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

[FwLineberry]

Eb7

M3:
Eb Lydian dominant scale tones

In my opinion, the Ab note in this phrase precludes it from being Lydian dominant.

M9:
B1-3: chromatic
B3-4: Emin scale tones?

M10:
B1-3: chromatic
B3-4: Emin scale tones?

E melodic minor yields the same notes as the Eb altered scale, so I chose to label these two measures as altered.

M15:
M1-2: Gmin7 arpeggio
M3-4: AbMaj scale tones

B1-2 (G Bb Db Eb) don't yield a Gm7 arpeggio. This may have been a typo. There are the notes of a G° triad leading into scale notes. The E natural precludes the scale notes from being Ab major, though.

M16:
B1-2: Eb Lydian dominant scale tones
B2-4: Ebº h/w scale tones

All of the notes in this measure and the previous measure, together, amount to a descending Eb h/w diminished scale landing on C. Once again, the overlapping notes in Diminished and Lydian dominant become apparent.

M19:
B1-3: AbMaj scale tones
B4: Ebº h/w scale tones

M20:
B1-3: Ebº h/w scale tones
B4: AbMaj scale tone

The B natural in these measures precludes both Eb h/w diminished or Ab major. The difference between Eb h/w diminished and Eb altered is the inclusion of B natural:

Eb h/w diminished = Eb Fb F# G A Bb C Db

Eb altered = Eb Fb F# G A B Db

M22:
B1-2: Ebº h/w scale tones
B3: AbMaj scale tones
B4: Ebº h/w scale tones

M23:
B1-2: Ebº h/w scale tones
B3-4: Db arpeggio

M24:
B1-2: Ebº h/w scale tones
B3-4: Db arpeggio

Cb (B natural), again, precludes Eb h/w diminished. I think this section is much easier to see as a series of chromatic enclosures of chord tones.

M25:
B1-3: Bbmin7 arpeggio
B3-4: Ebº h/w scale tones

Cb used here, also.

M26:
B1-2: Db(5aug) arpeggio
B3-4: AbMaj scale tones with leading tone to...

You're a braver man than I. I couldn't make any sense of this measure.

M27:
B1-2: Fmin7 arpeggio
B3-4: Ebº h/w scale tones

M28:
B1-2: Emin arpeggio
B3-4: Ebº h/w scale tones

B natural used here, also. I prefer to view this entire sequence of notes after the Fm arpeggio as Eb altered.

M29:
B1-2: Db arpeggio
B3-4: Ebº h/w scale tones

Cb used here. also.

.

[Travelrock]

In my opinion, the Ab note in this phrase precludes it from being Lydian dominant.




E melodic minor yields the same notes as the Eb altered scale, so I chose to label these two measures as altered.




B1-2 (G Bb Db Eb) don't yield a Gm7 arpeggio. This may have been a typo. There are the notes of a G° triad leading into scale notes. The E natural precludes the scale notes from being Ab major, though.




All of the notes in this measure and the previous measure, together, amount to a descending Eb h/w diminished scale landing on C. Once again, the overlapping notes in Diminished and Lydian dominant become apparent.




The B natural in these measures precludes both Eb h/w diminished or Ab major. The difference between Eb h/w diminished and Eb altered is the inclusion of B natural:

Eb h/w diminished = Eb Fb F# G A Bb C Db

Eb altered = Eb Fb F# G A B Db




Cb (B natural), again, precludes Eb h/w diminished. I think this section is much easier to see as a series of chromatic enclosures of chord tones.




Cb used here, also.




You're a braver man than I. I couldn't make any sense of this measure.




B natural used here, also. I prefer to view this entire sequence of notes after the Fm arpeggio as Eb altered.


Cb used here. also.

.

Dear FwLineberry,


Thank you for your detailed and reasoned message. After analyzing your response meticulously, I think that you are right in all your contributions. The main problem I have had when analyzing this exercise has been writing the Eb diminished h/w scale with two wrong notes, which has caused me to falsely label some measures.


