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Here is a clip of me working through the first four bars of Ain't Misbehavin' using a BH-inspired approach. My apologies for the quality of the recording. I tried to get fancy with the audio and ended up with a nasty, buzzing ground loop. I'll figure out how to improve that for next time.
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05-05-2017 01:01 AM
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So I tried to comp through the changes rather than do a chord melody arrangement. I "converted" the fake book chords to the following as I was comping. I am trying not to write it all out because I want to get comfortable just reading it straight from the chart. Anyway, there are a couple pauses due to this. Here are the BH changes I used:
Eb6 Eo / Ab6 Abo/ Eb6 Abm6 / Ab6 Abm6 /
Eb6 Eo / Ab6 Fm6 /1 Dm6 Gm6 / F#m6 Fm6 :// 2 Eb6 Abm6 / Eb6 Abm6 //
Eb6 / Ebm6 / Cm6 / Gm6 /
Bb6 Bo / Eb6 Cm6 / Fm6 Gm6 / F#m6 Fm6//
Eb6 Eo / Ab6 Abo/ Eb6 Abm6 / Ab6 Abm6 /
Eb6 Eo / Ab6 Fm6 / Eb6 / Eb6 //
1st Chorus
Used middle four string set mostly. Started with the Eb6 chord with the root on the second string and moved up. Then second Eb6 using root on the third string and moved down. The Eb6 root 2 and up again. Mixed the m6 on the b2 and m6 on the 5th in bars 7 and 8 to get the descending turnaround.
2nd and 3d Chorus
Used top four string set mostly. Started with the Eb with root on 4th string and ascended until bar 4 then used the Ab6 with the root on the 2nd string and descended the rest of the way.
Bridge
Used middle and lower string sets.
1st bar started on Ab6(6th on the 5th) and then descended using dim to the Eb. Then used descending bass notes down to the Bb6 alternating 6th chords and their related dim chords. Then back up to the Cm6. In last two bars of bridge again alternated b2 and 5 m6 chords for the descending turnaround.
Then back to the beginning for the 3d chorus(see above). In the last two bars went Eb6-Ebo-Ab6-Abo-Eb6
It's pretty rough but the chord movement sounds good to me. Not much practice with this tune and the voicings seem to pretty much fall into place. Once it's memorised then can start adding colours. I am really enjoying this approach.Last edited by ColinO; 05-05-2017 at 05:48 AM.
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No sure if you mean that the borrowing part is within the BH system but I see quartal harmony on pg 51 under CD trk 41 third chord C6 harmonized E-A-D-G.
Originally Posted by grahambop
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Yes 'borrowing' will get you some of them. But I think if you wanted to run a whole movement entirely in quartal chords that might be trickier. Originally Posted by WILSON 1
Not that it matters particularly, the BH system can be incorporated alongside whatever else you like to use.
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So many great possibilities - for comping, for rhythm and for arranging. Wonderful stuff, wonderfully presented in AK's book. Originally Posted by grahambop
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So I thought I would do a second take....Doesn't look like me you say? Weird
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This thread is proving really helpful, and I wanted to share that I'm looking at some favourite Al Jarreau (RIP) through BH lens - solo, on nylon. So much pleasure.
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There is so much to be mined so far, but just to keep the study group fresh I'll push on to Section 2.7. Here's my contribution:
WTF???
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On a more serious note, I really don't understand what he is talking about.
"F6 and Dm7 are the same chord with related Edim"... Ok, we've covered that. We "liberated" the Dm7 and were instructed to mentally read F6. Is he now suggesting we do the opposite? When we see a F6 we should think Dm7? What does that gain us?
"Dm6 shares the related Edim".... Hmmm, go on...
"E7alt would use Fm6dim also with related Edim"... Yes, I'm all ears...
"That's more like it!"... That's more like what?? Where did the Fm6dim come from? Where does he use that? Why does he still have the E7 in his progression? I thought we had "liberated" the dominant chord as well. What does it mean that they share the related Edim? How am I supposed to use that?
Did he do something somewhere I missed? What does all that supposed to mean in a playing environment?Last edited by rlrhett; 05-08-2017 at 02:53 PM.
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Yeah, I'm not sure why he considers this something new. He previously said that for dom7 chords, one of options would be to use the m6/dim a b2 above the dominant chord, so for E7 - use Fm6/dim.
I'm not sure why he wants to sub the Dm7 for the F6 since he would be using Dm6 for the Bm7b5 anyway.
So maybe it's just a unique way of handling a 2 - 5 to the major 3 chord when it appears? In other words, even when we see a iim7 - V - I where the I is the III of the original key, we should treat the ii as a iim7b5 even when it appears as iim7?
I'm probably going to move on and come back to this later. Too much for my little brain right now.
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One thing that is interesting though is that F6=Dm7 and Dm6=Bm7b5. So perhaps it has something to do with pointing out that, although it looks like a strange movement - ie I - ivm7 - VII7 - III, the chords F6 - Dm7 - Dm6 - Fm6 are more related than they initially appear in the original progression?
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Also, one thing that's kind of cool (although I don't know where it leads) is that a iim7 - V7 - I can also be thought of as a iim7 - iim6 - I. Or a I6 - iim6 - I6 if we use the 6th on the 5th thing for the first chord.
