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Exercise
— switch — The Cycle Shells with Color Rootless Voicings Bud Powell Left Hand The Turnaround Tritone Substitution Reharm the V Diatonic Sevenths Secondary Turnaround Minor ii–V–i Minor ii-V-i with ♭9 Minor Turnaround Diatonic 7ths in Minor Backdoor Progression Twelve-Bar Blues Minor Blues Bird Blues Blues Stride LH Blues Walking Bass Rhythm Changes Boogie Blues Shuffle Rhythm Changes Bridge Blues Rootless (Evans) Coltrane Changes Blues Pedal Point Standard Intro Blues Block Chords Two-Handed Comping Blues Freddie Green Charleston Comping Bebop Blues Comp Freddie Green Comping Blues Guide Tones Walking Bass Charleston Blues Tritone-Sub Walking Bass Bud Powell Blues Drop Two Two-Handed Modern Blues Stride Bass Stride with Melody Quartal Voicings Upper Structure Triads Hybrid Voicings Kenny Barron Voicing Sus Chord Vamp The Mu Chord Maiden Voyage Chord 4-Way Close Pedal Point Lydian Vamp Phrygian Vamp Bossa Nova Guide Tones Bebop Scale Dominant Bebop Dorian Bebop Bebop Minor The Enclosure ii-V-I Lick Pentatonic Patterns Plain Locrian Melodic Minor Dorian ♭2 Lydian Augmented Lydian Dominant Mixolydian ♭6 Locrian ♮2 Altered Scale Harmonic Minor Phrygian Dominant Half-Whole Diminished Whole-Tone Scale Minor Blues Major Blues Aeolian (Natural Minor) Dorian Mode Ionian (Major) Lydian Mode Minor Pentatonic Mixolydian Mode Phrygian Mode Whole-Half Diminished
(MED. SWING ♩=80 )
31
Jazz Piano · Blues Comp Styles
Bebop Blues Comp
Sparse syncopated hits — and-of-2 + 4, twelve keys
Play exercise
Bebop comping is sparse . Where stride and
Freddie Green play on every beat, bebop comping leaves space — the
soloist needs the room. The pianist drops chord stabs on
unpredictable spots, typically the "and of 2" and beat
4 — off-beat syncopation that pushes against the soloist's lines.
Monk and Powell supply the rhythmic language — sparse, jabbed, off the beat. The voicings themselves are the later rootless 3-♭7-9 language of Red Garland and Wynton Kelly (Powell's own stabs were root-based shells). The chord
stabs use rootless voicings (3-♭7-9) so the soloist's notes don't
collide with a doubled root. The result is a comping style that
punctuates rather than supports — adding accents, not
filling space.
Rhythm Bass on 1; chord on "and of 2" + beat 4
Form I⁷ IV⁷ I⁷ I⁷ | IV⁷ IV⁷ I⁷ I⁷ | V⁷ IV⁷ I⁷ V⁷
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7
The Daily Drill
Learn the feel
5 min Play one key very slowly. Internalise where each hit lands in the bar. Feel the rhythmic shape — that's what defines this style. 15 min Cycle three keys at a time. The shape is the same; only the transposition changes. Pay attention to how black-key starts shift the hand position. 8 min Apply: pick a blues you know (Now's the Time , Billie's Bounce , Tenor Madness ) and play this comping style behind a recorded soloist. 3 min Cycle through all twelve keys without stopping. The blues form is one chorus; twelve choruses lets you experience the style in every key.
Less is more, every chord. The bebop pianist as percussionist.