Barry Galbraith Chord Melody Arrangements

[AllanAllen]

I wish the Mel Bay books didn't have tab on the page. I want to read without training wheels, but I also want the correct notation.

[AllanAllen]

The notation in the PDF you posted on bar 14 is G D# F# B then the B drops to A# which I played as

xx5877
xx5876


I don’t know what any of the tab says. I didn’t look, I’m trying to read what’s on the sheet. The main exercise for me is reading. I’ll have it memorized in a few more days then I’ll change the chords, or optimize fingerings.

I kind of feel like we’re talking in circles. I’ll try to get the rest of the bridge done tonight and post another clip.

[grahambop]

I've been trying out this tune using the old 42-tune pdf (which I've had for ages but hadn't really used much before). I'm not intending to get the Mel Bay books (got enough books already!)

Anyway I went through the arrangement in the PDF and corrected some obvious mistakes, also added chord symbols for reference. Here's my corrected copy in case it's of use to anyone.

[AllanAllen]

Mick, I’m using the original pdf chart. The one without tabs.

[grahambop]

I’m finding I like playing this arrangement on the classical guitar best (rather like Rob), some of the chords just seem to work better fingerstyle and it’s a bit more expressive.

Kenny Burrell did a nice arrangement on nylon-string guitar with Gil Evans. I saw him play it once at Ronnie Scotts, someone requested it so he played it (on nylon-string) with his trio. (I got the impression they didn’t play it much, because he had to hand out charts to the bassist and drummer).

[Mick-7]

Anyway I went through the arrangement in the PDF and corrected some obvious mistakes, also added chord symbols for reference. Here's my corrected copy in case it's of use to anyone.

We used the same chord names, with a few exceptions, e.g., I called the B9sus a A/B because that's how it was named in the original lead sheet, and it is literally an A triad with B in the bass (B-E-A-C#). But just naming the chords does not correct notation errors such as missing chord tones, e.g., the 3rd (A) omitted in the FM7#11 chord in the ending.

I think we should set a limit on how much time we'll spend on this tune, or any tune in Galbraith's books, otherwise we'll make little progress at learning his approach to arranging chord melodies. This is one of the easier arrangements in the book, we shouldn't be trying to get them up to to performance level, just play them enough to grasp their chord changes and structure.

In the Jeff Arnold chord melody study group, we set a goal of spending about two weeks on each arrangement. His arrangements had a level of difficulty similar to Galbraith's simpler ones, such as Last Night When We Were Young. Next time I'll be sure to proof-read the notation in the pdf first so we don't get bogged down in error correction.

[AllanAllen]

(I got the impression they didn’t play it much, because he had to hand out charts to the bassist and drummer).

Why do we hold ourselves to standards Kenny Burrell did not?

Any song, any key, without a lead sheet. Completely unrealistic.

[Mick-7]

For what it's worth, I've started playing Barry's Born To Be Blue arrangement, it's short and sweet.

Here is the Mel Bay audio track:

Born To Be Blue - Barry Galbraith arrangement - Box.com

[grahambop]

Why do we hold ourselves to standards Kenny Burrell did not?

Any song, any key, without a lead sheet. Completely unrealistic.

That’s not really what I meant, I expect they knew the basic tune well enough to get through it (they were 2 top players, I remember the drummer was Kenny Washington). The point was Kenny had a special trio arrangement based on the Gil Evans version, so the band needed charts for it. I expect if they played that arrangement regularly they wouldn’t even need his charts.

[AllanAllen]

I reflected on your anecdote and made my own statement.

[Mick-7]

I found this on YouTube:

P.S. - I like Kenny's B section turnaround:

[LuckyLuck]

I’m finding I like playing this arrangement on the classical guitar best (rather like Rob), some of the chords just seem to work better fingerstyle and it’s a bit more expressive.

Kenny Burrell did a nice arrangement on nylon-string guitar with Gil Evans. I saw him play it once at Ronnie Scotts, someone requested it so he played it (on nylon-string) with his trio. (I got the impression they didn’t play it much, because he had to hand out charts to the bassist and drummer).

I totally agree... I dug out my nylon string and I like the sound a lot with B. G.'s arrangement...

[Question]

Here is a version of Last Night.....

I tried my best to play Barry's arrangement without any alterations. There is only one chord in bar 3 where I added a sus to 3 to soften it a bit.
I also changed the rhythm of the melody in a few places.

The other changes are just slightly arpeggiating the chords to help keep a pulse, as well as delaying some chords slightly to get the melody to be more prominent.

I purposely avoided what Peter so aptly called "convenient rubato"; where you slow down in the difficult parts and speed up when it is easier.
I think rubato should be a musical instead of a technical decision. There is some rubato used here, but intentionally at the end of a section etc.. There is also a fermata at bars 16, 21 and 25.

Thanks to Rob who had some good fingering solutions in his videos.

[alpop]

[QUOTE=Question;1428485]Here is a version of Last Night.....

I tried my best to play Barry's arrangement without any alterations. There is only one chord in bar 3 where I added a sus to 3 to soften it a bit.
I also changed the rhythm of the melody in a few places.

The other changes are just slightly arpeggiating the chords to help keep a pulse, as well as delaying some chords slightly to get the melody to be more prominent.

