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  1. #851

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    The Jazz Guitar Chord Dictionary
     
  3. #852

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    Quote Originally Posted by rintincop View Post
    “8 7 6” phrases
    LOL. I know about the 5432 phrases but what is this? Related to 5432 or something else?
    Navdeep Singh.

  4. #853

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    Sorry I wasn't more clear. I meant which version of rhythm changes chords was Barry doing during Moose, particularly bars 5-8.

    For example, bars 5-8 , "old school" walk up style:

    | Bb Bb7/D | Eb Edim | Bb/F G7 | C-7 F7||

    Or, was Barry thinking the later, more cyclical path for bars 5-8:

    | F-7 Bb7 | Eb Ab7 | D-7 G7 | C-7 F7 ||

    Of course it can go either way. I know Milt Jackson, Oscar Peterson and Ray Brown like the first way, old school.
    Studied privately with Mark Levine from 1986-1989. I also studied under Barry Harris, Joe Henderson, Art Lande, and Mark Isham.

  5. #854

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    Quote Originally Posted by NSJ View Post
    LOL. I know about the 5432 phrases but what is this? Related to 5432 or something else?
    There are the 5432 embellishment phrases... so there also should be similar embellishments for the 876. Simply extrapolate upon them.
    Studied privately with Mark Levine from 1986-1989. I also studied under Barry Harris, Joe Henderson, Art Lande, and Mark Isham.

  6. #855

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    Quote Originally Posted by rintincop View Post
    Sorry I wasn't more clear. I meant which version of rhythm changes chords was Barry doing during Moose, particularly bars 5-8.

    For example, bars 5-8 , "old school" walk up style:

    | Bb Bb7/D | Eb Edim | Bb/F G7 | C-7 F7||

    Or, was Barry thinking the later, more cyclical path for bars 5-8:

    | F-7 Bb7 | Eb Ab7 | D-7 G7 | C-7 F7 ||

    Of course it can go either way. I know Milt Jackson, Oscar Peterson and Ray Brown like the first way, old school.
    Well Barry boils everything down to

    Bb | F7 | Bb | F7
    Bb7 | Eb7 | Bb | F7

  7. #856

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    Quote Originally Posted by christianm77 View Post
    Well Barry boils everything down to

    Bb | F7 | Bb | F7
    Bb7 | Eb7 | Bb | F7
    one thing I remember from Barry's classes is that he never plays a G7 on the first bar, he was always insistent that he reserved this color for the 3rd bar, so the tune moves someplace different instead of repeating. He doesn't really seem to play a G7 in his right hand in the last 2 bars.

    In the solo I posted he gets most of his mileage out of anticipations or delays (like going into the bridge), as opposed to chord subs. He's pretty by the book on this version in terms of changes.

  8. #857

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    Long time Barry Harris student, tremendous teacher Howard Rees podcast.

    Catalyst of The Barry Harris Workshop Videos, We Are One concerts and Jazz School Online .

    Good interview provides some clarity regarding Barry's method.

    Last edited by A. Kingstone; 08-17-2019 at 12:03 AM.

  9. #858

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    Quote Originally Posted by christianm77 View Post
    Well Barry boils everything down to l

    Bb | F7 | Bb | F7
    Bb7 | Eb7 | Bb | F7
    Ah, but of course, thanks for reminding me. Does he treat the 2nd ending of the A section the same? And the turn around of the 3rd A section after the bridge?

  10. #859

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    Bb Up and down right christian?
    Last edited by A. Kingstone; 08-16-2019 at 10:12 PM. Reason: de-capitalization

  11. #860

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    Quote Originally Posted by pcsanwald View Post
    one thing I remember from Barry's classes is that he never plays a G7 on the first bar, he was always insistent that he reserved this color for the 3rd bar, so the tune moves someplace different instead of repeating. He doesn't really seem to play a G7 in his right hand in the last 2 bars.
    yes, that is how BH does it. it comes from ch parker.

  12. #861

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    Yeah the changes in the solo look to be the simple ones with a lot of anticipations etc.... one oddity is the G7 arp going into the Bb7 scale.... you could see that as brothers and sisters.

    Other than that he doesn’t play the G7 at all? This is similar to many Parker solos.

    Also Eb7 in bar 6 and on the last A Ebmaj7.

  13. #862

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    Quote Originally Posted by A. Kingstone View Post
    Bb Up and down right christian?
    Not following?

  14. #863

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    Quote Originally Posted by christianm77 View Post
    Not following?
    Rintin's question about scale outline on RC. I'm pretty sure Bb up and down going into the bridge but can't remember bar 31-32. Same I think.
    Last edited by A. Kingstone; 08-17-2019 at 09:50 AM.

  15. #864

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    Quote Originally Posted by A. Kingstone View Post
    Rintin's question about scale outline on RC. I'm pretty sure Bb up and down going into the bridge but can't remember bar 31-32. Same I think.
    Oh I see. Yes that would work.

  16. #865

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    So, A2 and A3 turnarounds (Bb for 2 bars):
    A1
    | Bb | F7 | Bb | F7 |

    | Bb7 | Eb7 | Bb | F7 |
    A2
    | Bb | F7 | Bb | F7 |

    | Bb7 | Eb7 | Bb | Bb |
    B
    | D7 | D7 | G7 | G7 |

    | C7 | C7 | F7| F7 |
    A3
    | Bb | F7 | Bb | F7 |

    | Bb7 | Eb7 | Bb | Bb |



  17. #866

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    Look who came by Barry's class this week!
    (Photo by Richie Vitale)

    Official Barry Harris Thread-68865236_10156064589666862_2900601756717154304_o-jpg

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

  18. #867

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    Lee Konitz!
    Last edited by A. Kingstone; 08-21-2019 at 06:26 PM.