The Jazz Guitar Chord Dictionary
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  1. #201

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    Well, I went to the workshop tonight. It was in a different rehearsal space, and it seems like they run a much tighter ship -- we were out by midnight.

    I asked Barry at the end of the class about getting back to I.

    "Do you use the related diminished?"
    "Yeah."

    So there ya go -- clearly, nothing more can be said on the subject.

    I mean, it was a noisy, crowded room at midnight, and I was just some schlub that came in off the street, and the man is 88 years old. He wasn't going to give me a dissertation on it.

    He's definitely looking a bit more frail, but he was still spilling out bebop lines like it was nothing. Bless that man.

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  3. #202

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    I taught the dim connection thing to a student today. The cycle continues.

  4. #203

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    Quote Originally Posted by nikhilhogan
    Things I've Learned From Barry Harris
    - YouTube


    Love this new channel by Chris purely about Barry Harris stuff. I think the more perspectives we get on the same material is really helpful!
    I have to second that, this channel is great. Especially for those who are new to Barry Harris method, it's a fantastic place to start. But even for people who already had a lot of exposure to this stuff, it's a great way to review and reinforce the material. Thanks for pointing out the channel.

  5. #204

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    Barry Harris scale demonstration for jazz blues shows the scales choices for diatonic quick turnaround.
    That is, | Imaj7 VImin | IImin V7|. The scales are (I don't have the book with me but I think this is how it goes):
    I major for the whole 11th bar and V dominant scale for the 12th.
    What would the scale choice be for all dominant quick turnaround as very commonly found in repertoire ? ie | I7 VI7 | II7 V7|
    The blues example in the book has VI7 in the slow turnaround (bar 8). In this case IMaj is "played into" VI7 by playing I major for the bars of 7 and 8 but ending the scale on the 3rd of VI. There isn't enough time to do that for the quick turnaround if we ascend from the root, hence I'm wondering what BH approach would suggest here. Of course you can just do I Dom for the bar 11 and V Dom for the 12. Seems a little disrespectful to VI7 though.

  6. #205
    You do the descendng from the maj 7 to the major 3rd of the major VI... almost positive thats in one of the examples in the first dvd workbook

  7. #206
    or from the b7 of course depending on context

  8. #207

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    Quote Originally Posted by joe2758
    You do the descendng from the maj 7 to the major 3rd of the major VI... almost positive thats in one of the examples in the first dvd workbook
    You mean from the 7th of VI7?

    EDIT: I just saw your second post, I guess that's what you mean.

  9. #208
    yeah but in the work books he does say to do straight up major turnarounds. just looked at the book, for the blues example he plays I major up and down (implying vi min) do V7 up and down. horwever in Indiana, he does it how I mentioned

  10. #209

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    Quote Originally Posted by joe2758
    or from the b7 of course depending on context
    Or is it 7th of I7 to 3rd of VI?
    So for Bb blues 8th bar is |Bb7 G7|, we play
    Ab G F Eb D C B(rest at & of 4)?

  11. #210
    right, first i said from the maj 7th of the I, then I meant to say you could also do it from the b7 of the I

  12. #211

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  13. #212
    I would practice it with F7 DOWN to the 3rd of D7 (F#). he does this on Indiana in the first dvd/workbook

  14. #213
    This is pretty common for instance F maj to D7 would be the same (except starting maj 7th)

  15. #214

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    Are you Chris?

  16. #215

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    Just subscribed. Thanks for doing this.

  17. #216

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    Quote Originally Posted by sjl
    Are you Chris?
    Quote Originally Posted by MarkRhodes
    Just subscribed. Thanks for doing this.

    I'm not Chris!! I just found it myself and thought I'd share it to the thread! Please don't mistake me for this guy! Im not taking any credit for any of his videos!

    Ozzy

  18. #217
    The short answer in my opinion is it works for both.

    Longer answer:

    We have a cadence pulling to the ii chord in this bar. The accompanist and soloist can swap out any number of movements here that pull to the ii, and they don’t have to be the same.

