Barry Harris guitar book

**djangoles** · 08-02-2013, 10:40 AM

Originally Posted by A. Kingstone

Very pretty Djangoles.

Good examples of 6th on the 5th to 6th on the tonic too.

Thanks....I'm working on it. Starting to finally be able to CONNECT ideas that I can hear, but had no way to work them logically in real time.

**A. Kingstone** · 08-02-2013, 10:44 AM

Originally Posted by guitarplayer007

Thanks Alan,

When you say Abm6 to C you mean C6 I assume?
So the F6 is the 2 chord or Dm7, use Abm6 is for G7? then use C6 for Cmaj?
Thanks for you help, I really want to learn this becaue I'm sicj of playing static chords.
Ken

Yes. When I chart stuff now I never put more than a letter for a major chord. Let the comper select the colour.

Once again try resolving to G6, (6th on 5th) for C6.

G6 in traditional terms gives you the 7th and 9th of C Major.

In Djangoles vid you can hear him do this and resolve to the Tonic 6th via a diminished chord.

In the key of C:

G6 / Go / C6 - Only two notes move.

**guitarplayer007** · 08-02-2013, 11:12 AM

Probably should have created one of those learning threads where everyone helps each other. It seem like a great concept for movement and chord melody, but know one talks about it.
ken

**sjl** · 08-03-2013, 09:57 AM

For those who have just received the book: Have patience!

Work some time with the concepts of the book and all will begin to take sense.

**guitarplayer007** · 08-03-2013, 12:59 PM

Originally Posted by sjl

For those who have just received the book: Have patience!

Work some time with the concepts of the book and all will begin to take sense.

I'm trying I just wish there were better examples . I mean do they really telly you that your using a maj
over a minor chord?
Still frustrated, Rick Stones examples are the best, although not sure if It's really Barry Harris concept

**sjl** · 08-03-2013, 07:09 PM

I think the best way to learn something new is to begin from zero.
Why don't forget about major or minor and think about tonalities?

By the way, I am not an expert musician, I am too in the learning way, I just try to help.

I would be in trouble in those Harris' jams.

**guitarplayer007** · 08-04-2013, 10:09 AM

has anyone purchased this Tutorial on Barry Harris concepts, It's $15 I winder if it's worth since I already have the Alan Kingstone version?
Ken

**guitarplayer007** · 08-04-2013, 10:13 AM

Originally Posted by A. Kingstone

On the right track.

Think of your G7, which you called Bm7b5 as Dm6 Diminished (same chord).

Try the same thing with Abm6 dim for an altered sound on G7.

Try landing on G6 as your C. (See chapter on Sixth On The Fifth in Kingstone)

Alan, So Abm6 is really Fm7b5...is that correct?
Thanks
ken

**guitarplayer007** · 08-04-2013, 10:15 AM

This is getting fing confusing so the Maj6 is used for the Two and the 1 chord?
Because everyone keeps saying use F6 for the Dm7 and C6 for the 1 chord?
Thx
ken

**docbop** · 08-04-2013, 10:16 AM

Originally Posted by guitarplayer007

has anyone purchased this Tutorial on Barry Harris concepts, It's $15 I winder if it's worth since I already have the Alan Kingstone version?
Ken

As I said its very basic written by a student of Barry's.

From seeing your posts I would say you just need more seat time working thru and experimenting with what you have till you have your Aw-Ha moment and it all falls in place.

**guitarplayer007** · 08-04-2013, 10:27 AM

Ok so you think I should just stick with the Alan Kingstone Book for now?
thx
ken

**djangoles** · 08-04-2013, 10:28 AM

Originally Posted by guitarplayer007

This is getting fing confusing so the Maj6 is used for the Two and the 1 chord?
Because everyone keeps saying use F6 for the Dm7 and C6 for the 1 chord?
Thx
ken

MAJ6 for the ii in the Key of C ii chord = Dmin7 (Use F6maj6/dim)

MIN6 for the V7 in the Key of C V7 = G7 (Use Dmin6/dim)

MAJ6 for the I in the Key of C I = C (Use Cmaj6/dim)

**guitarplayer007** · 08-04-2013, 10:40 AM

Originally Posted by djangoles

MAJ6 for the ii in the Key of C ii chord = Dmin7 (Use F6maj6/dim)

MIN6 for the V7 in the Key of C V7 = G7 (Use Dmin6/dim)

MAJ6 for the I in the Key of C I = C (Use Cmaj6/dim)

Now thats what I call CLEAR!!!!!!!!!!!!!

