Comping (Extrado de un documento para piano)

La Seccin Rtmica: La seccin rtmica estndar consta de piano, bajo batera, aunque tambin son muy usuales las secciones rtmicas que usan vibrfonos y guitarras. Cada uno de estos instrumentos tiene un rol especifico que jugar al proveer apoyo para el solista. Adicionalmente, tambin pueden funcionar como instrumentos solistas cada uno de ellos. Acompaamiento El proveer acompaamiento para los solistas (camping) es una funcin primordial de la seccin rtmica. El Comping provee una base improvisada que envuelve, componentes armnicos y ER rtmicos por igual. Esta conexin de ritmo y voicings puede ser denominada como los Voicings rtmicos. Al acompaar, un msico debe apoyar, complementar y dar energa al solista, mientras mantiene la variedad rtmica. En trminos de texturas de acordes, uno debe remitirse a los pianistas, guitarritas y The Rhythm Section vibrafonistas de jazz etc. Como inspiracin. La mejor manera de aprender a acompaar es The standard rhythm section consists of piano, bass, and drums. There are also many rhythm sections that use guiescuchar a pianistas, y guitarristas etc., de in trayectoria. tar or vibes. Each of these instruments has a specific role to play providing support for the soloists. Additionally,
they function equally well as solo instruments themselves.

JAZZ PIANO CaMPING

Al acompaar los msicos deben recordar: Camping *mantener un tempo estable

Providing accompaniment for soloists (comping) is a primary function of the rhythm section. Comping provides an improvised background involving both chordal and rhythmic components. This connection of rhythm and voic*escuchar a la seccin rtmica ings may be referred to as rhythmic voicings. When comping, a musician must support, complement, and give energy to the soloist while providing rhythmic variety.

*mantener simplicidad y claridad

In terms of chordal textures, one should look to jazz pianists, vibraphonists, and guitarists for inspiration. The best *variar patrones rtmicos way to learn los to comp is to listen to experienced pianists and guitarists. When comping,o musicians must remember to: *cambiar alternar los voicings keep a steady tempo, *hacer uso de el espacio, el balance, la velocidad y sostener las sonoridades y, listen to the rhythm section,

*utilizar substituciones vary the rhythmic patterns, de acordes elementos musicales pueden planearse con tiempo. Por ejemplo, en el orden de evitar potenciales conflictos armnicos, el solista y la Although comping is improvised, certain musical elements y may be planned ciertas ahead of time. For instance, in order seccin rtmica algunas veces discuten acuerdan substituciones y extensiones de to avoid potential harmonic conflicts, the soloist and rhythm section will sometimes discuss and agree upon ceracordes a el prior momento musical. Debajo hay un ejemplo de un choque tain voicings previo and extensions to the performance. Below is an example of a harmonic clash that could have armnico by the saxophone conflicts with the natural played tocado by the been averted through prior The D natural descontrolado quediscussion. pudo haber sido played discutido previamente. El D por el saxofn piano. entra en conflicto con el Db tocado por el piano.
Gm7sus4
tI
I ,

maintain simplicity and clarity,

change or alternate voicings, make el usecamping of space, balance, velocity, and sustained sonorities, and, Aunque es un elemento improvisado, ciertos utilize chord substitutions.

C7
-.I.....

Fm7
I
l

Saxophone

'-= )

r
rl'7

Piano

"-,,.

1 I 1 I 1 I 1 "':1

..::::=:::: ..:

Tl Tl Tl II

..

II II

"

II

-.J

choque evitado en el ejemplo siguiente eligiendo un voicing mas apropiado para la lnea improvisada. The cla sh is avoided in the examp le below by selecti ng a voicing more appropri ate to the impro vised line .
The cla sh is avoided in the examp le below by selecti ng a voicing more appropri ate to the impro vised line .

Gm7 Gm7 sus4 sus4

C7 C7

Fm7 Fm7
-'--'--

The cla sh is avoided in the examp le r below by selecti ng Ia voicing more appropri ate to the impro vised line .

