Harmonizing scales

[grahambop]

It is called The Barry Harris Method, no...?
And Good Luck to him, his professorship and book royalties.

But, I have to bring it to interested people's attention, after reading some very old Plectrum Banjo books that teach the same system, inversions up the neck filled in with o7 chords, themselves inversions, that it's the Bread & Butter of the Plectrum Banjo. Even the most dedicated BH Fan wouldn't want that hidden. Perhaps some new guitarists may want to research the old method on their own, which is better explained in banjo books and not some "mysterious" University Level Theory for "Jazz" musicians. (Now there's a word that's so wide that it's lost it's meaning.)

I've yet to see anyone in this long thread know the BH Method well enough to explain it. I'm not against it, nor against him. He's up there on the list with Tatum, Peterson, Powell and Garner. But many confuse it as being something new when it's not. Perhaps it should be called the BH Style rather than the BH Method. But even Barry Harris doesn't explain it. It's a mystery... It's a mystery, Jerry! His students don't even seem to know what he's talking about. Hence the mystery. Hence the content of this entire thread.

And good luck to the guy with the CAGED Corp. copyright and to the owner of the Guitar Fingerboard Slide Rule Company. I'm not interested in quibbling with their fans or BH Fans.
When one does not learn their history, they tend to reinvent the wheel.

Actually Barry says the same harmonisation techniques were used even earlier, e.g. by Chopin.

[A. Kingstone]

It is called The Barry Harris Method, no...?
....... .......l.

No is correct. That is a partial title of my book. I was pleased when Barry perused it upon its publication and said "that's no jive".



Barry often mentions Schoenberg time traveling and stealing his stuff.

[StringNavigator]

Looks like I woke up the Barry Harris Police...

It is called The Barry Harris Method, no...?

No is correct.

Amazon says...
The Barry Harris Harmonic Method for Guitar

Book and CD. Studying the concepts put forth in this book will not teach you a set of hip sounding voicings. You won't come out sounding like everyone else - and that's the good news! What you will find herein are the structural components, as mapped out and developed by jazz giant Barry Harris, that will guide and aid you on your own personal road to discovery. Imagine, a system for learning jazz harmony that actually embraces the concept of improvisation.

Sounds like you're arguing semantics. The Amazon ad clears it up.

[StringNavigator]

Barry often mentions Schoenberg time traveling and stealing his stuff.

What about Eddie Peabody...?

[StringNavigator]

Actually Barry says the same harmonisation techniques were used even earlier, e.g. by Chopin.

Chopin... and Bach....
Putting a Jazz ribbon on a Classical parcel does not make it new.

This amazing lecture series (The unanswered Question ), is actually an interdisciplinary overview about the evolution of Western European classical music from Bach through the 20th century crisis and beyond. Mr. Bernstein uses linguistics to provide a framework to illustrate how music and all the arts evolved toward greater and greater levels of ambiguity/expressivity over history until the 20th century crisis.
4:20

[Tal_175]

Looks like I woke up the Barry Harris Police...



Amazon says...
The Barry Harris Harmonic Method for Guitar

Book and CD. Studying the concepts put forth in this book will not teach you a set of hip sounding voicings. You won't come out sounding like everyone else - and that's the good news! What you will find herein are the structural components, as mapped out and developed by jazz giant Barry Harris, that will guide and aid you on your own personal road to discovery. Imagine, a system for learning jazz harmony that actually embraces the concept of improvisation.

So if someone says they developed a method of teaching jazz improvisation using triads, you'd assume that they invented triads? Read the last sentence, the ad is talking about a system for learning jazz harmony, not a novel jazz theory.

[StringNavigator]

So if someone says they developed a method of teaching jazz improvisation using triads, you'd assume that they invented triads?

Poor ragman 1 tried to find out what this new method was all about. Not one here could even muster a decent explanation. He's left the thread defeated in his attempt.

Coming across this vapid thread, it was plain to see nothing was going to be achieved for him. Instead, a gang of poseurs attacked the messenger. Blind Fanhood. Not one could even begin to answer his questions. But rather than admit that they don't know the first thing about this "ground-shaking" method, all they can muster is an attack on anyone who dares to question it...

Well, you can all chirp and rail against the wind like you did on ragman 1... I certainly don't care. Only Parrotitis abounds here...
Too many "teachers" who should be "students". Apprentices...

