This artistic bachelor's thesis explores the stylistic elements of comping within the bebop tradition, focusing on the harmonic, rhythmic, and melodic aspects of accompaniment. While bebop is often discussed in terms of its groundbreaking improvisation, this work emphasizes the equally innovative role of the accompanist, particularly for guitarists influenced by pianists such as Bud Powell, Barry Harris, and Duke Jordan.Through transcription and analysis of historical recordings, with a particular focus on Pasquale Grasso and the aforementioned figures, I investigate how harmonic motion, rhythmic placement and the use of melodic lines contribute to a more interactive and expressive style of comping. These findings were then applied in the creation of etudes and tested in a final concert performance, where I evaluated the practical impact of these techniques on my own playing.The results suggest that bebop comping offers a rich vocabulary that remains highly relevant today, both as a foundation for improvisation and as a dynamic tool for musical dialogue. This work has deepened my understanding of the role of accompaniment in bebop and provided a framework for further artistic development as a jazz guitarist.