Approaches to Comping and Visualization
What was the question?
Joel asked about methodology: "How do you approach comping over changes, and what are you visualizing (Wes line / Django line)?"
[55:53]
The core idea (in plain English)
Your ability to comp is directly related to your ability to play chord melody. If you know how the melody sits on top of the chord, you know where on the fretboard to be. When a soloist leaves space, you can use high-register voicings (strings 1 and 2). When the section changes or needs grounding, you can define the harmony clearly.
[55:53]
Fretboard breakdown (what to play)
Chord Melody as Comping: Use your chord melody arrangements as a map. You don't have to play the full melody, but visualize where it is. [58:20]
Rhythmic Space: Use short rhythms in the A section. In the bridge or mood changes, let notes ring out or play melody fragments to signal the location to the band. [58:20]
Arpeggiation: If you know your shell voicings and lines ("West Line"), you can break a chord into a single-line fill by simply arpeggiating the structure you are holding. [01:00:49]
Common mistake to avoid
Visualizing guitar music on paper (the staff) is harder than visualizing it on the instrument because the same note exists in multiple places. Don't rely on paper theory; rely on the shapes and sounds you see on the fretboard. [01:02:02]
A 10-minute practice assignment
Take a standard you know. Play through the changes using only "Shell Voicings" (Root, 3, 7). In every empty bar (where the melody rests), try to create a small fill using the "West Line" or "Jungle Line" shape associated with that chord position. [01:00:49]
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