BARRY GALBRAITH Jazz Guitar Study Series

BOOK THREE

GUITARCOMPING

,

't 't

I

with Bass Lines in Treble Clef

©Weybridge Productions, Inc. 1981

3 Park Street, Middlebury, Vermont 05753

All Rights Reserved International Copyrlghl Secured

INmODUCTION

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 asa response to a soloist and puttingthem on paper is an elusive and somewhat arbitrary task without a given melody line to follow . However, there are certain principles common to all camping;

Rhythm: Rhythm takes precedence over harmony in cornping. If a cornp doesn't swing, it can hinder rather than enhance. S! mple, sparse accents are often a II. you need, especlellvet briqhtternpos, where the less you play, the better!

Harmony; The harmonic camp line sounds best when if 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 jumpingaiinlessly about. However, at limes, 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 07.

Thecornp material begins simply with "SHINY" and "WIND" and becomes more elaborate throughout the book exploring the many musical possibilities in camp 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 usea metronome.

Some afthe studies in this book have chord progressions similar to the follOWing standards: "Shiny Sto.ckings". "Gone With The W.ind", "Out Of Nowhere", "You Stepped Out of a Dream", "I Got Rhythm". "Nardis", "Tangerine", '~Body And Soul". "Like Someone-in Love".

, 1-

"

, '

.' ,

•

,

\

I

,

I

"

'. 't

-,

J= 100 -120

Gm7 C13

,;Vj ti -

SHINY

Gm7

CIa

Am7

Am7 Am7 Dl3

&9 ~r ~z! . 1j~

G#d

9@J: .. &~ti

Abm7Gm7

Gmll C13

v-li i-d'E i- IY;l i~j 'lEi-

FAg G#O Gm9 Groll
&,§g Q) @ -- J j
.1_1 .~~ ~ .t·'F! I 'f t 'f t
1
!.- -0
..___". f

J

Groll CI3 C9sus C9susF6 Am7~5 D7~9 !

I ¥j t f3:~; It @j ,1-' ''}I ; !l~Ft

Am9 E~13D13

J

--

WIND

J = 100 -126

Fmll Bb13 Eb~ crb9 Fmll B~7#5 Eb~

; l j l1 j 1 ~ 1#' - 17 jJ 111 J

Eb;O.

n 1,-- J I

F#O

j., .. - .... -

'l I -

Bb?#5 Eb;O.<9

~1 I~

C7#9 Fm? Bb13

'3~1 j J

~... ... ..h

1 ;a -

Fm6 Fm3 Cm7 em7 A6 Ab6

1 j f l" jE1uW ¥ t ,#@i!

GmllC13 EO Froll Fro 7

BbiS

Eb6 D7b9 nb9 C7#9

I

BLUES IN F

F13

Gm7

C9sus

Gb13

~~ -

Bbl3

&

I

1-

F9 E9#5 EhI3 D9 ~3~

t I>~ lJ 11~ fi~

Fl3

1'1 (1)" 1:- !l r+-: +!:n .110 i. -
, .~
~ _ .. '.
@J v • .._..c.. 'IT p- 1+- ~.- _tI ..- ,.

F13

L1 __k • •

Gmll Gms C9sus F6 7#11 GI3 C7~11 E7J9 F7#9
D #9 b9
; . @i J Q)~, f; gq~
! t~ F ¥ I - Iq'
-# q 4· . +-

6

Ebs

F13 B13 Bb13

D9

D9

Gm7

Gm9

Gm9

Abm9F#m9 F6

- ~. m~

,~ &'8 iJ '!I-

G7

#5 C7#9

~~?

