Reply to Thread Bookmark Thread
Page 15 of 19 FirstFirst ... 51314151617 ... LastLast
Posts 701 to 750 of 945
  1. #701

    User Info Menu

    Quote Originally Posted by joe2758
    I'm not really comfortable in a teaching role, more just passing things along as I go. It's a true teachers job to decide how much to say directly (what the point of an exercise is for example) and how much to let the student work out.

    I think our goals are different, I'm more of a traditionalist. Sounds like you're looking for new and exciting concepts? Maybe I'm wrong?

    I'm a different type of student than you, I just put faith in my teachers and practice what they tell me. I discover the "why" along the way. That keeps me from the trap of understanding something and then getting the false impression that I can automatically play it. That was my problem in highschool, I thought once I got the concept that's all I needed. Then I figured out I couldn't play any of it in any real context.

    So when Alan told me the simple exercise, I thought "hmm, why is this important? of all the things he could tell me practice every day, why would he pick this one?" The difference here is I didn't ask Allen the reason why, I just got to work.

    Since he was specifying inversions, that was my clue that main point was a bass line. I played the bass line and thought "oh it's that old chestnut I hear everywhere." Then as I played more I thought "oh that movement is why we play IV to iv or IV to #iv dim." Then I thought "what can I do to create with this?"

    Sure, you can play any space age chord anywhere you want, but having guidelines rooted in the tradition of the past keeps us grounded and within a certain style (which is what I like). I have more than enough freedom to create.

    Sorry if this completely danced around your question
    Thank you. It's all vey reasonable and of course with my attitude I had problems that you described too (but I could not help it)

    And this is what I enjoy in Barry Harris study too.. how the things of traditional language begin to come out under your fingers.

    Especially with line excercises it was exciting how bop sound occasionally began to naturally shine in the soloing...

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #702

    User Info Menu

    Sounds like you're looking for new and exciting concepts? Maybe I'm wrong?
    Not new... just things that lead me somewehre I feel I should be.
    ... I can't play in style, I can do it for fun but I cannot do it seriously like with all the energy that music really deserves.
    But it is my problem of course...

  4. #703

    User Info Menu

    Quote Originally Posted by rintincop
    OT: Any critique of the BH type application of a scale drill on a C minor blues ? (bass cleff is piano left hand)


    Attachment 58739
    Looking good

  5. #704

    User Info Menu

    5432 get out of trouble phrases are good. Did he offer any additional ones?

    5432.MINOR.pdf

  6. #705
    anyone toyed with playing 5432 phrases on other scale degrees?

    on c major play:

    f a c e like you would on a 3 phrase. difference is since you’re starting on f you start on an upbeat.

    so that’s playing phrase 3 on the 2nd scale degree

    i lnow my example is just pivoting a chord... but it works for the other ones too and generated some new ideas for me.

    2 phrase works anywhere and has the effect of changing the same note to an upbeat or downbeat. perfect for “getting out of trouble” you can land on 3 on an upbeat then make it right with the 2 phrase

  7. #706

    User Info Menu

    Quote Originally Posted by joe2758
    anyone toyed with playing 5432 phrases on other scale degrees?

    on c major play:

    f a c e like you would on a 3 phrase. difference is since you’re starting on f you start on an upbeat.

    so that’s playing phrase 3 on the 2nd scale degree

    i lnow my example is just pivoting a chord... but it works for the other ones too and generated some new ideas for me.

    2 phrase works anywhere and has the effect of changing the same note to an upbeat or downbeat. perfect for “getting out of trouble” you can land on 3 on an upbeat then make it right with the 2 phrase
    Lost me there joe

  8. #707

    User Info Menu

    Lost me too, maybe you need to spell out the notes to be more clear

    For example the standard 3 Phrase in C spelled out:
    Leap down from E (3rd) and ascending G B D (V triad outline)

    (I'm guessing you are applying it to the 2nd mode of C ?).
    Are saying play the phrase a diatonic step higher?
    Leap down from F and ascending A C E ?

  9. #708
    Quote Originally Posted by rintincop
    Lost me too, maybe you need to spell out the notes to be more clear

    For example the standard 3 Phrase in C spelled out:
    Leap down from E (3rd) and ascending G B D (V triad outline)

    (I'm guessing you are applying it to the 2nd mode of C ?).
    Are saying play the phrase a diatonic step higher?
    Leap down from F and ascending A C E ?
    you got it; sorry i wasn't clear

    so take that idea and try each phrase on each scale degree...see what ones work

  10. #709

    User Info Menu

    Well the phrases are all fairly simple no?

    5 = descending fifth followed by ascending fourth decorated by lower neighbour on second note and upper neighbour on 3rd note
    4 = 3 note enclosure/surround
    3 = pivot arpeggio
    2 = chromatic approach thingy

    So they should all work. Might need to change the order of notes in 4. I always think it’s best to use diatonic upper and lower for that and slot the chromatic in where there’s a gap.

