Example4 ostinato with double stops8

This example is reminiscent of both Wes Montgomery and Jim Hall and uses a repetitious high note (a#/B ) against shifting two-note chord voicings and creates under lying quite a pianist wicinegffect that bridges the gap between single-note line and chord melody. Like the previous example, you could consider both high melody and chord figure as part of the same combined chord shape, bringing out each voice independently or in combination as required.