The Jazz Guitar Chord Dictionary
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  1. #1301

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    My teacher busted out the BH on Polkadots and Moonbeams today.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #1302

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    Original handout from a 1993 class


  4. #1303

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    Beautiful!

  5. #1304

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    Quote Originally Posted by NSJ
    .................................................


    Coleman Hawkins: “I don’t play chords, I play moment”. Chords are weigh stations of movement, always. CHORDS are a weigh staton of Voices moving in time.
    .....................................
    Which dovetails perfectly with the illustration in the front of Lydian Chromatic Concept by George Russell -- re: "Express" and "station to station" chord movement.

  6. #1305

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    Remix


  7. #1306

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    Did Barry Harris ever comment on Lenny Tristano?

  8. #1307

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    Not that I remember. My exposure was limited to 1986-2017. My memory is weak.

  9. #1308

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    This is a pretty good playing example where he breaks down why a plain CM7 drop 2 (1573) can be thought of as C6 with a borrrowed note from the diminished. Bot only does he go up r the scale of chords using this borrowed note in the alto from C6 to D° inversions, he isolates the borrowed note and shows how that can be harmonized by itself to create movement, contrary motion and tension. I have to say I agree with him in his original opinion, “why can’t we just think of this as a CM7?” But if we see it as movement, color , and tension, it makes complete sense to see CM& as a C6 with a borrowed note.


  10. #1309

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    Cma6 diminished single borrowed note possibilities:

    replacing A:

    C E G B
    C E G Ab
    C E F G
    C D E G

    replacing G:

    C E A B
    C D E A
    C E F A
    C E Ab A

    replacing E:

    C D G A
    C F G A
    C G Ab A
    C G A B

    replacing C:

    B
    E G A
    D E G A
    E F G A
    E G Ab A

    There are also 2,3 and 4 note borrowed structures. Some sound consonant, some pretty crunchy. The perspective of a primary function chord and a companion diminished offers an organized tonality based path to generate movement between the 2 functions. Within this paradigm, Cma7 is borrowing the diminished B note even though it is a common chord unto itself.

  11. #1310

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    Can someone enlighten me on the aug arpeggio?

    I know Barry emphasized the important arpeggios on the root, fifth and flat seventh, but he mentioned one that was augmented and I can't find material on that.

  12. #1311

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    Quote Originally Posted by WILSON 1
    Can someone enlighten me on the aug arpeggio?

    I know Barry emphasized the important arpeggios on the root, fifth and flat seventh, but he mentioned one that was augmented and I can't find material on that.
    Form my notes:


    Barry Harris: The Whole Tone Scale and the Augmented Triads as a V7 function


    1. There are only two whole tone scales: C and C#/Db. Together, these comprise the 12 tone chromatic scale. C-D-E-F#-G#-A# AND C#-D#-F-G-A-B.
    2. Practice: 1-2 -1-3 patterns C-D-C-E; D-E, D-F#, etc. Practice broken triads: C-E-D-F#; E-G#-F#-A#, G#-C-A#-D; C and DESCENDING.
    3. Deriving an augmented triad: play a note, skip a note, play a note, skip a note: Get a C+ triad (C augmented triad)—> C-E-G#; E-G#-C; G#-C-E; OR the D augmented triad: D-F#-A# (which goes up a M3 systematically: F#-A#-D; A#-D-F#). Thus, there are only 4 augmented triads: C+; D+; C#+; D#+. Any of these augmented triads will work, functionally, as a V7 as a dominant chord. If the dominant root note is in the whole tone scale, you can use the augmented triads associated with it as a V7 type of function.
    4. Nothing is easier than to find the augmented triads on a guitar. They just continuously cycle up a M3. So you can play C+ and D+ on a C7. And their inversions (E+ and G#+ and F#+ and A#+).

  13. #1312

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    Quote Originally Posted by rintincop
    Did Barry Harris ever comment on Lenny Tristano?
    I don't know, but Lennie was famous for deciding who was or wasn't a great jazz player.
    He said to a friend of mine who studied with him that Bill Evans was not a jazz player, he was an arranger!
    And then there was his declaration that Diana Ross of the Supremes was the greatest jazz singer alive!

  14. #1313

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    Quote Originally Posted by NSJ
    Form my notes:


    Barry Harris: The Whole Tone Scale and the Augmented Triads as a V7 function


    1. There are only two whole tone scales: C and C#/Db. Together, these comprise the 12 tone chromatic scale. C-D-E-F#-G#-A# AND C#-D#-F-G-A-B.
    2. Practice: 1-2 -1-3 patterns C-D-C-E; D-E, D-F#, etc. Practice broken triads: C-E-D-F#; E-G#-F#-A#, G#-C-A#-D; C and DESCENDING.
    3. Deriving an augmented triad: play a note, skip a note, play a note, skip a note: Get a C+ triad (C augmented triad)—> C-E-G#; E-G#-C; G#-C-E; OR the D augmented triad: D-F#-A# (which goes up a M3 systematically: F#-A#-D; A#-D-F#). Thus, there are only 4 augmented triads: C+; D+; C#+; D#+. Any of these augmented triads will work, functionally, as a V7 as a dominant chord. If the dominant root note is in the whole tone scale, you can use the augmented triads associated with it as a V7 type of function.
    4. Nothing is easier than to find the augmented triads on a guitar. They just continuously cycle up a M3. So you can play C+ and D+ on a C7. And their inversions (E+ and G#+ and F#+ and A#+).
    I'm a fan of augmented on the V7. My teacher has taught me to really utilize the tonality of pure augmented rather than always going willy nilly with anything altered. He looks at the main tonalities for over a V7 as augmented, diminished - 7b9, lydian dominant - melodic minor mode 4, and altered - melodic minor mode 7.

