Barry Galbraith # 3 - Guitar Comping Play-A-Long (Book & CD Set) (Jazz Guitar Study)

Highly recommended- like all of Mr. Galbraith's instructional books, this one is a clear winner as well. Mr. Galbraith's instructional books give you that classic, standard jazz sound which is never corny nor unmusical. Like all comping books, this is intended to show you different ideas and from there alter them to your individual taste. Great, great voicings here, good musical choices, and nothing to difficult or outlandish.A lot of jazz chord and comping books are trying to get you to "minimize the number of chords" you know, and to get you to play only a few different chords. While this is a good approach for beginners, I think in the end, as a jazz comper, you will inevitably need to learn as many chords as you can. I think part of this misinterpretation stems from everyone quoting how Wes Montgomery only used a few chord shapes. While that is true, he still played A LOT of different chord shapes. This book adds more chords to your repertoire and does so in tasteful fashion.Also the stretches are never too difficult here, and the voice leading is always compact and makes sense. Lack of tab is always a plus when learning chords on the guitar, so that you learn exactly what constitutes a b5, #9, etc. Also, there are indicators telling you which string you should be on, so in a way it is actually more efficient than tab.Bottom line, great book, great series actually. I highly recommend this, as well as the rest in this series of Barry Galbraith books. For single-note studies, I am enjoying Jimmy Raney's book (I believe it's Vol. 20 in Abersold), as a few of those solos coincide with the comping studies here in this Galbraith book.

Everything in the book is self-explanatory and is not complicated to follow along.

If you are looking for a great book to improve your comping vocabulary as well as buff up your chordal sight reading skills, look no further. The CD tracks are split bass in one speaker and guitar in the other, so practicing alongside a guitar track and bass track, just a bass track, or just the guitar track are all options. I would not recommend this book to someone who has difficulty with reading sheet music, but if you are familiar with reading guitar sheet music, the print is not painful to look at for extended amounts of time. I find myself using the chord voicings in other jazz standards I have familiarized myself with, as well as improvising chord progressions during practice. I plan to purchase more of the Barry Galbraith series in the future, these are timeless books that every very serious guitarist should own.

I bought this based on recommendations on a Facebook page for jazz guitar. It's got some great content, but it is not an instructional book. It is a book of 44 pages of comping etudes based on several jazz standards.Each selection is written in standard notation (treble clef, transposed down an octave as is standard for guitar notation) to show chord voicings. There no tablature or other indication of fingering, except for occasional circled numbers that normally indicate string. In this case they are over chords so they presumably indicate the string for the top note. There are chord symbols above the staff as in fake books.Each selection has a comping arrangement written in the front, then is repeated in the back with a chord symbols and a bass line (written on treble staff for guitar).The author has stayed on the right side of copyright law by not using the full names of the original tunes, or their melody lines, but it's pretty clear what tunes we are looking at.It includes an audio CD with all selections, with guitar comping on the left channel and bass lines on the right. You can listen to one channel while playing the content from the other, or play both channels to use as a backing track for playing melody or soloing.This is an excellent book of etudes for the advanced student who will be able to play them, analyze what makes them work, and then go on to develop their own variations and eventually other arrangements from scratch using the same methods. However, I do not recommend this book as a DIY for a beginner or most intermediate students because it gives no instruction or guidance whatsoever. It might be good as a teaching tool if an instructor comes with it. The real benefit of studies like this is not just to learn to play the study, but to dissect it and learn from it. To do that you need either a lot of experience or a good teacher.

Great book, wish I had this when I first started out 30 years ago. It's amazing to me how this whole series WASN'T the standard for teaching guitar. The first three books alone have an abundance of studies and things to practice at a very affordable price for those are looking to expand on their chords, comping, and how to make scales sound more musical and interesting.

Not what I expected. Cannot see how this booklet can help me improve my comping. Also I didn't receive the CD but I don't think it would have made a difference

I like how this book offer no tabs. It is difficult as a sight reading exercise, but what you learn is how to voice guitar chords with rhythms from an authoritative expressionist in Galbraith. He is a guitar comping master.

Good for improve your rhythm skills

Thank you

Ich habe das Buch von meinem Lehrer empfohlen bekommen als Vorbereitung zur Aufnahmeprüfung an der Uni.Anfangs in der Einleitung wird sehr gut erklärt was genau einem hier dargeboten wird und wie in Bezug auf den Grundton der Akkorde hier herangegangen wird.Es ist definitiv komplexe Materie in die man sich mit Geduld Stück für Stück einarbeiten muss und man wird auch nicht an die Hand dabei genommen aber genau das ist es was ich wollte. Denn wenn man sich die Sache erst einmal analytisch erarbeitet hat bleibt es auch im Gedächtnis.Was ich schon denke ist, dass ein gewisses Maß an Kenntnissen und in Sachen Akkordaufbau von Vierklängen und deren Optionstönen. und auch bzgl. des Griffbrettes (Noten am Griffbrett kennen und zuordnen können) definitiv erforderlich ist oder man eben sich parallel dazu erarbeiten muss um wirklich gut mit dem Material arbeiten zu können.Wen all das nicht stört, dem kann ich es mit gutem Gewissen weiterempfehlen

lo esperado

This is for the advanced jazz guitarist who can read music proficiently. The chord voicings are exceptionally good. The backing tracks on the companion CD are very helpful. There are NO chord charts or TABS included. Barry Galbraith was one of the greatest jazz guitar players, although less well known (i.e. more of a studio musician).

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