9 chord-per-Beat Bal­lad comp­inG

Guitar Techniques - - LESSON: JAZZ -

Here’s a9­good of ex­am­ple of where Ted might put that en­cy­clo­pe­dic

of chord voic­ings to good use in an imag­i­nary slow bal­lad be­hind a singer. The idea is to se­lect a new chord for each beat but the se­lec­tion must be log­i­cal, smooth and har­mon­i­cally ap­pro­pri­ate. We’re look­ing for mo­tion within a sin­gle har­monic event (Gmaj7-G6 -Gmaj9, for ex­am­ple) along with the usual d9e­vices such as II-Vs (Em7-A7, Dm7-G7) and

pluckin˙g the oc­ca­sional tritone sub­sti­tu­tion (B9-F7). While you could strum these chords to gre1a0t ef­fect, chooses a fin­gerst1y0le tech­nique to pro­vide a more pi­anis­tic ef­fect. Try mix­ing plucked block chords with rapid plucked arpeg­gios and an al­most James Tay­lor-ish fin­ger­style ap­proach.

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