Jazz Guitar
Learn how to play jazz guitar with our eBook bundle
+ Reply to Thread
Page 14 of 14 FirstFirst ... 4121314
Results 391 to 410 of 410
  1. #391
    Join Date
    Apr 2011
    Location
    Los Angeles, CA
    Posts
    343
    Quote Originally Posted by SeanZ View Post
    That voicing can legitimately be thought of as multiple functions. Dan Haerle calls them 'Magic Voicings' - http://www.danhaerle.com/magic%20voicings.pdf. With C in the bass, it can be Cm11b5, D13, Ab7#5#9, Abm6/9, CMaj7#11, Gbm7b5, E Aeolian, or B Phrygian. Fyi, Barry Greene has a great lesson on his site - he calls it the 'Secret Jazz Chord'. :-)

    regards to all
    This doesn't seem right to me. Are you confusing some of these chords?
    Aren't we talking about the voicing starting with C, Gb, Bb and F?

    If that is the case the chords options would be Cmillb5, D7#9#5, Ab13, Ebmi6/9, Gbma7#11

    If you're referencing another chord, my apologies. Kingstone/Harris Harmonic Method for Guitar

  2. #392
    my bad! I was thinking of Haerle's alternate fingering which is C, Gb, B, & E and that does provide the chords I listed. Using the C, Gb, Bb, & F fingering you're absolutely correct. Apologies if I've added to the confusion.

  3. #393
    Join Date
    Jan 2017
    Location
    Lady Lake Florida
    Posts
    126
    Well. pgs. 72-73 were giving me some trouble as I could not "see" tenths even though AK states that they are easy to see.

    I had to resort to 'ghosting' the chords right up the board and as long as I did so graphically for my own notebook I thought I'd post it.

    I know I used some drop two voicings and called the six tone a 5 but that is just to help me with the chord form.

    Kingstone/Harris Harmonic Method for Guitar-gc-1-png
    Attached Images Attached Images
    Last edited by WILSON 1; 08-22-2017 at 05:30 PM.
    If you can distinguish between rehearsing and practicing...you're better than half way there!

  4. #394
    Join Date
    Jan 2017
    Location
    Lady Lake Florida
    Posts
    126
    Quote Originally Posted by joe2758 View Post

    I'm studying this and it seems down a half-step.
    Is that the video or are you tuned down a half-step?
    If you can distinguish between rehearsing and practicing...you're better than half way there!

  5. #395
    Join Date
    Jan 2017
    Location
    Lady Lake Florida
    Posts
    126
    Kingstone/Harris Harmonic Method for Guitar-p77b-png

    OK..I give up.

    Anyone know the source of the diminished tones in the #6 and #8 chord in the above shot of p77?
    If you can distinguish between rehearsing and practicing...you're better than half way there!

  6. #396
    Quote Originally Posted by WILSON 1 View Post
    Kingstone/Harris Harmonic Method for Guitar-p77b-png

    OK..I give up.

    Anyone know the source of the diminished tones in the #6 and #8 chord in the above shot of p77?

    That's just a Major scale not a 6th Diminished.




    This Long Short move is demonstrated in C Major.

    The diatonic sequence around the cycle is:

    IIIm7 / VIm7 (Long/Short)

    IIm7 / V7 (Long/Short)

    IM7 / IVM7 (Long/Short)

    VIIm7b5 / IIIm7 (Long/Short)

    VIm7 / IIm7 (Long/Short)

    V7 / IM7 (Long/Short)

    IVM7 / VIIm7b5 (Long/Short)

    IIIm7 / VIm7 (Long/Short)



    Use the chords as a learning tool reference but think about 'moving in the scale'.
    Last edited by A. Kingstone; 09-17-2017 at 03:19 PM.

  7. #397
    Join Date
    Aug 2015
    Location
    www.rwtwguitars.com
    Posts
    711
    FWIW these two and thee note chords are what I find I use most out of the book. Vastly improved my comping skills. Excellent stuff.


    Sent from my iPhone using Tapatalk

  8. #398
    Hi Barry Harris people - here's another cool thing I've just come across (maybe it's been mentioned before but if so I missed it). A chord I like using is the major b5, gives you that mysterious 'Wayne Shorteresque' sound. E.g. Gmaj7b5 = 3x442x.

    So then I started wondering, can I 'Barry Harris' it? So I tried flatting the 5th on a Gmaj6, which sounds quite cool:

    Gmaj6 = 3x243x
    Gmaj6b5 = 3x242x

    So then I ran that Gmaj6b5 voicing up the 6/dim scale, i.e. ascending with alternate Gmaj6b5 and A dims. Of course I then realized that this is just Emin6/dim, starting from the 3rd in the bass voicing.

    So there you have it - any Emin6/dim scale will give you a G major flat5 sound.

