In this Master Class I teach how to comp in a vast array of different  group settings, including duos, trios, quartet, solo guitar and auto comping concepts.  You will learn guide chords, guide tones, quartal harmony, chords without bass, inversions, and many advices to get better in the art of comping, where listening is the key.

There are no formulas for better comping, but you have to know the rules, vocabulary, and tips to begin to be a good comper.  Some licks performed in this class belong to greats like Jim Hall, Bill Frisell, Lenny Breau, Ed Bickert, Freddie Greene,  Jimmy Wyble and more.  I hope you will join me in becoming a better comper.

I really enjoy trying to get better in this lost art,  where listening and experiencing are a must.  Any good player needs be good at comping,  not only soloing. The more you know about chordal theory, the more you can use these ideas for composition and arranging.

Thanks for listen and watching!
Juampy Juarez

9 Pages of PDF Included

January 2013

Add to Cart for $29.95 or Purchase with 1 Credit1 Credit [What's This?]

Class Content

How to Comp: Modern Comping and Beyond
How to Comp: Modern Comping and Beyond 01:03:00

Course Reviews


1 ratings
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  1. 5

    Good news; this class is much more accessible for those less advanced or less theoretically-minded than some of Juampy’s other classes like Set Theory and Dodecaphonics. Don’t be afraid to jump into this one. The material is clear, well-organized without being daunting to absorb.The production values (lighting, sound, camera work & positioning) is extremely good, so that you can see and hear clearly what he does with every note. Much better background than a blank wall as well. There is a lot of material here, even in the asides, such as the difference in note sustaining between Ed Bickert and Lenny Breau when playing similar things. Only thing I would suggest is a more thorough mention of the importance of different timbres when comping, i.e., not playing way up high when comping behind a trumpet and picking near the bridge, not playing way down low when comping behind a tenor or bari, etc. Juampy mentioned this at one point in reference to staying out of the bass player’s way, but there are other considerations I think could have been covered more. Aside from that, this is an excellent class, and I recommend it to all upper-level beginners, intermediates, and advanced as well.

    by james Seaberry
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