When I started learning jazz guitar, I pretty much only worked on learning chords.
I had a great teacher who had a pretty “old school” approach.
Lots of exercises with different chords, finding them all over the neck so you always had an option for your next chord.
I got really good at sight reading chords - and the kind of charts you would get in a jazz band.
Traditional Comping Approach
He was also very traditional in his approach to accompaniment, which is the guitar players main job in a jazz band - “4 to a bar” playing where you strum once on each beat.
This worked great for me for a long time. I mostly played guitar in jazz band, so that style worked perfectly in most of the situations I encountered.
I started getting hired for groups around town, playing for weddings, events, and pit orchestras for musical productions as a high school kid.
Eventually I Needed Something Different
Once I got to college though, I started encountering situations where this 4 to a bar style accompaniment wasn’t working as well.
And as I listened to a wider variety of jazz music, I noticed that the guitar was sometimes doing all kinds of different rhythm patterns behind melodies and soloists.
I Learned A Lot About Different Comping Styles
Over time, I worked with several different jazz guitar teachers. I would book a lesson with anyone I could as they came through town, or sometimes I would travel across the state to meet with a great teacher for an hour.
Through these teachers and my university professors, I was able to identify some general rules about accompaniment that helped me improve my playing, and help me sound better in a wider range of jazz styles.
Now I was getting hired by jazz groups in my new local area, which was much more competitive than where I grew up.
I even won a couple of guitar jobs over older, more experienced guitar players - partially because of my comping ability.
Over Time, I Figured Out What Really Works
As a guitar teacher, I’ve worked with students of a wide range of ability levels - from kids starting out in jazz band to serious high school and college age students to adults who want to learn jazz guitar for fun.
Over the years I’ve found 3 basic comping rhythms that work well as an entry point for most players.
By mastering these three patterns and learning how to switch between them, you’ll have a good foundation for becoming the kind of jazz guitar player that people want to play with and listen to.
Note - A lot goes in to good accompaniment skills, and just learning one or two patterns isn’t necessarily going to cut it.
But that doesn’t mean you have to learn thousands of rhythm patterns either.
What You'll Learn
In this lesson you’ll learn 3 important comping rhythms - Freddie Green, The Charleston, and the Reverse Charleston.
More importantly, you’ll learn how to piece these rhythms together in a way that will sound good and support a melody or soloist.
Comping is an essential jazz guitar skill, and it’s one of the most important parts of playing jazz guitar with other people.
It is also a very overlooked area of many guitarists playing.
If you take the time to develop your comping skills, it can set you apart as a jazz guitarist, and help you get more opportunities to play with better groups.