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There is so much content in each of these introductory ex's on pg's 4 - 8 that it could be a very unwieldy
process to describe in words what is actually going on.
FwLineberry's description of lines 1 & 2 show just how much you'd have to write [in words] to describe what
the component parts of each structure are.
And there's more than was mentioned too....this is jazz vocabulary being broken down on the guitar fingerboard people.
A rare thing indeed in the ever growing pile of what is on offer these days.
There are cells often of 4 notes, enclosures etc that if you could recognize them by sound, and on the fbd you'd gain a whole
lot more from the full studies that follow.
Many years ago I went through the Galbraith book[s] first time through, just playing each study as best as my reading allowed.
Then after a time I went back and realized there was a great deal that had just gone by without my really
taking the time or [really] the care to understand what made up each phrase.
[Or, piece of language as they say these days]
So yeah, I made a photocopy of the book and wrote in which device was being used when.
Time went by and when I got a student at the level of understanding I'd put them through the opening
pages that you're talking about here and made sure they understood each line, and then just played them.
BTW, it really pays off to play each line through all 12 keys....it's actually fun! [ remember fun
?!]
And some backing tracks would be useful here, but the main thing is to be able to fire off each line
at a decent tempo with a nice feel and phrasing, saying what the chord would be that you're playing on.
It's not hard and can be done in a surprisingly short time. Keep moving to the next chord/key without stopping.
Maybe use a metronome on 2 & 4.
But if you're busting a gut to get into the book....just do that, but realize that you'll need to revise it later.
Well, sorry that sounded a bit like a lecture
I hope you'll excuse my old guy ramblings.
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05-11-2023 12:37 AM
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Originally Posted by Travelrock
Ok, I see what you're doing with the charts. I like the idea. When dealing with twenty or thirty measures rather than two, the charts might help reduce a lot of typing.
As to the Ebmaj example, I think that is perhaps not the best example he could have used to demonstrate the principle of using the first finger to grab notes one fret below the position.
If you're playing the typical Eb major scale in the 8th position, all of the notes on the 7th fret can be viewed as shifting out of position momentarily with the first finger. This is a good way to add interesting chromatic notes to an otherwise scalar line.
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My take on the remaining examples for this week:
Ex 1a. Third Line - F7
First two beats of M1 is F major pentatonic
M2 is an enclosure that the author uses regularly in the exercises. In this case, it's two scale tones descending toward the the target then jumping a whole step below the target to ascend chromatically.
I haven't paid enough attention to know if he always uses scale tones above the target, but the note relationship - two notes a whole step apart landing a half step above the target is a recurring pattern. This may be something he uses when approaching the 3rd of the chord. It will be interesting to keep an eye out for this move.
Ex 1A. Fourth Line - Gm7 C7b9
M1 beats 1 and 2 are 5th and 3rd of the chord then descending chromatically to the root. Beats 3 and 4 ascend the scale.
M2 is C half whole diminished landing on the 3rd of F. Is the next chord going to be Fmaj or Fmin?
Ex 2. First Line Ebmaj
Straight up the Eb major scale.
Ex 2. Second Line - Cmaj
Cmaj9 arpeggio then straight up the C major scale.
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Thank you, I send you a PM. Originally Posted by Doublea A
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Thank you for sharing your experience with us. I see a lot of sense in everything you comment, all these things help to face the study of this work in a more reasonable way. Originally Posted by Moonray
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But if you're busting a gut to get into the book....just do that, but realize that you'll need to revise it later.
Well, sorry that sounded a bit like a lecture
I hope you'll excuse my old guy ramblings.
All the best
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Thank you for the post, I will copy your text in the Docs schemes. I agree with you in the analysis, Originally Posted by FwLineberry
interesting view of Ex. 1a (F7) enclosure.
I think Ex. 2 (both lines) starts to be a very useful stuff. Good ideas here for ascend across the fingerboard in a comfortable way.
