BARRY GALBRAITH Jazz Guitar Study Series é s = “ay * r S ~ , ¢ u ’ . < GUPARIMPROV x 4 é y% X, ¥ ’ eo x ¥ 4 by we i we = aw - x Barry Galbraith bo * Saw =k Faw a © Weybridge Productions, Inc, 1982 3 Park Sireot, Middlebury, Vermont 05753Eom The ak GALBRAITH nse Guter Study Series Guitar Improv. Fingered Solos on 10 Standard Progressions. Guttar Comping with Bae Lines in TrebieCll ‘The Fingerboard Workbook, Tose concep logkal fingering Daily Exetelses in The Melodie and Herone Mince Modes + Play Along with Bach 15 two-part inventions arranged for guitar by Barry STEREO SEPARATED COMPANION RECORDINGS: for Guitar Comping: (any & Mit Hinton, Boss) for Gultar Improv: (Gory, Mit & Mark Ststea) {for Play Along with Bach [Barry plays both pars. 15 Inventions at tempo, [I Invensns atpractice tempo} ries and Ordering information from ‘Weybridge Productions, Inc "Park Sieset Middlebury. Vermont 05753INTRODUCTION ‘These solos on standard progressions were written to aid the serious student in reading and improvis Jng. Although there is ample published solo material by many of the best guitarists, ‘0 the best of my knowledge, none of it has been fingered. lee finger ing is very important in giving the student an insight into soloist’s concept of the neck, making the solos such easier to play. Allsolos should be analyzed as to the way the scales are mixed with the chord tones, tritone substitu tions and rhythmic variety such as 8/4 and 3/8 against basic 4/4. Each solo should be plaved slowly ‘without the companion record until tempo can be increased to the marking at the top of each selec: tion. Should the student not be able to play a solo straight through, play what is possible, leaving out the difficult paris and practicing them separately until mastered Each track is twice as long as the written sole allow: ing the student to play along with the solo, then either play the solo again, or improvise on his own, Another approach is to listen to the recorded solo, ‘paying attention to phrasing, accents, and then play. the written solo during the repeated part of the track. In most cases, phrasing on the eighth notes should be even with Slight accents on the up beats, and stronger accents where the player might feel them. Sides (—), pull-offs and hammer ons (\) should be observed to add interest and avoid dull ‘monotonous phrasing, Stayin position (one finger to each consecutive fret) until another fingering moves xyou to a new position, except where extended fin gering is indicated. Moderate tempos have been chosen to make the solos available to the greatest number of players. However, advanced players should still be chal lenged. When the solos are learned the record may be used as. streight play-along by turning off the left track, L sf rtd i i ’ V s ‘ % “ ~ \ ~ Some of the studies it this book have chord progressions sinilar lo the fleeing standards: “My Fury Valentine”, “Indian Summer", Blueselte™, “Lament” “T= Getting Sentimental Quer You”, “Yesterdays”, “But Not Por Me", ‘Tn Your Our Sue! Way", "THear A Rhopsodv", and “You Stepped Out OF A Dream’.VALENTINE aim J = 132 L or a eon om ge ose eet otPeet Ab Ft Ber Deths | G7SUMMER avon sootAps4i, if —, Se pag © yg (ag aeons, $. (= te Do e — sae = =. ie _—— —_ = zbs Bemt yaa be £ ee = —- Ss — ae: @ Amz to ot) ama gS = = SS toe mah atsBLUES IN 3/4BID sbrés abs phasis Bi. BbDOLOROSOSENTIMENTAL ~ 2 thatthe 2 wd er Bt, eg eee aS fe tee tt Pf ees @ nl a . =r @nT Bene | meas 4, H or pbrer ss we ee B£ ane br a ———— == epee tote EsFur Bro 80 5 & oh wo a Bbm7 —_Bb9 eS es Se b. aie = gg | Etm7 37 Fm? BhT Dio BossSWEETNIN’ sum d = 308 pmtDbmt 5 "ote cota act Op ayaa bg pee See eis erie Sessmms g Sn SS Amb pra om gibeet eters or = oe ga at I 8 . pa wi dened ie ons : ge Ss oS ee ' o 4,256 a8 eee 4 - te _mm J = 152 cmt oe eS pig 3 ovo SSS = = at pty Fmt Bepie bas oT Bb7 ES Bas = aBe,Stereo 0903 Intermediate Advanced BARRY GALBRAITH Jazz Guitar Study Series , “s = Fee 7A, GU. PROV ‘ x ‘ w yt by w = us “Wee Geut et = ae Milt Hinton, Ae Mark Slifstein, Bass Solo Guitar Barry Galbraith, Comp Guitar Mea tel Play-along Companion Stereo RecordingStereo 0903 Intermediate/ Advanced BARRY GALBRAITH Jazz Guitar Study Series GUITAR IMPROV Play-along Companion Stereo Recording SIDE1 SIDE2 Valentine Days Gone By Summer, NotMe Blues in 3/4 Sweetenin’ Dolorosa Rhapsody Sentimental Dream Milt Hinton, Mark Slifstein, Bass Solo Guitar Barry Galbraith, Comp Guitar Produced by Allen Johnson, Jr. for WEYBRIDGE PRODUCTIONS, INC. Middlebury, Vt. 05753BARRY GALBRAITH Jazz Guitar Study Series é ’ f= ~ WEYBRIDGE PRODUCTIONS, INC.