    On that first chord, you could also borrow an F# from the next dim chord so you start from a Gmaj7b5 (3x442x), then take it up from there and keep borrowing that voice, I haven't tried that yet!
    Last edited by grahambop; 10-03-2017 at 08:26 AM.

  9. #399
    Join Date
    Jan 2017
    Location
    Lady Lake Florida
    Posts
    126
    Quote Originally Posted by grahambop View Post
    Hi Barry Harris people - here's another cool thing I've just come across (maybe it's been mentioned before but if so I missed it). A chord I like using is the major b5, gives you that mysterious 'Wayne Shorteresque' sound. E.g. Gmaj7b5 = 3x442x.

    So then I started wondering, can I 'Barry Harris' it? So I tried flatting the 5th on a Gmaj6, which sounds quite cool:

    Gmaj6 = 3x243x
    Gmaj6b5 = 3x242x

    So then I ran that Gmaj6b5 voicing up the 6/dim scale, i.e. ascending with alternate Gmaj6b5 and A dims. Of course I then realized that this is just Emin6/dim, starting from the 3rd in the bass voicing.

    So there you have it - any Emin6/dim scale will give you a G major flat5 sound.

    On that first chord, you could also borrow an F# from the next dim chord so you start from a Gmaj7b5 (3x442x), then take it up from there and keep borrowing that voice, I haven't tried that yet!
    Good one grahambop!

    I took another route. Emin6 / G borrow alto voice of next dim = Gmaj7b5. It's great when we "see" these things.

    Thanks,

    DH
    If you can distinguish between rehearsing and practicing...you're better than half way there!

  10. #400
    Join Date
    Aug 2015
    Location
    www.rwtwguitars.com
    Posts
    711
    These posts inspire me to propose a way of solidifying and applying what we went through in the book. If anyone is interested, I would suggest that we do a series where we show how we would apply the Kingstone/Harris material to comping through a standard or through a standard progression. For example, we could go through comping on "Rhythm Changes", "ATTYA", "Summertime", "Bluesette", etc. Or we could do iv-ii-V-iii, I-bVII7-IV, etc. Personally, I think applying it to tunes would be richer but also a bigger commitment.

    I say "comping" specifically because I think it is a little much to ask people make solo arrangements. Just the Kingstone material at its essence. 4-note chords, 3-note partials, borrowing, whatever. So long as it is stuff from the book.

    Anyone interested? I know I would learn so much from seeing how others are applying the material to actual tunes.

  11. #401
    Count me in.

  12. #402
    I look forward to seeing what people come up with!

  13. #403
    Cool idea, here's one I posted way back so some may not have seen it:
    Attached Images Attached Images

  14. #404
    One thing about Barry’s approach that Alan touches on that we haven’t covered too much in here is the importance of rhythm using the movements. I’ll try to review those ideas and incorporate them into whatever I come up with. Might take me a bit, but I’m overdue for a little comping work.

  15. #405
    Join Date
    Aug 2015
    Location
    www.rwtwguitars.com
    Posts
    711
    I would suggest that we agree on a standard and see what ideas we come up with. I think that would be more productive than every one working on their own thing and the group ending up with a scattershot of ideas. I was going to propose “Rhythm Changes” as a first group effort because it features more than one popular device. But that is just one suggestion. I’m open to others.


    Sent from my iPhone using Tapatalk

  16. #406
    Quote Originally Posted by rlrhett View Post
    I would suggest that we agree on a standard and see what ideas we come up with. I think that would be more productive than every one working on their own thing and the group ending up with a scattershot of ideas. I was going to propose “Rhythm Changes” as a first group effort because it features more than one popular device. But that is just one suggestion. I’m open to others.


    Sent from my iPhone using Tapatalk
    That works for me. That’s one of the foundational set of changes I have yet to approach.

  17. #407
    Join Date
    Jan 2017
    Location
    Lady Lake Florida
    Posts
    126
    If you can distinguish between rehearsing and practicing...you're better than half way there!

  18. #408
    Join Date
    Mar 2013
    Location
    London
    Posts
    8,757
    Doesn't Barry say play Gm the first time around on Rhythm changes?

  19. #409
    Join Date
    Aug 2015
    Location
    www.rwtwguitars.com
    Posts
    711
    @WILSON1 you beat me to it! Life and the oddness with the forum changing servers kept me from uploading.

    Anyhow, I proposed the exercise so I thought I should start with posting a real plain vanilla simple application of the material from the book to the changes. Enjoy.


  20. #410
    Join Date
    Jan 2017
    Location
    Lady Lake Florida
    Posts
    126
    If you can distinguish between rehearsing and practicing...you're better than half way there!

Join our Facebook Page

Get in Touch


Jazz Guitar eBooks
How To Get a Jazz Guitar Tone?
Privacy Policy

 

 

Follow us on:

Jazz Guitar Online on FacebookJazz Guitar Online on TwitterJazz Guitar Online on YoutubeJazz Guitar Online RSS Feed