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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.
Last edited by WILSON 1; 08-22-2017 at 05:30 PM.
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08-22-2017 05:28 PM
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OK..I give up.
Anyone know the source of the diminished tones in the #6 and #8 chord in the above shot of p77?
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Originally Posted by WILSON 1
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.
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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.
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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.
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Originally Posted by grahambop
I took another route. Emin6 / G borrow alto voice of next dim = Gmaj7b5. It's great when we "see" these things.
Thanks,
DH
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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.
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I look forward to seeing what people come up with!
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Cool idea, here's one I posted way back so some may not have seen it:
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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.
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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.
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Originally Posted by rlrhett
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Doesn't Barry say play Gm the first time around on Rhythm changes?
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@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.
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Hello there, this is my first post ever, although I've been arround for a while, reading, learning...
Any way, just wanted to share a link to "The jazz harmonic book" because it has a very nice chapter about the topics treatise in this posts,
"Chapter 9: Another Approach to Jazz Harmony Using Diminished Chords"
The author, David Verkman studied with Barry back in the day.
Some of the answears to my questions where there. It is not guitar specific but it really doesn't matter since voices and explanations are for any instrument (harmonic capable).
cheers!
The Jazz Harmony Book by David Berkman | Sher Music Co.
There you go, you can d/l and it comes with mp3
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I was just about to post about the same thing, David Berkman's chapter on the 6/dim approach in that recent book, a wonderful book all in itself. Earlier chapters deal with conventional harmony building up in concentric circles making the 6/dim look amost like the crowning jewel of "functional harmony" (later chapters deal with non-functional harmony). Berkman's description of how he came to it, already a high-level pianist trained in the "conventional" approach to harmony, initially rejecting it but ultimately realizing its utility and power, is very interesting - how it opened many doors to a guy who some may consider had nothing to prove. Most of the chapter is about practical application, and says more, to me at least, in about 20 pages than any guitar-centered method has. But really, the whole book is a masterpiece.
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Originally Posted by Mix3d
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Just reading the intro and I like it already....
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Originally Posted by christianm77
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He does call the Barry scales bebop scales, but I'm willing to overlook it, because it is one of the only jazz harmony book I think I can wholeheartedly recommend as a practical approach to students....
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I don't know if this will get lost in this dead thread. I will start a new thread if so...
I really like the various examples of movement that AK provides. It is a great short cut to have them and not be reinventing the wheel. One common movement I don't see in the book and am struggling with is when the melody note is repeated several times. I'm wondering if I am missing an example of creating harmonic movement while the top note stays constant? There are a lot of examples and some times I end up glazing over and not finding what I am looking for.
If not in the book, can I persuade Alan Kingstone or one of the more experienced Barry Harris students to share some cool moves around this? This comes up because my daughter was playing "Mary Had a Little Lamb" on her piano, and I thought I would be "Super Cool Daddy" and harmonize it. You all know it, in C all quarter notes:
E-D-C-D | E-E-E-% |D-D-D-%|E-G-G....
Regardless of the tune, it would be good to have a few moves in hand for when the melody note repeats across a bar. I realized I didn't really have that figured out.
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Hey guys Alan asked me to post this
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Thanks to you and Alan. Would he play these as a sequence? I was envisioning something using Alan’s “Away and Home again” concept to keep harmonic movement while keeping a top pedal note.
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