  11. #710
    haha ya'll just saying stuff from my post. I use the minor 4 phrase where needed

  12. #711

    User Info Menu



    Different example, but here playing a minor 5-3ish phrase from the ii minor. Played in ii-V context (last four bars of the blues).

    The pivot arpeggio of the 3 phrase in ii minor is the same as the 7th of the dominant, and that’s classic barry.

  13. #712
    Hey, i thought this might be a fun challenge for you guys. Here is a list of chord moves: ( ° is half diminished for this post)
    1. I - im7
    2. V9 - ii° - V alt
    3. I - #iv°
    4. ii° - V alt
    5. iim7 - V9
    6. I - II9 - iim7

    The puzzle is what do all these have in common?

  14. #713

    User Info Menu

    I have no clue! Maybe you can share some insight on this?

  15. #714

    User Info Menu

    I haven’t a Scooby

  16. #715

    User Info Menu

    The puzzle is what do all these have in common?
    Probably not the answer you are looking for but these are all either dominant or subdominant moves that
    can bring it back to I major.

  17. #716
    They are all minor third movements (here's in C):

    1. C6 to Eb6
    2. Dm6 to Fm6 to Abm6
    3. C6 to Am6
    4. Fmin6 to Ab min6
    5. F6 to Dm6
    6. C6 to Am6 - and then I was wrong on the iim7 I think lol

    but anyway, the point is I've been practicing cycles of minor thirds in closest inversions. The result is I can play these moves easily without thinking in any inversion (well, I'm still working on it but I'm seeing nice results). These are just the ones I've found from looking at how high the moon and Cherokee...I'll keep looking for more as I work on various tunes I think.

    Some things I don't necessarily think of another chord for example F6 to G9 I just lower the 5th etc

  18. #717

    User Info Menu

    You guys seen this?


  19. #718

    User Info Menu

    For Confirmation, I have the following outlines. Can Any of you Barry Harris experts let me know if I missed anything?


    First A;
    F major up
    C7 down to third of A
    Dm up
    F7 up
    Bb7 up
    D7 up
    G7 up
    C7 up


    Second and third A;
    F major up
    C7 down to third of A
    Dm up
    F7 up
    Bb7 up
    D7 up
    C7 up
    F major up


    B part
    F7 up and down
    Bb major up and down
    Ab7 up and down
    Db major up
    C7 up

  20. #719

    User Info Menu

    Quote Originally Posted by Petimar
    For Confirmation, I have the following outlines. Can Any of you Barry Harris experts let me know if I missed anything?


    First A;
    F major up
    C7 down to third of A
    Dm up
    F7 up
    Bb7 up
    D7 up
    G7 up
    C7 up


    Second and third A;
    F major up
    C7 down to third of A
    Dm up
    F7 up
    Bb7 up
    D7 up
    C7 up
    F major up


    B part
    F7 up and down
    Bb major up and down
    Ab7 up and down
    Db major up
    C7 up
    The charts I have show the third bar of the A sections as |Dmin G7|, so I'd use G7 instead of Dmin there.

  21. #720
    I understand needing some confirmation on that. sorry.

  22. #721
    bar 3: G7 up is probably what is standard...Dm is cool too though. rest looks good from what I know

  23. #722

    User Info Menu

    Quote Originally Posted by Petimar
    For Confirmation, I have the following outlines. Can Any of you Barry Harris experts let me know if I missed anything?


    First A;
    F major up
    C7 down to third of A
    Dm up
    F7 up
    Bb7 up
    D7 up
    G7 up
    C7 up


    Second and third A;
    F major up
    C7 down to third of A
    Dm up
    F7 up
    Bb7 up
    D7 up
    C7 up
    F major up


    B part
    F7 up and down
    Bb major up and down
    Ab7 up and down
    Db major up
    C7 up
    Looks good to me.

    You could go F7 down to 3rd D7 on the D7. That’s the option Roni Ben Hur prefers as it’s more in the key, but either is cool.

    You are not going to have enough time to play the scales for G7 C7 on the second A, and I see you just put C7 there, which is fine, but you could play 1-2-3-5 instead.

  24. #723

    User Info Menu

    Article in JazzTimes this week: Inside the Barry Harris Method - JazzTimes

  25. #724

    User Info Menu

    Quote Originally Posted by christianm77
    You could go F7 down to 3rd D7 on the D7. That’s the option Roni Ben Hur prefers as it’s more in the key, but either is cool.
    Very cool, don't know why I didn't see that. I like this and will start using this.

    Thanks everyone! Its little nuggets like this that keep me asking.

    By the way, anyone still working through Chris' videos?