@ .... ~

I'

Bb9 B9#5 Bb9

,~ &~Y&~~

Gm7

F7

Gro9

GU1'9 Abm9 C9SU8 F6

D7

1\ Q) D-" . ~- CD# I~I- ~®D ~ ®I
_. ·
- • ·
·
. •
I!J _- ,.,. 11.':::;"'_ • <c:»: , • ... "I Bh13

b!l'~iif~

Gm9 Gm9

F#m9 A~m9

C13sus F6

F9 F7 Bbs G#o BO F9

Bb13 F9 F13 F13 F131g F9 Bb9

E 0 l ~

"f tell . EP I - b#f ~tjg~~

Bb9

WI -

F13b5

8

MINOR BLUES

This cornp is a variation of the J.,·IV-I-V-I minor blues. Each chorus is slightly different and most substitution is done with the cycle of V progression.

J= 100.1,0 BblS#n #9 A7~9 Dm9
Am7 Bbs A7#5 bj5J s-
Am 7 Ci) kr Am9 _.
.~ t ~ .; Ib~~ I ) ;:1~ I !f p: §;§I
#j;
@) Am9~7 Am6 G13
9 C13
F13 Bb13
"._--,,- ~1 J 3 "1 J _J
1\-"9 I" F-:t _. @~ I I
._.;
wo
I
~- ~ t 'I l' 1 -- F13

F9

Am7 C7

TI3

E7#9

" cr>j. r:-.J J I i @ I .: ~J.
-- ..
, .
.
.. ' .
. -
I!.i " ~"11 __ -' ........ p- =i. T I r F13 Bb13 Am9~7 A7~~ A7bs
AmS C13 ~i ~f~;
~, II>j -e :Ji
, Ii ~!
, t I I t 6 Amg

Dm9 Dm6

Am7

I~·. Co

F

L..:..,___ 3 ------'

F13~S

ab13

_-1

J

Am9 C13

r--3 -----,

1 JI J

F13

r-3 - _,Bb9#11 Am9

@

-

c

A7b9 Dm7 E7bs

CD ( ... 1) 2 .. ~.... _ <D. ; •...

'l'II;- I = =

-

I _ •

#5 E7#9

AmI 1

C13

#9 A7~5

Am9 II

Am7

Bl3bs E7#9 A13b9
Am7 Amll BmU E7#9Am9 ® 'fJ 'f 'f _J 'f j .P~:
1\ • .,
..
~ I I r V I Y I ~ I Dm9

Bbl3#n

t ,~~ .~ ;:~

Amll Arrt9~7

't}\ -

. \Y#I~. II 'If 'f '#

~l

-~; ®4~ 4~-Q.~ CD1 Q)
1\ ::~: f-2u. 'c;;:- ",. -" .C
. -. - -- .. . ,
. " !
. .
!J - = - -
- - - ~
11 ~ Am~

#s

E7#5

Am7 Am7

-f

B/A Bk/A Am7 B/A Bb/A A7#S Dm9
, •• ~ .~~ ~: I~ 11 ®~ : @~ .
r , " ~iJg;f: I' t F
~ -eo Fm9 Bb9 Am9 D9 Om9 FA9
Q) ~ @f @. e9 @
, ~~ I E iF fp;; ~ - I E r r Amll(6)

E7b9

Am9~7 t";\

P-

-

@)HarmoniC ~,..j.

-

ritard

9th fret

, ,

J '" 108 -144

NOWHERE

Bbm9 E~9

CD,' b

d 'I I ,~+: j ,It

Bbm7 Eb7

Gl\.9

G.6 ~1. ®f\ ~ ~J ~
_l'\~ ..., • . .. - . , ---
- , , , -=
~ ..
- ' , -
,.
'!,.1 f---r' - - - "11 ....... p- •• 2~
- - "
'0
...._,- f-

r

Am9

j

CUi7

12

Bm7

E7~9 E7b9

Am7 E7

r

Bbm7 Eb

_-. l&~_"o

E7b9

Am9 D9

f

Bm7C~O

Am7 D7b9

Bm7Bb13 Am7 D7b9

r

f

1\, ~ J cp, @-t: .' I" I r. I
1J '". ... .
.
.
~ 13> I r ~. , -e -ti b' ~ I 6

G.6.9 Am9

f

r

Am7 Bm7

BmU BmS EI3

Am 7 E7bs AmS

Am7 Bm7

B6m7 Cm7

GlI.

