parry calbiaith Jazz Guitar Study Series GUITAR COMPING with Bass Lines in Treble Clef ™ Play-A-Long Book and CD Set Damey roebkersold Jazz, Tuc.BARRY GALBRAITH Jazz Guitar Study Series "Volume #3 - GUITAR COMPING" Blues in 12 key: Rhythm #1..... S-Miles. Tan-Gee. Sole. Wind #2. Rhythm #2. Like Someone. Transcribed bass lines from recording. ADENSCHRARMAREODA The Guitar part notations correspond as closely as possible to the recording. Stereo separation on the recording (Bass on Left channel, Guitar on Right channel) enables the guitarist to turn off the Right channel and comp with the bass, either reading from the book or improvising his own comping. Playing both channels furnishes a background for single line improvisation. For this, the player will find it helpful to read the symbols above the bass lines given in the back of the book (pages 37-48) The tune sequence corresponds to that in Book Three with the exception of the last three cuts (Wind #2, Rhythm #2, and Like Someone) which are for guitar alone. Left Channel: Right Channel: Milt Hinton, Barry Galbraith, Bass Guitar | | Pamey reehersold Gazz, Tuc.INTRODUCTION Most of the comps (accompaniments) in this book are designed to accom- pany an improvised solo with bass and without piano. In actual play, comps are created as a response to a soloist and putting them on paper is an elusive and somewhat arbitrary task without a given melody line to follow. However, there are certain principles common to all comping: Rhythm: Rhythm takes precedence over harmony in comping. If a comp doesn't swing, it can hinder rather than enhance. Simple, sparse accents are often all you need, especially at bright tempos, where the less you play, the better! Harmony: The harmonic comp line sounds best when it has a direction. Resolve voices of diatonic chords to the closest voices of the following chord. Upper voices of chords should form a simple counter line rather than jumping aimlessly about. However, at times inversions work well. Using a common upper tone while changing chords is effective (see first two bars of "Wind"). Chord symbols in this book relate to function. Example: D7#5#9 in bar 7 of "Wind" could be written as Ab13 but since the bass note is D, the chord functions as an altered D7. The comp material begins simply with "Shiny" and "Wind" and becomes more elaborate throughout the book, exploring the many musical possibilities in comp playing. Bass parts are to be played on another guitar or taped for playback. Chord symbols are given for regular bass. Without any other accompaniment, be sure to use a metronome. Some of the studies in this book have chord progressions similar to the following standards: "Shiny Stockings," "Gone With The Wind,” "Out of Nowhere,” "You Stepped Out of a Dream,” "I Got Rhythm,” "Nardis,” "Tangerine," "Body and Soul,” and "Like Someone In Love.”SHINY c13 Fad Bb]3#11 Dreseicrome,@) Am7 Gio Abm7Gm7 Gm7 cis — _ bo Bmll Digs in m11b5, 0 Am? AmT D13. Bm9 E13 AG amiibs, 2s ® D2 oo, 2 Hi = ===: bass 44 : as } : Am9 Eb13 D13 Gm11 C13 C9sus CosusF6 Am7#5 D7#9 2Gm7 F#m9Gm9 Gm9 Db13 C13 porta Fao Ae_Abo Gm7 Am? bo gm? Am? Gmo Cis | ® bi = s aie #11 PeWIND 100-126 Gog Fmll Bbis — Eb§ orbs Fml1 Bb75 Eb§ —_Eba9 amo PS @ bs $8 Ebe " a EqS Amo Dijp Gs9 Em? ‘A F $ Fm7 Fm? B13 Bb13 Bb13 Eby Bb7¥5 BomG—C7#S— FmTFm7. a Fm7 Bb13 ad $ be hea Fmg9 —-Bb7#5— bag. c7#9 Fm7—Bb13- Ss Ebad EG Am9 oi Gad | Oe — | » Erto Am7 vi? op G3 Fm6 rm§ = Cm7_~—Gm7 AG AbG Gmi1 cig E°Fmil Fm7 BIS 6 tboFm7 Bbis Eb6 p79 Db9 cnt orp? oO,BLUES IN F eso: 9 ny cms Bg hs nid ay Fo E945 ebis po : o 2 © —3— & Se s SSS - v fu t5 Gm7 Gmg Gm7 —C9sus F6 Dito cisbs C749 #11 #11 9 Di Gis Chg ETH F749 Oy. BB13 Bb13 HB F® ph13 —-Bb13b9_ F THO ey —. b: Se: bee sigs Bb1s#11 Bbi3#11 Bb 3 21 2 EbS De Ds Gm7 Gm9 Gmo ts Abm9 Fimo F6 pris «GT. CT 5. Fo Gb9ts Fo Bots a ~~ O, F9 F9 Gb9$5 F13 Bb9B9#S Bb be @ pi Gm9 Eb9 D7#9 Gm7 Gm9 — Abm9_—C9sus F6 DT Bb1! G7 oct OFT FI3 : Fi3. F13 F745 BbSCots FO Abm7 Fis Digs bis bis Fo b Bbo cis g Fo AbisHl Gm7 Gmg Bbis Bis C7#5 FS D7 G7 cats Fis oeeuy =~, ® it . fs d a _ s i > ; f= vi = Fo F13#9 F9 Bbo Gm9_ Gm9_—sC9sus_— Coss FG @MINOR BLUES comp is a variation of the I-IV-I-V-I minor blues. Each chorus is slightly different and most substitution is done with ‘eycle of V progression. fo aT Dmg d= 100-120 Bb13#11 Bb9 Aq i at? Am7 o ams $5 4 Vs d- ie i of “bab B13 Amg C13. as 2 2 5 5— = of oe at Dm9 Dmé en at faSfeHe oS f zs Bb13. Amo C13 F13b9 ATs A79 Dm7 E79 Am11 — Bb13_ A13 Oe oO] © agi (o,f Bba #11 Bba#ll nailBmll ET#Am9 Bb13#11 2 Am11 (6) > @Harmonic eT enbo ritard @ ohfret & 13NOWHERE d= 