AZT JAZZ GURU Comping “Giant Steps’ When fm comping and 'm decng which chords to py. lot of tes Vl pay the lease amoure of notes posible. You may oxice tat Some guitarists see bukinga tenor sax payer fr anaer sols an opportunity practic tlt voicing, ‘bt realy, no one wants co eral that ot Ifyou listen 12 at gular ceompenits auch as Wes Montgomery and ir, Nall or pianists ike Wynton Kely and Reda Garand youl Sind they'e extremely tinier they lene lee of spec. ‘When Tan comping, ovr an st oF changes ob callarg s6"Giant Stee" [belo], Im fen playing ne more than > netes from each chord. One beau thing about the gukar ie rhat it ealy ends te this sound, especially when you stick othe third and fourth sings, where find these 0 roe chords sound best. There are no bass notes inthe chords bel, but even \wishou he roots you can sll ner the shin harmoaies, particularly if you play the 3 and che 7 of each chord as shown. For eaampl, in bar 11 play A and the 7 and the 3 of Bima? followed by Cand F4 the 7 and she 3 of D7) This provides ore chan enough harm for rnc slot, I youre playing in «duo situation, though you should pay tigger volcings, pethape adding the roor ofeach chord on ‘he fithor seth strings The challenge with "Giant Stape” ie thar unlike "Autumn Leaves” or ther etandarde, the pr MIKE STERN BAND AT THE IRIDIUM JAZZ = cLuBIN 2012 64 | November 2012 | GUITAR PLAYER VAULT tression doesn’t lew yu to hang out in any one key for ‘ore than a fee beats. This is one tune that requires you realy make every change Rhythm Is the other irapertant element of comping ane thas hard ce tech on paper. Wha’ show bere just a terse to get you going wbich means ic far too er ig phrasing There at a infinite amber of ways to phrase where listening comes in listoningisow you eam mse, Theory is on ie ow. I you don't coenine theory ith tue ltening then, wll fagetsbout, As ol tude Cold there lide chord stabs, end th 6p <— fa ee i ate ete jeep