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cbS —ebigboabr§g—Dhishg— Gg cists, C1399 oy ne poe fete. = Ss #1 Abmg eb7f his chm7 Gbm9 cho gy Arm? | Bom? es ‘ 2 oo et 7 © f $A : = Abmo Abmg9 Db9sus Abm9 Am9 Ais Dis asco Ben te = __¢ y___ — iis Se itt Pb : f= os . ' I Ais DIS Gi3_ CO BS cis “13 fis - =$ $ be _tg_# Pues +s pe = cm9 C#m9 cm7Ctm7? = F#13 Bg eos pH debta rig Bm7 E13 Al3#il F189 ‘er FS er ATS 79 Dib9 CHT D7 ed ipa ©Aes Bom? A\ Em7 Em? Em9_— ALB Dod m7 Amo pis#9 pe heme yg v #11 #5 ts G6 C#m7b5 Cm7 Bm7#5 E7,g Amd Dig G6 GTt9 ea be: 5 to b9 fa Bie ee ATES, pie Bly, EM%g ra Ae 2 <> = v Am9 Bb13 Eba ig i= Sp :f RHYTHM 41 d= 144-208 Boa BO cm7 CHO Dm7 7s cCm7 FI3 Bb13 2 1 Op. He 9) 9g er ; +4 — os Sa = ce Eba9 Bb Bo Cm7 © © ® , = sos er ee = 4 De See ree cela nc Bbo cm? C#m7 = Dm7 noe eae QO pd Gr Bp pa yg . et - oo ts ae Ami1 Bbm9 — Am9 D9 Dmi1 — Dm7 gis Gs Gmll_ Abm9 eee np cm7 c#? Dm? ct et = — oe g—tg— 3 — +t = . red 2s $e Bos. Cm? C#o BbG gf Sob fea 1 z F 24Ebm9 47 Bb cm7 # @ _ _, O id = 2 23 45 ; Dm? pbs ggg BPP Bim Bho Q| o e Abs a pilin Boa G13#9 Ci g4g = + 2 ¢ es ae m7 Bg are a F13#9 Bb13 cto Bb Oy ®, be @ a eS eae a i+ +S-MILES ‘This comp uses open strings to broaden our range of chord voicings. Whe sponding note as an open string. d= 120-132 Navdis sever a circled E, B or G occurs play the corre- Fofll be 9 Foglt (3) _® seAm9 Fafil F Em9 oi 3TAN-GEE ® is G13 cs F13b5 F9 Em? @_|s a = £ * 2 é= —— 393g ye = Se = —— 2 = = — — : a = — é ee : Em7 Dm7G13 Dm7 — F#13 G13 Dm7 Bb13 Al. C89 Em7 Dmg Dm7 G13 73, ee eS PoE = = i Boe a? ie ree f= SS Dm9 Bbl3—Bb13. BbS 74 pm? A785 ATH——— | The following piece is more }= 66-72 Finger Style (C2 | accompaniment to assume t] pe iin Ebm9 Abis SOLE Dbad melodic than any of the previous comps and would alm fhis importance Would require sensitive rapport with the bis ost form a duet with the soloist. other player. Fm7 Eo Ebm9 omit FS Bbm7 Ebm11 D9 3 a . he Dbad ®). eee 3 Bobs BbotS, Ebm9 D° Ebm9 Ab13 Foran Dbad pg eg 2 gearing a Eb9 Cini Dis cbisg11Db> OSESi bo, abTHS z ; Ab19 A13 Bb1S bmg Ebmg Dbag BY BOT Swing cehth Ab13 oy : 6® Ebm7Ebm9 £ A s -, 2 eo “ph =e aD Sete =$Ht® 3 ott be oo Even eighth #13 By rif? ef? pho “eo Dba9 Bisus Bb7 bsg E°—s EbmgEbm7Ebm9 bis ‘® oom me S Z ;On® 2 e £ fb b gun. + ee z fe: oe > = =a" = : ww J Ebm9 Ebm7 Ebm7 = Fm7_ Fm oo ? Ebm7 = FOEbM E>mY bag 13 po Ebm7 Fm7 Qn,—~p 2 # £ 9 cas - ®@ ®@., 2 f J f Ds Em? FRm7 7 abo DG a = Bbm7 Ab9sus bag Algsus © Om my cas ae ¥ ! 