On the other hand, in M15 (B1-2) I clearly see the Gº triad, while the same measure in M3-4 I have labeled Ebº in my exercise and I have written in the post by mistake Abmaj scale tones.


Shortly I will begin with the last exercise of sevenths.

All the best.

[FwLineberry]

Shortly I will begin with the last exercise of sevenths..

Have you given any thought to how we should approach the last part of the book? I don't know if pages 32-35 will need much analyzing. That part looks like it's just drills on the circle of 5ths. The chord progression pages that follow look very interesting, though. Time to put some of these ideas to work, hopefully.

.

[Travelrock]

Have you given any thought to how we should approach the last part of the book? I don't know if pages 32-35 will need much analyzing. That part looks like it's just drills on the circle of 5ths. The chord progression pages that follow look very interesting, though. Time to put some of these ideas to work, hopefully.

.

I think it is worth analyzing pages 36 to 40, although a series of minor chords are involved, they have not been covered in this book, I would analyze those pages.

[FwLineberry]

Ab7

Line 1 -

Bar 1:

Beats 1 & 2 - Fm7 arpeggio

Beats 3 & 4 - Ab Lydian dominant

Bar 2:

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - ''

Bar 3:

Beats 1 & 2 - Ab h/w diminished

Beats 3 & 4 - ''

Line 2 -

Bar 1 (M4):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - ''

Bar 2 (M5):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (M6):

Beats 1 & 2 - ''

Beats 3 & 4 - Ab h/w diminished

Line 3 -

Bar 1 (M7):

Beats 1 & 2 - Gbmaj9 arpeggio

Beats 3 - ''

& 4 - Diatonic scale

Bar 2 (M8):

Beats 1 & 2 - Ab altered scale

Beats 3 & 4 - ''

Bar 3 (M9):

Beats 1 & 2 - Gb major pentatonic

Beats 3 & 4 - Ab major pentatonic

Line 4 -

Bar 1 (M10):

Beats 1 & 2 - Diatonic scale with passing tone (D)

Beats 3 & 4 - ''

Bar 2 (M11):

Beats 1 & 2 - Diatonic triads approached by half step

Beats 3 & 4 - ''

Bar 3 (M12):

Beats 1 & 2 - ''

Beats 3 & 4 - Diatonic scale with passing tone (Fb)

Line 5 -

Bar 1 (M13):

Beats 1 & 2 - Ebm/Maj9 arpeggio (Ab Lydian dominant)

Beats 3 & 4 - ''

Bar 2 (M14):

Beats 1 & 2 - ''

Beats 3 & 4 - Chromatic

Bar 3 (M15):

Beats 1 & 2 - Ab altered scale

Beats 3 & 4 - Diatonic scale

Line 6 -

Bar 1 (M16):

Beats 1 & 2 - Am7 arpeggio

Beats 3 & 4 - ?? (enclosure)

Bar 2 (M17):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - ''

Bar 3 (M18):

Beats 1 & 2 - Ab major pentatonic 4ths

Beats 3 & 4 - ''

.

[FwLineberry]

Ab7 continued

Line 7 -

Bar 1 (M19):

Beats 1 & 2 - Ab major pentatonic 4ths continued

Beats 3 & 4 - ''

Bar 2 (M20):

Beats 1 & 2 - Diatonic scale sequence

Beats 3 & 4 - ''

Bar 3 (M21):

Beats 1 & 2 - ''

Beats 3 & 4 - Diatonic scale

Line 8 -

Bar 1 (M22):

Beats 1 & 2 - Ab h/w diminished

Beats 3 & 4 - ''

Bar 2 (M23):

Beats 1 & 2 - Ab altered scale

Beats 3 & 4 - ''

Bar 3 (M24):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 9 -

Bar 1 (M25):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (M26):

Beats 1 & 2 - ?? (enclosure)

Beats 3 & 4 - Ebm7 arpeggio

Bar 3 (M27):

Beats 1 & 2 - Db major pentatonic

Beats 3 - 3rd

& 4 - Enclosure

Line 10 -

Bar 1 (M28):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - 4th and enclosure of...