  26. #725
    Quote Originally Posted by Petimar
    Very cool, don't know why I didn't see that. I like this and will start using this.

    Thanks everyone! Its little nuggets like this that keep me asking.

    By the way, anyone still working through Chris' videos?
    Not in the same way I was, but that was SUPER beneficial while it lasted. Right now I have a pretty narrow scope of what I'm working on as I prepare for a Howard Rees intensive workshop in August

  27. #726

    User Info Menu

    Quote Originally Posted by joe2758
    Not in the same way I was, but that was SUPER beneficial while it lasted. Right now I have a pretty narrow scope of what I'm working on as I prepare for a Howard Rees intensive workshop in August
    Do you know that Barry Harris is actually giving a workshop in Howard Rees's studio in May?

  28. #727
    Quote Originally Posted by Tal_175
    Do you know that Barry Harris is actually giving a workshop in Howard Rees's studio in May?
    Yeah I'm going to try to make it, but I'm not sure if i can. The Auguest one I was able to clear my schedule for. Anyone else going to either?

  29. #728

    User Info Menu

    Quote Originally Posted by joe2758
    Yeah I'm going to try to make it, but I'm not sure if i can. The Auguest one I was able to clear my schedule for. Anyone else going to either?
    Not sure yet. I have attended in the past both Barry Harris and Howard Rees workshops in that same location though.

  30. #729

    User Info Menu

    Quote Originally Posted by joe2758
    Yeah I'm going to try to make it, but I'm not sure if i can. The Auguest one I was able to clear my schedule for. Anyone else going to either?
    I wish I could make any of these. But not in this lifetime

  31. #730
    Quote Originally Posted by Tal_175
    Not sure yet. I have attended in the past both Barry Harris and Howard Rees workshops in that same location though.
    Well shoot me a message if you can go; would be cool to meet you.

  32. #731

    User Info Menu

    Quote Originally Posted by joe2758
    Yeah I'm going to try to make it, but I'm not sure if i can. The Auguest one I was able to clear my schedule for. Anyone else going to either?
    I’ll be at the Saturday and Sunday harmony classes in May, the only ones that fit my schedule. I haven’t missed a chance to see Barry in Toronto in at least the last ten years.
    Last edited by pcjazz; 04-12-2019 at 04:33 PM. Reason: schedule change

  33. #732

    User Info Menu

    Quote Originally Posted by joe2758
    Well shoot me a message if you can go; would be cool to meet you.
    Definitely. Likewise.

  34. #733
    Quote Originally Posted by pcjazz
    I’ll be at the Saturday morning harmony class in May, the only one that fits my schedule. I haven’t missed a chance to see Barry in Toronto in at least the last ten years.
    Cool! Yeah anyone going should shoot me a message. I'm coming all the way from Pennsylvania

  35. #734
    Hey, what is the break down of the other classes in May in terms of improv and vocal (or any others)? What is the schedule like?

  36. #735

    User Info Menu

    Quote Originally Posted by joe2758
    Hey, what is the break down of the other classes in May in terms of improv and vocal (or any others)? What is the schedule like?
    There is also harmony and tap dancing I think.

  37. #736

    User Info Menu

    Here is the schedule. You can email Howard for other details.

    WHEN: Friday May 3rd to Sunday May 5th.

    SCHEDULE:
    * Harmony Classes: Fri 5:30 to 7:30pm; Sat & Sun 10:30am to 1pm
    * Improvisation Classes: Sat 2:30 to 5pm, Sun 2:30 to 4:30pm
    * Tap Dancer’s Improvisation Class: Sat 5:45 to 7:45pm
    * Vocal Class: Sunday 4:30 to 6:30pm


    LUNCH BREAK: each day from 1pm to 2:30pm. There is a wide variety of cafes in the immediate area.




  38. #737
    Tap dancing! that does it, i gotta get my ass over there.
    So I just show up right?

  39. #738

    User Info Menu

    Quote Originally Posted by joe2758
    Tap dancing! that does it, i gotta get my ass over there.
    So I just show up right?
    You have to register first. Today is the early registration deadline. i.e. The fee will go up after today. I'd recommend you email Howard today if you want to get the discount.

  40. #739

    User Info Menu

    Quote Originally Posted by joe2758
    Tap dancing! that does it, i gotta get my ass over there.
    So I just show up right?
    Bojangles2758

  41. #740

    User Info Menu

    I saw Barry accompany Jimmy Slyde in about 2003 in a very nice small theatre. Sheila Jordan was just behind me and I think she was giving me tips on how to cook a turkey. Don't ask for the recipe because I was in awe of the amazing Sheila Jordan.



    Look up Jimmy Slyde.
    Last edited by A. Kingstone; 04-13-2019 at 04:15 PM.

  42. #741

    User Info Menu

    Hi,

    How is everyone here? Thread was very quiet lately.

