! Willmott’s “Complete Book of Harmony, Theory, and Voicing” comes with comping patterns at back like a pianist might use. But ultimately I think the way you’ve simplified and pointed to larger phrases here is a better practice. Definitely unlocks the utility of those drumming books the way you present here. Good stuff! Thanks Jens! Best, D

[@JensLarsen]

Hahah! Well, almost nobody 😁

[@steveprager7862]

Thanks!

[@JensLarsen]

Thank you very much, Steve! I really appreciate the support!

[@steveprager7862]

Thanks!

[@JensLarsen]

You're very welcome!