E7b9 Atn.,7 Am7

E7b9

A roll A m9 DI3 Gb.""

Bb m? Eb7

GD. Am7 Bm~

Am7 E7b9

E7be

F13

Bm? Bbo Am9 D13 Ab6~

Cm7

bbi ~t="f3:
1\J,f =:: ;2- ~ ~
rs- - I ii=-15' I"'l I .. ~ ..... ----c ..
. . .
. • .'11'
.
,'. ' ..
~ 4" b~-.e - _::;s •• _:.
- '11 DREAM

Df..9 D6

E~6

F13 F~13~9 F13

<I>

11~F~ ~F: . j~

.

&Ift fj'll I f ¥a1d~01 ~ I It' 'ti-

6 .I 6 Bg BOg

G(add9) G Gm9

"p 'H:4ti

AmIl

Amll

D7

csss G9

Fm9 Bb7 Em9 Ala

~ <D

I '1: ~ ~ '[ ~. I ,= J;_ n

-

Ab13#11 Ab 7 G7

I A ~:~q~m J

.F13

,lEI; '~f ~r

D·~ GI3 F#m7 Fm7(6) Em7

~ I ~ bj?

,-# r ~f If· \F FI-

14

®

~ ¥ J~ I E J.

ns Em7 DA9 D.o.

EmU A13

Fl3 F9

1'I~----. I-~ ~,

E~6. Fm7 E~.6. 9

, Ipp~~ ,&g;~ ,-f¥B

Bb.c.. 6 F9sus Bb.o.,6

9 '." -' 9

Am9 09 Amll DI3

- ,.-

II ~.··I IFqW·

--

Omll CI3

Fmll Bb13

•

CI3

@

~

F#tn7 Fm9 ~5
A7 t9
Q) Emll D.o.#U
I'\~ It':. e I.-f.i , 1'";\
L.L: ....
:. •
• .
~
f., -6 ~~ "[J - ~ ": • ": ~ '"
e L.~B, ~- ••

.

')

BL UES IN TWELVE KEYS

This cornp illustrates the variety of progressions that can be used On the blues. Each key has it's own set of changes, and ; soloist should have the changes as a guide when piayiQg this blues.

J= 92 ·120

C6 C9 FB CB F~m7Gm7 C13
9
, ,OJ !~ F~O • CDp tJ "
¥ ~~ I :~~ ~ I J I b ,
# Cm9 F9

'di~ l

Em7 A7~5

BbLl.9 Abo EbB Bbm9 E9 Eb9

C6 B6 C6 Gm7 CI3 Ell.

It y J,tj' , I ¥ cp{?f·'

Dm7 Dbm7 Cm7

~5

Cm9 F7b9

¥.J~

Abm9 D9 Db9

Db7

B9 Bb9

Gm7

Gm9 Gmll C9sus F6

Cmll

B13

16

Eb9#5 Ab9

IS

F9#5 Bb9

,~ i~g~~

F9#5 Bb9

lfiigi~

Bb9#.5 Eb9

j[ry.'.:=

&. .~

Abs GS

07#5

Ab13

Al~l1 A9 Ab9 Ab13 F#o AO Eb~D7b9 nb9 " C7#9

'p"$ffCP' M:~- I A ¥ I" I €J 'J:\ ¥q' Ii' lj

"

'"

D~m9

Gbs

Ab13 A13 Ab13 C6 D661

I ¥ ~Jft#, ~ 4 ,:

-

6

Bm9 E9 AL>9 Arn9 D9Db9

'P~&~p t ¥#~jBJ:; I ¥3gq ~'4 i~ • I ,~

D~9sus Db13

811:1, -

18

I

Cb13 '~~&~~b~'

Gbm 7 Gbm9 Cb9

/~; 1 I &~~~ ~~

Abm9

A~m9 nb9sUB Abm9 Am9 Ob6

'~blh&2¥ 1 till fi ",h, ~fEi

Al3 DI3 G13 C9

A13

. G. b .. l.3 .. G.l.3. A ..... b.I3 ..•. ; .. 1.3 .•....•. 13.:::::.

if 1,~8~ ... 3

A13 DI3

, ~jl'~

10

A7 A13#I1

-

)0;-

-

F13 E9

_._~ I~:: rtf-:::: ~:

Bm 7 E9 E13 Bb13

E7 @ r\

• • ~ IJ--.... ~.