    Here's a new transcription of Barry's solo on There Will Never Be Another you (live in Bologna):



    Love this solo. So melodic. Hope it can be useful to anyone.

    Here's me from two years ago trying to hack it...



    Cheers,
    Tamir

  43. #742
    Nice work, Tamir. I actually saw it pop up on my youtube last night. I like just following along the score-- Will be a long time before I get to trying it.

    As for me, I'm working on comping How High the Moon, Cherokee, Body and soul, rhythm changes, blues... That's enough to keep me busy. I need to also practice soloing over these tunes...Too much to do so little time.

  44. #743

    User Info Menu

    Cool man.
    I’m mostly shedding the blues. Trying to internalize as much of Barry’s stuff.

    Here’s current status:


  45. #744

    User Info Menu

    On the Barry Harris tip, a new two-part class from Roni Ben-Hur came online today at My Music Masterclass - Home - Music Lessons From Your Heroes , looking at 'Indiana/Donna Lee'

    Roni Ben-Hur - Inside a Jazz Standard 1 & 2 - Jazz Guitar Lesson Bundle



    Last edited by David B; 05-01-2019 at 02:22 PM.

  46. #745

    User Info Menu

    Quote Originally Posted by tamirgal
    Cool man.
    I’m mostly shedding the blues. Trying to internalize as much of Barry’s stuff.

    Here’s current status:

    Sounding great man

  47. #746

    User Info Menu

    Thanks Christian!
    Appreciate it

  48. #747

    User Info Menu

    I don't know if this question has been asked before in the forum, Google doesn't help. How would you apply Barry Harris scale practice to ATTYA? In particular I'm interested in finding out what scales to play on vi minor and IV major chords. Just the tonic major? If so, it seems to me, that would be a bit too dismissive of the chord tones. Any ideas?

  49. #748

    User Info Menu

    Quote Originally Posted by Tal_175
    I don't know if this question has been asked before in the forum, Google doesn't help. How would you apply Barry Harris scale practice to ATTYA? In particular I'm interested in finding out what scales to play on vi minor and IV major chords. Just the tonic major? If so, it seems to me, that would be a bit too dismissive of the chord tones. Any ideas?
    ATTYA a la Barry is discussed by Christian and others on page 3 of this very thread!

  50. #749

    User Info Menu

    OK, thanks I found Christian's post. I can see playing Ab Major over vi minor is a reasonable fit both functionally and chord tone alignment wise. But Db major scale over IV chord seems a bit less satisfying. The Gb doesn't fit the key obviously. I'm just trying to understand, is playing major scale from the root of IV over IV chord a best guess approach based on available Barry Harris material out there or does Barry Harris explain somewhere why that's a good fit?

  51. #750

    User Info Menu

    Oh wait I was referring to the post below, but there is a later post where Christian suggests Ab major over Dbmaj7. That fits the key of course On the other hand it doesn't fit the function. Barry Harris motivates these scale exercises as also a way of hearing the harmony (chords come from scales after all). I can see playing the tonic major scale over vi and iii working reasonably well in that regard. But over subdominant?
    Imagine a tune that starts with a progression- regression pattern like IV I IV I, just playing the major scale 4 times would miss the progression entirely. Is this a short coming of simplifying the major harmony to dominant and major scales?

    Quote Originally Posted by christianm77
    Reposted from ATTYA thread:

    OK, here's my Barry Harris scale breakdown for this tune. Haven't proofread this so there might be mistakes. The middle eight looks mental with those accidentals, but for non-readers, here's the scale breakdown

    1-7 for 1 bar scales, 1-7-1 for 2 bar scales, 7-1 when running a scale down to the third.

    Fm7 --> Ab major (I) (Fm7=Ab6)
    Bbm7 Eb7 --> Eb dominant (V)
    Abmaj7 --> Ab major (I)
    Dbmaj7 --> Db major (IV)
    Dm7b5 G7b9 --> Bb dominant down to the third of G7 (II7)
    Cmaj7 --> C major (III)

    Then, same thing in Eb major.

    Middle 8 is easy
    Am7 D7 --> D dominant
    Gmaj7 --> G major
    F#m7 B7 --> B dominant
    Emaj7 --> E major
    C7b9 --> Eb dominant down to the third of C7

    Fm7 --> Ab major (Fm7=Ab6)
    Bbm7 Eb7 --> Eb dominant
    Abmaj7 --> Ab major
    Dbmaj7 --> Db major
    Gb7 --> Gb dominant
    Ab/C --> Ab major
    Bo7 --> Bb7 down to the third of G7 (?)
    Bbm7 Eb7 --> Eb dominant
    Abmaj7 --> Ab major

    Run in all positions, octaves etc and you will be in an excellent position to solo on the tune.