108-144 Gao Gad Bbm9 Eb9 Bbm7 Eb7 Gad Oe 4 —e- Bm? ETto E79 Am? ET pos 4 = r P Am Am7 Am Bbm9 >9 —_Bbm11 Eb13 Am9 Am11 D13_D13 She = tod 15 — oe (Eb) Bbm7? E> Gog Amo is — efs iy Bm7 C#° AmT D179 Bm7 Bb13 Am7 D179 O¢ e r | iaG Bbm7 Cm7 Bbm7 Cm7 Bbm7 G Am Bm Bill Bm9 E13 Em9 Am7 Am7 —-ED9 ETS #2 @h_ eer ces, o aft cohol el pth i. Bbmg Eb13 Amll — Am9 = pibobuee dots 2 Ga Bbm7 = Cm7 Bom7 Eb7 Go Am7 Bm7 amo Gf Bml1 Bm7(6) E13 Phe am? Am? Ev9 ETO 2 Am?) Gm? Fis Bm? Bbo Amo D9 AboS agDREAM j= 132-192 Dad D6 De D6 Ebad EbG Ebs — Eb6 F13 F#1359 FI | ® 6 ‘9 Bi BSS BoS Ami Amit = «DT Ga Giadas) G Gm cobs 9 Fm9 BbT Em9 a ® Da Dé Da Dé Da Eba Eb6 Eba EbG Eba Dm7 C#m7#5 m4 io, = = E fee = 4 0 F13 Ab1S#11_Ab7 G7 on er Oe. b G13 F#m7Fm7(6) Em7 bf 16Em7 Dad Da Ebs Fm? Eba9 Gm9 C9 Gmll_ CIs Am11 D13 Fml1 Bb13 Emil A13 Cm11 Dmll Fi3 ris. F9 Ab13#11 Ab be b 7 GT ®BLUES IN TWELVE KEYS This comp illustrates the variety of progressions that can be used on the blues. Each key has it's own set of changes, and a soloist should have the changes as a guide when playing this blues. J=92-120 ca co F6 F#m7Gm7 cis Bba9 Ab©° Bb6 Bbm9 EQ Eb9 AboS Gb° Ab6 Abm9 D9 Db9 * box 3 Gm9 Gmll C9sus_—F6 2Bb9#5 Eb9 F9#5 Bb9 1 bots Abo cme FHO cms F9 Bis BIS C13.C#13 13 Eb13_ 4 . ft fop8 if als Abas FO Feo AS Ebag ee — rg a = ee fst aah AQ Abo AbIS FH AC EDS = DT9— Db c7HsAba AS Abo He ie ty Aba Aa Abo Aba Aa Aba AbG Aba Aa Aba Ab6 bm Ab13 Bb! c7ts FTO Aad Am9 Ab13 AIS. Ab13.C6 DS6 #9 2 tees 4 ibe ee bem fee Ole tee _,p ARETE ES totes 2 ae — = = r | , —— yu eis Bho bo Eb13 p13 ps Dbag G°abm7 —Db1s__— DP Tes £8 Se Hee —6 Gbg Eb13b9 Ab7#9 c13 Dbiab9 abe cists, custo bgt bee 4 —s2 Gbmg cbs. Gbm7 bb Abmg Abm9 Db9sus Abm9 Amo 2 a3 Ge Gb13 G13 Ab13_Bb13. 13 oS i‘ Brts | Als DIS asco Fimi1 B13 Fo m9 C#m9 cm7Cim7 —F#13 BS : b 21aaa ATb9 Ang Eg Eb9#S pis ce its > 2 2 . ff — nT pare vl q pbs c#7 D7 5. 2 Bm9 Bm7 Bm7 Bm7 GHEAG Fv Boa EbO#IL pots | v -Bom7 Am9 = pisg9 4s ts co Ctmnbs cm7 pms ETfa’ ama thy Gre 7 \., b geek = rr 7 #5, to $5. bg fll ok an oh vipat HabsRHYTHM 41 sige eg a ge = = a Iya tn IY aS d= 144-208 ae a i Bba Bb13 Bo cm7 cto Dm7 —G7#5, cm7 FS Dm7 G7#s Gm7 \ Fis ba. — Fmi1 pois, 2™7 abr ze 2 i @ coe tial Ca i page Pe ea = 7 a t eo er Peele ta zi Doh Dan’ as Go cmtt— Aba Ami1 Bbmd Am9 D9 0 Q) m7 al : j oi Bb§ G7#5. Cm7_—OFIB © ol Bae 24Amll — D79 Gmi1 cisfi1 Fasus FIS#11 | 2 ee Bog o ae cis#9 6 Bb arts F13¢9 BbI3 Gna ® cte BbS-MILES ‘This comp uses open strings to broaden our range of chord voicings. Wherever a circled E, B or G occurs play the corre- sponding note as an open string. = 120-132 ‘Ams Em9 Fo#ll (adds) Fofil Emil Em11 E5/F Fadds) Emo 7 | Amo Fafa Amo Fafll @ ® ® sect ay tacts #5 pm gothsare Fe rg ‘erin Cag Dmi1 Gi3_G7#s ® Emg,TAN-GEE F1365 F9 Em7 | | Dm7G13 Dm7 —F#13 G13. EE epee ca : a 3 Dm Dm7 G3 mish F9¢11 oe Ebmil 5 2 5 1 : ——s ——== 4 === = = —— = ——-_ 3 = Dmil Dm7_G7 eo” eS = a = ¥ 7 —= <4 — | ¢ SS = ——s bo Dm9 Bb13 Bb1s Bb9 ATgs, atti bo 9 Bre5 Bhi ATs é FE = E 9 ds 7 lo “> = ali cf alle L a otek & } : eeHSto4SOLE ‘The following piece is more melodic than any of the previous comps and would almost form a duet with the soloist. For an accompaniment to assume this importance would require sensitive rapport with the other player. 1= 66-72 Finger Style Ebm9 = D°- Ebmd AbI3 Dead Gb13_ Fm7 E° Fbm9 3 Per © pg ete ha et peqapieae sig daa Sane © 3 mil _ 75 Bbm7 Ebm11D9 bag B9b5 Bass, Ebm9 D° Ebm9 Ab13 — Dbad _3 6, »A¢ a) 02,9 Tears geting pe ae tte bo D13 Gbisgii pbs Ee oF et id eh Oo. pecppen Pa See wat mm? “Be Bar rim? Gm? cr Bm AT a: 9, f oe eae Ped Dm7 Gis Cad Eb° Fbm9 Dm9 G13 C13 B13 Bb13) Emo go? = # Ebm9 =D? © Tsw F749 Ab13.A13 Bb13 Bb Eo, AbTHS: ny oe ea ccighth m9 Ebmg Dbad ‘ Ebm7E>mg © pte bd’ gh EEE 2 a aeeeat Con fog, 9, D7 Even eighth F195 Fr}y! Bbm9 Ebmi1_ Dba9 Brsus Bb7 EbmgEbm7E5m9 — Ab13 oa > —@ s ££ D 4 5 fd bea 5 HLS sega ined eS fees a eres + Qo I Ebm9Eem7 Ebm7 Fm7 Fm7 E>mg Gbis 0 ‘bm en oe Deas om | @ . 2th b SSE st tie ee 2 CHE HE Bde i pa Em? Ffm7 EbT Abo DOG @ Fm Gm7 C13 Bbm7 Ab9sus bag Algsus @ .v A Ebm7 _Ab13 fu Fg @® — Bomo ons I Abi3 : © Bom EbmT Qe Eb Ebml1 a c7#9 Dad aoWIND #2 “Wind” and “‘Like Someone” show another way of comping in the absence of a bass. Here the thumb plays the bass line while the fingers punctuate the chords. 