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Here is screenshot of the track Originally Posted by Travelrock
Sent from my iPad using Tapatalk
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Thank you very much for sharingcthe image. I’m not sure what your idea is, maybe you can clarify the utility of this scheme, which I think is relatef to a backing track. Thank you!!! Originally Posted by Doublea A
Here is screenshot of the track
Sent from my iPad using Tapatalk
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Exactly. This is a backing track. I thought that a screenshot might help those that do not use the iReal pro app. You could record the chord progression instead of using the app. Originally Posted by Travelrock
I find that playing lines against chords helps to develop your ears in hearing the relationships between the notes and the chords as a unified entity.
Sent from my iPhone using Tapatalk
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Originally Posted by Doublea A
Here is screenshot of the track
Your switching to G7b9 in the second measure of line two raises the question of whether the author's intent is a chord change in that measure or just superimposing the diminished arpeggio over the Ebmaj7.
The exercises are full of this sort of superimposed harmony. I've taken the exercises at face value and assumed everything is to be played over the prevailing harmonic indication. The exception to this, I believe, is the final two bars of each dominant chord exercise I've played through so far. In each case, the superimposed harmony shifts rather clearly to the intended I chord
Thoughts?
..
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Yes. I thought of that. In the case of the G7b9, I thought that a chord change was rather obvious. It didn’t sound like a superimposed chord in that case. Originally Posted by FwLineberry
You are correct that there are superimposed harmonies all over these exercises but to my ear, some seem like they are to be treated as superimposed harmonies and others sound like there is a true harmonic shift.
I am not sure which dominant chord exercises that you are referring to. I do not have the book in front of me right now.
Sent from my iPhone using Tapatalk
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Regarding the superimposed harmony or the possible hidden changes (or not indicated by the author), I think that both possibilities fit and that as we get to know the book more thoroughly we will be able to make more secure determinations. In the case of the second line of Ex.1, the G7b9 also sounds better to me, although perhaps there is also a resolution in the last note G. As for the exercise in F7, it sounds better to me with the two measures in this chord, but sure there are other posibilities suitables to the style.
I think that as we analyze it, we will better understand the author's harmonic intentions. For the moment we do know that we must develop our own fingerings and analyze harmonically from the exercise in G Major on page 11 (this is the point where the true travel starts!
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It will be interesting to look at these spots from others' perspectives. I've been treating them strictly as examples of outside playing and/or superimposing changes over static harmony. Originally Posted by Doublea A
Barry was involved with George Russell (Lydian Chromatic Concept), and I've been able to spot a place or two where I've thought he might be showing that influence. Not being a bona fide jazz player, however, I'm out of my depth. Unfortunately, anybody familiar enough with the principles laid out by Russell to comment on this Galbraith work are not easy to locate.
I am not sure which dominant chord exercises that you are referring to. I do not have the book in front of me right now.
The Dominant chord exercises begin on page 25. There is a corresponding Dominant chord exercise for each of the major key exercises from the earlier part of the book.
D7 - G7 - C7 - F7 - Bb7 - Eb7 - Ab7
Coinciding with
G - C - F - Bb - Eb - Ab - Db
In the D7 exercise, for example, the final two measures are a Bmin7 arpeggio followed by a Gmaj7 arpeggio and ending on an A note. This suggests resolving to the I chord to me.
Originally Posted by Travelrock
The author provides his own fingering suggestions on pages 18-24. I've been working through those as I find his way of navigating the fretboard different enough from my own to be worth studying.
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I'm way behind in the group, but I thought it might be instructive to share how I tried to figure out Galbraith's fingerings from Ex. 1, which is really minimal vs. where Galbraith gets to in Ex. 2 (with full string indications plus the fingerings).
Yes, I'm a "guitarist" in the sense that I know how to play scales and know where every Bb is, pretty much, on the fretboard. But I'm a musician in the way that I know nothing about boxes and positions, except what's in some random "systems." And, of course, what I hear on the records.
