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

[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.

I understand, thank you. I had confused slur with slide.

I’m from Spain, so I have to translate a part of my convesration here.

[FwLineberry]

I've been holding off with analyzing this week's examples, hoping that somebody else would jump in.

Anyway.... Here goes:


Ex. 3, Line 1, Gmaj

Gmaj7 arpeggio played two-notes-per-string.

I've been doing a lot more of this practice after seeing Ben Eunson demonstrate the utility of these shapes.

Ex. 3, Line 2, Am11

Am9 arpeggio with chromatic enclosure of the b3 leading to a Cmaj9 arpeggio.

Cmaj9 = Am11

Ex. 3, Line 3, Dmaj9

Dbmaj9 arpeggio.

This is essentially the same lick as the previous example just changing the harmony underneath.

Ex. 3a, Line 1, Cmaj

I see this line as basically a C major pentatonic lick with a chromatic enclosure of the 3 on the E string and a chromatic approach down to the 3 on the G string.

Ex. 3a, Line 2, Gm7 - C7

Scale tones leading into a maj7 arpeggio from the b3 then G minor pentatonic (slightly altered on the descent) and shifting to the 3 and root of the C7.

maj7 from the b3 = min9.

Ex. 3a, Line 3, Fm9

Ab major pentatonic leading to enclosure of the root, then scale tones up to Ab major pentatonic and leap up to the 9.

This major pentatonic shape is sometimes referred to as a "Coltrane pattern".

Ex. 4

Key G major - G major pentatonic (Coltrane pattern) jumping to F#7 arpeggio and down a whole step to the 5th.

This same move is used in the G major exercise etude to move to an enclosure of B and ascend a Bm arpeggio.


Key C minor - Chromatic from G up to Bb then jumping to Bdim7 arpeggio and ending with a chromatic enclosure of C.

This is the same type of move used for Ex. 1, Line 2 and seems to suggest G7alt moving to Cm.


Key Eb major - Scale ascending from the 9 then jumping to G triad arpeggio and ending a half step down on the 5th.

Using the major triad from the 3rd of the maj7 chord is demonstrated by Scott Henderson in his Jazz Fusion instructional video as a means for playing slightly outside on the chord. This could also be seen as Fm7 to Bb13b9 to Ebmaj7.


Key G major - Scale ascending from the 5 to F#m7b5 arpeggio then jumping to Ebm arpeggio and landing a half step down on the 5th, again.

This could be seen as Am6 to D7b9 to Gmaj7.

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[Travelrock]

I've been holding off with analyzing this week's examples, hoping that somebody else would jump in.

Anyway.... Here goes:


Ex. 3, Line 1, Gmaj

Gmaj7 arpeggio played two-notes-per-string.

I've been doing a lot more of this practice after seeing Ben Eunson demonstrate the utility of these shapes.

Ex. 3, Line 2, Am11

Am9 arpeggio with chromatic enclosure of the b3 leading to a Cmaj9 arpeggio.

Cmaj9 = Am11

Ex. 3, Line 3, Dmaj9

Dbmaj9 arpeggio.

This is essentially the same lick as the previous example just changing the harmony underneath.

Ex. 3a, Line 1, Cmaj

I see this line as basically a C major pentatonic lick with a chromatic enclosure of the 3 on the E string and a chromatic approach down to the 3 on the G string.

Ex. 3a, Line 2, Gm7 - C7

Scale tones leading into a maj7 arpeggio from the b3 then G minor pentatonic (slightly altered on the descent) and shifting to the 3 and root of the C7.

maj7 from the b3 = min9.

Ex. 3a, Line 3, Fm9

Ab major pentatonic leading to enclosure of the root, then scale tones up to Ab major pentatonic and leap up to the 9.

This major pentatonic shape is sometimes referred to as a "Coltrane pattern".

Ex. 4

Key G major - G major pentatonic (Coltrane pattern) jumping to F#7 arpeggio and down a whole step to the 5th.

This same move is used in the G major exercise etude to move to an enclosure of B and ascend a Bm arpeggio.


Key C minor - Chromatic from G up to Bb then jumping to Bdim7 arpeggio and ending with a chromatic enclosure of C.

This is the same type of move used for Ex. 1, Line 2 and seems to suggest G7alt moving to Cm.


Key Eb major - Scale ascending from the 9 then jumping to G triad arpeggio and ending a half step down on the 5th.

