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Originally Posted by christianm77
He has to deal with people around all the time---and all that infers...
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10-04-2016 05:47 PM
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Originally Posted by Boston Joe
You know what you're getting if you order a "50 Licks" course. That's not a bad thing.
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Originally Posted by David B
Maybe I should work with this for awhile before ordering the DVD.
By the way, does anyone know why Roni named the book that, "Talk Guitar"? It makes no sense to me and I keep thinking I'm missing an obvious reference.
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Originally Posted by joe2758
For example, in F major the semitone occurs between F & E and then between Bb & A. So the descending chromatic F major scale would look like this:
F-(G)-E-Eb-D-Db-C-B-Bb-(C)-A-Ab-G-Gb-F.
Here it is as an extended possible ii-V-I line from various degrees of the scale:
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Sorry to post this again, but it might be relevant... My thoughts on the rhythmic structure of bop lines being related to the clave. What do you think?
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Originally Posted by PMB
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Originally Posted by christianm77
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Well, as it happens, I got a little loot for my birthday and ordered the Barry Harris Workshop DVD (-the first one) from Aebersold. They've already shipped it!
If I'm not a jazz god by Christmas, you're all in trouble! ;o) Kidding, of course. Looking forward to getting a handle on what Barry teaches. I've learned bits and pieces but I can't say I have a feel for incorporating it in my practice and performances. Time to plunge into the deep.
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Originally Posted by MarkRhodes
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Mark- did you check out the dvd yet? You interested in a study-group thread? Anyone else? I'm working on the basic scale outline for Indiana. I'm very used to slow-medium tempos, so this has been a good one to build up some speed. Trying to play through the tune with the scale outline at 187 bpm with some of the 5-4-3-2 phrases thrown in at different places along the way. Next I'll do the same with the various patterns of chromatics and arps etc...
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Originally Posted by joe2758
You've inspired me to do a video on Indiana a la Barry this weekend. It's been a long time since I played in front of a camera. I'll post it here.
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Thanks David!!!
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Originally Posted by joe2758
I would be interested in a study-group, yes. Lots of people have been studying Barry's approach for a long time now and could help those of us newer to it to get off on the right foot. Might inspire a few others to jump in too.
It would be useful to have a single thread for a lot of Barry Harris info to be gathered.
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Originally Posted by David B
And to everyone here, David B is a great spirit with a generous heart and we are blessed to have him among us!
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Is this Alan Kingstone's book/cd?
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Just collating in one post here the various materials available from Barry Harris and his students:
Barry Harris 4DVD/book set (1): The Barry Harris Workshop Video ? Howard Rees' Jazz Workshops
Barry Harris 4DVD/book set (2): The Barry Harris Workshop Video Part 2 ? Howard Rees' Jazz Workshops
'The Barry Harris Harmonic Method for Guitar' by Alan Kingstone: The Barry Harris Harmonic Method for Guitar ? Howard Rees' Jazz Workshops
'Talk Jazz Guitar' by Roni Ben-Hur: Roni Ben-Hur - Talk Jazz: Guitar
'Chordability' DVD by Roni Ben-Hur: Roni Ben-Hur - Chordability
Pasquale Grasso's four video lessons at www.mymusicmasterclass.com : https://www.mymusicmasterclass.com/a...squale-grasso/
Roni Ben-Hur's two 'Anatomy of a Tune' video lessons at Mike's Master Classes:
'How High the Moon' : Anatomy of a Tune - Be-bop Style | Lesson by Roni Ben-Hur | Mike's Master Classes
'Confirmation' : Confirmation | Lesson by Roni Ben-Hur | Mike's Master Classes
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I started a Barry Harris thread: Official Barry Harris Thread
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Originally Posted by MarkRhodes
"RONI BEN-HUR: If you play Jazz right, you talk Jazz. The book is called Talk Jazz because it deals directly with the language and the vocabulary of the Jazz world. It comes to help students get acquainted with the vocabulary, with specific ways of playing things that sound in the Jazz idiom, just theoretical concept but actual musical sentences." (refer to Tomajazz – Roni Ben-Hur: Expanding the tradition, by Sergio Cabanillas and Arturo Mora)
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Originally Posted by princeplanet
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I've only started posting again recently, but I feel like I've picked up where I've left off 4 years ago...
