I love all these changes. What a great choice !!! I’m gonna sink my teeth deep into these harmonies. I’ve been wanting to know how to play guitar just like this. So cool , so beautiful. It’s hard to contain my enthusiasm over this work. 🙏🏻🙏🏻🙏🏻to the great M.A.S. !!🤘🏼🤘🏼
I just purchased 2 Gibson guitars with Seth Lover pickups. An 82 wine red Les Paul and a blonde 84 ES-335. I love them both SO much. Got a good deal at auction. I’m a lucky boy😃
I love this! I got the Barry Galbraith Guitar Comping book around '97 or '98 and am STILL working on it. Glad I found it because there's more and more goodness to reap in every bar. Most jazz books have pieces of it, but it's usually more about concepts and specific changes (II V etc.). My thought after years of studying jazz, is that a form- based approach has a real power, and that's exactly what Barry is getting at in this book. Great choice Marc-Andre, and thanks for these great examples of how they are done!!
Great video...I have the book, so this is very cool...Of yeah...No need to apologize for blowing wind...we can't always control our digestive system ya dig :)
Thank you so much for this very easy to watch (and follow) example of this tune (and all the others). I have also purchased the chord grid version (grips) to make it easier (for me) to figure out the chords. You mentioned learning the notation (no tabs, no chord grids), and that it took you a long time. Do you have any tips about making that easier? - I am an accomplished jazz trumpeter and piano player - and I can sight read very well there, but guitar music “in the staff” is a complete mystery for me. How does one learn what the different notes are (and where they land on which string)? - Thanks again for this series. Very helpful.
I love this book! Shiny is "Shiny Stockings". Many of my teachers studied with Barry. He was a complete gentleman (from what I've heard) and an amazing player. Milt Hinton, btw, can really play that bass. Listen to his "slap" bass, he takes Flea to school :) Another challenge would be to play this etude with a pick like Barry did.
What a coincidence! I just started this book and was having trouble with some of the voicings (playing them in wrong place). It's great to see how this study should be played. I like the way you kinda slide into some of the chords. You make it look so effortless. Thanks for posting this.
Actually, I bought this book and Barry's Fretboard Workbook based on your recommendation. Struggling to learn standard notation is really giving my old brain a workout. :-) However, it's forcing me to finally learn the fretboard.
I can't believe I got the entire thing down already, love these voicings...now to try and incorporate into my playing. Thanks for doing this...When will you be doing the next one :)
I learned the most from the Minor Blues etude and the "Tangerine" etude (where he breaks up chords--that got me prepped for the Jimmy Wyble stuff I am trying to figure out these days)
Something that might help even more since these are such beautiful comping moves and voicing s. Maybe after the performance you take some of these moves and show how you might apply it to different standard. I think people might like to see how you might use these in different tunes. thanks
Hi Marc, first thanks for all your work sharing your knowledge, it’s really opening a lot of doors for me. I’ve been going through the Shiny comp study, and having fun learning it, sure it’s challenging, worth the effort. I was unfamiliar with the tune, so I’ve found some great examples. One is Barney Kessel’s version, ua-cam.com/video/TW6ICXviid4/v-deo.html , my question is about the line/break he does right before his solo, around 1:01 mark. Is there a technical name for that device? How are those constructed? I hear those device used a lot and would like to know how to build them. Thanks.
You mean taking off from the end of the form? Usually that's some kind of "turnaround" lick based on a iii-vi-ii-V or a ii-V. It's often even just a simple lick over the I chord in its anticipation. Hope this helps!
