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6 notes? What are you, a piano player that’s missing 4 fingers?
Originally Posted by Mick-7
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12-29-2025 11:15 PM
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I don't habitually play such large chords but the riddle posed was: voice a chord containing these notes: A-C#-G#-B-A#, then Christian added D#. Originally Posted by AllanAllen
I think this would be my preferred option for that: | 5-4-6-4-4-6 |
But most guitarists are wanna-be piano players, aren't they?
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I just started studying with Tim Collins. He's a shredder. And also coincidentally a multi instrumentalist like me. I want to pick up some of his rhythmic expression.
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In addition to everything in the OP (except I decided I only need 15-20 minutes each day on a hexatonic scale, rather than 30 minutes) these are new additions -
1) Really get into some Barry Harris stuff. I have the Alan Kingstone book for chords/harmony and actually, I took notes from this video some years ago but I'm rewatching it and if I'm honest, I never really implemented its content -
Also some of Jens's videos feature similar BH content. If anyone knows anything, be it a book, video or website or what have you about this stuff, I'd be grateful if you brought it to my attention.
2) I have revised how I practice a tune. Each day, two hours - the first hour is split into four fifteen minute segments, the first one will be for practising the melody just with the metronome on 2 and 4 - obviously important if the melody is a bop head, but deceptively difficult if something like ATTYA or Stella. The second segment will be for practising the chords, which I could quite easily spend longer than 15 minutes doing, so I might have to devise a way of progressing with this over time - starting with drop 2 and shell voicings, then drop 2 & 4 and drop 3, then rootless extensions etc. Quite a lot of material I've got in books, waiting to be applied to tunes. The third segment will be for arpeggios, mostly the continuous arpeggio exercise in quarter and eighth notes in all positions, then do it from the third to the ninth etc. again loads of possibilities. Then the last segment will be to play the scales, mostly the continuous scale exercise in quarter, eighth and triplets but also the 1 - 7 from BH. The continuous scale exercise can be done with thirds, triads etc. extracted from the appropriate scale so scarcely fewer possibilities or narrower scope for material than the aforementioned.
The second hour will be divided into three 20 minute segments. The first will be to develop some licks in a rubato sort of way, applying some exercises from ways of practising scales, including Barry Harris stuff. I want to dust off my looper pedal so I can create ad hoc little backing tracks of particular chord changes from the tune I'm working on and really zoom in and focus on them. The second segment will involve writing/learning an etude on the tune I'm shedding. And the last, just blowing over a metronome or backing track.
3) Inspired by a Mick Goodrick observation in one of his books (can't actually remember the title - the famous one that many guitarists have) about there being 12 months in the year and also 12 different pitch classes in most music in the west, I've decided to practice blues and rhythm changes starting in C and going through the cycle of fourths this year (so February will be F, March B flat etc.) I know it's very tempting to practice rhythm changes just in B flat and blues in F or B flat but I am sure my ears and knowledge of the fretboard etc. will improve from doing this.
Looking forward to doing this!
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The Barry Harris thing. For all its high praises, all the videos I’ve watched are like infomercials. All pitch and no steak. No single actionable step of literally what to practice. It’s all concepts that fly over my head. Just like the infamous Bernstein Rhythm Changes comping video.
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I dunno mate the ones I've seen are pretty actionable. Like the triplet seventh chord arpeggios starting on an off-beat - take it through whatever scale you're working on, then try it over a II-V-I and in the context of a tune. Info on what to practice if not how to practice it. I agree that something like the added-note rule might seem unlikely to embed itself in your improvisational subconscious mind, but I trust it's just a matter of practising it. Just accumulating stuff to play over different chord progressions. Memorise that shit. It's not rocket science. Originally Posted by AllanAllen
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there is quite a lot of steak. i've been to the classes in this vid, though i was too green to sit on the stage. can you make everything that is played here as it happens in real-time? could you hang, even when put on the spot? if not you know what to practice Originally Posted by AllanAllen
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I can guarantee I was too green when I was trying to dig into BH.
My point was supposed to be let me know what book you end up on and not a blanket diss on the Barry Harris system and the continuation of his practices.
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well, here you go. grab your guitar, turn on the first BH vid above and check how far you make it without stopping. the first time you have to stop, that is the stuff you have to study. no book needed. Originally Posted by AllanAllen
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Barry is quite hard. Don’t kick yourself for taking time to master what seem like they should be simple things. Apprentice yourself to the simple stuff.
Scale outlines are a good example. Seems simple, actually HARD, especially the way Barry taught it in class. He didn’t slow things down. Everything at speed.
