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  1. #701

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


    Minor.Blues.SCALES.pdf
    Studied privately with Mark Levine from 1986-1989 and with Barry Harris 1990-1992.

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    The Jazz Guitar Chord Dictionary
     
  3. #702
    great examples, Tamir! I mean i knew they were interchangable in a broad sense since they are both turnarounds to one, just that we have a 1-4-1 as opposed to 1-5-1.

    I certainly hear in those videos what you’re saying, especially Barry Harris playing it starting it beat one of the first solo!
    White belt
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  4. #703

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    Quote Originally Posted by joe2758 View Post
    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...

  5. #704

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    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...

  6. #705

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


    Minor.Blues.SCALES.pdf
    Looking good

  7. #706

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

    5432.MINOR.pdf

  8. #707
    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
    White belt
    My Youtube

  9. #708

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    Quote Originally Posted by joe2758 View Post
    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

  10. #709

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    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 ?

  11. #710
    Quote Originally Posted by rintincop View Post
    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
    White belt
    My Youtube

  12. #711

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    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.

  13. #712
    haha ya'll just saying stuff from my post. I use the minor 4 phrase where needed
    White belt
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  14. #713

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    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.

  15. #714
    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?
    White belt
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  16. #715

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

  17. #716

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    I haven’t a Scooby

  18. #717

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    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.

  19. #718
    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
    White belt
    My Youtube

  20. #719

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    You guys seen this?


  21. #720

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    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
    Pete Martin - just a mandolin guy but loves jazz guitar
    www.PetimarPress.com
    Www.Jazz-Mandolin.com

  22. #721

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    Quote Originally Posted by Petimar View Post
    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.

  23. #722
    I understand needing some confirmation on that. sorry.
    White belt
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  24. #723
    bar 3: G7 up is probably what is standard...Dm is cool too though. rest looks good from what I know
    White belt
    My Youtube

  25. #724

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    Quote Originally Posted by Petimar View Post
    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.

  26. #725

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

    London Jazz Guitar Society:
    www.meetup.com/londonjazzguitarsociety
    LJGS on Twitter: www.twitter.com/LDNJazzGuitar

  27. #726

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    Quote Originally Posted by christianm77 View Post
    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?
    Pete Martin - just a mandolin guy but loves jazz guitar
    www.PetimarPress.com
    Www.Jazz-Mandolin.com

  28. #727
    Quote Originally Posted by Petimar View Post
    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
    White belt
    My Youtube

  29. #728

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    Quote Originally Posted by joe2758 View Post
    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?

  30. #729
    Quote Originally Posted by Tal_175 View Post
    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?
    White belt
    My Youtube

  31. #730

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    Quote Originally Posted by joe2758 View Post
    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.

  32. #731

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    Quote Originally Posted by joe2758 View Post
    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

  33. #732
    Quote Originally Posted by Tal_175 View Post
    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.
    White belt
    My Youtube

  34. #733

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    Quote Originally Posted by joe2758 View Post
    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

  35. #734

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

  36. #735
    Quote Originally Posted by pcjazz View Post
    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
    White belt
    My Youtube

  37. #736
    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?
    White belt
    My Youtube

  38. #737

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    Quote Originally Posted by joe2758 View Post
    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.

  39. #738

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    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.




  40. #739
    Tap dancing! that does it, i gotta get my ass over there.
    So I just show up right?
    White belt
    My Youtube

  41. #740

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    Quote Originally Posted by joe2758 View Post
    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.

  42. #741

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

  43. #742

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    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.

  44. #743

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    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

  45. #744
    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.
    White belt
    My Youtube

  46. #745

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

    Here’s current status:


  47. #746

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    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.

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  48. #747

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

    Here’s current status:

    Sounding great man

  49. #748

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    Thanks Christian!
    Appreciate it

  50. #749

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    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?

  51. #750

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    Quote Originally Posted by Tal_175 View Post
    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!

    London Jazz Guitar Society:
    www.meetup.com/londonjazzguitarsociety
    LJGS on Twitter: www.twitter.com/LDNJazzGuitar