2=120-144 Finger Style Fm7 BbT ® Fmg B13 Ebo. c7t | ! } } |EbT AbTRHYTHM #2 ‘This is basically the same progression as RHYTHM NO. 1. The upper staff indicates the given chord changes, while the bot- tom staff is a walking chord line. 32-208 Bb Gt FT Bb GT cm FT cm7 Dm7.G7b5 |cm7 abo Fo F75 |Bbe Ab7 G7 Ctm7 |cm7 Gb7 FT FS Q | 2 Fm7 Fm7b5Bb7 £9 Ebm7 Ab7 BT I Q Bba Bb6 B° Bm7 |Cm7 BO F7 Cfo Cm Cm#5 F7 B9 Bb9 Fm7Bb7 Bb9 |Eba Eb6 Ebm7Ab7 [m7 G75 Cm7 F75 |Bb6 Cm7 C# Bb ()DT Am7 D Am? | D7 Am Bm7 Am7 te abo cr c7 CT Gm7 C Gm7 | c7 Gm | plata ote ; ~ « Bb G7 Cm7 FT B> G7 cm7 FT Bbé Ab? G7 G7bs |cm7 Gb7 FT F7b5 |Bb6 Ab7 G7 C#m7|Cm7 Gbh7 FT F7b5 ®) 2 29 |) Qo eset rae aie Sa eee aae BbT7 Fm7 Bb E9 |Ebs Eb6 Cb Ebm6 |Dm7 Db7 Cm7 F%5 |Bb6 BO Cm7 C#° | @ © |LIKE SOMEONE d= 116-138 Eba G7 Cm? = Cm7/Bb F/A Abo Eb/G C7#O Fm7 Fm OD deed bi ae 58 Be Ee ae pot te very i TTT rT rigs FF Cc. cm7 FT ‘F 9s Bb9: Secs oe Eba G7 cm Cm/Bb = F/A — Abm6. Gm7 CTR bs — Bm7 Bom? AI Abs Dm7 G7 Ca ® NJ | 44.6 ' = a8 ie ars > =— = oa | rity tre prre Ft Fim7 BT Gm7 C7 Fm7 Bb7 Ead ont agd 2 td aed Oh os OP riper SS Papo tr:cr Gm7 C7 Gm? CT Gmc F Bor Amt cto Gm c7 Am? D7 cm? Ab Gm7 cr Fmt BbT eb oT pb7 C7BLUES IN F FT Gb7 BT Fr Gb? FT BbT BT Bb7 BOFT Bb Bo FT Bb7 === ES] =a i SSSMINOR BLUES Am7 AT = Bm75_ ET B/A Bb/A Bb/A ATNOWHERE 6 Bh? Fb7 Bbm?_Fb7_—G Bbm7 E>7 | Bbm7 Bom? £7 Bbm7_EbT G Bm? v7 « Bbm7_Eb7__Bbm7_Eb742BLUES IN 12 KEYS FoF’ Gm? ct Fr cm m7 pm? Em? __AT Bn? ET = A Am? DT? Db bor @ AmT De Db BbT eb7 bt Db bm? btGogh? abbr or ch7 hm? cbr AT Bi o rd bt ob Gbra7Abt BbT Abm7 Bbm7 E67 BT at ET Brom? aT bo ET Am? pT G ar cr Br ET AT DT G cmt cmt BmT « Fr BT Am? BbT Bb DT @RHYTHM #1 Eb DT oa? cz FT BO cmt cf? pm7 G7 ee ar ae ee “Hg Cm7 FT Fm7 Bby Ebm7 Ab7 Be Cm?) Cm7Dm7 bp? Dm? cr m7 Gm7 Gb? FT oo Bb FT Bhopby | ct) 7 Bho — Faye c= = Pesta oe beh it or oo the a eae Saas Sas Saw a a ta lista sla ieley pega d er corer - s peispay iy oie =SSaS5 4d =S-MILES Em? F E c aay Am7 F Am7 F Dm7 G7 Em Am7 F Am FTAN-GEE Dm7 G7 os Em7 Eb° Dm7 G7 Dm7 G7 y E Fim? BT E Bb7 AT Dm7 Gz Em? Bb7 AT Dm7 Fm? Bb7 Cc Dm7 Dém7 AT48. SOLE Ebm DO Ebm Ab7 Db Gb7_ Fm7 EC Ebm7 cm E75 Bbm7 Ebm7D7 Db BT _BbT Ebm7 DO Ebm7 Ab7 Db Gb? Db EP AbTsus, Ebm7 Cm F7b5 Bbm7Eb9 D7 Db EmTAT D_ Em? Ffm7 Gm7CT Bm? Fim?) Em7A7_ D Dm7 G7 © —-Eb° Dm7G7_ C7 _BT BbT Ebm7 D° —Ebm7_Ab7 Db G2 Fm7 Eo Ebm7 2 BT Bb7 Ebm7 Ebm7 Ab7T Db Gb7 AbT 4g FT _Bom7Ebm7D7 D> AbTeus Db EO Ebm7 AbT FT BbmTEb7 D7 Db: BT Bb Ebm7 Ebm7 AbT Db Gb?) Fm? EO Ebm7 FT Bbm7EbTAb7 Db AT D Em7 Ffm7Gm7C7 D ETEm7A7_D Dm7 G7 Em? EbO Dm7 G7 C7 B7_BbT Ebm7 AbT AbTous Db by pb Eb? abt FT BbmtebT pr OT DP