Using the major triad from the 3rd of the maj7 chord is demonstrated by Scott Henderson in his Jazz Fusion instructional video as a means for playing slightly outside on the chord. This could also be seen as Fm7 to Bb13b9 to Ebmaj7.


Key G major - Scale ascending from the 5 to F#m7b5 arpeggio then jumping to Ebm arpeggio and landing a half step down on the 5th, again.

This could be seen as Am6 to D7b9 to Gmaj7.

.

Thank you very much for your analysis! I confess that I was a bit lost in some bars and that I have learned a couple of things from reading it.


I believe that some members of the forum are waiting for us to get right into the exercises to join us, as they are further along in the study of the book.


I have a couple of doubts.


In Ex 3, line 2, is it Am11?


In Ex 3a, line 1, is the ending diatonic?


In Ex 4, G major key, for it to be a D7b5, shouldn't it have a C instead of a Bb?


I've reflected a summary in the schematics:


GALBRAITH 1. Page 5 - Google Docs

GALBRAITH 1. Page 6 - Google Docs


Thank you so much!

[FwLineberry]

In Ex 3, line 2, is it Am11?

You could play the entire line over Cmaj7, Cmaj9, or even C6/9, as well. I'd even use it over Dm7.

In Ex 3a, line 1, is the ending diatonic?

I'm not sure what you're asking. Was it my use of the word chromatic? I only meant that the note was a half step above the 3. It also happens to be a diatonic note.

In Ex 4, G major key, for it to be a D7b5, shouldn't it have a C instead of a Bb?

The Bb would be the b13. You could say the line works over D7alt or D7b9b13, instead of D7b9.

.

[Moonray]

It's interesting following along here.

Really helpful analyses from FwL!

The questions are good too because they're prompting discussion.

Those Google Docs charts really do my head in though, still everyone has their own way to express or maybe
just to remember what each study is demonstrating.

There are many occasions where lines are able to be superimposed over their relative harmonies. Like that Ebm arpeggio for
an altered D7 as was pointed out, that would be something right out of the Pat Martino bag. It could also be thought of, in
the given context to be simply an "outside" movement circling back inside, also it's on the weak end of an already weak 2nd
bar of of one chord sound and as such creates interest and forward motion.

For myself I'm enjoying watching my RH since I last looked at these studies I've upgraded my picking to take into
account two way pick slanting. Yes I've spent some time at Mr Grady's place.
Simple really, pick with upward pick slant if there is one note per string [or any odd number of notes] and downward pick slant
if there are two [or any even number of notes per string]
Also there are a couple of studies where ^^V triplets work well. YMMV

I reckon that these introductory studies that the group are working through are worth the price of admission!

- Can you play them in every key? Start with the cycle of 4th's, then on to minor 3rds, then whole tones [as David Baker taught]
- Can you visualize the chord form [shape] each is based on?
- Can you do the above and say the name of the chord as you move the fingerings around the fingerboard?
- Do you know which note of the chord, or key center the given study starts on?

If you can do the above at a reasonable tempo I think you're well on the way to developing some jazz
language while building technique and fingerboard knowledge.

Fun to follow you along, off to a good start.

[Travelrock]

You could play the entire line over Cmaj7, Cmaj9, or even C6/9, as well. I'd even use it over Dm7.




I'm not sure what you're asking. Was it my use of the word chromatic? I only meant that the note was a half step above the 3. It also happens to be a diatonic note.





The Bb would be the b13. You could say the line works over D7alt or D7b9b13, instead of D7b9.

.

My first question concerned the correct nomenclature of the arpeggio. Coming from a classical music background, the nomenclature of jazz (and more so in another language) sometimes gives me doubts. I don't know if it is correct to name the arpeggio Am7 or Am11.

In the second question, I thought that in the approximation you meant two notes instead of one. Our use of chromatic and diatonic is the same, thankfully! ;-)

And as for the question of the D7b9, now I see it clearly from your comment, thank you.

[Travelrock]

It's interesting following along here.

Really helpful analyses from FwL!

The questions are good too because they're prompting discussion.

Those Google Docs charts really do my head in though, still everyone has their own way to express or maybe
just to remember what each study is demonstrating.

There are many occasions where lines are able to be superimposed over their relative harmonies. Like that Ebm arpeggio for
an altered D7 as was pointed out, that would be something right out of the Pat Martino bag. It could also be thought of, in
the given context to be simply an "outside" movement circling back inside, also it's on the weak end of an already weak 2nd
bar of of one chord sound and as such creates interest and forward motion.

