Barry Galbraith Chord Melody Arrangements

[Rob MacKillop]

And that’s part of why I did them

[Mick-7]

I don't want to detail every note, Mick, but you can hear the Mel Bay version in my two videos above.

Rob, what chords does Barry play in the 6th bar of the B section?

P.S. - I just watched your second video, you're playing a G#m7 to G#m9 (no 3rd) there, correct? The pdf I uploaded has a G natural rather than G# in the bass, which made the G#m7 a Gmaj7#5 (this is the only error in the pdf version).

By the way, your new guitar sounds lovely, Rob.

[Rob MacKillop]

Barry calls those chords G#m7 and G#m9, so tab numbers from 1st string down are 7786 and 6786. The chord notes from the first string down are b f# d# g# and a# f# d# g#.

As for the final three bars, he could most certainly have used an open e whenever it appears. If the Mel Bay version is correct (and I hope it is, as I like how it is set out) the final note of each 4-note grouping rings on a bit, and I like the arpeggio (from the bass) 09680- of the last bar. An open first string in the third-last and second-last bars would cut the chords short (except for the first one).

I think ultimately we are free to make our own decisions where options are available. Whether Classical or Jazz, the composer is responsible with what he puts on the page, and if he doesn't supply enough information it is his fault if we do something he didn't have in mind. So, if you like open e strings, just play it that way.

As we study Barry Galbraith's arrangements, I think we will come across many instances of differences in source material, and fingerboard options. And let's not forget that we are jazz musicians or students (I'm the latter) and as such can enter into the spirit if not the (tab) letter of the piece: play around with things, add notes, take out others, make it our own. My method is to get the best source possible, learn it, and once I know it thoroughly then maybe get playful with it. Some prefer a more loose approach to the original. Thankfully we will not all sound the same, whichever way we tackle it.

[Rob MacKillop]

PS Glad you like my new guitar, Mick! The Eastman 804C. Currently set up with (I think) Chromes. My intention was to use acoustic strings, but it's so lovely to play as is. Someday, when curiosity gets the better of me, I'll make the switch.

Apologies if I sometimes sound incoherent or say the wrong thing...it's the (medical) drugs! My playing is not what it was only a couple of years ago, but I still get great enjoyment out of it.

[LuckyLuck]

Interesting. I have those arrangements and every once in a while I pick a few to work on. I'm working on My Old Flame. I had to find a compromise for the Ab chord at the end of bar 9.

I wanted to start on Autumn in New York but got stuck. I will have a look at Last Night.

Amateur player here... Thx!

[Mick-7]

A few small changes in the chords would make this piece easier to play, for example, the part where he jumps up to the high C# note.

Call me a slacker but I'd rather play this (I wrote in my fingerings). You can just slide down your 2nd/3rd fingers to play the C7, and then play the following D# with your pinky.



It changes his Em > F#7 to E > C7/G [or F#7/G] but it sounds alright to me. There are a few other such changes I would make.

[Rob MacKillop]

LuckyLuck, good to have you here. Contribute whatever tune you want to, mentioning what you enjoy about it and what you have difficulty with. I’m not surprised you had difficulty with Autumn. I stumbled my way through it, and consigned it to the Maybe One Day pile.

[Mick-7]

Interesting. I have those arrangements and every once in a while I pick a few to work on. I'm working on My Old Flame. I had to find a compromise for the Ab chord at the end of bar 9.

I don't blame you, I wouldn't want to play that chord either (= the first chord below). I think I'd use the second chord voicing below, with C in the bass, since it goes to Gmaj7 next (his bass line of Ab to G doesn't sound good anyway).

I’m not surprised you had difficulty with Autumn. I stumbled my way through it, and consigned it to the Maybe One Day pile.

Jeez, he really likes those big chords doesn't he? Not my cup of tea, Joe Pass used to make fun of them.

[Rob MacKillop]

I'm working on My Old Flame. I had to find a compromise for the Ab chord at the end of bar 9.

Considering the overall difficulty of that arrangement, I’m a bit surprised that the Ab6/9 chord should prove especially difficult, but then I do have big hands.

I would finger it either one of two ways:

from the bass upwards: 13x244 or starting with the thumb: T2x133 where x=muted string. The thumb way is very common in Gypsy Jazz. But, yes it depends on the size of your hand and the size of the guitar.

[Rob MacKillop]

It changes his Em > F#7 to E > C7/G [or F#7/G] but it sounds alright to me. There are a few other such changes I would make.

Oh, not so sure about that, Mick. What you are proposing is not the slightest bit easier to play, so why make the changes? If you prefer the sound of your changes, fair enough, but his original sounds perfectly fine to me. But as I said earlier, it’s good we don’t all do the same thing.

[Mick-7]

Oh, not so sure about that, Mick. What you are proposing is not the slightest bit easier to play, so why make the changes? If you prefer the sound of your changes, fair enough, but his original sounds perfectly fine to me. But as I said earlier, it’s good we don’t all do the same thing.

I don't see how you can say that what I proposed is not easier, when it involves simply sliding two fingers down with no change in hand position, whereas Galbraith's chords require changes in both position and fingerings, once from the Em to the F#7 chord and then once again back to the Em.

I would finger it either one of two ways....

Sure, but it's not so much a matter of how difficult a chord is to finger but how smoothly one can move from chord to chord, and the more ackward or unusual the fingerings are, the harder that will be and the more it will slow you down - assuming you don't have hands like Tal Farlow, but very few of us do.

[Rob MacKillop]

I was just talking about the two three-part chords immediately after the high 9th fret, which you’ve replaced with two other three-part chords on the same strings in the same area. But if you prefer your way, then my opinion is irrelevant.