A9

r ..

-

Al3 A7b9 A7b9 E6 Eb9#5 DI3 C#7#9
9
" .. ~ - t'::=::- ~: b~"_ b~:: ~ ,,_ ~ ... .. ,,_--- ,._. "'-p.
- ...-.
'J_fI'J.l.l'fI' · .. ...
..- · . •
· .
'\: --- .. ...
@J -~ . I( ~ I( ~- f'I' ;-
- ..... F#m9

F#m9

- .

•• ...

.

---

_ ~._o

....._

r

. II'!'II.

~I

D7b9 C#7 D7

,-ftSF ; l j #j4 11

Bm9 Bm7

Bm7

20

E6

Bm11 ~ ~

Bm7

a#6A6

F7

D9
..-
! 'I , Ab13 G9 nO DL:l.

1 9U @!Jli~ ii I -

Fm9 Bb13

I 4 ~..::::.. [,

, IT f~jttF: 4 - . i

G9

Em7

Em7

G6 C#m7~5

,. ~ ~#tj

Em9 A13

11

Bb m 7 Am9 D13~9

¥9~ ~'i q~F -

Aro9 Bb13 EbL:l. Am? G6

,-, .~ &1l ,~ 11 ~§~ tf ~

-

I -11

2]

RHYTHM #1

J = 144 - 208

Bbl'. BO

Cm? C#o Dm? 07#5 em7 F13 BbJ3
3 :3 ~ CD 0)3 , Ii!
I I 'i n#~ I
I D?~5 G7#5

f I ~~#t) 'b~)

Dm 7 G?~9 Cm? Fla-

Fmll B~13

Amll B~m9 Am9 09

6~p l g~ ,,,b, 1 I~q, . #~

c7b5 B9

Ebm7 Ab7 Bbl'. Cm7 Clm? Dm?

I.b •. ~ •. , ) , (2)J J ," ~J .

• e"~ il I 'f S ¥ i ~ lEd:

-

II

Groll Abms

Gb9 BO Db13 Cm? Bl3
em? c#o Dm?
Gm9 ~@ F9 ® J. @L
1\ I fT l... ~ r» ,,. .tt ••
.'
•
'.
~ ~c: ~ ~'~ r ~r ~ ~. 22

Gm? c#o Bb6

I 'f ,. #g~1 , I ~ ! r; 1; f.2A

Dmll

CD

f Iq~

Bb~

&~b f 1

nbI3

Ebm9~ 7

CD

'~b ~~ ~

I~

C9 F7# 5

I~j:£t-

Bb9

®

I t ~b~.

1

j

Dtn7

&l' ~ }

D~I3 C9 BI3 Bb9

~11~ I~' #;f &~g I -

6
Ebmg
I J 9~ J Bb

-

AmIl D7b9 Gm7
®~. .T, Ii GI3 Ab13 GI3 G7#5 D
'~b ~~ I~F ~ ~F; I~F b~; ~! I - I
~ .. Gm11 C13#11

C7

F13#9 Bb13

Bb

s. f - -1'1

~...r I. I ..

23

S .. MILES

This comp uses open strings to broaden our range of chord voicings. Wherever a circled E, B or G occurs play the corresponding note as an open string.

J = 120 - 132

Em9

@...l

C(add9)

ro

f

EmIl

11 -

•

I\~-

EmIl

F(add9.)

~OO rOo

4

EmU Eb IF F(add9) Em9

If~ ~F; ,

F #11

II!

r

Fu~l1

Fuh'

® ®

- .. ..

til .• , ,- .

I "-._.i

Em9~7

Am9

® ®

-.

