Unsourced material may be challenged and removed. It is also the action of accompanying, and the left-hand part of a solo pianist. 5ths, chord progressions piano chart pdf 11ths, flat or sharpened 9ths, and flat 13ths for some songs or soloists.
In combos with a guitar player, the guitar player usually comps for soloists. Having two chordal instruments comp at the same time is difficult to do well. One solution is for the two comping instrumentalists to play sparsely. For well-known progressions, the bandleader may simply say “solos on blues changes” or “solos on Rhythm Changes”, and the comping musicians are expected to be familiar with these chord progressions. Top soloists playing with the most advanced comping musicians may simply call out the name of jazz standards, and the sidewomen and sidemen will be expected to know the chord progression. The compers at the highest professional level would be expected to know this tune.
Since there are many variant versions of these chord progressions, the comping musicians will have to come to an unspoken consensus on which chords to use. They will most likely develop the simple jazz drum pattern and add a few “bomb” bass drum notes for extra effect. Guide tones are usually the 3rd, 7th, or 9th notes of a given chord. This is only one possible guide tone sequence. During piano solos, pianists often comp for themselves, playing melodic lines and solos with the right hand while comping with the left hand. Since a jazz soloist has such wide-ranging harmonic, melodic, and rhythmic possibilities, chordal instrumentalists must have a similarly wide range of tools at their disposal to support the soloist properly. For the most sophisticated soloists, a comper may need to be able to respond in real time to newly improvised implied chord changes.
Compers must have an understanding of rhythm that allows them to respond to the rhythms and beat patterns the soloist plays, such as Latin or Afro-Cuban rhythms. As well, they must have a melodic sense based on a knowledge of a huge repertoire of different scales and scalar patterns, to be able to improvise countermelodies to supplement the soloist’s melodies and fill in empty spaces. By comping, pianists, organists, and guitarists provide the “glue” that holds the rhythm section together. By doing this, the comper helps ensure that the band is always at the same energy level as the soloist. There is no single appropriate way to comp for a soloist. A comper adapts her or his style to that of the soloist.