Jazz Guitar Study Series GUITAR COMPING with Bass Lines in Treble Clef Play-A-Long Book and CD Set Damey Aebersold Gazz, Duc.BARRY GALBRAITH Jazz Guitar Study Series "Volume #3 - GUITAR COMPING" Blues in Minor Blu Nowhere. Dream. Blues in 12 key: Rhythm #1 S-Miles... TARARNSSARSDR GOODE Rhythm Like Someone. Transcribed bass lines from recording. iB The Guitar part notations correspond as closely as possible to the recording. Stereo separation on the recording (Bass on Left channel, Guitar on Right channel) enables the guitarist to turn off the Right channel and comp with the bass, either reading from the book or improvising his own comping. Playing both channels furnishes a background for single line improvisation. Forthis, the player will find it helpful to read the symbols above the bass lines given in the back of the book (pages 37-48). The tune sequence corresponds to that in Book Three with the exception of the last three cuts (Wind #2, Rhythm #2, and Like Someone) which are for guitar alone. Left Channel: Right Channel: Milt Hinton, Barry Galbraith, Bass Guitar Pamey rtekersald Gazz, luc.INTRODUCTION Most of the comps (accompaniments) in this book are designed to accom- pany an improvised solo with bass and without piano. In actual play, comps are created as a response to a soloist and putting them on paper is an clusive and somewhatarbitrary task without a given melody line to follow. However, there are certain principles common to all comping: Rhythm: Rhythm takes precedence over harmony in comping. If a comp doesn't swing, it can hinder rather than enhance. Simple, sparse accents are often all you need, especially at bright tempos, where the less you play, the better! Harmony: The harmonic comp line sounds best when it 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 jumping aimlessly about. However, at times 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 D7. ‘The comp material begins simply with "Shiny" and "Wind" and becomes more elaborate throughout the book, exploring the many musical possibilities in comp playing. Bass parts are to be played on another guitar or taped for playback. Chord symbols are given for regular bass. Without any other accompaniment, be sure to use a metronome. Some of the studies in this book have chord progressions similar to the following standards: "Shiny Stockings," "Gone With The Wind,” "Out of Nowhere,” "You Stepped Out of a Dream,” "I Got Rhythm,” "Nardis,” “Tangerine,” “Body and Soul," and “Like Someone In Love.”SHINY 4 100-120 Gm7 cis Bust 13 Fag D OQ p=, bo Des Am? AmT D13 Bmi1 pmaE13 AG Amlib, cto Gms Gmll Gms Cisus Am9 Eb13 D13 Gmi1 C13 C9sus__C¥susk6 am7#s D789 by 22 aFas Gm? FimgGmo Gm Db13 C13 @ O. } 2 a se Bb7H11 Fag ‘AO Abo Gm? = Bb9ti1 - ie ae Abmt ot tig, oo ea ie , = & £ r Fg = SE 3 E : : —- Fe ? Am7 Dg Gm7 Am7 Gm9 C13_ - ig) ‘ = 9 72 11 B Gm? abatl! ea6y @ F6 ef @ abe —, — —=3s——:WIND J= 100-126 Goo Fml1 Beis EbS ono Fmil Bb7#5 Eb§ —_-Bbad Ang "3 @ ‘ae : bgs oe, & bs is Be - " Etg Amo D7gy Geo Em7 n Fe £: b, Fm7 FT B19 Bbi3BhS 4 oe Bbmé C76 ri ve © Fmo - Bo7#5- bag cis Fm7—-Bb13 Ebag Ebe b, bo 6 Fmi Fm§ Cm7 m7 a6 Ab6 * bo p79 m6 corteee Es ay Fm7 oes ® Eba9 Eb6 Amd FH? Gao Am DIB gg oe | 6 Fey) Bee: cmil ¢m7 ab Fm7 Bos Eb6 79 Db9 ®BLUES IN F 4 = 100-120 Fist Fa Gis a Ye Fis Ghia a 4 ms a Bb9 Bia Bos Be FHS plas po Gm7 Gms Gm7 —C9sus Fs ents FT bHib P® pig Bb1sb9 = bey . = F7# Fis Bip Bhi Bbis#i1 Bb13#11 Bb Fa 3 ‘Bb9 B9%5 —-Bbs Ebo D7#9 Gm7 am) Abmd"C8sus D' ® ® ® ®, , cali i = spss ae 4 = GT ct Ft Fis PTH5 oe PapeBoo Fo gtono FR ETH Eb1a DS F#m Abmg ® @. ad bo ClasusF6 Diy; bis Gb1s Fo FT Bbe Geo Bo FY be be ] P: igs cotsro F13 Bis Bbo nig rf} aorotia nial Abm7 C13 6 ¥F9 abiafil Gm? Gmo Bia mis c7gs FS DT G7 coe Fig Be Bb13 FO Fi3 FS 1389 F9 Bb9 Bo cots Fo Fig a cr F13b5 F9 Fb9 D9 Gm9 Gm9 COsus Cosus FE Fa Gm7 FadMINOR BLUES comp is a variation of the LIV-L-V-I minor blues. Each chorus is slightly different and most substitution is done with: ‘cycle of V progression. Po Bbis#il abo als ‘Attg Dia FO a B Am? 6 Am9k7 Amp 2 J Lp wis Fo 3 Bbo#lt Am7 CT BS ETS + #5 Bb13 Amok? Athy ATHET#9Am9 B/A —BS/A AmT B/A Bb/A ATES Drie! Fm9 BD. Amg D9 Gm Foo Re @ th 0 8 ) Bbm7 Eb Gag Ams se it eee ye cmt Bn? me amo Do a Es = ae 2 4 ES cig — = St === 3 , “ F ® Se Bm7 cg Am7T D79 Bm7 Bb13 Am7 a | 4 f= r rBbm7 Cm7 Bbm7 Cm7 BbmT G Am Bm gs ith gd ot Am7 E79 = Amd pout Bbmg Ebis 2 pe Gs Am? Bm? Gn é T { i | Ams of Beil Bm7(6) £12 erfo amr am? Erba -ETba < @ = 2 AmT cmt FI3 Bm7 Bb° Am9 DIB. Abad, Gog oe aDREAM Dad Ds Da D6 Ebas Eb6 Ebs Eb6 Fig Fe1sbo £13 G(add9) G Gmg_ cobs Co Em$ Bb7 sui gs ® >. De Dé Da Dé Da Ebs Eb6 Ebs EG Eba Dm7 C#m7#5 Om! e, % . ae 0 Abii ab? @7 ger one . Fem? Fm7(6) Em7 s s 16Da Em? Dag Da Ebs = Fm? -Ebo cml Dmil Fis bo 6 & Pi}? Bho § Fosus Bhas 36 Amil 13 = Gad God Gad Gm9 C9 Gmil_ C13 Fmll Bb1s © bes 4 Emi1 AlS Fo AbIBg11 AT GT ® bo uBLUES IN TWELVE KEYS This comp 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 asa guide when playing this blues d= 92-120 er co FE to oe vier ait? pp pstaatte Ca D7 DEMT pane _ > pene | 25 rtf — ere Dm) "Din? a3 Gis C6 BG C6 Gm7 cis Ea Se a a ~—3— 3-5 4 a L243 eof tte ee op =f He * t v — Bbs9 Abo BbG Bbmo E9 EbO Abo9 Gb° AbG = Abm9 D9 Dh at Gm7 Gm9 Gmll —C9sus Db7 Cmi1 £ bea bods pe‘Boots Eo F985 Bb9 5 39 Bots Eb9 +g — F945 Bb ctms FH Cm9 FS Bol B13. C13.C#13 D13 Eb13_ mo ¥ $s 1s pao SS Sar SesES = t Bm? Ab13 FO FRO AC Ebsd i a, betes == a tS . vt = a Ab1S re ae eS ota bs corte BS B9 BbSsus @ abm7Abo Aa Aba AbG Ebm7 Aba Aa Aba Ab6 Crs FT#9 = -Bb9| ae Abis AI. AbI3. C6 Db6 P= te v $ Db9sus Dbg Dba oa Bb13b9 4. i uo fries: #9 Bh7ps zo BAO on ben = — ge? BpO bo Goabm7 pois Ps VT v