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