[Mick-7]

The opinion of someone as knowledgeable and experienced as you are is never irrelevant, Rob, just sayin' I don't get it.

Here are Galbraith's chords (bar 21), as I said, they require a position shift:



And he does this in other places, for example: He uses the F#7 here too (bar 15), which is IMHO a poor combo with the notes that follow. I'd play a C7(b9) instead.

[Rob MacKillop]

Well, after the two chords in question there is a short rest. This is not a fast piece, so that 8th-note rest is enough to transition to a more open hand. But if you’re happy with your version, then you're happy

[Mick-7]

Rob, my goal in studying chord melodies is not to be able to play them as performance pieces (this may become completely evident when you hear my recordings of them), but to be able to adapt the ideas in them to create and improvise chord melodies on the fly. This requires a systematic use of standard chord forms a la Joe Pass or, closer to home, forum member Jake Reichbart.

I love large, pretty orchestral chord forms as much as anyone but use them sparingly for the reason I just mentioned. Plus I'd like to be able to play a tune at various tempos, slow or fast, rather than have the arrangement limit me to Largo.

[AllanAllen]

Plus I'd like to be able to play a tune at various tempos, slow or fast, rather than have the arrangement limit me to Largo.

I think you should change the arrangement for the various tempos, instead of creating a swiss army knife technique. Nobody is felling a tree with the swiss army saw.

That's just theoretical for me, I don't do much chord melody style work.

[Mick-7]

I think you should change the arrangement for the various tempos, instead of creating a swiss army knife technique. Nobody is felling a tree with the swiss army saw.

That's just theoretical for me, I don't do much chord melody style work.

Well, yes, we usually must do that, but in the case of these Galbraith arrangements, the changes may have to be drastic.

Is there an uptempo or even moderate tempo arrangement in the entire set of books? All I've seen are ballads so far.

[LuckyLuck]

Thank you for everybody's feedback! I'm a newbie and just have made a fool out of myself! I'm not an expert reader and have just noticed the "natural" F! Every time I try to read something difficult (for me...) I need more than a few passes to get all the accidentals right! Obviously, as it was said, not a very difficult chord!

Now I'm struggling with Last Night When. Bar 14. Gmaj7#5 with moving 3rd... maybe... More study needed on my part! This is different form the TAB... which is simpler : G#m7

[AllanAllen]

Well, yes, we usually must do that, but in the case of these Galbraith arrangements, the changes may have to be drastic.

Is there an uptempo or even moderate tempo arrangement in the entire set of books? All I've seen are ballads so far.

I don't know, I'm only a few bars into LNWWWY.

[Mick-7]

Played this on my old Washburn acoustic-electric, but it's not plugged in. When I plugged it in, it remained acoustic, believe it's just a battery problem, sure hope so!

Last Night When We Were Acoustic @Box.com

Here's the guitar:

[Mick-7]

Now I'm struggling with Last Night When. Bar 14. Gmaj7#5 with moving 3rd... maybe... More study needed on my part! This is different form the TAB... which is simpler : G#m7

You're in lucky luck because it's not a Gmaj7#5, that's an error, Rob said it's this plain old G#m7 chord:

G#m7 | x-x-6-8-7-7 | >>G#m9 (no 3rd) | x-x-6-8-7-6 |

Although I subbed these chords:

D13 | x-x-10-9-7-7 | >>G#m6/9 | x-x-9-8-6-6 |

[LuckyLuck]

I'll make sure to try your subs. I bought a few books years ago, etc. And was exploring it again a couple of weeks ago. Have always respected the man so much since knowing more about him! In a different set of circumstances he might have been a very fine classical guitar player. I see similarities between Galbraith and Johnny Smith. But to me, Jim Hall remains the ultimate master of jazz improvisation... The never ending learning journey!

[LuckyLuck]

You're in lucky luck because it's not a Gmaj7#5, that's an error, Rob said it's this plain old G#m7 chord:

G#m7 | x-x-6-8-7-7 | >>G#m9 (no 3rd) | x-x-6-8-7-6 |

Although I subbed these chords:

D13b9| x-x-10-8-7-7 | >>G#m6/9 | x-x-9-8-6-6 |

It makes a lot sense considering the key... Thx!

[Mick-7]

It makes a lot sense considering the key... Thx!

I wish I could say that about his ending, the thinking behind it escapes me, maybe a theory nerd like Christian can help us out with it.

[Rob MacKillop]

The Mel Bay version (my preference) has: E / Am9 / FMaj7#11 / BbMaj7#11 / EMaj9 - same thing, different spelling.

There are differences, though, in the notation of the chords in that second bar - both 4-note chords. The FMaj7#11 chord is (from the bass) Fnat E A B and the BbMaj7#11 has only one e - not the open string. The added note in the FMaj7#11 chord creates a beautiful a/b clash for the top two notes. And the three e notes after that are all on the third string, allowing the upper notes to sustain. Likewise the open e near the end of that bar should be the 5th fret on the second string.

For those who do not want to pay for the Mel Bay version (edited by one of Barry's students) be aware that Mick (bless his cotton socks) made his own tab, with his own interpretation of where the notes should go. Nothing wrong with that, Mick, but when you present it without detailing your changes, some here might think these were Barry's choices, and this study group is in part about trying to understand and appreciate what Barry wrote. Of course, he could have written out a few versions of every song, each with slight differences. Then it's important to compare them to help get inside his mind.

I repeat, doing your own thing is fine, it's what jazz musicians do. But for a study group I personally would like to know what and why you made the changes. If this isn't what the group is about, I'll gracefully bow out. No worries.