Saxophone Saxophone

I I

I , , I

Gm7 sus4

II II \oj

\oj

Saxophone

Piano Piano

1-: 1-: 1 1 -'-I ,

I

C7

I I I I I

Fm7

L _ _ ...J L _ _ ...J

Simil ing line \oj 1-: Simil arly, arly, the the soloist soloist might might have have chosen chosen to to play play the the fo fo llow llow ing1 line , , in in order order to to match match an an agree agree d-upon d-upon

Similarmente, el solista puede elegir tocar la siguiente lnea en orden de sonar con lo acordado II I on previamente, b9 sobre un C7. on the the C7 C7 . .
I

Piano
Saxophone Saxophone
I I

Gm7sus4 Gm7sus4

L C7 _ _ ...J

C7
I I

Fm7 Fm7
I I
I I

..., ...,
on the C7 .

r I I r I I I fo llow I ing line , in order to match an agree d-upon Simil arly, the soloist might have chosen to play the I I
4 4

Piano Piano

. . .
" "
4
I

I'fr Gm7sus4

I'fr

I I I I

I 1-: I 1-: I C7

l __ l __

...J ...J I

t :::::= :::::= :::: e: t t :::: e: Fm7 t

I
I

...,

Saxophone

I I El Comping es una forma de arte tanto como un esfuerzo conjunto. Los msicos que acompaan deben usar sus odos en el sentido de mantener elecciones creativas. De cualquier t :::::= :::: t . manera, al acompaar con acordes detrs de un solista, tambin es importante permanecer en . la misma idea. Inicialmente por ejemplo, 9as, 11as y 13as deben evitarse, hasta que sea claro " en que direccin el solista elegir ir. Por ejemplo, si la seccin rtmica toca un b9 en un acorde dominante, entonces, el solista deja de tener la libertad de elegir un 9 natural en su solo. No es Compin g is an art form asseccin well as a cooperative effo rt. Musical ians who co mp mula st use their eamanera, rs in order to la funcin de la rtmica el limitar solista. De misma elmake acompaamiento crea tive cho ices . How ever, when comping chord s behind a soloist, it is also imp ort ant to "stay out of the way." debe ser11ths, restringido al principio a tocar solo notas guas (3as y 7as) de los acordes, hasta que el Initiall y, 9t hs,W andtes 13th s Avo sho uld be avoided, until it becom es clear in which dir ecti on the so loist is go ing to Voicings Voicings : : W Wc Wc h h No No tes To To Avo id id solista de a conocer sus preferencias muy bien puede go. For example, if the rhythm section plays a on a armnicas. domin ant chord Esto , then the so loist do esn 't have implicar the freedo mms que solo to playa natural 9. It is not the place of the rhyt hm sec tion to limit the solo ist. Accordin gly, co mping should at firs extensiones de los acordes. Un solista podra muy bien elegir tocar un b5 en sut acorde be restri cted to the guide tone s (3rds and 7ths) of the chord s, until the solois t makes known hi s or her harm oni c AVOID NOTE(S) MODE CHORD AVOIDtocarlo NOTE(S) tambin, o simplemente omitir dominante, en cuyo caso, el acompaante debera elegir MODE CHORD FUNCTIONS FUNCTIONS prefer ence s. Thi s may involve more tha n upper structures. A solois t might choose to play a on a dom inant la in 5which en el acorde. En suma, el acompaante requiere cho rd, case the comp el' might choose to play it too , or toexperimentado omit the 5th in his cho rd. In sum acompaar , expe rt cornp- con cuidado y Im aj7, V7 P4 Major , Mi xolydi an ing atencin, req uires careful and atte ntive listenin g to the soloist at all time s. Im aj7, V7 P4 Major , Mi xolydi an al solista en escuchando todo momento.