Thanks Djangoles!!!!

**djangoles** · 08-04-2013, 10:46 AM

once you get that... then go here......

MIN6 for the V7 in the Key of C V7 = G7 (Use Abmin6/dim) for generating altered tones

**whatswisdom** · 08-04-2013, 11:00 AM

Originally Posted by guitarplayer007

So Abm6 is really Fm7b5...is that correct?

It's the same as F-7b5 in first inversion.

**gersdal** · 08-04-2013, 11:08 AM

Thanks Ken (guitarplayer007) for driving this thread forward. It has been very educational for me. I've been away for a while, and have just had the opportunity to read the thread as it progressed. Today I'm back and have been able to really study a bit more on the 6Dim scales can do.

I do not have the book you mention, and as such I may not be a person that you find fit to answer any of your questions. I've ordered the book today, and look forward to reading it. I'll be careful in saying anything about what the book is about and what it is saying. From the discussions it seems to have some similarities with the Drop2 book by Randy Vincent and his use of Be-bop scales.

A few simple things I may be able to answer ...

Originally Posted by guitarplayer007

So Abm6 is really Fm7b5...is that correct?

Abm6 and Fm7b5 is enharmonically the same (Ab-Cb-Eb-F versus F-Ab-Cb-Eb) and essentially just to voicings of the same chord if you have a bass player playing the bass note. Same thing as you have pointed out several times in the thread that F6 is just the same as Dm7 (F-A-C-D versus D-F-A-C).

Originally Posted by guitarplayer007

This is getting fing confusing so the Maj6 is used for the Two and the 1 chord?
Because everyone keeps saying use F6 for the Dm7 and C6 for the 1 chord?

Since F6 and Dm7 is enharmonically the same you can use the F6Dim lines over the Dm7, and the C6 lines over the C. If this does not sound correct to you, record a simple bass line and play over that. And remember what has been already said that the diminished chords may sound best on the weak beats as connecting chords, and definitely not sustained over more than a quarter note.

Dm6Dim lines will work over the G7 since Dm6 es enharmonically the same as G9 without its root G - a suitable extension of a G7 (D-F-A-B versus G-B-D-F-A). For most parts I find this to sound great, but the Diminished chords in the Dm6Dim over a G7 is something I have to get used to. I'll await the book and look forward to learning what the idea is.

Not sure if this was of any help, but my best effort without the book ;-)

**gersdal** · 08-04-2013, 11:15 AM

Everything was well answered in the time it took me to write my reply

Wonderful playing in your example Djangoles. Loved it.

**guitarplayer007** · 08-04-2013, 11:26 AM

So I was just doing some tests and put band in a box on just playing Dm7 over and over again . Of course the F6 sounds fine because its Dm7, BUT the Diminished chords in between the inversions do not sound correct to me against the Dm7 playing on band in the box. Whats up? maybe I'll make a video so everyone can hear it

**gersdal** · 08-04-2013, 11:31 AM

Originally Posted by guitarplayer007

I'm not talking about using lines, I want chord movement.

I was talking about chord lines, or chord movement if you prefer to call it that.

**gersdal** · 08-04-2013, 11:34 AM

Attached is a simple example I made for a ii-V-I in C. Not a perfect thing, but ... an example anyway.

**djangoles** · 08-04-2013, 01:46 PM

Originally Posted by gersdal

Everything was well answered in the time it took me to write my reply

Wonderful playing in your example Djangoles. Loved it.

Thanks...things are starting to open up a little

**A. Kingstone** · 08-04-2013, 09:02 PM

Originally Posted by guitarplayer007

has anyone purchased this Tutorial on Barry Harris concepts, It's $15 I winder if it's worth since I already have the Alan Kingstone version?
Ken

Stick with the book and examples here. The online lessons have much crossover with the book.

**guitarplayer007** · 08-08-2013, 08:19 AM

Originally Posted by A. Kingstone

Stick with the book and examples here. The online lessons have much crossover with the book.

Alan,

Since you wrote the book, maybe you could make a short video and how how you use Barry Harris technique over a Jazz Standard

Ken

**bako** · 08-08-2013, 09:41 AM

I would suggest putting Barry Harris workshops into youtube search.
He has been leading workshops weekly in NYC and internationally for an amazingly long time and there is a fair amount of video material out there. There is no one out there making a more musical realization of these concepts.
If possible attend a workshop, check his website for schedule and touring info in relation to where you live.
Barry's highly musical playing and teaching is the inspiration for this book and I suggest going to the source to best experience these concepts in motion.