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He means the Fm6dim scale (and the chords derived from it) is used for E7alt (the m6 a half-step above the root of the dominant, aka the tritone's minor). The diminished 7th chord associated with Fm6 is Edim (and its inversions). Originally Posted by rlrhett
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He's not "substituting" Dm7 for F6 -- Dm7 is F6. Similarly, Bm7b5 is Dm6 ("the minor 6th with the sixth in the bass" per T Monk). So think of movement on F6dim and Dm6dim scales for this progression. Originally Posted by ColinO
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In his video lectures, BH notes that you can/should think of the ii-7 as a V7 with a suspended 4. If I recall correctly he says this is how the original bebop cats thought of it. Originally Posted by ColinO
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Originally Posted by pcjazz
To be clear, I understand the words he is using. What I mean is that he lays out his progression and does not use the Fmin6 (bIImin6 relative to the Dom) in this example. It is a concept he covered earlier, but he does not apply here. Why does he bring it up? Where has he applied that in this example?
Likewise, so far we are not talking about improvising or some kind of CST. So when he says, "Fmin6dim" I assume he means for us to play some inversion of Fmin6 or a dim chord that fits in that family. And yet it is as if he just peeters out at the end of the page. He doesn't write it out or give any grids like he does for other sections.
I have to assume that he means for us to read in the Fmin6 in place of the E7, but never actually writes that out. He gives an example where uses three inversions of F6 to gives us a nice walking bass figure down to the transition to the min6. But then what? What happened to the rest of the example?
After giving it some thought, I think (and again, thanks ColinO for sifting through the conflicting enharmonics to get the the meat of it) it appears that if I strip out the walking bass line and just look at the way the chords are functioning he means that to modulate from a major tonality to a major tonality a (+) third above you could do this:
(all movement is by minor third)
----------> down ---------------->up -----------------> up
Maj6 -----------------> Min6 ----------------> Min6 --------------->Maj6
Of course, which voicing of each will determine how smooth the voice leading. It is consistent with the "Brothers and Sisters" stuff of Chapter 1, but I wish there had been some discussion of when you play with your minor "Sister" and when your major "Sister". So if I have four Maj6 chords and four Min6 chords that all share a single dim chord, can I move between them interchangeably? My ear says no, but maybe I'm missing something. Or is there a Barry Harris rule like "drop to your brother, but jump to your sister?"
In any case, I've played the progression as written in two different fingerings and can't get a reasonably smooth or pleasing transition. The Dm6/B to a Fm6 is awkward, and the A6 always sounds sweet but out of place. Everything up to this point has been so smooth and coherent, I feel I must be missing something.
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There is a written-out example with grids on page 38. Originally Posted by rlrhett
The main idea is that you move UP a major third by walking DOWN the maj6 and min6 dim scales.
"Major to minor to minor w/6 in the bass"
F6 to F6/D (relative minor, i.e. Dm7) to Dm6/B (B half), which takes you to the dominant and its resolution a major third away from where you started. This is a very common progression in the GASB. The resolution chord can be either major or minor.
It can also be done ascending, but I don't think it sounds so idiomatic.
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Of course that's right. Thanks. Originally Posted by pcjazz
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Try this one. I think it sounds pretty nice: Originally Posted by rlrhett
x-3-3-2-3-x, x-5-7-5-6-x ,x-3-3-2-3-x / x-2-3-2-3-x, x-3-3-1-3-x / x-4-4-2-5-x //
F6 ..............F6(Dm7)........Dm/C ...........Dm/B............Fm6..............A6
It's kind of like the "line cliche".
P.S. Add an Edim (x-4-5-3-5-x) between the F6 and Dm7 and between the Dm7 and Dm/C if you like as well. That sounds pretty cool too.
P.P.S. This is actually pretty similar to what he has on p. 38. Just noticed that.Last edited by ColinO; 05-09-2017 at 10:29 AM.
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I'm not sure what the point of section 2.8 is. Looks like just a rehash of the same stuff using partial chords and full chords. Is there any "magic" in that section that I should be looking for?
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Try putting the Fm6 at the end then moving into the A6. It gives you E7alt to Amaj at the end. Alan just didn't bother putting the Amaj at the end for some reason. Try it like this for example: Originally Posted by rlrhett
Play the chords on page 38 but add these after them:
x5656x
x5646x
5x465x
which is:
Fm6 (E7alt)
Abdim (E7b9) - I just added this one in between cos it sounds nice!
A6
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I think he's just trying to give some practical examples you might use of movements on the progression Am, D7alt, G. Originally Posted by ColinO
Probably intended to help get used to the idea of using Ebm6/dim to cover the D7alt sound.
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Anyone having problems at page 53 of BHHM?
I get that Cm6 on the F7 to Bb ( V - I ) movement is the actual leading tone of the Bb key ( Cm6/A = Am7b5 ).
I see too that Cm6 (with borrowed tone) to E covers the tritone (fifth graphic from left on pg. 53 F7#9).
But some of these are not resolving well to my ear like for example that third graphic from the left which is acting as the F7 and resolving to Bb is sounding more like a tonic Bbmaj7 to my ear.
I mean try this once: Cm7 / F13 / then plug in that Cm6 with the borrowed tones at V! Sounds like a resolution to me.
One more note Bb and you've got Bb 6/9.
Just a few thoughts.
Anyhow, thanks for this thread. It's going to be an inspiration to all here I believe.
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Don't know how that second image got in...sorry!
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WILSON1 - I have not gotten there yet but I did take a look at the section you are talking about. I may be way off, but I think that the idea is NOT that you can sub the Cm6 chord for the F7, but instead that you can use the Cm6/dim chord scale as a whole rather than the F7. And then resolve that chord scale to the Bb major or minor. So instead of a static F7, you sort of have a bunch of moving sounds that as a whole generate the V sound and then resolve the movement to the Bb. I'm not expressing it well but that is the way I am starting to think about it.
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