Compin I Music I ians Compin g g is is an an art art form form as as well well as as a a cooperative cooperative effo effo rt. rt. Music ians who who co co mp mp mu mu st st use use their their ea ea rs rs in in order order to to make make crea tive cho ices . How ever, when co mping chord s behind a so loist, it is also imp ort ant to "stay out of the I I crea tive cho ices . How ever, when co mping chord s behind a so loist, it is also imp ort ant to "stay out of the way." way." I I Initiall s becom es e:on I'fr Initiall y, y, 9t 9t hs, hs, 11ths, 11ths, and and 13th 13th s sho sho uld uld be be avo avo ided, ided, until until it it1-: becom es clear clear in in which which dir dir ecti ecti on the the so so loist loist is is go go ing ing to to go. For example, if the rhythm section plays a on Piano go. For example, if the rhythm section plays a on a a domin domin ant ant chord chord , , then then the the so so loist loist do do esn esn 't 't have have the the freedo freedo m m to tion to limit to playa playa natural natural 9 9. . It It is is not not the the place place of of the the rhyt rhyt hm hm sec sec limit the the solo solo ist. ist. Accordin Accordin gly, gly, co co mping mping should should at at firs firs t t l tion __ to...J be be restri restri cted cted to to the the guide guide tone tone s s (3rds (3rds and and 7ths) 7ths) of of the the chord chord s, s, until until the the solois solois t t makes makes known known hi hi s s or or her her harm harm oni oni c c prefer on prefer ence ence s. s. Thi Thi s s may may involve involve more more tha tha n n upper upper structures. structures. A A so so lois lois t t might might choose choose to to play play a a on a a dom dom inant inant cho rd, in which case the comp el' might choose to play it too , or to omit the 5th in his cho rd. In sum , expe cho rd, in which case the comp el' might choose to play it too , or to omit the 5th in his cho rd. In sum , expe rt rt cornpcornping ing req req uires uires careful careful and and atte atte ntive ntive listenin listenin g g to to the the so so lo lo ist ist at at all all time time s. s.

Voicings : W Wc Phr h No tes, Locri To Avo ygian an id

Phr ygian , Locri an

Vocificaciones: Que notas evitar

Lyd Lyd ian ian Lydi an D 7, Altered MODE Lydi an D 7, Altered , , Dimini Dimini shed shed , , Half-Dimini shed shed Half-Dimini

Dori Dori an an , , Aeo Aeo lia lia n n

iim iim 7, 7, vim7 vim7

6 6 (13) (13) , , D6 D6 (D13) (D13) D2 D2 (D9) (D9) non non e e

iiim7 iiim7 , , viim7D5 viim7D5 IVm IVm aj7 aj7

CHORD FUNCTIONS V7 , iim7 D5

V7 , iim7 D5

AVOID non e NOTE(S)

non e

118 118

JAZZOLOGY JAZZOLOGY

Major , Mi xolydi an Dori an , Aeo lia n Phr ygian , Locri an Lyd ian

Im aj7, V7 iim 7, vim7 iiim7 , viim7D5 IVm aj7 V7 , iim7D5

P4 6 (13) , D6 (D13) D2 (D9) non e non e

Lydi an D 7, Altered , Dimini shed , Half-Dimini shed

118

JAZZOLOGY

Ejemplos de Acompaamientos Al acompaar, los pianistas, vibrafonistas y guitarristas emplean muchos ritmos. Los siguientes ejemplos ilustran el uso de ritmos en contextos de swing y Jazz Latino. Estos deben ser practicados a un tempo regular y combinados de muchas maneras. La practica con el Comping Examples metrnomo se recomienda. En situaciones de jazz swing tradicionales (ello no aplica al Latin When compi ng , pianists, vibraphonists , and guitarists emp loy a myriad of rhy thms . The fo llowi ng exam ples illusJazz), no repitas los patrones como haras normalmente al be establecer un groove trate some useful compin g rhythms rtmicos in both swing and Latin co ntex ts. Th ey sho uld practiced at a steady temen po el and com bined y inotros vario us ways. Practice with a metronom e is reco nded. traditio nal jaz z swi ng nuevo situat io ns rock, R&B, estilos. El Comping debe jugar un mme papel de In soporte, aadiendo (this does not apply to Latin jazz ), do not repeat rhythmic patterns as yo u might when establishing a gro ove in contenido y distintas acentuaciones rtmicas una conversacin sin rock, R&B , armnico or other styles. Compin g shoul d play a supportive role en , add ing need ed harm oni c interactiva, con ten t and var ied quitarle protagonismo al solista. rhythmic accents in an ongo ing inte racti ve co nve rsat io n, witho ut undul y drawin g atte ntio n away from the solois t:
Swing Comping Rh ythm s

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h=t=rJ I- 55
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CHAPTER 9

119

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PJ

120

JAZZOLOGY

_1'6
4 .p=m H=AJ L 4? Lif L L H
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f=) 7 f=) 7

kt1 kt1
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Jazz Waltz Comping Rhythms

Jazz Waltz Comping Rhythms ,3---,

1
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en= J )) en= J ))
,3---,

I).

