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I found this on YouTube. The picture / sound quality isn't great but I think it's still worth a look.
(Apologies if it's been posted before!)
Sp
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02-24-2014 05:13 AM
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This looks interesting....thanks for posting
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I hadn't seen this. Thanks for posting it.
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I watched about half of it. Pretty basic stuff (i.e. this is the surf I've been working on pretty steadily, harmonizing intervals, triads, etc), but at least he frames it in the right way.
Yet another great player who makes fun of the nerdy and useless term "chord-melody"
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NSJ - I watched about half of that video before work this morning, guitar in hand. This video is worth it's weight in gold in many respects. One or two reservations, but I'll get to that later. Barney was a remarkably incisive player who is presenting you with the tools in the open - the keys to the kingdom right here with a clarity and simplicity that is unequalled by many. This is about educating your ear and uses elementary but key harmonizations to the melody. This is the Bible in plain English.
My only reservation, though I think I understand why he did it in this fashion, is that he created his chords harmonizing the melody one interval at a time. I believe to illustrate construction, but the meat of the harmony to the melody in a specific key is the judicious use of thirds and sixths in terms of the fret board. If you can do this naturally and seamlessly, then you will add chord extensions naturally as well because your ear will demand it. Look, Ma! No hands! I'm improvising!
The last part of the Bible is the commandment to play it with swing, bossa, triplet feel - rhythm. I suspect he will comment on this in the second half of the video.
Wonderful addition, Spalo. Thanks!
Jay
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Agree. Pretty much this. I've spent a ton of time learning the fretboard, particularly harmonizing 3rds/6ths/10ths/13ths/triads/triad pairs/linking triads with single notes and intervals by moving individual voices of the triad and back (R to M2, M3 to P4, P5 up chromatically)
Originally Posted by targuit
NSJ -. I believe to illustrate construction, but the meat of the harmony to the melody in a specific key is the judicious use of thirds and sixths in terms of the fret board. If you can do this naturally and seamlessly, then you will add chord extensions naturally as well because your ear will demand it. Look, Ma! No hands! I'm improvising!
Wonderful addition, Spalo. Thanks!
Jay
Improvising got so much easier after all that work (not that it's easy per se, mind you). I finally feel like I'm making progress. But half the battle is mastering (or at least on a functional level, true mastery is an elusive process somewhere in the distance) the actual workspace (i.e, fingerboard) and finding out where all the really important musical aspects (i.e., intervals) fit on that workspace.
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Yes, I agree. This is pure gold.
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Agreed, this is good stuff. It took me a long time to appreciate BK and just how good he was. His 'Solo' album is one of my all time favourites.
I saw him many years ago at Ronnie Scott's club in London in a guitar duo with Sacha Distel and managed to grab a few words with him in the men's restroom. He was a real gentleman and answered all my really stupid questions graciously. I repaid his kindness by nearly tripping him up by stepping on the back of his shoe as he walked out ahead of me.
A question: when do you think this video was made?
Sp
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I love seeing him with Dave Young. Such a great bass player.
Last edited by Jim Soloway; 02-24-2014 at 03:47 PM.
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Mid 1980s Originally Posted by Spalo
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I watched the rest of the video - at the end it is dated 1986. Good call, Monk.
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To be honest, I remember when it came out. A friend of mine bought it and I watched it then. Someone from Rumark Video, the company that released BK's three teaching videos on VHS tape posted here a couple of years ago saying that they were going to re-release them on DVD but thus far I've yet to read or hear any additional news.
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This is great. If they do come out on DVD, I'll purchase them immediately. Awesome.
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I notice that BK plays a little 'fingerstyle' on this video (with some cool palming of the pick). Would it be fair to say he was mainly a a 'pick man' when he played Chord Melody?
Sp
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I've really come to appreciate Barney Kessel as I've gotten older. He really excels at the chord comping in duo guitar/bass situations ex. Julie London's record "Julie is Her Name" I really apreciate how he uses uncommon substitutions of bass note choice against the melody. It shows me how to approach chord choices in a different way than one would normally choose. Examples of this can be heard on many songs from that record. "I Should Care" and "Cry Me a River" are 2 that come to mind!
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Noob question here. At around 3:54, Barney gives a couple quick examples in C major of playing a duet line in thirds, and then sixths. While I get the concept of intervals, I expected to see him add a third (major or minor as appropriate) to each note of the original melody line. Instead he seems to be treating the melody line as the third of another note, rather than adding a third to it. Same thing in the example of playing in sixths, where he resolves on a C (8th fret first string) and an E (10th fret third string.) Of course, an E is a major third of C, which is why I'm a bit confused, as this is the example of playing in sixths.
What am I missing?
Thanks.
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If any of you are interested in learning some of Barney Kessel's chord melody solos note for note from beginning to end and still own a cassette tape player, I transcribed 5 of his best solos back in the 70's and taught them to my students note for note on cassette tapes. I still have the master copies of those lessons.
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