Jimmys Sketchbook Vol.

3
Two Lines From Nowhere
From The Jimmy Wyble Trio: Classical Jazz
Jazz Chronicles JCS 77 1 & 2

This track was recorded on January 15, 1977 and released shortly thereafter. The song is based
on the changes to Out of Nowhere. The original transcription was done by Rich Carter and
published by Flat Five Publications in a book titled: Jazz Guitar Masterpieces. This book has
been out of print for several decades. I used this transcription as a point of reference and then
went to work editing, correcting any mistakes that I could find, and finally adding fingerings.
Rich Carter had the rhythm written in a 16th note feel. I disagreed with his interpretation of the
swing time so that aspect of his transcription has also been completely revised.

Let me say that the entire guitar world including myself owe Rich Carter a big thank you for all
that he did in blazing the concept of jazz guitar transcriptions. Without his work, we might have
never known how wonderful the music of Jimmy Wyble truly is. He was one of the first people
out there transcribing and publishing. I hope that I am taking what he did and trying in my
own way to improve on it. I hope that someday, someone will come along and improve on my
lesson materials, transcriptions and arrangements as well. This is how we all learn and grow as
musicians.

I would like to take the opportunity to both recognize and thank James Seaberry for his help in
proof reading of this transcription as well as his valuable input into many of the lessons in the
Jimmy Wyble section of this web site. I would also like to thank Brandon Bernstein for his help
in proofreading and helping make this transcription as clean as possible.

I asked Jimmy about the Rich Carter transcription and his only comment was that he was aware
of it but wasnt sure of its accuracy. He had never read through it. When I played this new
transcription for him with his recording playing in the background, all he could do was smile.
He thought that writing out this transcription was too much work. I respectfully disagree with
Mr. Wyble on this point. I feel like this is a very important work that many guitarists will benefit
from.

What I personally love about this improvisation is that it combines so many different aspects
of Jimmys style. There are many elements in this solo that can be traced directly back to the
Harmonic Awareness, Contrapuntal Concepts, and Contrapuntal scales packets. Combine these
two line contrapuntal ideas with some great single line soloing and you have many elements of
Jimmys style in one solo. In my humble opinion, this solo is worth learning by anyone who is
interested in learning more about Jimmys style.

About this transcription:

My main goal was to notate this music as simply as possible. I would say that it is already
complicated enough. There were many places where Jimmy simply laid back on the beat. I
notated the music as if Jimmy played in time and just wrote Lay Back around that area of the
improvisation. I didnt want to notate where Jimmy was placing each note inside each beat.
That would have made this transcription very hard to read, learn and understand.
Jimmys Sketchbook Vol. 3 - written by Jimmy Wyble 1
Copyright Jimmy Wyble 2008 - All Rights Reserved
 Every slide mark is a half step approach from a note, chord or double stop one fret lower
than the note that is written. Again to simplify the arrangement, I didnt add grace notes in the
transcription. Play these phrases with an improvised feel the same way that Jimmy did.

There are several places where Jimmy sweeps his index finger upward similar to the effect that
pick style guitarist would use. Try not to be accurate with this technique as far as playing what
is written. I am sure that in different improvised situations, this type of fingerstyle technique will
have a slightly different outcome every time.

There are a few notes that I cant be sure if Jimmy played or not. Anything that I wasnt sure
of, I placed the note or notes in parenthesis. For example, in measure 5, I am not sure if Jimmy
played a G in the Ami chord on beat 1. Usually when Jimmy is playing a line, he likes to start
with a wide interval like the 10th interval from A and C on measure 5 beat 1. Then he will move
a line through it, above it or below it. When he is playing a chord, many times he will fill out the
two notes with a third and possibly a fourth voice. This is the reason I filled out the harmony on
that chord.

Another place is bar 11. I dont think Jimmy played the low Bb note in parenthesis, but it is
certainly within the scope of his harmonic approach and it sounds great. When I played it for
Jimmy, he also liked it better than what he played and asked if I would leave it in. I have never
known Jimmy to be interested in a perfect transcription. His interest is rooted in constantly
trying something different, and improving on an idea. So for the purist out there, I think that he
played a low A in that measure instead of the Bb. Everybody else, play the low Bb.

I didnt add many right hand fingerings, but if you have been working through the other
lessons, you should be very familiar with how Jimmy would want you to play this solo. On
single lines use the thumb and index as much as you are comfortable with. If you feel the need
to add the middle or ring fingers on single lines feel free to do so. On the two line sections,
alternate P and M on downbeats with I and A playing on upbeats.