For myself I'm enjoying watching my RH since I last looked at these studies I've upgraded my picking to take into
account two way pick slanting. Yes I've spent some time at Mr Grady's place.
Simple really, pick with upward pick slant if there is one note per string [or any odd number of notes] and downward pick slant
if there are two [or any even number of notes per string]
Also there are a couple of studies where ^^V triplets work well. YMMV

I reckon that these introductory studies that the group are working through are worth the price of admission!

- Can you play them in every key? Start with the cycle of 4th's, then on to minor 3rds, then whole tones [as David Baker taught]
- Can you visualize the chord form [shape] each is based on?
- Can you do the above and say the name of the chord as you move the fingerings around the fingerboard?
- Do you know which note of the chord, or key center the given study starts on?

If you can do the above at a reasonable tempo I think you're well on the way to developing some jazz
language while building technique and fingerboard knowledge.

Fun to follow you along, off to a good start.

Dear Moonray:


Thank you very much for your message. It is very instructive, and I will keep it in mind. I take note of the ideas behind your words. I cannot take advantage of the tips on the use of the pick, since I play with my fingers, but the application of the examples to other tonalities following the cycle of fourths and other harmonic progressions (although a little scary at first) I think it is a great idea.

Thank you. I hope to continue reading you around here!

[FwLineberry]

Alright. Got started on the next set of examples last night. Looks like mostly arpeggios and arpeggio sequences.

.

[Travelrock]

I'm really enjoying the Ex. 5 and 5a.

As for both Ex. 5 and 5a (line 1), I see them not with a harmonic intention for improvisation, but rather what in Spanish we call exercises “de mecanismo" (to develop a technical ability).

In addition, I believe that these first three exercises of this week have a hidden potential that I have not yet been able to discover. They are like reading a haiku in Japanese: there is valuable content, but I don't understand the language for now.

[Jazzjourney4Eva]

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.

Not trying to throw you off course but if the guitar is not your principal instrument you could start with easier material than this, you know. Leavitt Volume 2, Section One.

Major scales up the neck, in different keys. Ascending/descending plus patterns like 1231, 2342 and 1321, 2432, etc. etc. Just food for thought.

[FwLineberry]

I'm really enjoying the Ex. 5 and 5a.

As for both Ex. 5 and 5a (line 1), I see them not with a harmonic intention for improvisation, but rather what in Spanish we call exercises “de mecanismo" (to develop a technical ability).

In addition, I believe that these first three exercises of this week have a hidden potential that I have not yet been able to discover. They are like reading a haiku in Japanese: there is valuable content, but I don't understand the language for now.

Ex. 5, Line 1 shows up in the C major etude followed by a series of descending tritones. Both lines together begin and terminate on C.

.

[FwLineberry]

Not trying to throw you off course but if the guitar is not your principal instrument you could start with easier material than this, you know. Leavitt Volume 2, Section One.

Major scales up the neck, in different keys. Ascending/descending plus patterns like 1231, 2342 and 1321, 2432, etc. etc. Just food for thought.

This book seems to assume you have at least a basic familiarity with playing major scales in positions. The second volume, covering harmonic minor and melodic minor, spends a lot more time going over basic fingerings for the scales and chords built from each scale. I don't know if the author saw that as an oversight with regard to this current volume or simply thought that harmonic and melodic minor scales would be less familiar to the average player.

.

[FwLineberry]

Ex. 5, Line 1

Sequence of major triad arpeggios ascending by diminished 5ths.

Ex. 5, Line 2

Sequence of major triad arpeggios ascending by minor 3rds and connected by descending whole steps.

Ex. 5a, Line 1

Sequence of min7b5 arpeggios ascending by perfect 4ths.

This could be used over a III7 VI7 II7 V7 Imaj7 in F (A7 D7 G7 C7 Fmaj7), each arpeggio starting on the 3rd of each chord.

Ex. 5a Line 2

Fmaj7 arpeggio leading chromatically into a Bm7b5 arpeggio followed by a diminished idea.

I'm not sure what to make of this one. At first it seems rather disjointed. The one flat key signature suggests that it might be functioning as an F major or D minor line.

