Quote:



I do have one question I would like your opinion on. You make mention of the 13th chord in your example. I have been told as a guitar player being the 13th chord contains all the notes in the scale to play the 1st, 3rd and which ever ones that are within comfort to reach as sufficient. I know you are a jazz player. Would you say that was good advice?

Thanks,
RickeG



That's about the size of it for the guitarist, Ricke.

When I want the guitar to sound like the full, rich 13 chord, like when there is no keyboardist grabbing it (when there's a B3 player, just play a 6 and stand back *grin*) then I usually grab the following pattern:

Let's say it is a G13.

3,X,3,4,5,5

For the G(1),X,F(7),B(3),E(13) and A(9)

I've also been guilty of just grabbing a 6/9, too, or even just the dom7 if that full-fisted keyboardist is gonna do what most do when they see the big 13.

As you know, with the guitar, we stack the notes according to the "grab" or according to what's possibole and the guitar player must have a slightly different way of looking at the chords in order to get the job accomplished.

The one interval I will drop (not play) almost automatically is the fifth. Unless the song calls for the powerchord, I don't like to play the fifth as part of the chord on the guitar too much, especially not on the lower bout, for it will create that big, thick, juicy "resultant" when played alongside the root. The Resultant is a ghost note generated by the two together, that is one octave lower than the root at one half amplitude. When there are extensions on the chord, it can often be a recipe for mud city.


--Mac

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