Barry Galbraith - Fingerboard - Download as PDF File .pdf), Text File .txt) or read online. Documents Similar To Barry Galbraith - Guitar Comping. Barry Galbraith Chord Melody. Barry Galbraith - Jazz Guitar Comping Book 3 Music Sheet. ´╗┐BARRY GALBRAITH Jazz Guitar Study Series. have come to me with an inadequate knowledge of the Melodic and Harmonic Minor Modes. the melodic minor is a val uable substitute scale in improvisation. and the harmonic minor is much used in the minor seventh-flat five to dominant.

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Barry Galbraith. Jazz Guitar Study Series. GUITAR. COMPING. E with Bass Lines in Treble Clef. Play-A-Long Book and CD Set. MINI. A. Jamey Aebersold Jazz. Page 1. Page 2. Page 3. 3. Page 4. 4. Page 5. 5. Page 6. 6. Page 7. 7. Page 8. 8. Page 9. 9. Page Page Page Page Page While looking for info on Barry Galbraith I found a treasure-trove of hand-written arrangements. That PDF didn't post correctly. It's not opening.

Guitarists generally visualize the fingerboard both in terms of basic scale patterns and of arpeggio relationships to various chord functions. Connecting these two visual elements into flowing lines often produceserroneousfingering. Here are some rules which will help you in forming the most economicalfingering conceptsfor traversing the neck. The term position means one finger to each consecutive fret without shifting the hand. Playing from position offers a stable base to move to or from Example 1. Position limitations may be extended by sliding either the first or fourth finger out of position by one fret Example 1a. Slides with the first finger are preferable to stretching the fourth, and offer the possibility of slurring. One way to move to a new position is by using extended fingering, sometimes combined with a one-fret slide Example2. Another way to move on the neck is by a skip or jump, usually of two or three frets. The safest finger for this is the first Example 3. To skip with the fourth finger is risky.

Solfeo - Barry Galbraith - The Fingerboard Workbook

Sequences repeatedphrases moving up and down in not lifted, when consecutive notes appear on adjacent pitch are usually best not played in position.

After finding strings of the same fret. Secondposition- - one fingerto eachconsecutive fret. Cmaj9 I. Positions may be extendedby a one fret slidewith eitherthe first or fourth finger.

Skipswith the fourth finger. Extended type fingering coupled with one finger slides. Skipswith the first finger. Cmaj I -.

Usingconsecutive 1 4 1 4: Extended fingering on seventhchords. Major ninth usingthe one. Usingthe samefingeringfor major ninth. Chromatic l B o Ir-- b 4th Pattern. F -Y-.

42 Chord Melody Arrangements - The Music Centre

L-r-r r- a. Ex' Ia' It is also important that after going out of position for these two notes to make sure that the following note is fingered back in the 5th position.

On the D7 formation. In this casewe relate to five block chord formations in one position which will also contain the appropriate scaleand arpeggiofor each chord.

To con- tinue the cycle. As shown below. Ia where the A is fin- gered with the third finger and not the fourth. This is best demonstrat. D7 Ex.

Attention should be paid to a smooth transition from one chord to the next. In due time the lines should improve melodicallyand gain musicalsophis- tication.

I in both major and minor. From the fingeringgiven.

I progression. This practice may also be applied in the learning of any new tune. It would be beneficial to lay down a chord track on atape recorder to play with. The following five examplesare exerciseson the above. LOm t. F 38 II. Barry Galbraith - Fingerboard Workbook. Flag for inappropriate content. Buscar dentro del documento. Cmaj9 I Ex. Third position Ebmaj 4 3 Ex.

Solfeo - Barry Galbraith - The Fingerboard Workbook

Cmaj Ex. Bb7 Documentos similares a Barry Galbraith - Fingerboard Workbook. Marcos Rios. Frant Mogers. Valentin N. Yosleyvi Lemes Ulloa. Alexander Gutierrez.

Javier Grafals. Los Locales. Fili Savloff. Senyk Bogdan. Alexandre Machado. Another way to move on the neck is by a skip or jump, usually of two or three frets. The safest finger for this is the first Example 3. To skip with the fourth finger is risky. However, there are exceptions,usually when playing in the upper positionswhere the frets are smaller, and executinga skip to the highest note of a phrase Example3a. When Skipping to an arpeggiated plrrase, the skip should be to the finger which would ordinarily play that particular note in the arpeggio Example4.

For triad arpeggios within a phrase, the finger-to-fret principal will usually apply Example 5. When playing seventh chords it is frequently necessaryto use extended fingering. These are best kept on three adjacent strings to f a c i l i t a t ep i c k i n g. For moving long distances on the neck, the use of consecutivefirst and fourth fingers on adjacent strings is comfortable in dealing with diminished, minor eleventh or major ninth phrases Example6.

Sequences repeatedphrases moving up and down in pitch are usually best not played in position.

After finding a good fingering for the first phrase, the sequentialphrases should use the same fingering Example 7.

This shows the components which should be recognized before attempting to play a new exercise, enabling the player to read in groups of notes rather than by consecutivesingle notes. This recognition will also aid in the placementof various phraseson the neck.

The first seven exercises on major chords are given without fingering so that the student may devise his own fingering and shifting. The same exercises are then repeatedwith fingering. These are not exclusivefingerings since there are several logical ways to finger any of the exercises.