Comping

Leon Grizzard · Post by **Leon Grizzard** » 19 May 2003 11:20 am

How do you accompany or play rhythm when someone else is soloing? There is a post from Bobby Lee somewhere on the forum where he mentions dropping to lower strings to more closely match the sound of the guitarist who has stopped comping and is now soloing. Do you strum? Keep on with thumb and fingers? Leave it up to the bass player?[This message was edited by Leon Grizzard on 19 May 2003 at 05:28 PM.]

Buck Dilly · Post by **Buck Dilly** » 19 May 2003 12:03 pm

Find a spot in the rhythm that is empty. Sometimes a simple upbeat chip is all that is needed. I often use C6 for lowdown background guitar-like stuff, or hornline-type things in the middle.

Dave Potter · Post by **Dave Potter** » 19 May 2003 3:17 pm

<< How do you comp when someone else is soloing? >>

What's "comp"? Sorry, but I bet I'm not the only one who doesn't know.

Leon Grizzard · Post by **Leon Grizzard** » 19 May 2003 4:17 pm

I'm sorry. To accompany, that is: play rhythm. I will edit the original post. [This message was edited by Leon Grizzard on 19 May 2003 at 05:28 PM.]

Tim Harr · Post by **Tim Harr** » 19 May 2003 4:41 pm

Comp=Compliment

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Tim Harr - Carter D-10 8 & 9 - Troy Cook Jr Band ~ Stardust Nashville Recording Artist

Gene Jones · Post by **Gene Jones** » 20 May 2003 2:10 pm

There are several ways to comp. Here is one example of non-pedal C6 comping with sax and guitar:

SAMPLE

Gene
www.genejones.com [This message was edited by Gene Jones on 26 July 2006 at 02:28 PM.]

Donny Hinson · Post by **Donny Hinson** » 20 May 2003 2:34 pm

Mostly, I use 3-note chords, playing piano type chops. Sometimes, I also walk the lowest string at the same time, to simulate the way a guitarist might play. And, when the bass line is played on the beat, and the 3-note chord is played on the upbeat, the effect is like a piano player walking the bass with his left hand, and playing "comp" chords with his right hand.

Done accurately and tastefully, it's a valuable skill...that comes in real handy with small groups (no rythym player).

Tony Prior · Post by **Tony Prior** » 20 May 2003 7:10 pm

Listen to Buddy play behind Lenny Breau..

Minors Aloud LP

tp

Michael Johnstone · Post by **Michael Johnstone** » 21 May 2003 7:34 am

Listen to and watch what piano players do w/the left hand and copy it onto whatever tuning you play.I play a lot of West Coast country and Western swing and for that,I find myself doing a lot of Travis/Chet style comping.I've wanted to perfect that style ever since I heard Julian Tharpe do it and it wasn't that easy to get it going.At first I just clawed at dom7 chord forms w/some rather vague patterns but over the years it has congealed into a few reasonably useful figures.Essentially,pedal steel is just a big guitar with more strings so one should be able to play any sort of thing a guitar player could do - like Chuck-a-billy two string boogie rhythm - I do that a whole lot.In the bands I play in,I'm expected to be a full fleged member of the rhythm section so comping is most of what I do.What gets interesting is when the guitar player picks up his fiddle and you have no fixed pitch instruments on stage(except drums)just three fretless microtonal instruments banging away - steel,fiddle and upright bass..... -MJ-

Bobby Lee · Post by **Bobby Lee** » 21 May 2003 9:59 am

On extended E9th, I usually comp with 3-note grips on the low strings. C6th players can comp swing tunes with thumb sweeps on the low strings.

The Sacred Steel tuning is designed to allow comping with the thumb for major, minor and 7th chords. You can get a real good, strong rhythm going on it. I use that technique on my Williams.

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<img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
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Jim Eaton · Post by **Jim Eaton** » 21 May 2003 10:10 am

I also use a 3 string grip, but will double the root or 5th of the chord and leave out the 3rd, seems to make what I'm "comping" take up less room in the mix.
JE:-)>

Tony Prior · Post by **Tony Prior** » 21 May 2003 1:28 pm

But do remember that taste and chords that sound good are what makes the whole deal work. Exotic chords that may sound good to you may not work for the tune.

But if you've got some dude or dude-ette doing the struming thing on an acoustic 6 string or worse, an electric, with simple A and D chords...or the dreaded E chord ....at the same time..give it up, it won't work..

Just cave in and go for broke,turn the volume up and just start playing licks..

TP

[This message was edited by Tony Prior on 21 May 2003 at 02:35 PM.]

Scott Henderson · Post by **Scott Henderson** » 21 May 2003 2:01 pm

This is actually a loaded question.
what I mean about is it depends on a lot of variables..ie I have played in four peice groups and I comped ALOT...In the opry show I play in now I have a four piece rhythm section and numerous lead instruments. I guess the key to me is fill the holes. whether that be fat chords, harmonics, etc. sometimes the best thing to do is check your finger nails for dirt!!!! four piece or ten piece let the music breath is my creedo!!!
SH

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Steelin' away in life,
Scott
www.scottyhenderson.com