F6hl

® ®

- .. ""-

~~9 F6#lI
®
® @JI~P- <D
--I _.
,-e
G71~ CA9
Dmll ®
G7 ®
@
- ~-(i - ~ 10 ®
•
I .. ----f~r I 19' F6#n

"

~r

E6#11 9

o o

-

F6#11

11

Ero9

(1)

I f

Em11

ill-

Am
F6#U 6
Em9 D4 E4
f'I~ 2..G P.
voW " r\
,
"17 1.;.0 ..
-~
~ "l ..
o.e I ;11~ .. - . -
~ •• Em9

F(add9) F; ®~

Ain9 F6#l1

® ® F Em9

® 4_c ® .l=:-c. ill Q)h

: -~

.

- *f ~

r-r'

r' ~-r'

AmI1 F6

9

Amll

6

Em9 Em6 Emll \)_p_. F9
1\.Ilo 9 ... :: ~. «:
!. .it .. --107.
.. - ~ __ -
.. . -=
.. .-
@) ..,..;;;-.;:: ~ . •
- . - ... o:i-.._;.- ~
..__..~ .. •• ., fO I:

--

6 E9#11

J. 1.

•

. '

r

Droll

C~9

® ®

iJl

- -

v-r

Am76 , 9

@

I

Em9

-

_D D

, _u....._'1:.1

25

CD GI3

, - H ¥ ~~~ ~r~r~~; i=f A

CL'>9 F13b5F9 Em?

Ii J J f [j€3

TAN .. GEE

Dm7G13 Din7

®;»®

B~13 A13

.. .

Droll

Q)

& ,; t; t

F#m7

B13

"

Dm9 Dm7 G13

,- F 1 Ity 1 -

F13#11 F9#n c~

Ii ¥ if ¥ , ~]f

Ebmll " Lb~. ".

~ tI ~ 'I

D 11

D 7 G7

Bb13

A7

m m ...... ® CD.
f'I 'it -- •• ~
.
.
@J .. _. ' Ptf' ~-r' - Dm9

Bb13

Bb13

A7~11 ~

f'I ~---~. bI- b,.. (2). · A. ,.. ~~ I
• Iooi. n °
· · ,0
· · .
.. nia
@J ~- b~ •• eo - ~.
...__
........ Dm7 Dm9 b9 c~ B7#5
G7#5 ® CD
fI, ,.. I b,.· .,.
-.
. . I -, ,
· .
. '
~ •• "I ~--r "I f-r
oJ':: b9 A7#5

~: .

.--/1

DtnS

. Dmll

® G13

t I~~ ~ f

C#n

Dm7

GI3 Cll.S

'f: 1 ,: ~ -

C6 F9#11 Em7 B7bs
~5
Dmll GI3 G7#5 S im.t
& e t J [J ! '_ t1 ¥ ~~g~ 'f I~ ¥ ;~ F#mll BI3

fitr ~ -i¥f .

El:>S

®

If '1#~

Bb7

#5

Dm9 Dm7 Em7 Dm9 G7b9

Em7 Em7 Am7 Em7 Ebo

~ "... ~~i_ ~ '- lit... L~ ~
II ~ .. w. •• IJ"""
· .. .
· . • . .
~ -- •
· •
~ " I I Dl:n7 Dm7 Em7 Dm7 G7b5

,~ ~~ 'f" .~ It

Bb13 AS DmS

i &$ ~. 1 i,g;p;; .;E

EmS

D~m9 Fm9 Bb13

~§1##'1~' -

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.

J = 66 -72 Finger Style

Ebm9 DO Ebm9 Db .... 9' Gb13 Fm7 EO Ebm9

CD

CmllF7hs Bbm7

®

~3 Q)

Cl3 B13 Bh13 EmS

EO Ebm7

Ehm9

Ebm9

GhIS Fro 7

•

28

Swing eighth Ebm7Ebm9

GbUl

E . I h·· #9 lfll Eb9 D7

ven eig 1t . F7 ... F7f! Hh m9 Ebtnll Db.:.. 9 B 78US Bb 7

Ebru9.E.' bm ... 7. E. bro. 9.. Ab13 ... r. GJ9. r- .01. ®. .... r"i.

iL!~ (2) (2),b ~~;8~ ~ ~b_t/.J

I·',' zttuu IfE~~ 1 r b 6=12 ~bJHl

C7 B7 Bb7

#II F7#9

CD

1

Ehm7 Em7Dbc.9

Gb9#l1Gh13

@

Bbmg

n· E69 Ebmll D9

.

