In this situation, the main thing is to establish eye-contact so as to have some sort of indication that he wants you to jump in with him or drop back out. Maybe you can try this with octaves or two/three-note voicings just to stay out of the way (more on that in a sec). For example, if the keyboard player plays a consistent pattern through a few bars of the A section, it might be a good moment for you to jump in for a few bars to match his pattern.
#He wants it all chords piano how to
I tend to lean towards laying out if you are not sure how to approach it, but there are moments where you might be able to chime in. This can lead to a clunky, disorganized mess behind the soloist. Since the rhythmic aspect of comping is usually improvised, two compers will likely play different things at several points in the form. As with anything in music, the when and where of this sort of thing comes with experience and practice in a live setting. In other words, it might add a bit of excitement to wait until the B section to try something like this. It is also effective to consider where you are in the form of the tune if you decide to do this. With regard to voicings, we will get into some of the available choices a little later, but this approach will make sure that you stay out of the way both, rhythmically and harmonically. You might also try breaking these notes up to create a harp-like texture. With some active listening, the guitar player can determine this and maybe play around holding two or three note voicings in a higher register.
Say, for example, the pianist/keyboardist is comping somewhere in the middle register. However, one thing a guitar player can add without getting into too much trouble is small little textural details. One of the main issues with two instruments comping is the fact that the two players will likely playing different rhythms and different voicings, creating rhythmic and harmonic dissonance. Therefore, it is important to check in with them once in a while and try to keep eye contact with your band mates in general. Many fellow “compers” will prefer it if you do not add anything to what they are doing. It is important to always listen and only contribute when you feel that there is space for something.
Today, we will talk about a few of those including textures, rhythm, and voicings as a guitar player trying to add to what the keyboard player is already doing. Sometimes, the guitar player will be the main accompanist and sometimes it will be the keyboard player. A quick look at the keyboardist and you can decide who is going to comp for which soloist. There are some considerations to be observed when approaching this. However, there are some opportunities for the two to have some interaction. This mostly becomes a problem when we are discussing accompaniment or “comping.” Now, in my experience, most of the old-school cats will tell you that only one of you should be comping at a time. Being a guitar player with a piano or keyboard player in your band can be one of the trickier situations to deal with in jazz.
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