BARRY GALBRAITH Jazz Guitar Study Series GUITAR COMPING with Bass Lines in Treble Clef by Bean Goth ate Bodied ST AAWTHORN 9123 4 WEL RO SNCTION) mat ‘bridge Productions, Inc. 1981 apa rk Steet, Middlebury, Vermont 05753From The BARRY GALBRAITH JAZZ GUITAR STUDY SERIES * Guitar Comping Comp charts for Standard & Blues progressions. Barry & Milt Hinton, bass. Book/Record set: * Guitar Improv. Fingered solos on standard progressions. Barry, Milt & Mark Slifstein. Book/Record set * Play Along With Bach 15 Two-part Inventions, arr. by Bary. Barry plays both parts. Book/Record set. gerboard Workbook Concepts in Logical Fingering. Book. * Daily Exercises In Melodic and Harmonic Minor. Book. Prices and Ordering Information from ‘Weybridge Productions, Inc. 3 Park Street Middlebury, VT 05753INTRODUCTION Most of the comps (accompaniments) in this book are designed to accompany 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 comp- ing. Ifa 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 of the above, be sure to use a metronome, Cell lt 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", “| Got Rhythm'/“Nards",“Fangerine”, "Body And Soul”.-~ ‘Like Someone In Love"2 = 100-120 Gm7 C13 C13 oe. Bash Am7 4 Abm7Gm7 Gm7 c13 a Oy gs =a Se ————¥ bo Digs Am7 Am7 D13 Bmll_ pm9 E13 AG Am11b5, a s @ © Dg Fag ate ~ ® Q, —, = — po “os q Am9 Eb13 D13 Gml11 © C¥sus C9susF6 Am7#5— D7#9F#m9Gm9 2 6 Gm9 Db13. C13 = < Fag AO Abo cmt of cm7 O64) pngy OF, ©. @h oe — = = =e 4 ==: 4 'S8 2 Ss ° a 3 | ¥ = a3 ]WIND 4= 100-126 Fml1 Bb13 Eg orbs Frill Bb7#5 Eb§ —_Eba9 amg P13 @ aes : bes Eba Am9 vii’ Gag Em7 Ja FH 9 bes oe , 2 Fm7 Bb13 6 Fm7 Fm7 B13 Bbl3_ Bb13 nm Bb7#5 Bbm6 C7#5 Fm7Fm7 $5 gs: — eae Ts mg BbT#5 —Ebad oTts Fm7 Bb13— Eba9 Eb6 Am9 pif Gad 2 - : © be bes = f : foot eS E7t9 am7 tt? ob Fm6 mf Cm7_— m7 AG AG Gmii cig E°Fml1l Fm7 Bb13 = B — r= f = © — TeFm7 Bb13 EbG Dib9 Db9BLUES IN F + = 100-120 F13. Gb13 Bes B13 Bb9 B° Gm7 Gmg Gm7 —C9sus F6 Eb? D7 re “a — i Gmi1 Gm C9sus F6 pe as ot! ET#o F7#9 2 ; ® b Oy tts 3 a beet sats © T * = i — 8Fi F® Bhis Zee? Bb13 #11 Bb13#11 Bb -—3— 21 2 Gm9 Abm9 Fim Bb9 B9#5 —Bb9 Fa F6 Fo Bb13b9 bogs Frto p79 Eb9 G7 Gmg FI3 B13 Bb13 D9 D9 = Gm7 5 ci ro hots Fo p Gm9 Abm9 C9sus F6 Fis F13 EUS Gm9 ‘BORS ®@ FT BboGms cms Bbo Fo Gtope FE E745 Eb13 ps F#m9 Abmo