C7#9 Dbc.9

{.'\. 0":\

29

WIND #2

"Wind" and "Like Someone" show another way of camping in the absence of a bass. Here the thumb plays the bass line While the fingers punctuate the chords.

J :: 120 ~ 144

Finger Style
Fmg Bbl3 E~6 C7#9 Fm7 Bb7
f\ .. ~ .. cD iI~ r-. ® t\®
~
@) I r r I r r 1 [1 r 2"r - - 3r If 1 r
r r Fill 7

Fro

Fro 7 Fm

j I 'I Jf ~. i I

Gm7 F~m7 Fm7Bb13

Eb;::. Gm7 C7

Fro 7 Bb7

I D-_jI 1 I i
1"\.1 f • L ~.
til) 2 - - - - J ·~"Ir r I I 2r I 2"f 2 lr
I - -
2 2 ~ 1 -
·0 r r r r

r ~ j

r

Am9 D13 D7#S GL'>9 E7#9 Am7

D9

'r r 4i i

Gm7 C9 Fm7 Bb7

'~~I' .;.!! ~~ I.; 11;1~; If -r 11;~~3f I;

Eb7 Ab7
Db9 C9 F#m7 B9 Fro 7 ®~j
f\ I ,~ ~ ~ 1'\ -.ldh. ~
II ,
-"\:IL
~. [1r - - .,- r I~r' , 3;r2Q' - - r r [ r . v I I P
r i 2f It Db7

Gb7

F#O Eb rz-;

•

Bb7

E7

Fm7

.

.11

RHYTHM #2

This is basically the same progression as RHYTHM NO. 1. The upper staff indicates the given chord changes, while the b( " tom staff isa walking chord line.

\! J = 132 ·208

F

G7

em

F7

G7

Cm

F'7

B~ Cm7 Dm7 G7b5 .Cm7

F9 F7bs Eb6 Ab 7 G7 C#m 7Cm7Gb 7 F7 F7b 5

Fro7

Eh

Ebm

Bb

F7

Bb

F7

1''1 _L J

EbA9 Eb Ebm7 Ab7 Dm7 AboCm7 F7b5 Bbe Db7 Gb7 B7

Fm 7 Fm 7~5Bb 7 E9

Q) L

®

I

Bb

BO

em

F7

Dm7

em?

F7

Bb.:::. Eb6 BO Bm7 em7 .Bo F7 C#o ~7 Bb Dm BO Cm Cm#5 F7 B9
11 J. I 4 Q)
L i
!J "111 "111 q-. "'I ... ~."II ... ~_. ,,- - - ~"11 3 ... .... ... +t- Bb7

Ebm

Bb

F7

Bb

Bb9 Fm7 Bb7 Bh9 Eb6 Eb6 Ebm7 Ab7 Dm7 G7b5 Cm7 F7b5 abe em7 c#o Bb
1\.1 @ 3 h. .JJ __ .l. l -~
@J - ... "II - - "11 ... '"' - 17- ... " .. ... ... ~. .. 32

D7

D7

G7

G7

P7 Am7 D Am7 D7 Am Bm7 Am7 G7 GO G7 Dm7 G C#Q G7 G7b5
f\ L :~ 4. "b-~ 4. ;"" t l
@) • ., 'fl .. .. ~ .~ - "'\_.:'! - ~=- ~ ~ • V·
"11 "11 -. C7

C7

F7

Cm7

F7

I
C7 Gm7 C Gm7 C7 Gm Am7 Gm7 F7 em7 F BO em Gk7 F7 F7b5
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34