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11-13-2015, 01:39 PM #51destinytot GuestOriginally Posted by targuit
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11-13-2015 01:39 PM
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Originally Posted by Hupia
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Originally Posted by targuit
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AlainJazz
Could you make a video explain and showing some concepts..I to have the Roni BenHUR DVD
thx
Ken
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Originally Posted by destinytot
It is like CST - for kids, not adults musically speaking. "Daddy, can I use a flat fifth here or not, and what mode should I chant while playing?" "Use your ears, Junior. If it sounds like crap, probably you shouldn't do it." Joe Pass - "Don't ask me about modes...I don't know anything." Poor, Joe. If he only knew how inadequate he was....
On the other hand, if you wish to send me lots of money, I will come up with a theoretical treatise. Or better yet, advise you to devote the next decade of your life to studying Van Eps method book. Hope you live long enough.....
Anyway, I was thinking about songs that have 'chordal movement' and I decided it was practically all of them. Which did not help in narrowing potential songs for demonstration purposes. Louie, Louie .... Gloria... I'll come up with a list. How about Two for the Road? Love Mancini.Last edited by targuit; 11-13-2015 at 03:10 PM.
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Found this web page which gives some interesting details and a PDF about the Barry Harris stuff:
Spiced Up Comping Using the Barry Harris Harmonic Method
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That's cool, everyone can make videos showing different ways they use the BH concept.
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Ok, so I plead my ignorance - what is borrowing? Let me guess - pretending your in another key, like the relative minor or.... calling the same chord a different name to confuse the rubes?
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Buddist brain buster - if you can play this song arrangement, do you need to study Barry Harris?
Chamacojesus plays the hell out of this song. I play this arrangement as well. Is there enough movement in the chords?
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Originally Posted by targuit
Start your own "It's just easy and natural for me" thread. Meanwhile, we're fortunate to have some real players talking this stuff here.
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11-13-2015, 03:55 PM #61destinytot GuestOriginally Posted by targuit
Thank you, Peggy Lee:
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Here's another beautiful interpretation of Morricone's Cinema Paradiso - Love Theme by another talented guitarist. Note the F#m7b5 or the Ebm6 and the C#dim 7 or...I don't know what Barry would call it . Anyway, pick the song you want. I play this one, too. So nice...
Beautiful touch, tone, and yes, chord movement here. Theorize if you like - I prefer to play.
Last edited by targuit; 11-13-2015 at 04:09 PM.
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11-13-2015, 04:05 PM #63destinytot GuestOriginally Posted by targuit
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Originally Posted by matt.guitarteacher
And what do you mean "what's voice leading?" I thought you were a music teacher. Pick a song you like and we'll compare arrangements and videos. Actually that is what the OP requested. But as far as explaining it, here's mine - it sounds good with good voice leading. Or if you want, I'll send you a transcription. Mine.
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I haven't really looked into the Barry Harris stuff yet, but it seems to me that Wes Montgomery often harmonised his chord solos with diminished chords on the passing notes or 'weak' notes. So it seems to me that Barry's approach is not far removed from this. If it was good enough for Wes, I am interested!
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Originally Posted by docbop
Last edited by Hupia; 11-13-2015 at 04:29 PM. Reason: added quote being replied to
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11-13-2015, 04:24 PM #67destinytot GuestOriginally Posted by targuit
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Yes, but no one answers, "Yes, I play this arrangement, too. And I "create" the chord movement." (Though I would credit the composer.) I'm just joshing with you, but some take this too seriously. I love Barry Harris. But I love his playing most of all.
I am well aware that not everyone plays at a level that they can instantly sit down and play the two songs I posted from Mancini and Morricone. But if you do and understand the chord movement created, do you really need to spend precious time studying the concept? Seriously, this is a question.
For those who are not yet capable of playing the song "Se" - the love theme by Morricone in Cinema Paradiso - and transposing it instantly into various keys, then studying Barry Harris's tome may be worth the time you devote.
In the time from my last post, I had a discussion with my wife, made a doppio espresso, and ran through Se by ear on my classical guitar in several keys to choose a good one for vocal as well (Dm or Em for me), though I also liked C#m for purely instrumental. Edit: I just played through Josh Groban's version in Fmin on the piano along with his video on YT. Nice guitar and vocal key as well.
Let's see - last weekend I recorded The Girl From Ipanema - is that enough chord movement? If not, I'll record Se this weekend and try to get it up on YouTube on my channel. I also recorded Two For The Road a few weeks ago. I'd like to do it just as solo guitar and vocal this weekend.
I nearly had a heart attack last Friday when I tried to post wav. files of a recording for one of Irez' other threads to Dropbox (not intuitive to me in terms of file sharing) and instead found my son's entire i-Tunes uploading instead. I actually cancelled the account immediately. So this not so tech savvy guy has to do it the "old fashioned way" - on YouTube.
Anyway, Matt, sorry if my posts rubbed you the wrong way metaphorically. These songs are really good examples of Chord movement in my "humble" opinion. Since I've posted these songs, why don't we analyze on analytically if you like?Last edited by targuit; 11-13-2015 at 05:09 PM.
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Originally Posted by matt.guitarteacher
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I don't think the Barry Harris thing is so much about doing a chord melody or arrangement of a tune. For that I would probably stick largely to the chords 'as given' for that tune (with suitable extensions or voicings as required, to support the melody).
I believe it is more about how to make your comping more interesting. Suppose you were playing a tune where you had to comp 2 bars of C major behind someone else's solo. (Green Dolphin Street, perhaps?) I think Barry is giving some methods of creating melodic lines with chords during those 2 bars to make your comping more musical. But I haven't studied it yet, so that's just my initial take on it.
I do tend to play a lot by 'ear and instinct', but I also like to investigate ideas like this sometimes.
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Originally Posted by grahambop
I think there's been a misunderstanding as to what "creating chord movement" refers to in this thread.
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Originally Posted by targuit
Similarly you can come up with all kinds of interesting Dom 7 chords by starting from a diminished chord and "borrowing" from adjacent m6 chords. What ends up happening is that you stop seeing tunes in terms of specific chords and instead see it as movement within a chord scale.
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Originally Posted by grahambop
Ken
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Me doing quick Barry Harris run
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Originally Posted by targuit
You repeatedly imply that is somehow beneath you and demean the conversation itself. My point is: if reg et al think these conversations are worth having, who am I to say otherwise. I don't reply to about 99.9% of all threads. Jay, why do you waste your time blowing up threads with your thoughts that these things just aren't that important?
If I went to the gear forums and implied that those guys should PRACTICE and not worry so much about amp settings, might someone call that trolling? And would they have a point?Last edited by matt.guitarteacher; 11-13-2015 at 08:32 PM.
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