I am a bit older than you. My teacher put me onto this book when I was about 17, so that makes it 41 years ago. There was a time when I could play the entire book from memory. What an awesome book. Mine is in tatters now but I still use it. Another benefit of this great book is that it improved my reading out of sight! (no pun intended). Please tell me the modern edition is not tabbed. Sure, I know that reading block chords can be a bit daunting but pianists do it every day. (My guitar teacher, Barry Morton, was an ex student of Barry Galbraith and he often talked about Galbraith's great sight reading ability. He would say, "Galbraith can read a newspaper backwards at 100 yards.") Accordingly I believe that it is in the spirit of this great book that it should be read. Galbraith certainly never played by numbers. What is the result of having spent a lot of time with my head in this book? I am able to pick up a fake book and improvise an interesting comp. Prior to this study I was limited to the four-to-the-bar Freddy Green style. Not that there is anything wrong with that; it certain circumstances it is just what is called for. But it had been my only recourse and I was frustrated about this. My chord vocabulary enlarged. My ability to play chord melodies was vastly improved. After all, to some degree that is exactly what Galbraith's studies are. Chord melodies. I am in a position today when, after an extended period of illness when I couldn't play I am trying to get back in shape. Again I have opened my yellowed copy of this wonderful book. The scores are covered in my pencil and pen marks, passages of difficulty, highlighted, and metronome marks on every page. They are a mess and I probably should buy another copy. To the student. If you buy one guitar comping book get this one.
Marc, I know this is 5 years later but - I don't know this tune. Do you suggest learning the Melody first before the comping? Mark (alternate spelling ;-)
Ah yes -- the tune is good. Check out this Ella version: ua-cam.com/video/G6egXWHvSzo/v-deo.html BUT, the goal of the Galbraith studies is to learn "pure comping". So his etudes aren't focused around the melody, at all. The book is not chord melody, it's just accompaniments on the changes :)
This comping book is great. I just don't understand why every now and then the chord form at 02:58 pops up in the scores. I don't like the way it sounds, I think that that F6 chord should have C on the bass instead of D. Anyone got the same issue?
Barry gives you the fingerings for many of the etudes. Just like JGL said, the circled numbers are the strings and the uncircled numbers are the fingers. This is the same system that Johnny Smith used in his book and Segovia used in his studies as well. This system is better than tabs because it gives you everything once you learn to read it, the rhythm, and where to play it. Stick with it and you will start "opening up the neck"
It's tough, but it's really a matter of trial and error and getting used to it. The more you do it, the more you'll recognize familiar shapes - there are a limited number of fingerings that you can logically reach on the fretboard. My advice to you is to just take it bar by bar, voicing by voicing, and once you have a chord, stitch it together with the next one, and the next one. You can take this out of time at first so you don't have to worry - just get the fingerings first. Then add the time element back in after you know what you're trying to play.
The obvious thing to do is to lift passages directly onto passages in other songs that fit similar chord progressions (even in different keys). You're basically musically "quoting" Shiny in this way. Another, less obvious thing to do is to pick up on specific chord voicings that can be applied to different contexts and give you different chords as a result. For example, that first C13 chord, xx8755 (Bb-D-E-A)? It works just fine as a C13 chord if the bassist is playing a C. But what do you get when the bassist is playing a Gb? Or a Bb? Or an E natural? It's a fantastically versatile voicing that can be many different things in many different contexts.
I love all these changes. What a great choice !!! I’m gonna sink my teeth deep into these harmonies. I’ve been wanting to know how to play guitar just like this. So cool , so beautiful. It’s hard to contain my enthusiasm over this work. 🙏🏻🙏🏻🙏🏻to the great M.A.S. !!🤘🏼🤘🏼
I just purchased 2 Gibson guitars with Seth Lover pickups. An 82 wine red Les Paul and a blonde 84 ES-335. I love them both SO much. Got a good deal at auction. I’m a lucky boy😃
5:30 Wow look at that glow! It must be the holy book of comping!
HA! They should include use that whenever this gets re-issued...
-Marc
I love this!
I got the Barry Galbraith Guitar Comping book around '97 or '98 and am STILL working on it. Glad I found it because there's more and more goodness to reap in every bar. Most jazz books have pieces of it, but it's usually more about concepts and specific changes (II V etc.).
My thought after years of studying jazz, is that a form- based approach has a real power, and that's exactly what Barry is getting at in this book. Great choice Marc-Andre, and thanks for these great examples of how they are done!!
Thanks for the wonderful comment David! Glad to find someone who loves this book as much as I do.
-Marc
Playing this song with my jazz group this week. Your timing couldn't be better.