But you will build skills.
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These are reputedly the best Barry Harris instructional videos, not inexpensive though: Jamey Aebersold Jazz: Barry Harris Workshop DVDs
Several pdf's on Barry's concepts were shared on Reddit: Barry Harris Theory/Concepts - Reddit
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Yes get those Originally Posted by Mick-7
Not cheap, but it’s 100usd for at least a year’s practice material
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more is less. what is wrong with those two vids i gave. give that 100$ to a homeless person.
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Imo BH single note is the best system out there even tho it's not perfect, and there's no central library of material, except probably the dvds really.
I had to make changes to it because it's not bluesy enough for me, but it's miles ahead of other silly methods that don't get you playing bop.
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There is nothing wrong with them. They are great! Originally Posted by djg
The DVD sets are also very great and go into greater depth and have a clear syllabus to work through. Barry’s actual sessions didn’t really have that, they were often him responding to the day, who was in the room etc etc.
If you are on a Barry kick I think it’s helpful to get as much workshop stuff with the man himself as possible and work through it.
Stuff will come up again and again in different contexts. The repetition and drill of it is very helpful. Hanging on in real time is helpful.
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The problem a lot of people have imo is thinking it of as a system. No system exists for jazz. Originally Posted by Strat-itis
The Barry harris method is Barry harris teaching you to play jazz in a workshop. It’s not eight note scales, not added note rules or triplet chords - although that stuff is certainly part of the toolbox.
You kind of need that aspect of him in the lines class making up stuff and telling you how he did it but also getting everyone play it together in unison.
If he didn’t tend to advocate much for transcribing solos that’s because his lessons were about copying him by ear. Which is another way to do it lol.
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Barry Harris Workshop, DVD 1: "This professionally produced product comprises over 4 hours of video and includes a 112 page workbook. It is the successful culmination of a two year project to document for the first time, the legendary teachings of Barry Harris." Originally Posted by djg
Barry Harris Workshop, DVD 2: "Shot in a ‘clinic setting’, this beautifully filmed session is approximately 4 hours, 15 minutes in length and features great overhead views of Barry at the piano. The accompanying 165 page workbook includes a transcription of all the musical examples."
What was the cost to attend one of Barry's workshops live, Christian?
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£30 or something? Originally Posted by Mick-7
There’d be three two hour sessions. Harmony, improv, vocal. Absolutely exhausting they were.
I have I & II.
I is mostly the dominant scale, chords, arpeggios, thirds, 5-4-3-2 phrases, the main added note rules, triplets -
and then there’s the harmony stuff with m6-dim
It’s a great core syllabus. You can tune into any Barry workshop with that background. Many who went to Barry’s workshops had the DVD set and some brought the books with them.
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Well I studied with Chris and he teaches it as a system, refusing to use any outside material. It's still a system post hoc even if Barry didn't codify it, and it's imperfect and incomplete. I agree no fully comprehensive system exists for accurately learning jazz. You have to pick the best educational materials you can, study your favorite players, and play until you get it holistically. Originally Posted by Christian Miller
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I am curious.
If attending and learning from Barry himself or the DVDs is a '100%', then what percentage is all of Chris Park's videos on his YouTube channel? 30%? 20%?
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You seem mad.
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huh? why did u come to that conclusion??
im wondering how much of chris park's videos cover barry's system or are the videos just the tip of the iceberg.
i dont have barrys dvd, never met him before, never been chris park's student.
i did watch a tonne of tilf barry harris to compose the bop lines that i use in my weekly jams.
so i don't understand where your comment is coming from??
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I misinterpreted you. Chris is low key the man. His stuff is 100% accurate to BH and if you study through him you will learn the method accurately, to the point to where you won't really be missing anything. If you want total accuracy just go to BH himself, but there it would still take you years to learn everything so completely that it would eclipse Chris's teaching.
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Chris Parks is really good. His episode 4 changed my life. I still remember the episode like it was yesterday. It's the one with the chromatic scale. I always recommend this video to newbies at my jam sesh who are interested in that type of chromatic sound. I use the small lines like 1-b2-2-b3-3, 7-b7-6-b6-5, and 5-b5-4-5-3 all the time in my playing.
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See, something like this gets me interested because I’ll try this at a gig l(literally last night) and know that the sound is somewhere, but I’m just thinking “chromatic stuff” and winging it. Which goes over as well as you’d expect (not great). Originally Posted by brent.h
To DJG: I played along with that video for a few minutes and have some notes on what to practice. Maybe I’ve got my technical chops built up enough to give BH another go.
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