VARIATION6 13th/9th Stabs

Guitar Techniques - - Jazz Comping -

If the pump­ing four-to -the- bar feel of our Count Basie style 10th voic­ing vari­a­tion (#3) could be de­scribed as rem­i­nis­cent of a pi­anist’s left hand, then the vari­a­tion we see here, based around mid­dle and high ex­tended chord stabs, could be seen as the gui­tarist’s an­swer to what our ivory tick­ler’s other hand might do. In many ways this cho­rus can also be per­ceived as the log­i­cal ex­ten­sion to our in­tro­duc­tory sec­tion based on 3rd and 7th in­ter­vals, as these form the foun­da­tion for many of the chords used here. The con­cept of voice leading is con­tin­ued onto the up­per ex­ten­sions of each chord. It would be a great idea to fol­low the melodic jour­ney of the notes along each sin­gle string to see this in ac­tion, and get the beau­ti­ful logic of it firmly in­grained. Also, en­sure that you can jus­tify and ra­tio­nalise each ex­ten­sion against each chord sym­bol through­out the se­quence. Anal­y­sis of this kind will ben­e­fit your knowl­edge of in­ter­vals and tremen­dously strengthen your con­nec­tion be­tween har­mony and melody.

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