Great! Thanks Michael!Enjoy the course and Keep me posted!
Great video...I have the book, so this is very cool...Of yeah...No need to apologize for blowing wind...we can't always control our digestive system ya dig :)
Thank you so much for this very easy to watch (and follow) example of this tune (and all the others). I have also purchased the chord grid version (grips) to make it easier (for me) to figure out the chords. You mentioned learning the notation (no tabs, no chord grids), and that it took you a long time. Do you have any tips about making that easier? - I am an accomplished jazz trumpeter and piano player - and I can sight read very well there, but guitar music “in the staff” is a complete mystery for me. How does one learn what the different notes are (and where they land on which string)? - Thanks again for this series. Very helpful.
Love it! Great job. I just got the book. Many thanks:)
You're gonna love it (and hate it, but mostly love it). Galbraith's stuff is super musical.
I really want to go though this book over the next 12 months and incorporate these chord movements
This is awesome, now I can finally see how its actually played...Thanks!
you're welcome! Thanks for watching!
I love this book! Shiny is "Shiny Stockings". Many of my teachers studied with Barry. He was a complete gentleman (from what I've heard) and an amazing player. Milt Hinton, btw, can really play that bass. Listen to his "slap" bass, he takes Flea to school :) Another challenge would be to play this etude with a pick like Barry did.
Thanks for your words and your *great* feedback! Indeed, this is very helpful. Have fun practicing!
What a coincidence! I just started this book and was having trouble with some of the voicings (playing them in wrong place). It's great to see how this study should be played. I like the way you kinda slide into some of the chords. You make it look so effortless. Thanks for posting this.
This is awesome to hear! I'm glad my approach works for you and others. Keep me posted if you have any questions or feedback. I'm always glad to help.
Actually, I bought this book and Barry's Fretboard Workbook based on your recommendation. Struggling to learn standard notation is really giving my old brain a workout. :-) However, it's forcing me to finally learn the fretboard.
It's not easy, but you can make a lot of progress given dedicated time!
I can't believe I got the entire thing down already, love these voicings...now to try and incorporate into my playing. Thanks for doing this...When will you be doing the next one :)
Instablaster
Very nice!
Thanks Vernon! Glad you like the stuff.
Miss this one! See you the 22 for Wind!
I learned the most from the Minor Blues etude and the "Tangerine" etude (where he breaks up chords--that got me prepped for the Jimmy Wyble stuff I am trying to figure out these days)
Something that might help even more since these are such beautiful comping moves and voicing s. Maybe after the performance you take some of these moves and show how you might apply it to different standard. I think people might like to see how you might use these in different tunes. thanks
yes, Sounds good! I'm taking note of your suggestions. It would be a nice addition for the courses in the future.
Thank you
you're welcome!
Hi Marc, first thanks for all your work sharing your knowledge, it’s really opening a lot of doors for me. I’ve been going through the Shiny comp study, and having fun learning it, sure it’s challenging, worth the effort. I was unfamiliar with the tune, so I’ve found some great examples. One is Barney Kessel’s version, ua-cam.com/video/TW6ICXviid4/v-deo.html , my question is about the line/break he does right before his solo, around 1:01 mark. Is there a technical name for that device? How are those constructed? I hear those device used a lot and would like to know how to build them. Thanks.
You mean taking off from the end of the form? Usually that's some kind of "turnaround" lick based on a iii-vi-ii-V or a ii-V. It's often even just a simple lick over the I chord in its anticipation. Hope this helps!
I am a bit older than you. My teacher put me onto this book when I was about 17, so that makes it 41 years ago. There was a time when I could play the entire book from memory. What an awesome book. Mine is in tatters now but I still use it.
Another benefit of this great book is that it improved my reading out of sight! (no pun intended). Please tell me the modern edition is not tabbed.
Sure, I know that reading block chords can be a bit daunting but pianists do it every day.
(My guitar teacher, Barry Morton, was an ex student of Barry Galbraith and he often talked about Galbraith's great sight reading ability. He would say, "Galbraith can read a newspaper backwards at 100 yards.")
