Interest in Barry Galbraith “Jazz Guitar Study 1 -- The Fingerboard Workbook” Study G

[joelf]

I've brought up Barry's connection to George Russell several times in this discussion. I was just, recently, rereading Russell's book (Lydian Chromatic Concept of Tonal Organization) and came across this glowing paragraph on Barry that ties right into this point:

"On all of my RCA smalltet recordings, Barry was my orchestra. You could write anything and Barry would not just play it, he would blend it in with the other instruments and make it sound like a big orchestra. He was a giant among musicians and one of the best friends I (and music) ever had."

Russell, then, goes on to use one of the solos from Book #5 (Guitar Improv) as an exercise in analyzation employing the principles of the Lydian Chromatic Concept.

.

And John Carisi felt the same way as George. I saw some of his parts for Counterpoise #2 at his apartment (taking a lesson). He and Barry were best friends, and knowing Barry was the main reason Carisi wrote so intelligently for guitar. Barry taught him to...

[Moonray]

Here are the Barry Galbraith bio notes.
Hope they open OK

[FwLineberry]

Here are the Barry Galbraith bio notes.
Hope they open OK

The scans came out great! Thanks for posting them.

.

[Travelrock]

Here are the Barry Galbraith bio notes.
Hope they open OK

Thank you very much for the scans and for your interesting contributions!

[FwLineberry]

Ab7

M6:
B1-2: Dbmaj scale tones
B3-4:

I labeled this part as the first half of the measure being diatonic scale and the second half of the measure being Ab half whole diminished. The entire measure could be seen h/w diminished, as well..

M7:
B1-3: Gbmaj(7aug) arpeggio

I don't know what you mean by this label. All of the notes - Ab Gb Bb Db F Ab Gb F - fit a Gbmaj9 arpeggio.

M12:
B1-2: Cº scale tones
B3-4: Dbmaj scale tones with passing tone

I saw that section as diatonic triads with leading tones (approach notes), but I didn't catch the fact that this measure is, really, just a descending Cm7b5 arpeggio (Gb Eb C Bb Gb) with a chromatic leading tone and a chromatic walk down to Eb tacked on the end.

M13:
B1-3: Ebmin(11aug) arpeggio
B3-4: Gmin7 5 aroeggio

The notes, here - Eb Gb Bb D F - spell out Ebm/maj9.

M14::
M1-3: Gbmaj9(5aug) arpeggio
M3-4: chromatic

I had this labeled as a continuation of the Em/maj9 arpeggio, but labeling it as Gb augmented makes sense too.

M23-24:
Sequence based in Abº (h/w) and whole tone scale tones

That amounts to the Ab altered scale (A melodic minor)

M32:
B1-3: Dbmaj scale tones
B4: Whole tones scale tones

Line 12

M34:
B1: Whole tones scale tones
B2-3: Dbmaj scale tones
B3-4: C(5aug) scale tones

M35:
B1-2: Dbmaj scale tones
B3-4: Abmaj Lydian Dominant scale tones

I'm not able to follow what you've written, here. Where is measure 33?

.

[murphybridget837]

he Galbraith "Fingerboard Workbook" sounds like a solid resource. It's cool to hear that it's making a similar impact on your fretboard understanding as Pat Martino's Linear Expressions. The added variety and concrete exercises in Galbraith's book sound intriguing. Best of luck with your journey through it—I'm sure putting in those hours will pay off.

[Moonray]

I've been thinking about how Barry Galbraith's materials and in particular his work and life story may not be
so known to many on the forum.

Do you think it'd be OK to post the bio notes and list of the books he produced under a separate thread from this one?

What about a link to the work you guys have been putting in on this thread?

All though there are those here who are very aware of BG, there's a new wave of members coming on board
who might benefit greatly from investigating the workbooks, not to mention the comping and soloing ones.

I'd be curious to hear what you think.

[Travelrock]

he Galbraith "Fingerboard Workbook" sounds like a solid resource. It's cool to hear that it's making a similar impact on your fretboard understanding as Pat Martino's Linear Expressions. The added variety and concrete exercises in Galbraith's book sound intriguing. Best of luck with your journey through it—I'm sure putting in those hours will pay off.

Thank you very much for your post. I have learned and enjoyed a lot from this experience, with the pleasant company of FwLineberry.

[Travelrock]

I've been thinking about how Barry Galbraith's materials and in particular his work and life story may not be
so known to many on the forum.

Do you think it'd be OK to post the bio notes and list of the books he produced under a separate thread from this one?

What about a link to the work you guys have been putting in on this thread?

All though there are those here who are very aware of BG, there's a new wave of members coming on board
who might benefit greatly from investigating the workbooks, not to mention the comping and soloing ones.

I'd be curious to hear what you think.

Hello!
From my point of view, I think it's a great idea. Your contribution of the articles has been a great addition to this thread, which I thank you again.

[Travelrock]

Dear FwLineberry,


Thank you for this contribution to my analysis, and sorry for taking so long to respond, but I wanted to check all your observations one by one, and for such a complex key signature I preferred to do it calmly.

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I didn't see the Ab h/w diminished scale in the second half of the measure. Either of the two options you propose seems correct to me.

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This is my mistake for misinterpreting my draft. I had indicated in my draft a Gbmaj7, I didn't see the 9.

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Correct, leading tone to Cm7b5 and chromatic walk down to Eb.

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I agree, I was not familiar with this type of chord.

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Although both visions make sense, yours convinces me more, because it does not have any changes.

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Another mistake on my part when organizing the draft: is the altered Ab scale, I appreciate the clarification.

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I had skipped a measure! Actually, what I have indicated in my draft is the following:


M33:
B1-3: Dbmaj scale tones
B4: Ab altered scale


M34:
B1: Ab altered scale (cont.)
B2-3: Dbmaj scale tones
B3-4: Caug arpeggio


M35:
B1-2: Dbmaj scale tones
B3-4: Ab Lidian Dominant scale


M36: Dbmaj9

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An intricate ending to a complex exercise!