By Tim Fischer
Many guitarists find themselves at a loss when first asked to take on the role of the sole harmonic instrument
in a small jazz combo. Often times, jazz guitarists develop their comping as members of a big band rhythm
section, where three-note chord voicings with the root in the bass and four quarter notes to the bar are stockin-trade. This traditional style of rhythm guitar does not always transition well into the small jazz combo, and
many guitarists without small group combo experience are left with questions about voicings, rhythms, and balancing silence with interaction. Mastering accompaniment, like improvisation, is a life-long process and is best
developed by studying the recordings and transcriptions of the master musicians. In this article, we will study
guitar comping in the rhythm section by looking at Jim Halls accompaniment behind Art Farmers solo on the
standard The Days of Wine and Roses, from Farmers 1963 album Interaction.
Jim Hall helped popularize the use of the guitar as a valid replacement for the piano in the rhythm section
through his sideman work with such high-profile artists as Sonny Rollins, Art Farmer, Paul Desmond, Chico
Hamilton, and Jimmy Guiffre during the 50s and 60s. Often cited as the father of modern jazz guitar, Halls
accompaniment style in each one of the aforementioned artists recordings details how Hall adapted to the musical demands of each situation. As the album title states, the Art Farmer quartet of 1963 and 1964 was based on
active interaction between its members, which also included Steve Swallow on upright bass and Walter Perkins
on drums. In a performance on Ralph J. Gleasons television series, Jazz Casual, the host asked Farmer about
his decision to use guitar instead of piano in the rhythm section.
Gleason: I also noticed, quite obviously, that there is no piano in the group. Why is this?
Farmer: For two reasons. The first and most important reason is that when you have a guitarist of the
caliber of Jim Hall you really dont need a piano...
Farmers praise of Hall suggests he was one of the few guitarists at that time who had successfully adapted the
bop-influenced piano comping style for the specifics of the instrument. By examining Halls comping texture,
voicing types, and specialized techniques in the transcription, the reader can develop a stronger understanding
of the skills and vocabulary necessary when comping in the small group.
Comping Texture
Halls use of the traditional style of four to the bar rhythm guitar chunking played on the melody chorus, as well
as the more pianistic comping style employed behind the horn solo, helps demonstrate his understanding of the
value of both styles of comping. Hall is vocal about his passion for Freddie Green and the importance of mastering the traditional style of guitar accompaniment, but understands that imitating the rhythmic and harmonic
vocabulary of a pianist in the small group context allows more interaction with the soloist.
Gtr.
display
pausesin Farmers
solo. Hall plays shortcounter-melodies
Such interaction with the soloist is on
during
between Farmers phrases
soloist and accompanist.
Halls
3
that help5convey5 a sense45 of conversation
45 between
4
3
3
as in the fol both interactive
5
4
4
4 the underlying
4
3
3
melodies are
and functional,
and clearly
state
harmonic
progression
example.
lowing
E(6/9)
Tpt.
Amin75
Gtr.
D79
4
5
5
5
5
5
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4
When Farmer is playing, Halls comping features staccato chordal stabs and copious amounts of space. This
comping approach ensures that the soloist has the maximum amount of freedom during his improvisation.
Rhythmically, Hall balances placing his chords on both downbeats and upbeats. Notice how in the following
example Halls rhythm helps create a melodic phrase. The beginning of his comp emphasizes beat one, the
middle emphasizes the upbeats of beats two, three, and four, and the end of the comp emphasizes the downbeat
of the next measure. Also pay attention to the contrast of sustained chords placed on downbeats with the staccato hits on upbeats. Try singing the rhythm before playing the example on your guitar to help internalize the
example as a phrase.
Example 2 - mm. 3-5
Amin75
Tpt.
Gtr.
D79
5
5
4
Gmin7
4
45 4
5
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4
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3
Voicing Types
One of theE(6/9)
most challenging aspects that guitarists
encounter when replacing
Amin75
D79pianists in the rhythm section
Tpt.
to be
chord voicings in the transcribed chorus demonstrate that it is not necessary to play thick voicings in order
an excellent accompanist. Many of Halls chords are two-note shell voicings, called so because they contain
leading
and 7th. Notice
the bare-minimum
amountof harmonic information:
the smoothvoice
that oc
the 3rd
4
5
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Gmin7
C7
Fmaj7
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Gmin7
C7
Fmaj7
3
3
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2
2
2
F(6/9)next in this common progression, one note moves down by a half-step while
When oneGmin9
chord transitions to the
the other
as a common tone.
Hall highlights this half step voice leading at the end of the chorus by playing
acts
the moving voice of the shell voicing in octaves.