Accordingly I believe that it is in the spirit of this great book that it should be read. Galbraith certainly never played by numbers.
What is the result of having spent a lot of time with my head in this book? I am able to pick up a fake book and improvise an interesting comp. Prior to this study I was limited to the four-to-the-bar Freddy Green style. Not that there is anything wrong with that; it certain circumstances it is just what is called for. But it had been my only recourse and I was frustrated about this.
My chord vocabulary enlarged.
My ability to play chord melodies was vastly improved. After all, to some degree that is exactly what Galbraith's studies are. Chord melodies.
I am in a position today when, after an extended period of illness when I couldn't play I am trying to get back in shape. Again I have opened my yellowed copy of this wonderful book. The scores are covered in my pencil and pen marks, passages of difficulty, highlighted, and metronome marks on every page. They are a mess and I probably should buy another copy.
To the student. If you buy one guitar comping book get this one.
Nice! Thank you for sharing! Yeah, these are amazing books, they can help your playing in so many ways.
Marc, I know this is 5 years later but - I don't know this tune. Do you suggest learning the Melody first before the comping?
Mark (alternate spelling ;-)
Ah yes -- the tune is good. Check out this Ella version:
ua-cam.com/video/G6egXWHvSzo/v-deo.html
BUT, the goal of the Galbraith studies is to learn "pure comping". So his etudes aren't focused around the melody, at all. The book is not chord melody, it's just accompaniments on the changes :)
This comping book is great. I just don't understand why every now and then the chord form at 02:58 pops up in the scores. I don't like the way it sounds, I think that that F6 chord should have C on the bass instead of D. Anyone got the same issue?
Guitar starts at 1:53
It does :)
Love Galbraith and I also like your use of the gain channel. I often do the same. Makes sense, but not many others understand.
Thanks John! Glad you're enjoying the lessons! Have fun practicing.
I can read music but had issue figuring out many of the chord shapes when the notes are stacked...any suggestions becuae I love these comping examples
Barry gives you the fingerings for many of the etudes. Just like JGL said, the circled numbers are the strings and the uncircled numbers are the fingers. This is the same system that Johnny Smith used in his book and Segovia used in his studies as well. This system is better than tabs because it gives you everything once you learn to read it, the rhythm, and where to play it. Stick with it and you will start "opening up the neck"
Thank you!
It's tough, but it's really a matter of trial and error and getting used to it. The more you do it, the more you'll recognize familiar shapes - there are a limited number of fingerings that you can logically reach on the fretboard. My advice to you is to just take it bar by bar, voicing by voicing, and once you have a chord, stitch it together with the next one, and the next one. You can take this out of time at first so you don't have to worry - just get the fingerings first. Then add the time element back in after you know what you're trying to play.
Do I have to know all the scales on guitar playing.or could I skeep them.
It's never a bad idea to learn your scales in all keys!
Wow yeaaaaahh!!
Great! Thanks for watching!
Question, on the 2nd page there's a Bb7#11 and a Bb9#11 they look like the same chord
They're both supposed to be a Bb9#11 (there's a C note in both chords), but the Bb7#11 chord symbol is merely a typo.
Thank you
you're welcome!~
Any tips on applying it to other tunes?
The obvious thing to do is to lift passages directly onto passages in other songs that fit similar chord progressions (even in different keys). You're basically musically "quoting" Shiny in this way.
Another, less obvious thing to do is to pick up on specific chord voicings that can be applied to different contexts and give you different chords as a result. For example, that first C13 chord, xx8755 (Bb-D-E-A)? It works just fine as a C13 chord if the bassist is playing a C. But what do you get when the bassist is playing a Gb? Or a Bb? Or an E natural? It's a fantastically versatile voicing that can be many different things in many different contexts.
Thank you, you should go though several more of these comping exercises...they are so beautiful
No problem! These videos are actually part of a challenge series I posed to my students, so expect more of these comping studies to come.
Great stuff!
Thanks Brian! Glad you like it.Keep me posted
1:55
you need to swing it man this is so off
Hey
Thanks for watching! Keep me posted.
1:54