Comping

Comping, short for accompaniment, refers to the act of providing rhythmic and harmonic support for a soloist or ensemble. In jazz, it is the chords, rhythms, and textures played behind a melody or improvised solo, typically by a pianist or guitarist, but also by vibraphonists, electric keyboard players, organists, and other chordal instruments. The goal of comping is to outline the harmony while leaving space for the soloist and the rhythm section to create dynamic contrast.

Techniques of comping include selective voicings, offbeat accents, and timely silences. Players employ various patterns, such as stabs on upbeats, syncopated chord punches, or continuous block chords, often voiced to imply the harmony without crowding the soloist. Jazz players frequently use rootless voicings, drop-2 or drop-3 voicings, and guide-tone lines to convey color and texture. Dynamics and articulation—ranging from dry, crisp strokes to more legato, lush chords—help shape the music’s feel. Good comping supports timing and balance with the drummer and bass, while leaving space for the soloist to phrase.

Context and style influence comping choices. In swing, patterns may emphasize the four-beat cycle; in bossa nova or Latin styles, comping aligns with pulse and groove; in funk, chords may be staccato and rhythmic. In non-jazz settings, comping can refer to similar supportive playing by keyboards, guitar, or samples, adapting to the genre’s conventions. The approach is collaborative, emphasizing listening, responsiveness, and the ability to adjust intensity to match the soloist and ensemble.