Bar 2 (M29):

Beats 1 & 2 - 3rd and chromatic to...

Beats 3 & 4 - 3rd and chromatic to...

Bar 3 (M30):

Beats 1 & 2 - Cm7b5 arpeggio

Beats 3 & 4 - Second half of "6th lick"

Line 11 -

Bar 1 (M31):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - Cm7b5 arpeggio

Bar 2 (M32):

Beats 1 & 2 - Second half of "6th lick"

Beats 3 & 4 - Diatonic scale

Bar 3 (m33):

Beats 1 & 2 - ''

Beats 3 - ''

& 4 - Ab altered scale

Line 12 -

Bar 1 (M34):

Beats 1 - ''

& 2 - Diatonic scale

Beats 3 - ''

& 4 - Ab altered scale

Bar 2 (M35):

Beats 1 & 2 - Dbmaj9 arpeggio

Beats 3 - ''

& 4 - Enclosure

Bar 3:

Beats 1 & 2 - Dbmaj9 arpeggio

Beats 3 & 4 - ''

.

[FwLineberry]

Points of interest:

This one is pretty straight forward, in my opinion.


M16 and M26 both contain the same four-note sequence - R 6 b6 3 5. This interval sequence showed up in the Eb7 exercise at M23. For that exercise I have it labeled as an enclosure due to it directly following two obvious enclosures of chord tones. In this exercise, though, it just seems to come out of nowhere, and I don't recognize any obvious common structure from which it might originate.


The second half of the "6th lick shows up in its original form at M30 and M32.

.

[Travelrock]

Ab7

Line 1

M1:
B1-3: Fmin7 arpeggio
B4: Dbmaj scale tones and enclosure

M2:
Dbmaj scale tones

M3:
Abº (h/w) scale tones

Line 2

M4:
Variation of a previous lick based in 4ths and 3rds

M5:
B1-2: lick (cont.)
B3-4: Dbmaj scale tones

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

Line 3

M7:
B1-3: Gbmaj(7aug) arpeggio
B3-4: Dbmaj scale tones

M8:
Ab altered scale tones

M9:
Variation on a previous lick

Line 4

M10:
Dbmaj scale tones with passing tone

M11:
B1-2: Leading tone + Ebmin arpeggio
B3-4: Leading tone + Dbmin arpeggio

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

Line 5

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

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

M15:
M1-2: Amin arpeggio
M2-4: Abº (h/w) scale tones

Line 6

M16:
B1-2: Amin arpeggio
B2-4:

M17-18:
Lick that has appeared in previous exercises, based in 4ths and 3rds.

Line 7

M19:
Lick (cont.)

M20:
Sequence based in a first long (and crescent) interval and then descent scale tones in 2nds.

M21:
B1-2: Sequence (cont.)
B2–4: DbMaj scale tones

Line 8

M22:
B1-2: DbMaj scale tones
B3-4: Abº (h/w) scale tones

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

Line 9

M25:
Abº (h/w) scale tones

M26:
B1-2:
B3-4: DbMaj scale tones

M27:
B1-2: DbMaj scale tones
B3-4: Abº (h/w) scale tones

Line 10

M28:
B1-2: DbMaj scale tones
B3-4:

M29:
B1: DbMaj scale tones
B2-3: scale tone + chromatic
B4: chromatic

M30:
B1-2: Cmin7b5 arpeggio
B3-4: chromatic

Line 11

M31:
B1-2: Dbmaj scale tones
B3-4: Cmin7b5 arpeggio

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

M36:
B1-3: Dbmaj9 arpeggio

[c.mf]