Many of these posts miss something vital that Barry is doing
He's singing his lines because they've been internalized in his hands AND (most importantly) his ear
I really like what fasstrack said about melody.
And listen to what Chris77 said about learning bebop heads--by ear.
The theory is important, yes.
But you have to hear the language to really use it in your own lines in a convincing manner. That means hearing the articulations, hearing the dynamics, and hearing all the rests that punctuate the lines (especially the rests).
So sing, hum, whistle. Do something to get the lines out without your instrument first. Then go back to your axe. I think that you'll realize huge concepts that you'd never gleam just by focusing on the mechanics of your instrument alone.
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Originally Posted by Irez87
90% of the bop language comes from the rhythmic phrases. (That itself is closely related to speech, especially the vernacular of the time, people and place.) That is also the key thing that differentiates it from the swing music that came before.
The melody is the second thing. The harmony is often more of afterthought than you’d think. But melody is a lot easier when you know what the rhythm is. And the harmonic side can be simplified down to allow the rhythm and melody to be as free and creative as possible. Bop has more in common with modal jazz than it might at first appear.
Dizzy put it this way - ‘find a rhythm and hang some notes on it’
Because we are not living in NYC in the 1950s immersion in the recorded music is terribly important. Aside from that I am currently working on a teaching resource (for my postgrad) which comes up with rhythmic phrases that I will share with the forum for C&C if i can work a good way of putting it online.
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Bebop, I agree, is a very rhythmic language, it's angular, asymmetrical, unpredictable and seemingly random to the uninitiated. If you wanna learn that language then a lot of time must be spent grokking that aspect.
But here's the thing, I personally feel that when people say they want to investigate Jazz language and vocab and they get directed to Bebop, I reckon they're more interested in the melodic/harmonic DNA of the lines than they are in the rhythmic aspect.
Let's face it, straight ahead or Hard Bop is more popular these days (well, since 1955 really!) than strict Bebop, no one really plays strict Bebop and very few people actually like it. People would rather play and listen to Hard Bop styled lines, or Post Bop, Modal and later styles. all of which feature much less irregular rhythms. For example, compare Charlie Parker to Jackie Maclean from the late 50's onwards. He's playing simplified versions of Bird lines in longer flowing lines and it sounds cool, any Jackie Mac fan out there will get where I'm coming from.
This is not to say it's a progression, or it's "better", it's just easier to dig, tap your foot to, groove along with etc. I'd also wager that most on this forum will confess that they find it more enjoyable to listen to Pat Martino playing long streams of 8th notes than to listen to the stop/start, choppy phrasing from a bop stalwart like Tal Farlow.
Just trying to restore some balance to this discussion, I simply can't let the assertion that "Rhythm is everything" go unchallenged...Last edited by princeplanet; 04-08-2019 at 12:11 PM.
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are the barry harris DVDs available for purchase where you can download them digitally? doesn't seem like it but maybe I'm missing something.
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Originally Posted by pcsanwald
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Originally Posted by Irez87
There are some theories as to why some players grunt and groan. Most likely explanation is that it's a rhythmic concentration thing. It could also be related to the physicalities of the demands of playing the instrument at challenging tempos (like athletes do) etc.
There are players who (sometimes) sing their lines. It could be practice habits but some of them I think do in the hopes of being taken more seriously as musicians (ie think 20 year old jazz students in jam sessions). But groaning is different and of course that's not why Keith Jarrett and other masters groan.
It's very important I think to sing what you play in the practice room. I benefit enormously from that. But to do that when people are listening to you play can look phony. Although groaning is different I have to say it still annoys me just as much as when Maria Sharapova does it Not a show stopper though.Last edited by Tal_175; 04-08-2019 at 01:21 PM.
RIP Nick Gravenites
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