I purposely avoided what Peter so aptly called "convenient rubato"; where you slow down in the difficult parts and speed up when it is easier.
I think rubato should be a musical instead of a technical decision. There is some rubato used here, but intentionally at the end of a section etc.. There is also a fermata at bars 16, 21 and 25.

Thanks to Rob who had some good fingering solutions in his videos.



Very nice! I like how you preceded that high C# in bar 29 with the octave below so the high note wasn't left alone and to possibly sound thin. Was that instinctual or preconceived?

[Question]

Hi Alpop,

thanks.

I think you mean bar 21. The low C# is written in bar 20 as an eighth note pickup in the arrangement and I doubled the high C# with an octave below in the 21st bar. It is the high dramatic point of the melody so it seemed to need some support.

I didn't give any of it that much thought, just trying to instinctively integrate the melody with the accompaniment to tell the story.

I remember my private classical teacher in college who would give me "easy" pieces to play, which i felt were below my ability until I heard him play them. Playing something simple well, always sounds better to me that something complex played poorly.

These arrangements might seem "easy" to some, but playing them well is still more of a challenge than many seem to realize.

[alpop]

Hi Alpop,

thanks.

I think you mean bar 21. The low C# is written in bar 20 as an eighth note pickup in the arrangement and I doubled the high C# with an octave below in the 21st bar. It is the high dramatic point of the melody so it seemed to need some support.

I didn't give any of it that much thought, just trying to instinctively integrate the melody with the accompaniment to tell the story.

I remember my private classical teacher in college who would give me "easy" pieces to play, which i felt were below my ability until I heard him play them. Playing something simple well, always sounds better to me that something complex played poorly.

These arrangements might seem "easy" to some, but playing them well is still more of a challenge than many seem to realize.

Regardless of the bar number it happens at 1:41 of the video. I was just curious as to whether you saw that high note as needing a bit of extra support ahead of time or it just came out that way. Thanks for answering my question, Question.

[Mick-7]

Thanks for answering my question, Question.

Reverb definitely makes a difference.

[alltunes]

I wish the Mel Bay books didn't have tab on the page. I want to read without training wheels, but I also want the correct notation.

I hear ya……..in classical guitar sheet music they sometimes have indications for what string to be played, finger to be used and general position on the fretboard (see Rob’s Bach Cello Suites book). I don’t recall the official name for these “hints”.

My chord melody life got so much easier and more fun when I started concentrating on the melody and adding a few supporting notes…..Frisellian in concept but not in my execution.

I believe all chord melody enthusiasts would benefit from purchasing one of Barry Greene’s chord melody arrangement videos. They are $18 and a lifetime value. He even has one specifically on how he builds chord melody arrangements using the tune Polkadots. But any one of his CM videos always includes his methodology.

I use CM books just to steal a few ideas to add to my own always evolving arrangements.

Learning someone’s arrangement note for note, chord by chord is sort of a dead end street.

Just my my .02 adjusted for inflation.

[AllanAllen]

If I remember correctly, Barry Greene says to add three notes below each long note to create the chords that way. Which is a simple and elegant system.

That's the exercise anyway, like everything, it takes a while to get from learning the alphabet to writing poetry.

[Question]

Barry Galbraith's arrangement of Born to be Blue.

I tried to respect his arrangement and made as few changes as possible.

Added a chord at the end; put a few of the anticipated bass notes on the downbeat to give it that sort of walking ballad feel; changed two voicings of the Dmin11 to G13 at the end of the bridge.

I am using the free PDF chart, which in this case has several big mistakes. I don't know if the Mel Bay version has been corrected.

Hope that this inspires someone to learn these nice arrangements!

[Mick-7]

Barry Galbraith's arrangement of Born to be Blue.

I tried to respect his arrangement and made as few changes as possible.

Added a chord at the end; put a few of the anticipated bass notes on the downbeat to give it that sort of walking ballad feel; changed two voicings of the Dmin11 to G13 at the end of the bridge.

I am using the free PDF chart, which in this case has several big mistakes. I don't know if the Mel Bay version has been corrected.

Hope that this inspires someone to learn these nice arrangements!

I started on that arrangement but got distracted, it's a good vehicle for improvisation. I'm thinking the pdf I shared was an advance copy of the books, too many errors in it to be ready for publication. Thanks for your contributions.

Learning someone’s arrangement note for note, chord by chord is sort of a dead end street.

It's a good start, but I agree that they should not just be performance pieces, one should take their ingredients - chord voicings and phrases - and apply them to other tunes. That's what jazz is about.

[AllanAllen]

It's not a dead end street at all. You work on reading, literally the notes on the page, then putting those on the guitar, working though a chord and grabbing it on the neck, maybe in a few spots to see how it works.

[alltunes]

What I mean by dead end street is that you get stuck playing the arrangement rather than the song. Sure a lot to steal from these pro arrangements but best to come up with your own. But what do I know I play CM for home enjoyment. I play rock, blues and jam band for tens of dollars!

[AllanAllen]

I’m not really concerned about playing every head 100% unique at every gig. I feel like that’s unrealistic.

[Mick-7]

Sure a lot to steal from these pro arrangements but best to come up with your own.

The two are not mutually exclusive, I've always done both, although mostly the latter, i.e., making stuff up.