I just started working through this book and I was wondering whether one of you gentlemen could help me out in understanding one aspect of the notation he uses here.
Starting on p. 18 (G major) in the first couple of measures, he's using these markings (^) between notes that are similar to what is normally used for a bend in other guitar music. I know that he's not indicating a bend here, but I can't for the life of me figure out just exactly what his intention is. At first I thought it was meant to indicate a shift or slide, but the entirety of those two bars can be played in position without any shifting. Also, looking at the fingerings on the following page (p. 19, C major) as well as the examples in the beginning doesn't seem to support that idea, and he seems to generally use a straight line (/) to indicate a slide throughout the book. This is really bugging me, and if any of you guys have some insight I would really appreciate it! (Hopefully it isn't something super obvious that I've just missed somehow!)

[c.mf]

I noticed that you had discussed this earlier in the thread, concluding that he's likely indicating a slur, but he doesn't include these markings in the first instances of the exercises, which leads me to think they must be related to the analysis or fingering of the exercises and not the articulation. I may be wrong, though. Thanks in advance for your help!

[Travelrock]

I noticed that you had discussed this earlier in the thread, concluding that he's likely indicating a slur, but he doesn't include these markings in the first instances of the exercises, which leads me to think they must be related to the analysis or fingering of the exercises and not the articulation. I may be wrong, though. Thanks in advance for your help!

Yes, we conclude that this symbol indicates a slur (pull off).

An example that seems to support this conclusion is on page 20, exercise in F major. In the third measure of the sixth line this symbol appears, and it coincides that the first note of the pull off has an accent, which is characteristic of this articulation. A little further down, in the last measure of the eighth line there is a passage with the same characteristics that is totally suitable for playing this type of slur.

The combination of accentuation with this symbol seems to clear all doubts.

[c.mf]

Ah! I see that now, and yes, that certainly seems to be the most likely explanation. I wonder why he didn't include these in the first iterations of the exercises... Anyway, thanks a lot!

[FwLineberry]

Ah! I see that now, and yes, that certainly seems to be the most likely explanation. I wonder why he didn't include these in the first iterations of the exercises... Anyway, thanks a lot!

I don't think I ever noticed the absence of those markings in the first iteration of the exercises. Seeing as the intent of those first pages is for the player to develop their own fingerings and fretboard positions, adding slurs and slides would seem to be counterproductive.

In similar regard, it's a mystery why he didn't include iterations of the dominant 7th exercises without fingering suggestions.

At any rate, my approach with the exercises has been to utilize the authors fingering and position suggestions but to disregard the brackets and slide indications, choosing, instead, to focus on alternate picking each exercise, entirely.

.

[joelf]

Interesting thread, since I recently cracked this book again after it sat for years on the shelf ('My grandfather's clock....').

I have a much-used copy that I'm sure Barry gave or sold to me when I studied w/him in ca '81 or '82. (FWIW the original publisher was Weybridge). We worked through it, and I clearly remember him saying 'Players get into it thinking it'll help the right hand to discover it helps the left'.

I will read your analyses with interest...

[FwLineberry]

Interesting thread, since I recently cracked this book again after it sat for years on the shelf ('My grandfather's clock....').

I have a much-used copy that I'm sure Barry gave or sold to me when I studied w/him in ca '81 or '82. (FWIW the original publisher was Weybridge). We worked through it, and I clearly remember him saying 'Players get into it thinking it'll help the right hand to discover it helps the left'.

I will read your analyses with interest...

Do you happen to know when this book was first published? I was only able to trace it to the current Aebersold publication.


I'd welcome any insights, corrections, observations and/or comments you'd care to add to the discussion.

.

[joelf]

Do you happen to know when this book was first published? I was only able to trace it to the current Aebersold publication..

Sorry, I do not. But I was his student in ca '81--82, and it had to have been out a few years at least---if that helps at all...

[joelf]

I'd welcome any insights, corrections, observations and/or comments you'd care to add to the discussion.

.

