IN THEORY: The Delicate Art of "Comping" by SJW Faculty Frank Sumares

This month, as part of our reoccurring education series (see our newsletter archive for previous articles), returning SJW faculty member Frank Sumares discusses one of the principal functions of the jazz pianist: that of accompanist. His comments regarding awareness and taste are applicable however to players of any instrument. Sumares is one of the original faculty at the Workshop, where he teaches piano and theory at our Jazz Camp and Evening Summer programs. He is also Professor in the Jazz Studies Program at San Jose State and is a Professor Emeritus at Chabot College in Hayward, where he was the Director of Jazz Studies and Instrumental Music for over 25 years.

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The word "comping" is a jazz term abbreviated from the phrase, to accompany. A suitable definition would be as follows: to go with, to add or join to, and to be associated with. The key words in the previous sentence are underlined to insure their importance to the young pianist.

Although there are many facets that comprise "comping" well, I believe we can group everything into two major categories, Awareness & Taste. The path to Awareness is lengthy and should contain the following:

AWARENESS:

1. Knowledge of the chord changes in the tune.
2. Knowledge of the form, i.e. ABA, AABA, etc.
3. Possible chord substitutions (for interest during many choruses).
4. Several voicings for any one chord (to eliminate monotony).
5. Knowledge of alterations within the chord, i.e. b9, #9, #11, b13.
6. Be alert to the presence of bass, drums & horn player or vocalist.
7. Listen for dynamic alterations (or initiate same).
8. Listen for rhythmic alterations and punctuations (or initiate same).
9. Be alert to interplay within rhythm section and with horn player.
10. Put all of the above together.

I realize that this seems like a great deal of material to concentrate on while playing, but it is a must! Naturally, with time and application everything becomes automatic and therefore spontaneous.

The second category, Taste, is equal in importance to the first category, but deals with the HOW, WHAT, WHEN and WHERE decisions that constantly face every pianist when "comping."

There are several ways to acquire taste and I will attempt to describe each in a manner that can be understood by the beginning to the intermediate level student. One of the best methods in acquiring taste is that of listening to records or attending live performances in which the professional pianist is placed in a "comping" circumstance.

There are so many excellent pianists on record, each with a great and different style of comping, that listing all of them here would be ridiculous. I will therefore list a few of the masters, such as Horace Silver, Wynton Kelly, Hank Jones, Tommy Flanagan, Bill Evans, Chick Corea, McCoy Tyner and any Miles Davis record with Herbie Hancock playing piano. Remember, if you are going to steal, steal from the best! The important goals achieved from the record approach are listening, analysis and incorporation of the material in your own playing.

The second method of acquiring taste is a little more difficult, especially to the ego, and concerns itself with experimentation and approval or disapproval by your peers.

If method One is achieved, method two will follow easily in a natural course of events. Method two by itself will only increase your time of "paying dues."

The harmonic and rhythmic aspects of "comping" are so important that I feel we should pull both from the AWARENESS and discuss them. This would be number 4, 5 and 8, under Awareness. The voicings and alterations used for a background should be able to stand alone without the solo and still make sense both melodically and harmonically. To accomplish this is a smooth manner, the pianist has to concern himself with voice-leading in a chord and a good choice of melody note in the top voice of the chord. This is extremely important when playing a ballad since there is more space to fill because of the slow meter. When playing an up-tempo tune this procedure has to occur, otherwise your hands will fall off from trying to move all over the piano.

While "comping" behind someone playing the melody of the tune, the choice of top voice of the chord should be thought out carefully so as not to conflict with the melody note of the tune itself. Choice of top voice of the chord behind an improvisational solo is not that critical simply because you have no prior knowledge of what melody the horn player is going to attempt. Even though it is not critical, with proper voice leading and use of hip inversions, the top note of your background should flow.

I have often been asked by piano students, a burning question concerning what to do when a horn player goes "outside." "Outside," by the way, means learning to play distant from the immediate tonality. I think the best way to handle this situation is to give the horn player all of the space needed to go "outside." One way would be to play less notes in the chord and eliminate the tonic completely. The other way would be to voice everything in 4ths and insert some chromaticism. No matter what, do not overplay behind the soloist who wants to play "outside."

As leader of the rhythm section, it is the piano player's duty to maintain all of the standards of good "comping" as set forth by this guide. It is not only a duty but a commitment that a pianist accepts initially by studying the instrument.

Remember now, the main guidelines in conquering the delicate art of "comping": AWARENESS, TASTE, PERSERVERANCE, EXPERIMENTATION, and above all, PATIENCE.

GOOD LUCK, and I sincerely hope these hints have helped you along your way to good piano playing.