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In jazz, when one instrumentalist or singer is doing a solo, the other ensemble members play accompaniment parts. While fully written-out accompaniment parts are used in large jazz ensembles, such as big bands, in small groups (e.g., jazz quartet, piano trio, organ trio, etc.), the rhythm section members typically improvise their accompaniment parts, an activity called comping.
Cor Fuhler – piano, keyolin, synthesizer; Bernhard Gal – electronics; Joel Garten – piano; Charles Gayle – saxophone, piano, bass clarinet; Seppe Gebruers – the first improvised quartertone pianist; Richard Grayson – piano; Mats Gustafsson – saxophone, flutophone; Barry Guy – double bass; Keiji Haino – guitar, voice; Hans ...
Contemporary Styles for the Jazz Pianist, in 3 books (1964–70) Famous Jazz Style Piano Folio - with instruction on how to play jazz piano (1958) Jazz Improvisation (1959-65) Vol. 1: Tonal and rhythmic principles (1959) Vol. 2: Jazz rhythm and the improvised line (1962) Vol. 3: Swing and early progressive piano styles (1964)
"Charleston" rhythm, simple rhythm commonly used in comping. [1] Play example ⓘ. In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines.
Charlie Parker (1920–1955) was one of the pioneers of the Bebop style of jazz. This idiom is characterized by fast tempos, instrumental virtuosity, and improvisation over set harmonic structures. Parker’s style of playing and his harmonic treatment particularly in improvisation continues to be influential across multiple genres and ...
Impro-Visor automatically creates accompaniment, such as piano, bass, and drums, from the chord sequence on a leadsheet (a capability similar to, but currently not as full-featured as that of Band-in-a-Box). The style of accompaniment is derived from a set of pattern specifications using a textual notation similar to that for melodies. [6]
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