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  1. #951

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    Got 5 pages of transcription from these 2 virtual workshops, there's a lot of new sparsely harmonized two-handed piano examples of very modern sounding contrary motion lines and some amazing whole tone stuff. It requires two hands-on piano in contrary motion, rather awkward for guitar.
    Last edited by rintincop; 05-12-2020 at 12:43 AM.

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    The Jazz Guitar Chord Dictionary
     
  3. #952

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    Why not just take a Skype lesson from a guy who studied guitar under Barry for 18 years.

    Probably more insightful for the guitar player and it will help support the improv theory.

  4. #953

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    Quote Originally Posted by WILSON 1
    Why not just take a Skype lesson from a guy who studied guitar under Barry for 18 years.

    Probably more insightful for the guitar player and it will help support the improv theory.
    Because he's Barry.

  5. #954

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    Quote Originally Posted by pcjazz
    Because he's Barry.
    And he'll be gone one day long before you can hope to absorb all he has to say about the music.

  6. #955
    Really??? Why not both? I think it's $10...

  7. #956

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    These workshops are GREAT. In doing them since mid May, I have over 60 pages of Finale transcriptions to work on.

  8. #957

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    The sessions are in someways better than the irl workshops, because you can hear what he’s saying a lot better, and you don’t have a bunch of horn players getting it slightly wrong.

  9. #958

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    Could any of you kind souls check I've got this right?

    C up and down
    Bb7 up and down
    C up and down
    Eb7 up and down
    Ab up and down
    D7 up and down
    G7 up and down

    1235 on each chord of the turnaround

  10. #959

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    Quote Originally Posted by morgan76
    Could any of you kind souls check I've got this right?

    C up and down
    Bb7 up and down
    C up and down
    Eb7 up and down
    Ab up and down
    D7 up and down
    G7 up and down

    1235 on each chord of the turnaround
    Lady Bird?

    Looks good

  11. #960

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    My problem with all this Harris thing is.. OK We've got the scales, but now? We have yet to make music with them. Scales are not lines.
    I think Peter Farrell video material should be better explained but you feel music from minute 1. I have put a lot of effort with the scale outlines and my achievement has been to sound so scalar and previsible. Harris speaks so badly about other educators but He is not far from Berklee education prespective: play this scales and may be you obtain music from them. May be I'm wrong but is what I feel. Jazz has been a chord tone thing until Coltrane and Miles. Benson is the last of the chord tone-passing tone strategy.

  12. #961

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    Thanks! Oops yeah, Lady Bird

  13. #962

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    Quote Originally Posted by sjl
    My problem with all this Harris thing is.. OK We've got the scales, but now? We have yet to make music with them. Scales are not lines.
    I think Peter Farrell video material should be better explained but you feel music from minute 1. I have put a lot of effort with the scale outlines and my achievement has been to sound so scalar and previsible. Harris speaks so badly about other educators but He is not far from Berklee education prespective: play this scales and may be you obtain music from them. May be I'm wrong but is what I feel. Jazz has been a chord tone thing until Coltrane and Miles. Benson is the last of the chord tone-passing tone strategy.
    Barry Harris does not say “play scales and that’s all there is to it.” There are pages of things in Barry’s book to practice just within the dominant scale: triads, arpeggios, “important arpeggios”, the previous with half-step approach, the half-step rules, etc.

    I’ve only practiced this all in a haphazard fashion, but once my ears gets familiar with the sounds, and I start correlating those sounds to what I hear on bebop recordings, it starts to come out in my playing a bit.

    I imagine that this would all be a lot more useful if you could sit in on his in-person lessons on a regular basis and have to suffer through the humiliation of his somewhat Socratic approach. I sat in on a couple of covid-era Zoom sessions and appreciated the benefit to be had from hearing him sing a line at tempo, perhaps over a ii-V movement, based on one important arpeggio followed by a descending line with half-step rules applied, and having to basically play it by ear.

  14. #963

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    Quote Originally Posted by sjl
    My problem with all this Harris thing is.. OK We've got the scales, but now? We have yet to make music with them. Scales are not lines.
    I think Peter Farrell video material should be better explained but you feel music from minute 1. I have put a lot of effort with the scale outlines and my achievement has been to sound so scalar and previsible. Harris speaks so badly about other educators but He is not far from Berklee education prespective: play this scales and may be you obtain music from them. May be I'm wrong but is what I feel. Jazz has been a chord tone thing until Coltrane and Miles. Benson is the last of the chord tone-passing tone strategy.
    You need to spend some time with BH material. Chris (thing I learned from Barry Harris) is a good place to start.

    His teaching isn’t built around the student specifically; it’s more like when he was growing up. You take what you can from it, which is more and more as you get familiar with it. He learned by watching piano players in clubs, listening to records and puzzling out what was going on, grabbing hold of any information he could get.

    I had similar misgivings starting out, but really it is very different from the Berklee thing. That’s a theory of harmony; Barry actually details a whole bunch of strategies to go from scales to lines.

    i can’t sum it up here. You have to immerse yourself. It takes a while to get up to speed.

    But; I came to it by studying bebop solos and then I could see the value of it. Parker plays a lot of scalic stuff as well as chord tones. I started understanding Barry’s perspective when I saw there was a lot of stuff in that music that wasn’t simply chord tones and passing tones...

  15. #964

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    Thanks mates. I 'll give it another chance, sure is my fault.

  16. #965

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    As Christian said, this is a great place to start. He shows you how to turn those scales into lines:

    Things I've Learned From Barry Harris
    - YouTube

  17. #966

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    Don't overlook the "5, 4, 3, and 2 " scale degree embellishment phrases. They demonstrate the two general types of melodic embellishments. Once you have those for the key of the song, and also for the chord of the moment, then it's time to extrapolate and discover the 8, 7, b6 and 6 scale degree embellishment phrases. And then figure out the ascending forms of all of those scale degree embellishment phrases.

  18. #967

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    Also, the way BH teaches shapes in diminished scale, whole tone scale, and the scale specific chromatic scale tweaks for melodic improv is useful.

  19. #968

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    I find scales sound quite good when played down from the 7th (especially with a grace note to that first note). I am not a fan of going up from the root. Then reverse 7 and 6; then reverse 2 and 1
    Last edited by rintincop; 09-01-2020 at 01:36 PM.

  20. #969

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    Is Barry's official 4 phrase in minor?

    4 2 4 -3
    or
    4 1 2 -3

  21. #970
    Quote Originally Posted by rintincop
    Is Barry's official 4 phrase in minor?

    4 2 4 -3
    or
    4 1 2 -3
    4 1 2 -3 in the DVD booklet...

  22. #971

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    The “4” phrase is

    4-down to 2- up step wise b3 to M3

    4-2-b3-3

  23. #972

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    I quite like 4-#1-2-b3