I have neither any special insights to offer, nor less so any right to correct anyone else's. I'm more intuitive than analytical, which I consider a deficit in discussions such as these.

However, I do have some comments on Mr. Galbraith the person---though I was strictly a student, never friends with him.

He was above all a gentleman's gentleman. Modest about his achievements, especially as an improviser. He never dunned me if I cancelled a lesson for lack of funds, in fact once offered for me to charge the lesson, to be paid when I could afford to. The book under discussion was a gift, not a sale. Weeks before his passing he, at great pains, returned my phone call. He went out of his way to praise other guitarists he admired, including students (he was especially high on Paul Meyers).

And funny? Had me laughing til I almost wet myself with tales of record dates---like a bossa nova recording w/Coleman Hawkins. Said they did it b/c of the then popularity of bossa, and 'None of us knew his ass from a hole in the ground'.

There's just 2 words for such a man: class act...

[Travelrock]

I have neither any special insights to offer, nor less so any right to correct anyone else's. I'm more intuitive than analytical, which I consider a deficit in discussions such as these.

However, I do have some comments on Mr. Galbraith the person---though I was strictly a student, never friends with him.

He was above all a gentleman's gentleman. Modest about his achievements, especially as an improviser. He never dunned me if I cancelled a lesson for lack of funds, in fact once offered for me to charge the lesson, to be paid when I could afford to. The book under discussion was a gift, not a sale. Weeks before his passing he, at great pains, returned my phone call. He went out of his way to praise other guitarists he admired, including students (he was especially high on Paul Meyers).

And funny? Had me laughing til I almost wet myself with tales of record dates---like a bossa nova recording w/Coleman Hawkins. Said they did it b/c of the then popularity of bossa, and 'None of us knew his ass from a hole in the ground'.

There's just 2 words for such a man: class act...

Thank you very much for sharing this interesting knowledge, this valuable experience. I have read your message several times, it brings us closer to the human side of the author.

[Moonray]

You guys working your way through this material so diligently have got me
thinking maybe I'll go through it again.

Thanks Joelf for your stories of this unassuming great of the studio and jazz world.
Everything I've heard previously bears out your experiences.

FWIW There's more about Barry in the July 1976 issue of Guitar Player magazine in the
form of a long interview with Arnie Berle. The subtitle of the piece is "Jazz guitar: it's nothing to
mess with unless you're serious" - which are his parting words in the interview when asked "What would
you tell the kids of today who want to learn jazz guitar?"

There's also a very warm piece written by his son Don Galbraith called "My Dad Barry"

That one appeared in the February 2001 Just Jazz Guitar magazine as a tribute to Barry and has a much
more personal story about the man and is at times, funny as hell and at others quite tear inducing.
[A good part of "My Dad Barry" is reprinted in the second of the two volumes of Barry's arrangements of
standards published by Mel Bay]

I do have the full cuttings of the Guitar Player interview and the piece written about Barry and his life
in the Just jazz Guitar mag.

I don't have a scanner, but if there was some interest in sharing those writings I could get someone to scan them
for me and put them up on the forum.

[joelf]

[Travelrock]

You guys working your way through this material so diligently have got me
thinking maybe I'll go through it again.

Thanks Joelf for your stories of this unassuming great of the studio and jazz world.
Everything I've heard previously bears out your experiences.

FWIW There's more about Barry in the July 1976 issue of Guitar Player magazine in the
form of a long interview with Arnie Berle. The subtitle of the piece is "Jazz guitar: it's nothing to
mess with unless you're serious" - which are his parting words in the interview when asked "What would
you tell the kids of today who want to learn jazz guitar?"

There's also a very warm piece written by his son Don Galbraith called "My Dad Barry"

That one appeared in the February 2001 Just Jazz Guitar magazine as a tribute to Barry and has a much
more personal story about the man and is at times, funny as hell and at others quite tear inducing.
[A good part of "My Dad Barry" is reprinted in the second of the two volumes of Barry's arrangements of
standards published by Mel Bay]

I do have the full cuttings of the Guitar Player interview and the piece written about Barry and his life
in the Just jazz Guitar mag.

