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Jacob pwned him with his negative harmony lol. Rekt
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01-23-2018 06:43 AM
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I never commented on his proficiency, which he seems to have in spades. But that video was a stinker, a total wankfest. I watched a couple of other videos of him. He seems to play with himself a lot, which reinforces my previous comment. I know the matter of taste is subjective, but to me he is a good example of technique trumping everything and everybody else, even Herbie Hancock, who didn't get a look in. One to miss.
Originally Posted by p1p
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I agree. I’ve seen some great Jacob Collier stuff on YouTube, but this video was a weird mess.
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I dig the video because of Herbie, when Herbie plays or speaks their always a little nugget of info to be gleaned from it. I've been working on some sounds I like from something in that video, so glad I watched it.
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Here's another video commenting on Collier video.
I dig chord pluralities got into them via first from MI instructor and then Sheryl Bailey and Sid Jacobs. How to get a whole lot of extra miles out of your favorite chord voicings.Last edited by docbop; 01-24-2018 at 02:45 AM.
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Isn't that just 'duh?' though?
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Great advice that bears repeating. Listening to Barry at the piano, playing music, was always the highlight of his classes for me and, from the level of encouragement he always got, everyone else's also. Originally Posted by A. Kingstone
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Bright kid and all that, but I wish he'd disappear now. I find him so inexplicably unlikeable.... Originally Posted by plasticpigeon
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Lighten up Prince, after all you've taken name after a soul master
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Ha! Sorry to say it, but that Prince was almost as annoying
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Give me the young Herbie over that kid any day! (In fact, even the old Herbie) ...
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'Bright kid and all that, but I wish he'd disappear now. I find him so inexplicably unlikeable....' Salieri on Mozart*
(*I am aware that Amadeus is total bollocks BTW)
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Life really sucks when your only friends are Quincy Jones and Herbie Hancock and the only guys that let you jam with them are Snarky Puppy. Originally Posted by christianm77
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jacob collier is a hell of a musician, he's just crazy good. if only he made better music
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Originally Posted by nick1994
He's young and a music nerd getting into minutia like micro-tonal lines and other subtle but technical things in his layers and layers of overdubs. That's all stuff I think he's have fun with now and will grow out of. If I had to guess I see him going more into modern classical composing and orchestration and away from Pop. He appears to be able to work fast when necessary so film scoring could be an area he moves to the next Danny Elfman.
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Gotcha, but unlike Salieri re Mozart- I'm jealous of the kid's talent, but certainly not of what he chooses to do with it Originally Posted by christianm77
There are thousands like him, and I'm sure some even have great *taste in their music choices (*yeah yeah, very subjective an' all that...). Let's hear more from them, maybe?
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let's hope he drops this gimmicky thing that he did with in my room. that whole album is pretty much "look at what I can do", it's pretty impressive but it lacks substance. I can imagine him getting into film scoring. He knows how to arrange. Originally Posted by docbop
I much prefer the when he does stuff like this
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Again, this thread has been diverted. Can we please get back to Barry Harris?
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OKay, I'm now quite familiar with the shapes, so let's get down to practical applications.
Polkadots & Moonbeams, key of F Major. Let's start with the first two bars only.
Bar 1 has a rising scale: c d e f g a c over notated chords of Fmaj7 and Dm7
Bar 2 has the notes a g f e d over Gmin7 C7.
It's usually played slowly, so there is the possibility of a chord for each quaver/eighth note, or one could have a chord for every two eighths. I can harmonise it in a more traditional way, but am having difficulty applying the BH system to it.
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It's I-vi-ii-V which is essentially equivalent to I-V over the two bars. So you could play a sequence of movements over the I6 chord heading towards bvim6 or iim6. Are you proposing to harmonize the melody? If so you would choose inversions with the melody note in the top voice, and you may or may not prefer to keep the written harmony (I, vi, ii, V) in the bass. This might involve borrowing some diminished notes from the scale of the moment. This is where I would start in thinking about those two bars.
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Yes, I'm thinking chord melody. I can see clearly that we are looking at I-V cadence over two bars. I'm just wondering how the alternating 6/dim chords could be used here. Or am I asking the wrong question?
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Just use F6 I reckon, to start with. I'll give it a try.
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OK I think it needs a C7 in at least the last two notes of the 2nd bar (E and D)
I would probably choose F6 | Bb6 C7 | as my source scales if I was doing my own version.
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OK just using maj-6 dim and min-6 dim
A section
| F6 | Gm7 Gm6 | F6 | Gm6 / / Dm6 |
Dm6 / Bbm6 / | F6 / Am7 Abm7 | Gm6 | F |
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Agreed wrt bars 1 and 2, except to keep it in the 6dim family I would use Bb6 for Gm7 and in bar 2 for an alt sound (as it is heading back home in bar 3) maybe Dbm6 rather than Gm6. Another option would be movement between F6 and C6 (sixth on the fifth) in bars 1 and 3. Originally Posted by christianm77
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Oops should have written Bb6 instead of Gm7 Originally Posted by pcjazz
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