    1. a-7b5 to D7, F7, Ab7, or B7 ( or any of those with a b5)
    2. Gb7, A7, C7, Eb7 (or any of those with b5) to D7
    a million ii-v or ii-7b5 to v combos

  19. #218
    if you try out these movements that may seem too far out, make sure you’re using good voice leading

  20. #219

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    Quote Originally Posted by don_oz
    I'm not Chris!! I just found it myself and thought I'd share it to the thread! Please don't mistake me for this guy! Im not taking any credit for any of his videos!

    Ozzy
    Well if Chris is on this forum, THANK YOU. Those videos are great at demystifying the BH DVDs I have.

    A huge takeaway was that running the scales over the changes is an exercise to train your ear to hear the changes and the different pitch collections, not really as a way of developing improvised lines. I always thought, "this isn't musical. What kind of lines are you going to build doing this?" Now I understand the exercise better and appreciate it.

    If you are out there reading this, keep up the good work!

  21. #220

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    Quote Originally Posted by joe2758
    The short answer in my opinion is it works for both.

    Longer answer:

    We have a cadence pulling to the ii chord in this bar. The accompanist and soloist can swap out any number of movements here that pull to the ii, and they don’t have to be the same.

    1. a-7b5 to D7, F7, Ab7, or B7 ( or any of those with a b5)
    2. Gb7, A7, C7, Eb7 (or any of those with b5) to D7
    a million ii-v or ii-7b5 to v combos
    If I am understanding this correctly the first group is the family of four of F7. The second group seems to be the family of four of the secondary dominant of F7 (C7). So the secondary dominant can be treated like the target dominant? (Ie. C7 family be treated like F7)

  22. #221
    right. The first group are dominants from the bii dimished chord which pulls to ii

    The second group is from the related dimished of the key which pulls to I, iii, vi, or in this case VI7

    Although if we’re talking in scondary dominants, which i haven’t seen in BH materials, the first group would be D7 (secondary dom of ii) and second group would be from A7 (secondary dom of vi)

    there’s endless options with maj and min 6th chords i couldnt even begin to type up here.

    If you guys working on maj 6 dim scales, try playing the Bb maj 6 dim scale for the bar preceeding the gminor and land on a gmin/Bb6 there on beat one

  23. #222

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    What is Barry Harris talking about at 7 minute mark and onwards about the bIIdim and #IIdim, and how does it relate to the blues he's playing?

    He says ''Really, if I was playing some slow blues I don't like the G7 at all.''

  24. #223

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    Quote Originally Posted by rlrhett
    Well if Chris is on this forum, THANK YOU. Those videos are great at demystifying the BH DVDs I have.

    A huge takeaway was that running the scales over the changes is an exercise to train your ear to hear the changes and the different pitch collections, not really as a way of developing improvised lines. I always thought, "this isn't musical. What kind of lines are you going to build doing this?" Now I understand the exercise better and appreciate it.

    If you are out there reading this, keep up the good work!
    I have personally found it very good for expanding my fretboard knowledge though this may not be an intentional aspect of the exercise.

  25. #224

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    Quote Originally Posted by N.T


    What is Barry Harris talking about at 7 minute mark and onwards about the bIIdim and #IIdim, and how does it relate to the blues he's playing?

    He says ''Really, if I was playing some slow blues I don't like the G7 at all.''
    He plays Bb7 C#o7 Cm7 F7 in the slow blues

    Also he doesn’t play the Eo7 if you listen, even though it’s tempting at that tempo.

  26. #225

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    Quote Originally Posted by N.T


    What is Barry Harris talking about at 7 minute mark and onwards about the bIIdim and #IIdim, and how does it relate to the blues he's playing?

    He says ''Really, if I was playing some slow blues I don't like the G7 at all.''
    He talks about approaching the ii minor chord at bar 8 of the blues. If that’s Cm(in Bb blues) you would usually approach it with a G7 which is Bdim, i.e. bIIdim.
    For slow blues would usually hear Barry use C#m chord or C#dim instead to approach the Cm7. So instead of a ii-V Dm7-G7 you will get Dm7-C#dim which gives a nice chromatic descent into the Cm7.

    Listen to Barry play a slow blues like Parker’s Mood:

    Live at Maybeck 12 Barry Harris - Live at Maybeck 12 - Amazon.com Music

    Cheers,
    Tamir