Editing Comping (jazz) (section)

==Roles ==
While any jazz instrument can be used for comping, the chordal rhythm section instruments (piano, organ, and guitar) have developed the largest collection of pedagogical materials about comping. 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.

Comping musicians must know many different types of [[chord voicing]]s so that they can match the mood the soloist is trying to create. To support some soloists, a comper needs to use very simple voicings (such as the 3rd and 7th of a chord). However, for other soloists who play in a very dense, complicated style, compers may need to use chords with many additional extensions, such as 9ths, 13ths, and altered voicings; they may also [[harmonization|re-harmonize]] [[chord progression]]s depending on the soloist, thus creating a feedback of idea exchange between the soloist and the comper. 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. They take the soloist's improvised solos and melodies and add harmonies (as a bass player does) and rhythms (as a drummer does). By doing this, the comper helps ensure that the band is always at the same energy level as the soloist. [[Wynton Kelly]] and [[Herbie Hancock]] are examples of pianists who are responsive when comping. [[Oscar Peterson]] usually comped busily, while [[Count Basie]] comped sparsely. There is no single appropriate way to comp for a soloist.

===Adapting to soloist===
A comper adapts his or her style to that of the soloist. In a jazz band with multiple soloists, this may require different styles for different soloists. For example, the saxophone player in a band may imply many extensions and altered chords in his soloing (e.g., b9, b13, etc.). For this soloist, a comper may decide to play [[altered dominant]]s and dense harmonies. The next soloist, a [[jazz guitarist]], may play sparse, delicate melody lines, with much space. For this soloist, the comper may use open voicings, omit passing chords, and try to play mainly in the space left by the soloist. If a soloist starts implying a certain style or feel in his solo, whether this is Afro-Cuban music or hard-driving swing, the entire rhythm section may shift to this style to support him.

In a tune, if a soloist starts playing in a [[jazz fusion|jazz-rock fusion]] style, the comping musicians may adapt and shift into a rock-influenced groove. A guitarist who is comping may turn on an [[distortion (music)|overdrive]] pedal to add [[rock music]]-style "growl" to his tone. A guitarist may also use other [[effects unit]]s, such as a [[chorus effect]]. A keyboardist playing [[Fender Rhodes]] [[electric piano]] or [[Hammond organ]] may turn up his [[preamplifier]] to produce a natural tube overdrive tone for his sound. A drummer may shift to a rock style of drumming.

===Soloing===
In all but the largest [[big band]]s, the comping sidemen in a jazz show are often called upon by the [[bandleader]] to improvise a solo. Here, the comper takes centre stage and performs an improvised melody line. For 1920s [[Dixieland]] and some [[Swing era]] jazz, the comper may embellish the melody line and improvise by ear during his solo. For [[Bebop]]-style groups, the comper playing a solo will often base his improvisations on the [[chord progression]] of the song. Bebop tunes often have one, two or even three chord changes per bar and some tunes change keys every few bars; as such, it is hard to solo "by ear" on a Bebop song.