44 &
E‹7b5
w
Ó
oeoe
A7
˙w
˙
C‹ 7
oe˙™ oeb ˙ oeoe
F7
w
oeoeb
oe ™ oe b j ‰ oej
3
41
3
23
3
0
02
˙
&
F‹ 7
0
w
‰ oe bjOE ‰ oej‰
0
3
5
3
1
B¨ 7
E¨OE„Š7
b oej ˙ w
b oeoeoeb ˙w
A¨ 7
oeoeb oe
wb
˙
˙b
6
4
1
7
2
1
53
06
6
5
8
1
4
Fig. 3
44 &
E‹7b5
w
‰ oeoe bbj ˙˙™™
A7
w
‰ oeoej ˙˙™™
C‹ 7
˙™
‰ oeoej ˙˙™™
oeoe
F7
w
‰ oeoej oeoe™™
oe
oej
oe
oe
8
11
7
5
5
8
3
1
0
˙
&
F‹ 7
0
w
˙b
0
3
oeoeoeoen
B¨ 7
wb
oeb oeoe™
3
oe
oej
oe
oe
E¨OE„Š7
wb
‰ oeoe bbj ˙˙™™
A¨ 7
1
wb
Ó
oe
oeb
boe
oe
oe
oe
10
3
1
1
1
23
7
10
8
11
4
7
3
6
6
4
In Fig. 1, we focus on long tones with
occasional passing tones in order to basically
provide a countermelody. From a rhythmic
point of view, we are embellishing the bass
line, as well as the hi-hat. You can think of
this first stage as representing the harmonic
equivalent of the drummer’s ride cymbal.
This can produce an echo effect to the solo,
much like the way a viola line in an orchestral piece might play a melody that weaves
around the main theme played by the violins.
From a conversational point of view, this is
akin to having a conversation with someone
who more or less agrees with everything your
saying, but occasionally offers an insight on
the topic that wasn’t totally obvious to you.
Next, let’s add some more syncopation.
One of the most effective tools at your
disposal is the use of sustained and staccato
attacks. The conversation between the two
can often create a wonderful sense of forward
movement, and furthermore symbolize the
marriage between the staccato feel of the
snare drum with the sustained characteristics
of the cymbals. Syncopation is often most
effective when it is thought of in the context
of a larger phrase. It can work well to visual-
ize all of your comping in four, eight, or
six measure chunks—or any length for that
matter. If you are playing a 32-measure song,
you can simplify it by envisioning eight
sections of four measures, or four sections
of eight measures. This will help to keep a
structural and thematic through-line in your
comping, and allow you to avoid always
sounding like you are jumping on each
syncopated idea played by the soloist. In
conversation, this is similar to the difference
between speaking to someone who inter-
rupts you to tell you they know what you are
talking about, versus speaking with someone
who listens intently to everything you have
to say and then when a pause arises, offers
their response. See Fig. 2 for an illustration
of this kind of phrase-based comping.