No, I'm not going to blather on about how much I can shred on acoustic piano or the organ or whatever instrument, but this is just meant to be an illustration of how dumb people can be when it comes to putting it together as far as the fingerboard is concerned. And, obviously, that "dumb people" is me....I did this at a bar yesterday just fooling around while talking with an accomplished jazz tenor sax player who also plays a mean flute. Knows all the reverse claves and arranges Monk tunes and shit, not some kid. Even he can't figure this shit out, except without some effort. And I can hang with people like him, musically, I just have to do everything by pencil, just to figure out the damned fingerboard.
The rub is that keyboard instruments are played, traditionally, by "grips" as well. I know it is for me, even well into legit music.
I just got to figure every single thing out every possible way, and this is Galbraith Exercise 1!
Yeah, I mean, I'm not completely stupid, but when Galbraith starts his exercise giving the string indication, plus his fingerings, I know how to read that, but IMHO, he could have put the rest of his rudimentary line in similar notation. How the fuck should I know that crazy bastard wanted me to change strings?
Last edited by jackalGreen; 05-13-2023 at 02:46 PM.
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I've made a huge mistake.
Disregard everything I said, please.
Shit.
Well, Galbraith put the second string.....don't know why I confused that with that fifth string. Occupational hazard?
Carry on.
Hey! Sometimes you got to hit yourself with the hammer before the fly lands on your forehead, or whatever. Shit.
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I believe that Ex. 1 is intended to show position 2, and although it does not have string change indications, I believe that it should be played on the lowest 5 strings, as the author explains in the Introduction (p. 3).
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Originally Posted by jackalGreen
Did you have your guitar upside down, perhaps?
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Hi guys, are you ready for round two? New strings? Sharp pencil?
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My guitar is desperately in need of new strings and a complete setup... probably even a fret dressing. I've been putting it off and putting it off.
Maybe tomorrow morning, I'll bite the bullet and get to it.
I've already taken a poke at the next couple of examples this evening.
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Guitars always require our attention, when it's not one thing it's another! I always have an inexpensive guitar at hand, it's the one I use to practice when I have little time, and the truth is that it does its job well.
I've looked at the first three examples this week.
Ex. 3. Am11. The second measure sounds very good accompanied by a Cmaj9.
Ex. 3 Dbmaj9. Before the Dbmaj9 arpeggio, the immediate above and below the root appear at a distance of one semitone. I seem to remember that they are passing notes that Bert Ligon describes as usual to start a sentence.
Ex. 3a. I don't know what that sign between the fourth and fifth note means. Any suggestions?
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It should. It's a Cmaj9 arpeggio Originally Posted by Travelrock
Near as I can tell this is what is being used for a slur marking. I've never seen this mark used that way, but it makes sense in context, and every person I've seen on YouTube playing the exercises interprets it that way.Ex. 3a. I don't know what that sign between the fourth and fifth note means. Any suggestions?
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Moonray's advice to move these lines around to different keys payed off with this morning's practice.
Moving Example 3, line 1 down to A and adding a chromatic walk down to G on the end resulted in a nice Jerry Garcia sounding lick.
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Very nice, I like it! By the way, I still haven't been able to understand the meaning of the sign between the fourth and fifth notes of Ex. 3rd line 1!!! Originally Posted by FwLineberry
Moonray's advice to move these lines around to different keys payed off with this morning's practice.
Moving Example 3, line 1 down to A and adding a chromatic walk down to G on the end resulted in a nice Jerry Garcia sounding lick.
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This page has a good number of ideas. The Ex. 3 line 1 is a clear way for change from position II to X quickly.
Is marked in yellow in my work copy of the book. I love it.
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Could I add this example to our weekly summary? I think would improve the content. Originally Posted by FwLineberry
Moonray's advice to move these lines around to different keys payed off with this morning's practice.
Moving Example 3, line 1 down to A and adding a chromatic walk down to G on the end resulted in a nice Jerry Garcia sounding lick.
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Originally Posted by Travelrock
Are you unfamiliar with the term slur?
It means to play the second note legato or without separation or articulation. This is usually accomplished on the guitar with a hammer on, pull off or slide.
In that example, you would play the F at the 13th fret with your 4th finger and pull off to your 1st finger on the D at the 10th fret.
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