Example
4 - mm. 26-28
8
7
7
3
3
7
A7Bmin7(5)
A7
C7
Gmin7
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5 6
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55 33
Dmin7
Amin7
Approach Target
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10
10
8 3 7 5
7 4
2
4
Amin7
Gmin7
Approach Target
9 8
9
9
Fmaj7
10
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47 2
3 2
E7
Amin7
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4
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5 3
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In addition
to using shell voicings,
Gmin7
C7 Hall employs
Fmaj7voicing types that are commonly found in the pianists
F(6/9)
E(6/9)chord
left-hand
on guitar. Hall also uses stacked 4ths voic achievedon pianobut oftenrequire
Gmin9
Example
5 - Halls pianistic voicings
7
3
3
Amin7
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11109
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A7
C13 F(6/9)
A7
Approach Target
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F(6/9)
D13 G(6/9)
2
2
109
8
8
7
7
Amin7
Approach
Gmin7
Target
Gmin9
F(6/9)
8 transition from playing 7th chord voicings with roots in the bass to three- and
ists, it is an 33important
but difficult
chords
7
7
Guitarists interested in developing this chord
four-note
that
are
in
the
middle
and top string groups.
vocabularyGmin7
should memorize Halls
C7 voicings and be aware
Fmaj7 of how each note in the chord functions over the implied bass note.
For instance, the first
chord of Ex. 5 is comprised
of the 9th, b3rd, and 5th of Gmin. Developing
3
3
2
A7
A7
Amin7 Gmin7
3
2
2
3
this harmonic
awareness
is
difficult
at
first,
but
becomes
second
nature
after
Amin7
focused practice.
CompingGmin7
Articulations
Approach
Target
Approach
Target
C7
Fmaj7
3
3
2
3
2
2
Throughout
the
transcribed
chorus,
presents several
comping techniques
that are worth
3 Hall
3
1
4
5
5
5
4
4
3
3
provide rhythmic
drive
in
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5
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Gmin7
C7
Fmaj7
3
3
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3
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2
6
Example
mm.
1-2
F(6/9)
E(6/9)
Gmin9
F(6/9)
3
3
2
2
2
8 F(6/9)
6
6
Gmin9
3
7
5
5
8
7
5
5
7
3
7
7
8
6
6
77 A7
a chord
Amin7
A7 by playing
Gmin7
3
On several
occasions,
Hall
half-step
above the target.
approaches
a voicing aAmin7
7
D13 G(6/9)
8
C13 F(6/9)
Approach Target
Approach Target
Amin7
A7
A7
Amin7 Gmin7
11
9
9
10
8
10 8 8 9 7
5 9 8 8
4 548 7
3
33
4
555
5
5
5
4
3
3
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3
3
Approach
Target
Approach
Target
5
5
5
3
5
4
F(6/9)
5
5
4 E(6/9)
4
3
3
5
5
4
3
3
4
3
3
F(6/9)
E(6/9)
not
on the piano, such as sliding in and out of voiceasily achieved
Hall also makes use of articulations
that are
87
ings.
65
65
7
5
5
6
6
Example 8 - mm. 15-16 8
6
6
D1387 G(6/9)
C13 F(6/9)
5
5
7
5
5
8 6
6
D13 G(6/9)
11 9
10 8
9 8
11109
9
8
8
98
8
9
8
8
C13 F(6/9)
109 87
8 7
109
8
8
7
7
Art Farmer
Jim Hall
Gtr.
Tpt.
Gtr.
3
3
3
3
3
67 33 33
D79
5
5
5
Bmin7
5
5
5
6
6
6
Gmin7
Amin75
E(6/9)
Fmaj
6
6
5
5
5
5
Tpt.
Trans. Fischer
4
45 4
5
4
E7
3
3
3
3
3
6
6
6
6
6
6
6 5
6
6 5
5
Amin7
Tpt.
Gtr.
5
5
5
5
5
5
13
Tpt.
Gtr.
Tpt.
Gtr.
Gtr.
Dmin7
17
Fmaj
4
3
5
5
3
33
Gmaj7
1110
9
Amin75
E(6/9)
A7
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8
8
109
8
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8
D79
8
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7
4
5
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5
5
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5
3
3
7
Emin75
3
3
3
3
3
Gmin7
5
5
33
5
4
3
3
3
Gmin7
Gmin7
G7(#11)
8
87 76 65
7
7
7
6
5
5 4
A7
5
6
6
5
6
21
Tpt.
Bmin7
E7
6
66
6
10
5
6
25
Tpt.
Gtr.
Gtr.
65 67
5
32
Gtr.
Amin7
Dmin/C
5
6 11 10
8
D7
Bmin75
Gmin7
G7
5
4
5
4
3
3
3
2
3
2
10
9
9
9
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8
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6
Fmaj7
2
3
2
G7
E7
C7
10
Tpt.
Dmin
29
Tpt.
Fmaj7
3
2
3
Fmaj
A7
3
5
4
3
4
3
2
2
4
3
2
2
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