The first part makes a nice D Dorian lick. The diminished Idea could be suggesting a G7alt resolving eventually to Cmaj7. That would seem to call for a C major key signature though.

Anybody else have any ideas for this one?

Ex. 6, Line 1

Two different diminished 7 arpeggio ideas.

Ex. 6, Line 2 - Bm7 E7b9 Am

Bm7 line (Phrygian mode) with the major 3rd used as a passing tone followed by G#dim7 arpeggio resolving to A minor pentatonic.

It seems a little weird how the line hangs on to the F note (minor 6th) for the first beat of the Am chord. My impression has been that most players avoid the minor 6th over a minor chord, altogether, and certainly wouldn't hang out on it for the first beat of a chord change like that. Mr. Galbraith seems to have had a unique sense of tension and release as evidenced by the etudes that follow this section of the book. Perhaps he was just harmonically and melodically "liberated" like Joe Diorio and others of that stature.

Ex. 6, Line 3

min11 arpeggios from the 6th, 5th, 4th and 3rd strings, respectively.

Ex. 6, Line 4

Section 1 - Am11 arpeggio with chromatic enclosure to Cmaj9 arpeggio and resolving to the 5th of A

Section 2 - Dm11 arpeggio

[Jazzjourney4Eva]

This book seems to assume you have at least a basic familiarity with playing major scales in positions. The second volume, covering harmonic minor and melodic minor, spends a lot more time going over basic fingerings for the scales and chords built from each scale. I don't know if the author saw that as an oversite with regard to this current volume or simply thought that harmonic and melodic minor scales would be less familiar to the average player.

.

Yep, I'm guessing the latter (which is true for most, including me), but who knows.

[Travelrock]

Ex. 5, Line 1

Sequence of major triad arpeggios ascending by diminished 5ths.

Ex. 5, Line 2

Sequence of major triad arpeggios ascending by minor 3rds and connected by descending whole steps.

Ex. 5a, Line 1

Sequence of min7b5 arpeggios ascending by perfect 4ths.

This could be used over a III7 VI7 II7 V7 Imaj7 in F (A7 D7 G7 C7 Fmaj7), each arpeggio starting on the 3rd of each chord.

Ex. 5a Line 2

Fmaj7 arpeggio leading chromatically into a Bm7b5 arpeggio followed by a diminished idea.

I'm not sure what to make of this one. At first it seems rather disjointed. The one flat key signature suggests that it might be functioning as an F major or D minor line.

The first part makes a nice D Dorian lick. The diminished Idea could be suggesting a G7alt resolving eventually to Cmaj7. That would seem to call for a C major key signature though.

Anybody else have any ideas for this one?

Ex. 6, Line 1

Two different diminished 7 arpeggio ideas.

Ex. 6, Line 2 - Bm7 E7b9 Am

Bm7 line (Phrygian mode) with the major 3rd used as a passing tone followed by G#dim7 arpeggio resolving to A minor pentatonic.

It seems a little weird how the line hangs on to the F note (minor 6th) for the first beat of the Am chord. My impression has been that most players avoid the minor 6th over a minor chord, altogether, and certainly wouldn't hang out on it for the first beat of a chord change like that. Mr. Galbraith seems to have had a unique sense of tension and release as evidenced by the etudes that follow this section of the book. Perhaps he was just harmonically and melodically "liberated" like Joe Diorio and others of that stature.

Ex. 6, Line 3

min11 arpeggios from the 6th, 5th, 4th and 3rd strings, respectively.

Ex. 6, Line 4

Section 1 - Am11 arpeggio with chromatic enclosure to Cmaj9 arpeggio and resolving to the 5th of A

Section 2 - Dm11 arpeggio

Thank you for the detailed analysis!

I’m currently working on the Ex. 6 (line 1).

Ex. 5a (line 2). I have the same analysis except for a G7 descending arpeggio in the two first beats of bar 3.

Ex. 6. Nice disminished scales licks. The first one it is like a skeleton of the tone-semitone diminished scale, using only the outer fingers (1 and 4) that are used on the full scale. The second lick is built on the semitone-tone diminished scale.

[FwLineberry]

Ex. 5a (line 2). I have the same analysis except for a G7 descending arpeggio in the two first beats of bar 3.

I saw that arpeggio, there, then the whole line started looking to me like it was just coming from the diminished scale.

The notes are F D Bb G, though, so it's actually a Gm7 arpeggio rather than G7.

