Welcome to Free Video #2

A look at some comping on a funk groove; we're not playing for a sing-along!

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Pity poor Phil Allgaps. Phil gets on the gig and plays piano like he plays for his Aunt Mildred when Mildred comes over; rich and florid and full of pianistics, both hands working overtime to get that piano ringing the way Aunt Mildred likes it. Unfortunately, Mildred has got no gigs, and neither does Phil, because his pianistics are filling all the gaps! This is one of MusicPath's many lessons on COMPING; In this one we're taking a look at comping on a funk groove, adding a percussive aspect to the groove with some simpler, more open harmony than we'd use on a jazz tune. To this end we're looking at relatively simple 3-note voicings in this lesson, and at ways to create a nice part that fits the arrangement, doesn't box the soloist in, adds a layer of simple melodic interest, and lets the track breathe. This is the kind of comping I do when I'm playing behind David Sanborn, a perfect example of somebody who wants a well-orchestrated track to play on, with the keyboard player providing propulsion, some melodic stuff to play off of, and a harmonic component, but who DOESN'T want a bunch of harmonic extension to have to match, or a bunch of clutter back there! Bearing in mind that in a band like that, or in the Brecker Bros. Reunion Band with Dean Brown or Mike Stern, yet more harmony will be added by the band's guitar player, so we need to provide the right sort of bump without sucking the air out of the track!

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