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Jazz Guitar Study Serfes "Volume :#'3- GUITAR COMPING"
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34

reoordi ng. Stereo separati'on an 'th.ereoo,rdting (Bass on teft chan nei Gu itar on IRight chan net) enables the Q'ui'tarist to 'tum off the Right channel and lCompwiith the bass, eUher readirnguomthil! Ibook or i'mpf'Dvising his own cQ1mpirtg. Playing both channels 'furnishes a backg,round rer s,fn'gl,eUne imp.rov~sation. for ttl I'SI th'6 play,er will flnd it helpful to read '~hesymbols above the bass ~inesgiven in the back of the boo,k U.'l'i:llges .37-48).,
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The Guitar part notations corresp.ondas ciose~yas IJ'CM3S,ible to the

The tune sequerl1ce corresponds to that in Book Three with 'the eXctilPtlcn of the last three cuts ('Wind #2. ,Rhythm #'2, and Likte Someone) which are fbr 9 uj,ta,1r alene,

Left Ch.annel:

Right Channel:

Milt Ilinton, Bass

Barry Galbraith, Guitar
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!vIas! of the' comps (accompenanents) mthis, book are designed to accom'pany animprovlsed solo with bass and \vi~bout piano. :[na.ciLuaJ. play, comps are Q',eal1edas a response to a so~oisltand putting U,em on paper is an elusive and somewhat arbitrary task withou t a gW'B:f1 elody line Ira follow, However, there are m certain principles common tn all complng:

Rhythm:

Rhythm takes precedence over harmony in comptng, If a camp

doesn't swing, U can hinder rather lhan enhance. Sim:plc, sparse accents are often all you need, especially at brigblt tempos, where lh.e less you play" Ute be:Uer1 Ha.rmooy: TIle harmcrtic campi line sounds best when U has a direction. Resolve voices of diatonic chords to the closest voices of the following chord. Upper voices of chords s,ho:u1d form a simple counter line rather than jumping aimlessly about I Iowever, at times inversions work welt Using, a common upper tone whUe changing; chords is effective (see firs,t two bars of uWind·'~). symbols in U1is book re-l3,te to function. Example; D1#519 in bill 7 of "Wind could be written as Ab13 but since the bass note is D', the dlDrdl flmctiOI1
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The comp material beg~ns simply with "Shiny··'amd ,qWind" and becomes more elaborate throughout the book, exploring the many musical possibilitiEs in

comp playing.
Bass part1J are to be played on another' guitar Oli" taped fiR playback. Chord symbols are given for regular bass, Without ,any oth~~raooo,mpan:inllent". be sure to use a metronome,

Some of the studies in tl:tis beNJ.khnve chm':d p1'Ogressians situ.iint' to tift [rJllvwing stnndards: IJSlliny Stockings" r' '~GoneWith The Wirut, "'Q,rd of,NtJwnete/' "You Ste,pped Old Dfa Dream," "i Got "Rh:y.tJlI1t" "Nsrdi«, .. j,'t41tg-erille., "Bodg rmd SOl"l, and iULlke 5mfuU"n~ In Love,"
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