Jimmys Sketch Book Volume 2

8/9/2019 Jimmys Sketch Book Volume 2

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1Jimmy’s Sketchbook Vol. 2 - written by Jimmy WybleCopyright © Jimmy Wyble 2008 - All Rights Reserved

Jimmy’s Sketchbook Vol. 2“Two Lines For Barney”

From “The Jimmy Wyble Trio: Classical Jazz Jazz Chronicles JCS 77 1 & 2

“ Two Lines For Barney ” is one of Jimmy’s nest compositions. Jimmy has recorded this worktwo different times. The rst recording was in 1977 as you hear it here in this transcription asa trio jazz work. The second recording came shortly thereafter from the “ Etudes ” record whereJimmy made a solo work out of this piece. He then added the number 21 to the title as in “ Etude21” as well as moving the title “ Two Lines For Barney ” down to a sub title. That version ispublished in the book “ The Art of Two Line Improvisation ”. The solo version differs from thistranscription in the sense that it has a beautiful introduction added to it as well as the fact thatit has a slightly different rhythmic lay. I think that is due primarily to the difference betweenplaying the piece solo vs. playing the piece with a jazz rhythm section. This version alsoincludes 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 In The Box ”. This is a tribute album for Larry’s good friendand former teacher Jimmy Wyble. A literal “A-team” of local jazz giants joined Larry for thisrecording. Larry’s CD is available from many places. I downloaded my copy from the iTunesstore. Jimmy and I both highly recommend that you seek out and purchase this CD. I know thatJimmy loves and respects many guitarists. He always holds these guitarist and musicians in veryhigh 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 advantageof all of the legato markings. These will take a lot of pressure off of the right hand to play allof those notes in tempo. With a little practice, the music will start to ow. Another importantelement here is ngerings. Some of the ngerings and notes have changed from “ The Art of Two

Line Improvisation ” version. If you are familiar with that version, take some time to compareboth the notes and ngerings. Jimmy would not be upset by the fact that there are differentngerings. Instead, he would celebrate the fact that as guitarist, we have many different choicesthat could be made on our instrument in regard to ngering. Jimmy has always considered hismusical life to be a “ work in progress ” that is constantly changing. I know that I have grownquite a bit as a guitarist and musician in the past decade since I rst edited “ The Art of Two Line

Improvisation ” for Mel Bay. Seeing different ways to play the same thing is part of that growth.

Jimmy made a few mistakes in this recording. They were small and did not rub so the mistakeswere 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 “+ oftwo in the lower voice.Pg 2 - line 4 - measure 4 - beat 1 - Jimmy played a “Db” instead of the “Eb”. The Eb makesmore sense and that is the note Jimmy wished that he played. Other than those corrections, thistranscription is as accurate a transcription as you will ever nd.


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Jimmy’s Sketchbook Vol. 2 - written by Jimmy WybleCopyright © Jimmy Wyble 2008 - All Rights Reserved

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The improvised solo:

As musicians, we tend to be blown away by the latest and greatest fast blazing guitar player. Therst thing that strikes me about this solo is space. Jimmy lets the drums set up the groove to helpset 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 howto 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 wherenot to play. Larry Carlton has spoken of the importance of editing your playing. Howard Robertssaid that music always begins with silence. This solo is a perfect example of playing sparse andletting the rhythm section groove help carry you through the solo. This is an important lesson foranyone 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 ringand middle ngers when he gets in trouble crossing strings. For me, his tone is so strong andfocused that the only reason that I know he didn’t use a pick is because he told me so. Havingsaid 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 playingover the changes. The changes are from the head of the tune and the blowing changes couldalso be a little simpler especially in the bass line under the guitar solo. There are many placeswhere 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, butJimmy makes it work. A strong sense of line and melody is important to pull this off. Anotherreason that this is an important work to learn.

In the bridge, Jimmy played six quarter note C’s over a Bb7 chord. That was probably theeasiest bar of music that I have ever transcribed! My rst question for Jimmy was: “Jimmy,can’t you nd anything better to play than that”? Jimmy laughed and said that he was thinkingabout 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 Ab7change wouldn’t have had the same effect if that same line had followed a lot of notes over theBb7 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 in progress ” to grow and develop as well.

I would also like to thank Brandon Bernstein for his invaluable help in proofreading thismanuscript and helping nd some mistakes that have been around for decades. This is truly thecleanest version that exists of this classic Jimmy Wyble composition.

David Oakes July 6, 2008


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two lines for barneyFrom "Jimmy Wyble Trio - Classical Jazz"

Jazz Chronicles JCS 77 1 & 2

by Jimmy WybleSolo Transcribed by David Oakes

Copyright ©2008 by Jimmy Wyble - all rights reserved


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Jimmys Sketch Book Volume 2