  15. #1314

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    Quote Originally Posted by Jimmy Smith
    I'm a fan of augmented on the V7. My teacher has taught me to really utilize the tonality of pure augmented rather than always going willy nilly with anything altered. He looks at the main tonalities for over a V7 as augmented, diminished - 7b9, lydian dominant - melodic minor mode 4, and altered - melodic minor mode 7.
    Don't forget about Harris's "Over G7, play the Bb7 scale down from its 7th (Ab) to B the third of G7 ..."

    Also, don't forget about the F melodic minor over G7. (thus G7sus4 b9)

    And of course, the basic (Mixolydian) G7 scale with a half step rule

  16. #1315

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    Quote Originally Posted by rintincop
    Don't forget about Harris's "Over G7, play the Bb7 scale down from its 7th (Ab) to B the third of G7 ..."

    Also, don't forget about the F melodic minor over G7. (thus G7sus4 b9)

    And of course, the basic (Mixolydian) G7 scale with a half step rule
    … and the 7th scale of the V’s tritone sub (or the V’s 7th scale into into its tritone sub — many possible surround notes! — and vice versa).

  17. #1316

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    Yep, can't sleep on the BH cst. Too elegant to forgo.

  18. #1317

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    Quote Originally Posted by rintincop
    Don't forget about Harris's "Over G7, play the Bb7 scale down from its 7th (Ab) to B the third of G7 ..."

    Also, don't forget about the F melodic minor over G7. (thus G7sus4 b9)

    And of course, the basic (Mixolydian) G7 scale with a half step rule
    Also, Mixolydian on minor key Vs is big and clever

    in fact, ditching IIm7b5 and opting for IIm7 V7b9 Im is quite a common bird move. It’s easy to think that the IIm chord has to be IIm7b5 while even staying in minor you can make it a IIm7

    i don’t recall Barry mentioning it in class though - anyone else?

  19. #1318

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    I wish I got to attend Barry’s classes. I’d love for the Zoom classes to be streamed.


    The more I think about his half step rules, the main quality or effect is rhythmic: to keep the chord tones on beat, especially descending. Especially the half step between the R and b7. The basic premise is, on non-chord tones (2,4,6) you don’t need the half step. On chord tones (1,3,5) you do.

  20. #1319

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    Here’s the video I said I’d do


  21. #1320

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    Really basic stuff, but I’m doing it because I need to learn a new instrument that is much harder than a six string guitar:


    1.Unison: the chord-scales as they are, combining the Major and Minor 6th chords with the four notes associated with its diminished chord,, creating an 8 note scale: CM6 /dim and Cm6/dim (C-D-E-F-G-Ab-A-B or C-D-Eb-F-G-Ab-A-B)


    2. THIRDS— everything For CM6 and Cm6 is a minor third, except for (a) CM6 3rd degree is a M3 and the sixth degree is a M2; (b) and for Cm6, the fifth degree is a M3 and the 6° is a M2.
    Major 6 Minor 6
    C m3 C-A SAME
    D m3 (D-B) SAME
    E M3 (E-C) m3
    F m3 (F-D) SAME
    G m3 (G-E) M3
    Ab m3 (Ab-F) SAME
    A M2 (A-G) SAME
    B m3 (B-Ab) SAME


    3. SIXTHS: for CM6 and Cm6 scales is a M6 except (a) for the major six TONIC is a m6 and the P5 is a m7 and (b) for the Cm6 scale, the 3rd degree is a m6 and the 5th degree is a m7.
    Major 6 Minor 6
    C m6 (C-E) M6
    D M6(D-F) SAME
    E M6 (E-G) m6
    F M6 (F-Ab) SAME
    G m7 (G-A) SAME
    Ab M6 (Ab-B) SAME
    A M6 (A-C) SAME
    B M6 (B-D) SAME

  22. #1321

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    4. TRIADS


    Major 6
    C: E-A-C
    D; Dim: Ab-B-D or F-B-D
    E: A-C-E
    F: Dim: B-D-F or Ab-D-F
    G: C-E-G
    Ab Dim: D-F-Ab or B-F-Ab
    A: C-E-A
    B: Dim: F-Ab-B or D-Ab-B


    Minor 6
    C: Eb-A-C
    D; Dim: Ab-B-D or F-B-D
    E: A-C-Eb
    F: Dim: B-D-F or Ab-D-F
    G: C-Eb-G
    Ab Dim: D-F-Ab or B-F-Ab
    A: C-Eb-A
    B: Dim: F-Ab-B or D-Ab-B

  23. #1322

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    Quick Dim trad fix:

    Sometimes, it’s not possible to get to the dim triad in time due to the five fret stretches especially down the neck. Then you realize not only is a dm note note found not just a m3 away, but always a tritone away.

    Also, the intervallic relationship between a m3 and a M6 is a tritone.

    The tritone, that little devil, is actually your friend, not fiend. Throw that “R” in it. It can get you out of plenty of messes. :