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e-v. kt==m e-v.kt==m

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122
122

JAZZOLOGY
JAZZOLOGY

Advanced pianists can not only "fake" by knowing the tune and listening, but can also play directly from chord symbols. The following example demonstrates how a pianist interprets and fakes the chord changes from a given Ejemplos de acompaamientos: lead sheet. Advanced pianists can not only "fake" by knowing the tune and listening, but can also play directly from chord symbols. The following example demonstrates how a pianist interprets and fakes the chord changes from a given lead sheet.

Medium Swing

(n = .J) Am7D5 D7alt ,3---, Gm7 Medium Swing (n = .J)

Am7D5

,3---,

JAZZOLOGY JAZZOLOGY
C7

By NOR EDDINE BAHHA with BOB RAWLINS

Cm7

By NOR EDDINE BAHHA with BOB RAWLINS

F7

11if
BDmaj7

D7alt

Gm7

C7

Cm7

F7

11if
BDmaj7

DD/B

Fm7

BD7

EDmaj7

AD13#l1

DD/B

Fm7

BD7

EDmaj7

AD13#l1

Am7

D13#l1

BDm7

ED13#l1

Bm7

E13#l1

Am7

D13#l1

BDm7

ED13#l1

Bm7

E13#l1

2. If a melodic note is anticipated, anticipate the chord as well. Notice the voice-leading in the comping of the following example. should be inactive, and vice versa. 3. When the melodic line is active the accompaniment

1. Place on beats and 3. 1 y 3: 1. Toca los chords acordes en el1tiempo 2. If a melodic note is anticipated, the chord as well. 2. Si una nota en la meloda estanticipate anticipada, anticipa el acorde tambin: 3. When 1. the melodic line is active the accompaniment should be inactive, and vice versa. Place chords on beats 1 and 3. 3. Cuando la meloda es activa, el acompaamiento debe de ser esttico y viceversa

Nota la conduccin de voces (voice leading) en el acompaamiento del siguiente Notice the voice-leading in the comping of the following example. ejemplo:

Medium Swing

(J1 = .J)

,3---,

JAZZOLOGY JAZZOLOGY
,3---,

By NOR EDDINE BAHHA with BOB RAWLINS

':l
V
<

Am7D5 D7alt Medium Swing (J1 =

.J

) Gm7
I
I

C7
I I I
-.--

Cm7

By NOR EDDINE BAHHA with BOB RAWLINS

T I

r-C7
I
-.--

Am7D5

D7alt
I
9- r

Gm7
I I I

Cm7

':l

11if

r--

-I -I

F7

F7
I

V
<

I
9-

11if

'J

BDmaj7

Fm7

It'

'J

DD/B

It'

':l
"41)

,v

BDmaj7

DD/B

<

124

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.,.

Fm7

EDmaj7
I"""""T

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h.
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V.-.--.' ---.--

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9-

EDmaj7
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-----.--'" ..,-----.--'" ..,-

124

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JAZZOLOGY

JAZZOLOGY

f. .
4 4

f} f}

Am7 Am7

D13#ll D13#ll ,......, ,......,

BD m7 BD m7

{.

If:
..

-fIIfII''
DD9D5 DD9D5

ED13#n ED13#n

--, --,
l'
l'

Bm7 Bm7

E13#n E13#n

II

!-: !-:

-JJ.1IIt.. JJ.1IIt..

1'\ 1'\

1IIt..-----21IIt..-----2-

en el ejemplo arribae,el acompaante interferir con la y meloda al tocar las notas guas In the the abo above ve exampl exampl the comping avo avoids idsevita interferin g with with the the melod by playin playing g only only thesolo necessary ssary guide tone tone s In e, the comping interferin g melod y by the nece guide s de los acordes (3 y 7). Es sin embargo permisible el doblar la meloda con las notas superiores It is, ho we ver , permis sible to play or doubl e the melod y in the upp er voicings . The next exampl e (3rds and 7th s). (3rds and 7th s). It is, ho we ver , permis sible to play or doubl e the melod y in the upp er voicings . The next exampl e shows more sophisticated sophisticated voicings. de los acordes, el siguiente ejemplo muestra voicings mas sofisticados en el acompaamiento: shows more voicings.