BTW
At least Triads are a useful thing. And there are ways to improvise with triads. But I learned more about harmonising scales in 1978 from the last five pages of Dave Eastlee's book "Jazz Chord Connection: A Systematic Approach to Understanding Guitar Fingerboard Harmony" than anyone here can figure out or glean from the BH Method... or whatever they're trying to call it, now... The thread about harmonising scales is starving because it's being choked by the BH Mystery Method.
...

[Tal_175]

Poor ragman 1 tried to find out what this new method was all about. Not one here could even muster a decent explanation. He's left the thread defeated in his attempt.

Coming across this vapid thread, it was plain to see nothing was going to be achieved for him. Instead, a gang of poseurs attacked the messenger. Blind Fanhood. Not one could even begin to answer his questions. But rather than admit that they don't know the first thing about this "ground-shaking" method, all they can muster is an attack on anyone who dares to question it...

Well, you can all chirp and rail against the wind like you did on ragman 1... I certainly don't care. Only Parrotitis abounds here...
Too many "teachers" who should be "students". Apprentices...

BTW
At least Triads are a useful thing. And there are ways to improvise with triads. But I learned more about harmonising scales in 1978 from the last five pages of Dave Eastlee's book "Jazz Chord Connection: A Systematic Approach to Understanding Guitar Fingerboard Harmony" than anyone here can figure out or glean from the BH Method... or whatever they're trying to call it, now... The thread about harmonising scales is starving because it's being choked by the BH Mystery Method.
...

I'm not BH police. You're making obvious logical fallacies or factual errors, and when people point them out to you, you get mad and play the victim card. You do this a lot on this forum.

Anyway, I didn't read the whole thread. It seems like you're frustrated that you don't get the method. Barry Harris's teaching method is not rocket science. However it's a method based on students attending a series of hands on workshops.That's probably the reason why he was never interested in writing a book about it himself. He covers a variety of things and over time students are supposed to put the pieces together.

There are some long term students of his who produced teaching materials explaining some of the concepts . If you want to learn about his harmonic method, here is a great article written by David Berkman that gives an excellent summary of it:
http://www.downbeat.com/digitalediti...art/DB1509.pdf

[StringNavigator]

You're making obvious logical fallacies or factual errors, and when people point them out to you, you get mad and play the victim card. You do this a lot on this forum...Anyway, I didn't read the whole thread.

I don't think you read my post, either. I'm afraid that you're the one who's becoming upset, because we don't all chant the mantra. I'm not interested in the BH Method. It's already been covered years ago.

You can continue pulling my leg, if you want, but you're just becoming a flamer. You're even researching my posts now to cast some aspersions on me because I'm not interested in some book. An act of desperation, maybe even trolling.

[pcjazz]

Don’t feed the troll. This joker has been in my bozo bin for a couple of years but has now reemerged with a new handle. Back he goes …

[djg]

the jazz karens are taking over!

[christianm77]

the jazz karens are taking over!

Nah mate it’s all banjos. cAn’T yOu SeE????

Wake up sheeple!

[grahambop]

Poor ragman 1 tried to find out what this new method was all about. Not one here could even muster a decent explanation. He's left the thread defeated in his attempt.

lol...a dead thread from 2 years ago which you chose to re-animate.

[grahambop]

Poor ragman 1 tried to find out what this new method was all about. Not one here could even muster a decent explanation. He's left the thread defeated in his attempt.

Actually I think we gave some good explanations, and he got the hang of it:

Brilliant. Again.

I've glanced at it quickly (it'll have to wait properly till tomorrow) but I can see an Fm7, Go, Ab6, Ab/C in the first bar. Then Bbm7, Co, Db6, Bbm7 in the second. Easy to play.

Now I'm getting it. I'll have it sorted 'ere long. Maybe give you a blast. It's a good example too, lots of keys.

Thank you, Graham. One day you can borrow my Ferrari :-)

when I get one

I'm getting it. Good for comping.
Let's get this done first then maybe we can do the lines bit. One thing at a time :-)

I get the picture. He's doing a lot of things I'd do anyway using shells, like going for the tritone and moving a shape up and down a fret. And the usual major to inversion run.

Graham -

I'm playing it. The first one I get. That x6858x voicing is very hard to grab but it sounds nice.

The second one puts it in C harm, or Cm/M7... it might depend on the melody, would you say?

But I see the point.

I understand, the second group was an example of how sounds can be changed. I've got it.

You have communicated it, very well, and I'm grateful, thanks.

Right, I've got it. All I was doing, per my post, was subbing straightforward chords with 6-for-m7s and dims for dominants. It was an experiment, one chord per bar.

You are, I think, suggesting, by using the 6dim scale, using several chords per bar instead of one. To produce tasty movement. I think that's what you're saying.