Jimmys Sketch Book Volume 2

Jimmy’s Sketchbook Vol. 2 “Two Lines For Barney” From “The Jimmy Wyble Trio: Classical Jazz  Jazz Chronicles Chronicles JCS JCS 77 1 & 2 Two Lines For Barney” Barney ” is one of Jimmy’s nest compositions. Jimmy has recorded this work two different times. The rst recording was in 1977 as you hear it here in this transcription as a trio jazz work. The second recording came shortly thereafter from the the “ Etudes”  Etudes” record where Jimmy made a solo work out of this piece. He then added the number 21 to the title title as in “ Etude “Two Lines For Barney” 21”” as well as moving the title “Two 21 Barney ” down to a sub title. That version is published in the book “The “The Art of Two Line Improvisation ”. The solo version differs from this transcription in the sense that it has a beautiful introduction added to it as well as the fact that it has a slightly different rhythmic lay. lay. I think that is due primarily to the difference between playing the piece solo vs. playing the piece with a jazz rhythm section. This version also includes an improvised solo over the form. “

Larry Koonse, a great guitarist from the Los Angeles area, has recently recorded “Two Lines for Barney” on a CD titled: “What’s “What’s In The Box”. Larry’s good friend Box ”. This is a tribute album for Larry’s and former teacher Jimmy Wyble. Wyble. A literal “A-team” of local jazz giants joined Larry for this recording. Larry’s CD is available from many places. I downloaded my copy from the iTunes store. Jimmy and I both highly recommend that you seek out and purchase this CD. I know that Jimmy loves and respects many guitarists. He always holds these guitarist and musicians in very high regard but none more than Larry Koonse. About the transcription: The head to the song is very challenging to play at the tempo of the recording. Take advantage of all of the legato markings. These will take a lot of pressure off of the right hand to play all of those notes in tempo. With a little little practice, the music will start start to ow. ow. Another important element here is ngerings. Some of the ngerings and notes have changed from “The “The Art of Two with that version, take some time to compare  Line Improvisation Improvisation”” version. If you are familiar with both the notes and ngerings. Jimmy would not be upset by the fact that there are different ngerings. Instead, he would celebrate the fact that as guitarist, we have many different different choices that could be made on our instrument in regard to ngering. Jimmy has always considered his musical life to be a “work “work in progress” progress ” that is constantly changing. I know that I have grown quite a bit as a guitarist and musician in the past decade since I rst edited “The “ The Art of Two Line Bay. Seeing different ways to play the same thing is part of that growth.  Improvisation  Impr ovisation”” for Mel Bay. Jimmy made a few mistakes in this recording. They were small and did not rub so the mistakes mistakes were left in because the overall quality of the take was excellent. Pg 1 - line 4 - measure 3 - beat 2 - Jimmy played an “A” instead of the “F natural” as well as an “A” instead of the Bb. He wants you to please play the “F and Bb” on beat two and the “+ of two in the lower voice. Pg 2 - line 4 - measure 4 - beat 1 - Jimmy played a “Db” instead of the “Eb”. The Eb makes more sense and that is the note Jimmy wished that he played. Other than those corrections, this transcription is as accurate a transcription as you will ever nd. Jimmy’s Sketchbook Vol. 2 - written by Jimmy Wyble Copyright © Jimmy Wyble 2008 - All Rights Reserved

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The improvised solo: As musicians, we tend to be blown away by the the latest and greatest fast blazing guitar player. player. The rst thing that strikes me about this solo is is space. Jimmy lets the drums set up the groove to help set up the head of the song. He also lets the drums bring him back into the melody after the solo. I asked Jimmy about the space and he said that in all of his years of playing that he learned how to let a rhythm section help him to improvise through a solo. Chet Atkins always said that playing a solo is learning the importance of space by learning where not to play. play. Larry Carlton has spoken of the importance of editing your playing. Howard Roberts said that music always begins with silence. This solo is a perfect example of playing sparse and letting the rhythm section groove help carry you through the solo. This is an important lesson for anyone to learn and the principal reason that we should all learn this solo. Jimmy played every note on this album with his right hand ngers without any help from a pick. In this solo section, he is mainly alternating his thumb and index with a little help from the ring and middle ngers when he gets in trouble crossing strings. For me, his tone is so strong and focused that the only reason that I know he didn’t use a pick is because he told me so. Having said that, I have also learned this solo with a pick as well. Jimmy seems to be thinking more in terms of playing inside tonal centers rather than playing over the changes. The changes are from the head of the tune and the blowing changes could also be a little simpler especially in the bass line under the guitar solo. There are many places where his note choices seem to be of the Bb minor tonality and not of the specic chord change. I would have never thought to play the notes that Jimmy played at different point in the solo, but Jimmy makes it work. A strong sense of line and melody melody is important to pull this off. Another reason that this is an important work to learn. In the bridge, Jimmy played six quarter note C’s C’s over a Bb7 chord. That was probably the easiest bar of music that I have ever transcribed! My rst question for Jimmy was: “Jimmy, “Jimmy, can’t you nd anything better to play than that”? that”? Jimmy laughed and said that he was thinking about Count Basie at that moment and just letting that repeating note help the music to breathe. The line that follows is truly inspirational, and now I understand the line over the Eb7 and Ab7 change wouldn’t have had the same effect if that same line had followed a lot of notes over the Bb7 change. For me, fully understanding this concept will help me grow as a musician. I hope that learning this solo will help your musical “work “work in progress” progress ” to grow and develop as well. I would also like to thank Brandon Bernstein for his invaluable help in proofreading this

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Two Lines For For Barney Barney  – page  – 2

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Two Lines For Barney Barney  – page  – 3

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