ro 2 be Cl3sus—F6 Digs Db13__Gb13. Fo FT Bb6 Gto Bo Fo 2 cogs Fo FIs B13 _Bb9 F9#5 Bb9 rif? B>13411 wb7f Saini Bb9 os ag =p Bb13. F9 F13 F13 F13$9 F9 Bb9 Bbo cots F9 FIs fMINOR BLUES This comp is a variation of the I-IV-I-V-I minor blues. Each chorus is slightly different and most substitution is done with the cycle of V progression. ) to avi? pmo = 100,- 120 Bb13#11_Bb9 Aq $5 ‘Ame? Am7 @ #5 2 d = zr —= Fg Bb13 Am9t7 Ato AmboAmll — Bb13 A13 oS _— Am9 AT i fn Bhofi1 d d Boa fil . ° = E f = : : Am9 Fr : : 12 — aTAm7 Am11 Bm11 E7#9 Am9 @y¥ Bb13#11 ‘Am947 o” Bg Amo ‘Dg Gm9 ea Fad ® @,. ®@ by , + $$ : g——-» | = 2 bee = = & =e = f — Am11(6) a @©Harmonie 4 aa Sth fret 7)NOWHERE Bbm9 Eb9 Bbm7 EbT Gad pe St i too be pap Sats Bm? ETH E79 ca ~~, J 4 ee ee eee - = t = Se — * Ze = = S ae ° , Am Am}7 Am Bbm9 Eb9 — Bom Eb13 Am9 Am1I D13_ D13 eb, i 3S | 2 al | Sa i Cm7 Bm7 E79 | 2 ——— ee - eS £. f= = —3— = —S oS - LPP ae cm7 Bm7 C# Am7 Di>9 a4 ® Oz. ; | fice tet © “3. T e tf es @G Am Bm Am G Bbm7 Cm? BbmT Cm7 Bbm7 G Am Bm tag Am7 Bm7 Bmll Bm9 E13 E79 Am7 — Am7 E79 ED9 : - te a © —+ we seals ip bigot 7 Am7 E79 Am9 bm1l Boma Eb13 Am11 Am9 D13 Gbo ~ 2 pe oO, Oo Ga Bbm7 Cm7 Bbm7? EbT7 Gs Am? Bm7 Amo G§ Bmll Bm7(6) E13 Ej Am7 9 be Fi3 Bm7 BbO Amo D13_ Abs= 132-192 Dad D6 EbG cop 6 BS 6 6 By Boy Boel Bhs Ami1 Ami1 DT (==abe Eb, EG F13 F#13b9 FI3 Da Dé Da Dé Da hs Fb6 Eba EDGE -Ebs = D7 Chm7#5. CmF Abis#i1Ab7 G7 oe c s ° 7 ogDa Em7 Dag Des Eba Fm? Eba Cml1 Dmil Fis Am9 pg Aml1 D13 Gas Gad God Gm9 C9 Gml1l_ C13 Fmli Bb13 Emil A13 Dod Ebad F13 ——; a | Ee =e 1: 0 Abis#il Ab? G7 on ee “ 4 4? | = = be Fe — 7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. 4292-120 c$ F¥m7Gm7 FH b9 ATS Ca Dm7 DENT En 7 # 3 espe rE ar = lu Dmg Dm7, 4 G8 GIs c6 B6 C6 Gm7 Fs Em7 ATES Dm? Dbm7 cm? ¢ 1, seme: — —_ pS poeyrtta a SF ot be Z Bbag Ab© Bb6 Bbm9 E9 Eb9 Aba Gb° AbG Abm9 D9 Db9 ) i bg 6 _2 5 e eS ee —— $e = Gm7 Gmg Gmll C9sus. F6 pt Pees[ Bbots Eb Fots Bb9 EbO#S Ab9 F9#5 Bbo gE cms FH9 cm9 F9 4 foe Bb9 Bbo#s Eb9 FO#S G7ts Bb1s B13 C13 C#13 D13 Eb13_ . Oy, 4 gitet ie = awe ED f v ce Al3#11 AQ Ab9—Ab13. FHo AO Eb§ abo crto vee Bb13 Eb Bo B9 Bb9sus feqdegeag Bmill Als @ Bbm7Aba Aa Aba Ab6 phm7 Ab13 — v Dbi3 oan 7 Dbmd | ae Aba Aa Aba Ab6 corks F789 ae! aE pe == 3 Sa — BbO Dbad G°abm7 —-Db13_ Eb13 D1s_ De