I don't have a scanner, but if there was some interest in sharing those writings I could get someone to scan them
for me and put them up on the forum.

Thank you. Would be fantastic!

[Moonray]

After futzing around trying to photograph each page to send them to myself and then on to
the Forum I just manage to get frazzled and now am going to get a couple of cold beers.

I'll take the articles to be scanned by one of the admin people here where we live.
So, there will be about a dozen pages on their way within a day or two.

In the meantime, I can tell you about the original editions of Barry's Jazz Guitar Study Series.
The first two were published by Weybridge Productions in 1979. That much I can be reasonably
sure of...I'm looking at them right now. So that's book one: The Fingerboard Workbook and book two:
Daily Exercises in the Melodic and Harmonic Minor Modes.

You probably know about book 3: Guitar Comping [if you can play this book, you should have gigs galore]
and book 5: Guitar Improv, which is like an application of the first two volumes.
There's also book 4 which is Barry's transcriptions of the Bach Inventions for two guitars in more guitar
friendly registers. There's a recording that goes with this book [which I haven't got, but it has occurred to me that a looper
version might be fun to do.

Just a few thoughts to keep your interest while I work through the tech jungle.

Hey, I was born the same exact date in the exact same year as a certain David Bowie.
The rest is a trade secret.

[joelf]

You probably know about book 3: Guitar Comping [if you can play this book, you should have gigs galore]

Not sure about 'gigs galore'---it all depends. I suspect you maybe were joking.

Here is (was?) my experience with the man:

I was asked to demonstrate how I played rhythm (not 'piano style' hits, etc., 4 on the floor). I was highlighting the top strings. Barry cured me:

'Sounds good, but it's a little thin'.

So he immediately demonstrated the 3 bottom bass string (w/G string also, but always 3 notes) rhythm guitar procedures he undoubtedly got from Freddie Greene, and put in his book. I think we'd agree that 4/4 is the foundation for swinging as soloists. Anyway, I'm convinced of this.

So the nice written exercises, especially having Fump on the companion recording are useful, but that lower string concept was life-changing for me. It's sonically under whoever you're accompanying (unless it's a basso profundo, then you got troubles), and getting in the way would be like ruining spaghetti. I use it alternating bass lines and it is so simple and effective. (Of course, if a bassist is involved the rules change in deference to the need for contrast and non-range interference.)

If you have that and a good time-feel you can have, er, gigs galore! Even if not, your playing will grow exponentially.

Don't abandon the 'other 'stuff, though. Remember we play a small orchestra...

[FwLineberry]

In the meantime, I can tell you about the original editions of Barry's Jazz Guitar Study Series.
The first two were published by Weybridge Productions in 1979. That much I can be reasonably
sure of...I'm looking at them right now. So that's book one: The Fingerboard Workbook and book two:
Daily Exercises in the Melodic and Harmonic Minor Modes.

You probably know about book 3: Guitar Comping [if you can play this book, you should have gigs galore]
and book 5: Guitar Improv, which is like an application of the first two volumes.
There's also book 4 which is Barry's transcriptions of the Bach Inventions for two guitars in more guitar
friendly registers. There's a recording that goes with this book [which I haven't got, but it has occurred to me that a looper
version might be fun to do.

Thank you for that.

The Bio included in the Aebersold publication of book #1 stated, only:

"After a medical condition diminished his playing ability, he began teaching at CUNY from 1970-75 and began writing his famous guitar methods in that same period."

I don't even remember, now, what the impetus was for trying to find the original publication date. It was probably one internet discussion or another about scale usage over dominant chords. It's merely a point of interest for me, now.

.

[FwLineberry]

Don't abandon the 'other 'stuff, though. Remember we play a small orchestra...

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.

.