[Travelrock]

I saw that arpeggio, there, then the whole line started looking to me like it was just coming from the diminished scale.

The notes are F D Bb G, though, so it's actually a Gm7 arpeggio rather than G7.

Correct. Minor arpeggio!

[Travelrock]

Ready for start the las page of examples next week. I’m enjoying this pages, that I combine with my regular study.

Ex. 6, line 4. The las bar can be Fmaj9 arpeggio?

[FwLineberry]

Ready for start the las page of examples next week. I’m enjoying this pages, that I combine with my regular study.

Ex. 6, line 4. The las bar can be Fmaj9 arpeggio?

Yes to both!

.

[FwLineberry]

I'm tired of waiting! I'm cracking open that last page of examples today!

.

[Travelrock]

I'm tired of waiting! I'm cracking open that last page of examples today!

.

Me too!!!

I’ve whritten some ideas:

Ex. 6. Line 4.

Part one: Fmaj/Dmin
Bar 1: Gmin11 arpeggio
Bar 2: Bb triad, scale tones

Part two: Bbmaj/Ebmin
Bar 3: Cmin11 arpeggio
Bar 4: Scale tones

Ex. 6. Line 5.
Bar 0: Chromatic approach to
Bar 1: Am7 arpeggio, Fmaj arpeggio
Bar 2: C triad, scale tones

Ex. 6. Line 6.
Bar 1: Ebmaj9 arpeggio, Ebmaj9 arpeggio
Bar 2: Ebmaj9 arpeggio (cont.) and scale tones.

Ex. 7. Line 1
Sequence on the Dmin (Fmaj) scale. Every cell starts a semitone down a scale grade: Bb - A - G - F - E. Sound very nice on Dmin scale chords: Bbmaj7 - Amin7 - Gmin7 - Fmaj7 - Emin7b5 - Dmin7

Ex. 7. Line 2
Sequence. Unlike the previous sequence, this one is repeated with the exact intervals, not maintaining the key signature or the scale notes.

Ex. 7. Line 3
Sequence. Repeated with the exact intervals. The descent on the neck is done in each sequence by sliding finger one, and taking advantage of the beginning of the next sequence with finger three.

[FwLineberry]

Me too!!!

I’ve whritten some ideas:

Ex. 6. Line 4.

Part two: Bbmaj/Ebmin
Bar 3: Cmin11 arpeggio
Bar 4: Scale tones

Bar 4 could be seen as a Cmadd9 arpeggio.

Ex. 6. Line 5.
Bar 0: Chromatic approach to
Bar 1: Am7 arpeggio, Fmaj arpeggio
Bar 2: C triad, scale tones

Bars 0 and 1 can also be seen as chromatic enclosure of the 3rd and ascending the remainder of an Fmaj9 arpeggio.

Bar 2 can be seen as a C major pentatonic scale sequence. Major pentatonic from the 5th of a maj7 chord (Fmaj7) is a common use of the pentatonic scale. The author uses this same alternating 4ths pattern in several spots within the etudes.

Ex. 7. Line 2
Sequence. Unlike the previous sequence, this one is repeated with the exact intervals, not maintaining the key signature or the scale notes.

Ex. 7. Line 3
Sequence. Repeated with the exact intervals. The descent on the neck is done in each sequence by sliding finger one, and taking advantage of the beginning of the next sequence with finger three.

I'm not sure what to make of these last two lines. If they have a specific harmonic intention or application, it escapes me.

.

[Travelrock]

Bar 4 could be seen as a Cmadd9 arpeggio.






Bars 0 and 1 can also be seen as chromatic enclosure of the 3rd and ascending the remainder of an Fmaj9 arpeggio.

Bar 2 can be seen as a C major pentatonic scale sequence. Major pentatonic from the 5th of a maj7 chord (Fmaj7) is a common use of the pentatonic scale. The author uses this same alternating 4ths pattern in several spots within the etudes.






I'm not sure what to make of these last two lines. If they have a specific harmonic intention or application, it escapes me.

.

Thank you for the contributions!

[Travelrock]

Hello,

This week we do double. And we start with the fingered exercises.

I encourage you to join the study group, as we begin to dive deeper!

Here below I copy the link to the updated calendar for the next four weeks.

GALBRAITH. SCHEDULE (IN CONSTRUCTION) - Google Docs

Greetings

[FwLineberry]

Alright! The fun begins.

.