Use your discretion about letting notes ring. From all of the lessons, you should be very
familiar with Jimmys concept of breaking up four note chord voicings into two - two note lines.
An example of this is measure 64. The two notes on beat one ring into the two notes on the
and of one. Together, they spell out the bar harmony nicely. Measures 13 and 14 are another
example of this technique. Again, to simplfy the notation, I am not adding tied notes to show
note durations.

There are still several places in this solo where I am still not completely sure of my note choices
or fingerings. If you find any places where you hear it differently or would make an alternate
fingering suggestion, please let me know. I am always trying to improve on all of these packets,
transcriptions and arrangements. I welcome your input.

Making this transcription was a true labor of love. I hope that this music will continue to inspire
you to play the guitar at a higher level.

David Oakes
July 1, 2008
2 Jimmys Sketchbook Vol. 3 - written by Jimmy Wyble
Copyright Jimmy Wyble 2008 - All Rights Reserved
 two lines from nowhere
From "Jimmy Wyble Trio - Classical Jazz"
Jazz Chronicles JCS 77 1 & 2
Improvised by Jimmy Wyble
Original Transcription by Rich Carter
Edited and Revised by David Oakes

U U

_

_ . _ .
1

_
#
_

_
Intro: Rubato

# 4 _ _ _ _ _# _ n nj #
2

_ _ b_j
3

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1

4
l========================
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n
l _ #
l _ l_ b_ l


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4



5 6

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j _
# _ _ 6 _ _ nj _ _ . b bj _
2

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j b 4
5

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l======================== # 8
b_ l J l _#

J
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.
=
l l 4
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.
6 4
_
p m i p m i p i 5 5

B b m7 E b7

Swing 6 6

# 4 b b n . . _ _ _ _

Bm7 D7 G E7 Am7 D13
q = 94

& 4 _ bb_ n l b
J # b_ l # n l . J
9

l======================== ( b _ ) _
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_

Bbm Eb n_
A Chorus #1

_


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# j . nj b b n
Gmaj7 7 7

b
& __ l . _ n_ . b l
13

l======================== l b
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b

Gmaj 7 7( 5)E 7(alt.)

_
# _ n n J _
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l # l
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17

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p p i m a i a m i p i p

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_

Am7 Am7

# _j
21 _ . _ n _ _
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2008 Jimmy Wyble - All Rights Reserved
 Two Lines From Nowhere pg 2 of 3

E b9


b_ _ .
_
Am 7 D 7

# b nj b b n _


J _ _
j
b

. J
25

J
l========================
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l b_ l l ll
( )
Lay Back...
4
5

b b7
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Gmaj7 Bm 7 E

# j


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b
29

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3
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BIV

j
b
33

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4
5 5 4
5 6 5
6

Am7

E7(b9)


_ _ _
Am7 Cm 7

# _ n _ _ _ _ _ _ _ b b b n n_
_
2
BV

& __ _ l # _ l b l
37

l======================== _ l _
5 4

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Bm7 E 7 Am 7 D 7

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# # _ . J n_ n _ . J . j Jj
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.


& l l
41

l======================== l ll
Lay Back. . . . 3
3 3
4 4
Chorus #2:
Bbm Eb
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Gmaj7 7 7
A
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b b b b nj
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45

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4
3
5 4
6 5 5
6 6 5
 Two Lines From Nowhere pg 3 of 3

_ _




Bm b

E b

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# _ _ _ _ _ n . n _ #_ _

Gmaj7 7( 5) 7( 9)

l _ l . _j n =. l
49

l=======================
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J b __ 4 _ _
5 3 3 3 4
5

Am _
6 3 4

_ _ _ E lay back
5 6

# n _ b
# n _ _ _ _ _
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#
7 7( 9) Am 7

l # l l
53

l========================
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2 3

Eb D
3 4

Am
4

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n

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9 7 7

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BXI

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57

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3 4
4
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i i i i

Bbm Eb
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7 7 7

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4 3
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lay back

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Bm7(b5)

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Am 7 E 7( 9) Am 7 Cm 7

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1 2 1

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69

l========================
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3 i p i p i 4
6 5
3
5 6
4

D
E7(b9)
b
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7(b9)

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Bm7 Am7 Gmaj E Am 7(alt) D 7
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73 2

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5 Begin Chorus #3 comp. 5 5
6