6 cas : 9 pmo bo ais 9 Dm9 o Dm7 Dm? Dad cis "Gig C89 2 ® be 2® b. |. ght Fides we” frye te t f =e = - = Eb . cr BT BbT Em? AbI3 mi mTpbso «FIL Ghas Ebmo ® oem? = a Figg Dbad E° — aot ig Bem c7tg Deas m9 Ebm7 os i ay ~ om ee ie Z = ig = 2 = = * a = = Foe a 31ree eece tee ereraeean Taner TTT Tundra WIND #2 Wind” and “Like Someone” show another way hile the fingers punctuate the chords. of comping in the absence of a bass. Here the thumb plays the bass line = 120-144 inger Style Fmd BbIS. Ebe C79 Fm7 Bb7 , © © ® we bed $y oat at * = - wr roe ah SS eT > | | | | ' ! | i Bb7 Fm7 C#° BO gre nd ap te or Bb7 Gm7 Ffm7 9 Fm7_—-Bb13 Bb, = GmT CT Fm7 — BbT b = 4 | go peep T ot Fr 7 TEba Am9 —-DI3_-D7#5 Gad Ev#9 9 Am7 D9 \ ig gee} _ eS rye a 4 Saya! = + iT TEP i “A Fm7 © aS m/Bb Abo »__ J B= bE a= a5 - =| = The 55 = Spi ea > is [| * # rT iF ow 77 rr f f : ‘F f *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. J= 132-208 Bb Gi _FT Bb GT cm FT Bb Cm7 Dm7 G75 |cm7 Gbo9 F9 F7b5 |Bbe Ab7 G7 C#m7 |Cm7 Gb7 F7 FTb5 ] we ; SSS SSS + Fm? Bb? ED Em Bb FT Fm? Fm7b5Bb7 E9 Eba9 Eb Ebm7 Ab7 |Dm7 Ab° Cm F7b5 Bb Bo cm FT Bb Dm7 cm7 FT Bba Bbé B° Bm7 |Cm7 BO F7 C#° |Dm7 Bb Dm Be cm Cm#5 F7 Bo | | i |_| | ‘ _| (SS wep SSS oo oe Bb9 Fm7Bb7 Bb9 |Eba Eb6 Ebm7Ab7 [Dm7 G75 Cm7 F%S |Bb6 Cm7 C# i | + ieDT Am Bm7 Am7 G cto G7 GTbs | FT cm7 FT Gb7 FT E15 == Bb G7 cm7 FT B> G7 m7 Fv Bb6 Ab7 G7 G75 |Cm7 Gb7 FY F7b5 e} 2 24 1 Bb7 Fm7 Bb E9 Ebs Eb6 Cb Ebmé |Dm7 Db7 Cm7 F75 |Bb6 BO Cm7 C# = 35LIKE SOMEONE 9 7116-138 Eba G7 m7 Cm7/Bb F/A Abo -Eb/G C7#9 Fm7 ke ene © ET rrr pop Por Bo7 ~—-Bb9sus Eba Bbm7 — Eb9 Abo Dm7 a7 Om On o/man eee esl del ®y),. ee eaees {ods ea rrr aes arr Ts 9 Co. cm? FT Fosus Bb9sus == Set cm/B> F/A — Abm6 Gm7 C7#9 Fm7 oo ®@ | \ fotos Sasse rr rrr Pet gr bl we Fr Eba Bm7 Bbm7 A1l3 Aba Dm7 G7 Ca Pichi mttadel pr wvrtrr tre PTT ft —! + an 4 4 _ — a Fim7 BT Gm7 C7 FmT BbT Ead EbodBass Lines in Treble Cleff cr SHINY or “lyin idee we 7 _Bb ‘Bb7#5 Bbmé C7#5 be SES ; aT ee go Ze z Eb Am7 D7 ET Am7 = DT Fm6 2 SS 2 FZ ab =] eee: BLUES IN F Bb7 FT BT SS Fa — bee = eae ¢ - 27 oe # 0 F Eb7 DT Gm7 c7 F D7 G7 C7 = Jo SS He oe aoe + we aL a 4Dr Gm7 cz F DT G7 CT FT Bb BO FT Bb740 MINOR BLUES ATa NOWHERE 4BLUES IN 12 KEYS ot or Fr Fo c Gat cm? FT om? FT © Dm? ptm7 Em? AT __Dm7 or © Gm7___c7 Bb7 or ee Bh Bb D7 Db? ct Br Bb? Eb Bm7Bbm7 AT Ab? Db? C7 Db7__-Dbm7_ GT Deus Aba Ab CT FT BT Bbm7 BO Ab AbAT Ab7 Db Ba? ET = A Am? DT Db pb ao Am? bs 43aby pbT Gb or cb? Ghm7 7 cho oebT . — - : : : = eee Fees wo sare aw © Gb Abm7 Bom? EbT Abm7 Db7 cb Gb7GTAbT BbT ole Stab a hae o eaeRHYTHM 41 Bb BO Cm7 Cfo Dm7 G7 cm7 FT BbT Eb D7 a7 cr FT Bb BO cm7 CHO = Dm? GT cm? FT 9 Fm? Bb7 Ebm7 AbT = Bb Cm? C#m7Dm7 Am7 D7 Dm7 GT Gm7 Gm7 G7 F7 BOS-MILES Em? F E c AmT Am7 F Am7 F Dm7 Gr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- 2g. 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 \oices 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 festiwo barsot“WIND") $eun 4 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 Coll Fat Some of the studies in this book have chord progressions similar to the following standards: “Shiny Stockings” ‘Stepped Out of a Dream’ “Like Someone In Love" fee se oy “Gone With The Wind! I Got Rhythm"“Nards” ‘Out Of Nowhere"“You fangerine”, “Body And Soul",~