JAZZ DRUMS: 5 unconventional comping examples
(2021)
author(s): Dimitris Koutantos
published in: KC Research Portal
After a long investigation of the jazz discography from 1920s until today, Dimitris Koutantos chose 5 recordings which contain drum-comping styles with these two characteristics:
1)not-cymbal-oriented
2)non-repetitive.
For his research exposition, he uses a variety of media (such as videos, musical notation & text) to show you his path:
-searchng and choosing recordings
-transcribing them
-analyzing them
-creating different exercises (to solve problems)
-turning what he learned into action
-looking for his own comping style (inspired by those drummers)
-sharing his thoughts and conclusions.
With this research, Dimitris hopes to help other drum-students:
-explore these 'unconventional' styles of comping
-improve their time & co-ordination
-search for their own style.
The Accompaniment for the Villancico in New Spain
(2018)
author(s): Miguel Espinoza Chavez
published in: KC Research Portal
The abstract for this exposition is unfortunately missing.
Accompaniment on bandoneon
(last edited: 2019)
author(s): Kaspar Uljas
This exposition is in progress and its share status is: visible to all.
The art of accompaniment is a very specific form of musical expression. It is something completely different from instrumental ensemble playing or solo performance. I used to play jazz accordion for many years prior to my exploration of tango and now, since studying the bandoneon I find myself with the same set of problems – how to play well with others? This pointed me towards my research question: “How can I develop a personal way of accompanying singers and instrumental soloists on solo bandoneon by studying the styles of Dino Saluzzi, Rubén Juárez, Leopoldo Federico, Juan José Mosalini?”
Throughout this research, the way of working consisted of transcribing, playing, analyzing the results, writing down my favourite patterns or characteristics/key elements of accompaniments and composing new arrangements. A big part of the data collection consisted of making transcriptions of four well-known bandoneon players from Argentina, who all have a different and comprehensive way of accompanying singers.
This study will give a first look into important elements of tango music and how to use these elements in my own artistic work. Nowadays, it is no longer expected for bandoneon players to necessarily have accompaniment skills. I find it absolutely necessary in order to become a more versatile, fully-developed musician.
