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  1. #801

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    Quote Originally Posted by Petimar View Post
    What would you guys play for BH chord outlines over the first several bars of Old Devil Moon?

    FMaj7 - Cm7 for 6 bars F7sus F7 for 2 bars.


    Here is what I am thinking:
    F major up F7 up for 6 bars
    F7 up and down 2 bars

    Let me know where I am not correct. Thanks!
    Anyone??
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    The Jazz Guitar Chord Dictionary
     
  3. #802

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    Down from the 7th is a Barry Harris way to play scales that I prefer. Up from the root sounds like a drill to me. Down from the 7th sounds more melodic to me. Run continuous scales down and up by inserting the half steps when needed to keep chord tones on the beat. That’s most of the scale balancing act. Of course freely mix in double and triple enclosures, arpeggios, and don’t forget the 4321 get out of trouble phrases. And some triplets.
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  4. #803

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    Bud Powell’s transcription on Celia:



    This is bebop supreme!

  5. #804

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  6. #805

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    This is awesome Alan!!
    Thank you for the vid

  7. #806
    Alan is the man.
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  8. #807

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    Quote Originally Posted by tamirgal View Post
    Bud Powell’s transcription on Celia:



    This is bebop supreme!

    Trying to Bud Powell at 90% of the speed. Almost got it:


  9. #808

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    Thanks Alan.
    I've been messing around with that idea (descending single note line harmonized with 3,6,4,7 then repeat same at Tritone) but I can't seem to figure out the principle behind it. How can I develop different lines? I've tried a few, some going down, some going up, and then trying out different chords but I feel like I'm shooting in the dark.
    I'm following the principles of using 2nd inversion to Root chords with a simple diatonic line. I've been using the template you used of skipping the 2,5,1 and going to the 4,7. I've been trying different chord degrees depending on the melody I'm trying to use.
    Nothing I come up with sounds as cool as the one played in the video.
    Has anybody had success with making this idea their own?
    Larry

  10. #809

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    Quote Originally Posted by podink View Post
    Thanks Alan.
    I've been messing around with that idea (descending single note line harmonized with 3,6,4,7 then repeat same at Tritone) but I can't seem to figure out the principle behind it. How can I develop different lines? I've tried a few, some going down, some going up, and then trying out different chords but I feel like I'm shooting in the dark.
    I'm following the principles of using 2nd inversion to Root chords with a simple diatonic line. I've been using the template you used of skipping the 2,5,1 and going to the 4,7. I've been trying different chord degrees depending on the melody I'm trying to use.
    Nothing I come up with sounds as cool as the one played in the video.
    Has anybody had success with making this idea their own?
    Larry

    Larry: My advice is to just persevere. Try the example in different keys resolving to the one after playing the tri-tone move. It's new to me also so I'm not using it in songs on the fly just yet. The good thing about practicing it over and over is that it sounds good, eventually you can work it into an arrangement.
    I was messing around last night with the same concept using Drop 2&4 chords where the outside interval of a 13th moves.

  11. #810

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    Quote Originally Posted by A. Kingstone View Post
    Larry: My advice is to just persevere. Try the example in different keys resolving to the one after playing the tri-tone move. It's new to me also so I'm not using it in songs on the fly just yet. The good thing about practicing it over and over is that it sounds good, eventually you can work it into an arrangement.
    I was messing around last night with the same concept using Drop 2&4 chords where the outside interval of a 13th moves.
    Thanks Alan. I'll try the Drop 2&4 chords with the outside 13th. If you're working your way through this too, it's validating to me that I'm not too thick. Heh!
    Larry

  12. #811

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  13. #812
    I made this to show Alan after he made his video-- forgot to post here. The first thing I heard with this movement is Everything Happens to Me. Stuck out like a sore thumb


    So there's one application
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  14. #813

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    Quote Originally Posted by joe2758 View Post
    I made this to show Alan after he made his video-- forgot to post here. The first thing I heard with this movement is Everything Happens to Me. Stuck out like a sore thumb


    So there's one application
    I know the exact moment you mean:


    Piano at 0:17 secs

  15. #814

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    Sitting here at work, decided to type up a scalar and arp exercise that allows for many many permutations, using the "family of four" dominants, scales up and down, arps and down, one dominant 7th to another to another, until resolving to C Major.

    G7: G A B C D E F G
    Bb7: Bb C D Eb F G Ab Bb
    Db7: Db Eb F Gb Ab Bb Cb Db
    E7: E F# G# A B C# D E
    Practice: G7 up arp from the R, 7th, 5th 3rd, G7 scale down to whatever using half step rules, to sub arp up, sub chord scale down
    Initial basic Permutations (general trajectory of line: arp up, scale down, arp up scale down
    arp down scale up, arp down, scale up and down
    Sequence: G7, Bb7-Db7-E7
    G7-Bb7-E7-Db7
    G7-Db7-Bb7-E7
    G7-Db7-E7-Bb7
    G7-E7- Bb7-Db7
    G7-E7-Db7-Bb7
    Last edited by NSJ; Today at 11:04 AM.
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  16. #815
    Anyone have questions for me to ask at the Howard Rees workshop in August? so far I have

    1.Are there additional or alternate 5-4-3-2 phrases?
    2.Examples of using the dominant dim scale?
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  17. #816
    here's phrases from Howard Rees' site that would be great for doing scale outlines.
    Official Barry Harris Thread-example1-jpg
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