JAZZOLOGY
Medium ium Swing Swing Med Aml ll Aml
I

(n = =jj )1) )1) (n

D7alt D7alt

, ] --, , ] --,

By NOR NOR EDDINE EDDINE BA BAHHA HHA By w ith BOB RAWLIN S w ith BOB RAWLIN S

II

ii

Gm7 Gm7

C9 C9

Cm7 Cm7
I I

F7 F7

ll

< <

-"-' ll -"-' ::... ...

nif f

1919II

.... ....

,-. ,-.

..
1'7 1'7
I

II

[lJ"f} [lJ"f}

-=-'

BD maj7 BD maj7
I I
f'J f'J
I

DD D /B D /B

Fm7 Fm7

BD 7 BD 7
"liiiiiiiiOl "liiiiiiiiOl

EDmaj7 EDmaj7
T T

AD8#n AD8#n
II. ll ,-. ,-. .
'-' '-'

< <

"

r
'-' '-'

., ., ..

-n-n"'T. "'T.

r'
tJ... tJ...
BDm7 BDm7 ED13#n ED13#n Bm7 Bm7 E13sus4 E13sus4

99-

"1 "1

"'T. "'T.

Am7 Am7

D13sus4D9 D13sus4D9

En el comps ha sido rearmonizado Am11, que le aade color mientras has been been reharmonized as Amll Amll ,,como which add add s color color lo whil e maint maint aining g the the function In measmeasIn mea measure 1,1, Am7b5 has reharmonized as which s whil e ainin function .. In In sure 1, ures 3 3 and and 5 the the harmon harmon y is is outlined outlined by the mel melody and the the bass soarmona there is is no no es need to play play chords chords Thi s produce produce s sy mantiene la 5 funcin armnica. En los compases 3y 5 la delineada por la s meloda ures y by the ody and bass so there need to .. Thi the effect of hidden or linear harmon y. The same pro cess is used in the first part of mea sures 7 through 9 . the effect of hidden or linear harmon y. The same acordes. pro cess is Esto used in the first part of mea sures 7 through 9 .oculta o el bajo as que, no hay necesidad de tocar produce el efecto de armona CHAPTER 9 125 CHAPTER 9 125 armona lineal. El mismo proceso se repite en la primera parte de los compases 7 al 9.

El siguiente ejemplo demuestra como acompaar con un bajista. Los voicings sin la tnica son following example demon strates how to comp with a bassist. Comm on left-h and roo tless vo icings are qu ite muyThe efectivos en este contexto.
effec tive in this context.

JAZZOLOGY
Medium Swing
Am7D5
I

(n = oJ )

, 3-,

By NOR EDDINE BAH HA w ith BO B RAWLI NS

D7alt
I

Gm7
I I I I

C9

Cm7
I""""""

F13
I

"I

---

<

---

-a-:

..:::1-:

.... i..

---

2-

BDmaj7

Fm7

I'l
@)

<

.
D13#n

.,L

,,hq

E Dmaj9
r
I
,-.
,-.

.,-

h&-:

Am9

Bm9

Notice how the voicings anticipate and consoy lidate the rhythmel used with usado in the melod y. meloda. Nota como las vocificaciones anticipan consolidan ritmo en la Though these exam ples are enough to get yo u we ll on the para way to comping approen priate there is much A travs de estos ejemplos hay suficiente material encaminarte la ly, direccin de more to learn when it co mes to comping in var ious substy les of jazz. Nume rous books are avai lable dea ling extensively acompaar apropiadamente, hay mucho mas que aprender en lo que se refiere a acompaar en with voicing and comping in various contexts, such as swin g, rock, and Latin , offering exam ples that have been varios sub.-estilos desters jazz. employed by ja zz ma . Numerosos libros estn disponibles para tratar extensivamente con voicings y acompaamientos en varios contextos, tales como swing, rock, y Latin, ofreciendo ejemplos en los estilos de los masters del jazz. . Chapt er 9 Ex erci se s Captulo 9 ejercicios:

1. appendix. Toca los patrones rtmicos incluidos en este capitulo en conexin con los varios tipos de Use a metronom e. voicings dados en el apndice, usa un metrnomo. 2. If ates all posible, po ssible, practice compin with other mu sician s. 2. Si practica con gotros msicos.
126 JAZZOL O GY

1. Play the rhythmic patterns included in this chapter in con nection with the vario us kinds of voicings given in the